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TV,eh? What's up in Canadian television

Interview: Vikings kills off major character

-SPOILER ALERT- Do not read until you have watched Thursday’s newest episode, “Scarred.”

And just like that, Siggy has sailed out of our lives. The former wife of Earl Heraldson, who had fallen from favour after Ragnar Lothbrok (Travis Fimmel) ascended to the role of Earl and then King, was plotting her next move in Kattegat when she died after diving into icy water to save Queen Aslaug’s two sons from drowning.

Siggy had been suspicious of Harbard (Kevin Durand) ever since he arrived in town. And though no one was sure if he had anything to do with the drowning deaths of two other boys, it sure seemed that way. Regardless, Siggy is no more and we got Jessalyn Gilsig—the Montreal-born actress who played her—on the phone to chat.

I really didn’t want to be talking to you.
Jessalyn Gilsig: Oh thank you for that.

Did you ask to leave the series or did Michael Hirst write you out? How did it come about?
I actually approached Michael. At the end of the second season I had some family things come up and they needed me in a way that being over in Ireland made it tough to take care of. I felt like I had to be there in a personal level and Michael was amazing, incredible. He has family too and understood. He was disappointed, which was incredibly flattering, but he respected my reasoning. We talked about how to do this while giving Siggy justice, so he came up with this exit for her, which I thought was beautiful and unexpected and poetic and unique.

Did you have any input into her death or was it all him?
Oh no, it was all him. We talked a little bit about what might have been and one of the things I talked about was that her whole intention upon waking every morning was to work her way back to that throne. I think that’s why Michael worked in that scene where Siggy is so frustrated with Ragnar and Aslaug’s actions that she works to take the throne back and that trajectory is cut off by the random event of her jumping in the water to save the children.


I would do anything for this show. The role gave me so much … if they want me to come back and work catering I would do that.


It was a very nice scene with her sitting on the throne again and looking over to the empty throne where Earl Haraldson had once sat. It felt very much like a full circle of sorts.
Thank you. Even for me, after three years of playing this character I would think during those scenes in the hall, ‘That’s my seat, I built this house,’ and I love that I got to go back. And you’re right, it did have that feeling of what’s ahead but also acknowledging Gabriel Byrne’s character.

Let’s talk about the scene leading up to the lake. Was that all you running through the forest?
That was all me! I love doing that kind of thing. Look, it’s such a cool job anyway, but some days they tell you, ‘OK, today you’re going to climb a mountain and dive into a frozen lake and save these children,’ and you think, ‘I could be entering numbers into a spreadsheet right now. I am a grown woman. This is my job??‘ I never, ever, ever complain. It is the best gig you could ever have and I love it. The best thing that you could tell me is that I can’t do something. It’s the best motivator for me.

Was the underwater scene filmed with you in a tank?
We shot that over a few days actually, and part of it was in a tank. Everything from the outside diving in was a tank and everything underwater was in an outside swimming pool in Ireland. It was pretty intense because they had to cover the pool so there was only one opening for light. When you were under you had to find you way back to that hole. That was kind of intense and took some practice.

History

I was grateful we had a day of rehearsal because the clothes and hair were really heavy when they were wet and we had to work out the angles with the dummies that represented the children and the kids themselves. That was the hardest part for me, putting myself in the scene without worrying about the child actors.

Was the water warm or cold?
Everything in Ireland is cold! [Laughs.] We’re Vikings, what are we going to do, complain?

Vikings has featured several visions, including Siggy seeing her daughter seconds before she went under water for the last time. Does this mean the door is open for Siggy to return as a vision?
That’s a good question. I can say on a personal level that I would do anything for this show. The role gave me so much … if they want me to come back and work catering I would do that. [Laughs.]

Was there a party for you once everyone found out Siggy was exiting the show?
On my actual last day there was a party with the cast and myself and my daughter, who is eight and is always with me, but I had already had one with the whole company. The thing is with the actors is that I’ll continue to see them because they come through L.A. and we’ll meet up. The people I’ll really miss is the crew because most of them are based in Ireland. I can’t say enough about those people. They are the most creative, committed people I have worked with in my life. They set the bar with the level of artistry on that show. I’ll miss them but I’ll go back. We have a life there.

