Tag Archives: Featured

Preview: VisionTV’s The Big Downsize is an emotional journey on the road to decluttering

Tidying up and decluttering isn’t a new thing—especially once spring arrives—and it’s reached new heights of awareness thanks to Marie Kondo and her Netflix series. I admit, I’ve used Kondo’s tip for folding t-shirts and it’s totally reorganized my dresser. But where it’s easy for me to clean up and get rid of my own stuff, the thought of doing it for someone else gives me the sweats and heart palpitations.

That’s where professional downsizer Jane Veldhoven comes in.

Premiering Monday at 9 p.m. ET/6 p.m. PT on VisionTV, The Big Downsize follows Veldhoven as she helps two Canadian families as they seek to declutter, clean up and ship out.

For the MacNeil family, that involves going through 50 years of accumulated things and memories in their childhood home in Dartmouth, Nova Scotia. With their mother passed away and their father living with one of his children, four of the five siblings have convened with thoughts of selling the family home. But to do that means a major cleanup.

It’s a daunting task, and not all of the MacNeil kids agree on how items should be divvied up. Throw in busy lives and nerves get jangled.

Meanwhile, Pam and Scott are on a different path. The Halifax couple is dissolving their marriage of over 20 years. The pair have a monumental task ahead: emptying a house full of items that were tied to them as a couple. Health issues have plagued Pam, adding another layer of stress to an already emotional situation. Things like key pieces of furniture are fairly easy to divide, but what about photos, clothing and the toys their son played with and, now, their grandkids?

“Even though downsizing seems like it’s just about getting rid of stuff, the stuff is usually a symbol of emotional chaos, something that’s happened in somebody’s life,” Veldhoven says during Episode 1. “In the end, that’s what we see physically but it doesn’t have a lot to do with that. People keep stuff for 20 different reasons.”

What sets the five episodes of The Big Downsize apart from other tidying-up television series or segments are the stories. This isn’t just about holding up a cracked old toy to the camera and wondering why it was kept. Tell Tale Productions, who previously made Growing Sense for AMI-tv, delves into the stories of these two families. The result is an emotional journey of togetherness, laughter, memories, tears and, ultimately, letting go.

The Big Downsize airs Mondays at 9 p.m. ET/6 p.m. PT on VisionTV.

Images courtesy of VisionTV.

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Comments and queries for the week of March 8

Will there be a Season 13 of Murdoch Mysteries and if so, when will it air? —Regina

Hi Regina. There has been no official word on Season 13 of Murdoch Mysteries. That should be in the coming weeks.

Season 12 is great, just like the 11 previous ones! This season has pleased the audience with a variety of plots, expansion of the subject of episodes and an increase in the number of interesting characters. The season finale is generally terrific without the heavy dramatic upheavals of the heroes of the show, but there are questions to investigate next season (we hope so much!). It is very good that there were no problems in the relationship of William and Julia. But in some episodes of Season 12, their roles were not prioritized. Of course, this made it possible to reveal other characters, but I believe that Detective Murdoch and Dr. Ogden should be in the centre of the plot! It was the charisma and talent of Yannick Bisson and Hélène Joy that ensured the super popularity of the show. I hope that Season 13 will take place and there are many wishes. I’d love to see a Christmas or New Year’s special. It is a pity that in the 12th season there was no such episode. Perhaps Dr. Ogden will again become the coroner instead of Miss Hart. Maybe William and Julia will expand the geographical scope of the show and conduct an investigation in another country. It will be very interesting to meet with James Pendrick and his new ideas, Terence Myers and even with Detective Fellows. Hopefully, George will meet his love, maybe Dr. Grace will come back to the show again. Finally, a lot of fans of the show want to see the baby Julia and William, this couple deserves to be happy. In general, the romantic storyline is very important in this show. Murdoch Mysteries is a unique show, really the best crime drama, not only in Canada but also outside. Thanks to everyone who creates it! —Lilia

Am I the only one who feels that Season 12 has taken a dive? Several episodes don’t know if they want to be a goofy comedy or some silly science fiction. Very disappointing to a show that has been superior. —Leslie

Loved Season 12 as well as the whole series. I do hope that it continues for many years to come. I just wish that they would make more per season. —Carol

Got a question or comment about Canadian TV? Email greg.david@tv-eh.com or via Twitter @tv_eh.

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Murdoch Mysteries: Charles Vandervaart discusses the Season 12 finale

Spoiler alert! Do not continue reading until you have watched the Murdoch Mysteries Season 12 finale, “Darkness Before Dawn, Part 2.”