Did you take anything from the set to remember the experience by?
They made me a beautiful necklace for Siggy that had some Viking symbols for fertility on it and that was made by the costume department for me. What I should have taken, and I’m upset I didn’t, was some of my hair extensions. I loved Siggy’s hair. It was so long and so ratty. I’ll miss that most of all.

Will you miss Siggy? Let Jessalyn know your thoughts in the comments below or via @tv_eh.

Vikings airs Thursdays at 10 p.m. ET/PT on History.

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Link: CRTC Just Plain Wrong On New Canadian Content Regulations

From James Bawden:

CRTC Just Plain Wrong On New Canadian Content Regulations
I’m convinced the only regulation the CRTC should insist on is a demand from all private networks that they spend as much on Canadian programming as they spend in L.A. snatching up all the U.S. series.

Last year that figure was almost $700 million –I would be surprised if the private networks spent a third as much on Canadian shows. Continue reading.

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Link: CRTC’s new plans: Quality over quantity? Good luck with that

From John Doyle of The Globe & Mail:

CRTC’s new plans: Quality over quantity? Good luck with that
If there’s a sinking feeling in some quarters of the Canadian TV racket following the announced CRTC regulatory changes, that’s wrong. The challenge presented is to be better, not entitled.

Excuse my rant but vast fortunes have been made in the sweatshop environment of Canadian content made for broadcasters, particularly specialty channels, who have been obliged to air locally made content. An easy dollar for producers and many of those involved. Continue reading.

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Link: Canadian producers ‘excited, but nervous’ over CRTC’s new CanCon move

From Teddy Wilson of the National Post:

Canadian producers ‘excited, but nervous’ over CRTC’s new CanCon move
Thursday’s Canadian Radio-television and Telecommunications Commission announcement saw the relaxation of Canadian content regulation on the small screen. While CRTC chair Jean-Pierre Blais delivered the news with great optimism a speech in Ottawa, industry insiders are apprehensive.

“I’m excited, but nervous at the same time,” said Barry Avrich, a film producer and CEO of Melbar Entertainment Group. Continue reading.

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CRTC “Let’s Talk TV” – The Way Forward?

From a media release:

Earlier today CRTC Chairman Jean-Pierre Blais spoke to the Canadian Club of Ottawa about the future of the Canadian television industry. The decision, titled “The Way Forward – Creating Compelling and Diverse Canadian Programming,” is the second of several decisions stemming from the CRTC’s “Let’s Talk TV” initiative, begun in 2013.

The decision is complex, and its many implications will become clearer in the coming weeks and months. At this juncture, a positive is that a cornerstone of the Canadian programming support framework — expenditure requirements for “programs of national interest” (PNI), which include drama and documentary programming — is being maintained.

Recognition of the screenwriter was evidenced through a new Canadian certification process for two “pilot projects” of certain live-action drama/comedy productions. One is based on the adaptation of best-selling, Canadian-authored novels, and one involves shows budgeted at over $2 million/hour. In both cases, a Canadian screenwriter will be required. Nonetheless, the WGC was surprised that the certification process, and the undermining of the terms of trade agreement for producers and broadcasters, were part of this announcement. Both decisions were made without notice or meaningful discussion in the preceding hearing.

Less unexpected, but also of concern, is what Chairman Blais has referred to as a “quality over quantity” approach, underscored in today’s decision. The WGC maintains that quantity and quality are linked concepts, as there is no one recipe to create a hit show, and creating fewer shows may serve to reduce the chances of a single show’s success.

Of greatest concern in today’s decision is the continuation of a two-tier broadcasting model, with “over-the-top” services like Netflix, CraveTV and shomi remaining almost entirely outside of the regulatory sphere. As Chairman Blais said today, Canada’s regulatory regime must be forward-looking, and Canadian content still requires support to survive and thrive. If more and more viewing migrates to unlicensed platforms, and those services have no requirements to make Canadian shows, the WGC questions how such an approach is sustainable in the medium to long term.

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