Wow, what a season finale! After worrying John Brackenreid would never walk again, his second surgery was a success and, it appears, Margaret and Thomas Brackenreid’s marriage may be on the mend. But there are still a few niggling questions left remaining. William knows Miss Hart planted evidence in the murder case and in doing that scored the coroner’s job. Meanwhile, Dr. Dixon has made it VERY clear he’s interested in Julia. Here’s hoping we get answers when Murdoch Mysteries is renewed for Season 13.

To close out my season-long Murdoch Mysteries interviews, I spoke to Charles Vandervaart, who has been playing John Brackenreid for a handful of seasons now, about how he got on the show in the first place and the evolution of John over the years.

Let’s get your origin story. How did you end up on Murdoch Mysteries in the first place? Did you go through the traditional means, an audition? 
Charles Vandervaart: Yeah, I auditioned. I actually originally auditioned for the role of Bobby Brackenreid, funny enough, way back when. I did the scene where he’s playing in the sandbox and he gets abducted. But that didn’t work out. So about two years later, I auditioned for the role of John. You know, I didn’t think it would last this long, this many seasons. But I’ve been very fortunate that they keep writing me in and developing my character. I’m a happy camper.

You have literally grown up onscreen, on Murdoch Mysteries. That must be a little bit mind-blowing to think about.
CV: Yeah. It’s hilarious. And I love watching reruns. It’s like watching old home movies. I’ve been really lucky. This and The Stanley Dynamic was the other show that I was on when I was younger … both of these shows have really helped me get comfortable in front of the camera. I’m definitely a believer that the best of kind of acting lesson is just being on set and being with all these other actors and getting directions from all these directors. I’ve been so fortunate to get all of these acting lessons and to help improve my craft over the years. So it’s been such a blessing at the end of the show.

What made you decide to get into acting in the first place? Is it something you always wanted to do? 
CV: The thing that I said when I was a little kid was, I wanted to be a theoretical astrophysicist in the area of nanotechnology because it was just the longest thing I could think of. I didn’t actually know what it meant at the time. I was just like, ‘This will impress the old people.’ I grew up in a small town about an hour and a half away from Toronto and I went to go see a play there. I was so immersed in it and I thought it was such a magical experience. And I asked my parents if I could try it out and act at the local theatre.

My first role ever as an actor was Tiny Tim in A Christmas Carol. It just kind of grew from there. I did a couple of plays here in Toronto, and then I got an agent and auditioned. And I couldn’t have done anything without my mom because we live so far away from Toronto. She drove me back and forth to auditions together. She’s just as much a part of it as I am. But I think, maybe at 14, I actually started really committing to it and saying, ‘This is what I love. This is my passion. I want to do this for the rest of my life.’

You mentioned about learning your craft over the years. What have you learned? 
CV: What’s really helped me at being on sets all the time is just getting myself out there. It can be quite a nerve-wracking thing, being in front of a camera and being in front of a camera crew. So, I’m still working on getting those nerves down. But I think it’s also a good thing to have nerves because it means that you care about what you’re doing, you love what you’re doing. I also think that a lot of the times I obsess about the craft. When you’re doing a season, you could be three, four, five months working all day, every day. And then on the weekends you’re obsessed with what you’re doing and you’re constantly memorizing the lines and things like that. And then the season ends and you have a lull because you’re waiting for the next season and you’re waiting for your next project. I’ve had some great talks with some fellow actors about this. It’s really important to keep living your life and to not obsess about what the next thing is. And actors, their whole profession is based on drawing from your experiences. And you do have those lulls. You’ve got to go out with your friends and you’ve got to read some books and go out and watch some movies. So I’m getting better at just kind of putting it aside and using my onset experience and then also my offset experience to draw from.

We’ve really seen this character of John Brackenreid grow up, especially in Season 12. Here’s a guy who is coming into his own as a constable. And now he goes through this season, before even getting shot, his parents divorcing. 
CV: John has always been kind of this character, I think, that’s been on the brink of adulthood. He’s almost there. And this season especially because, before we’ve always seen John as this quintessentially innocent character. And then, all of a sudden, he has all this baggage. His parents and he may not walk again, he’s been sleeping around. It’s a John that we’ve never seen before. It’s great because everyone makes mistakes and has crazy days when they’re just growing up and they’re on the brink of adulthood. And John is really going through some stuff right now. And it’s been a pleasure to play that because I love all the crazy, messy things as an actor.

What was your reaction to the fact that John was going to be shot and maybe not walk again? Did Peter Mitchell pull you aside and say, ‘It’s OK, by the end of the episode you’re going to walk? Did they make you wait? How did that work?’
CV: Apparently, for quite a while, the writer’s room knew that I was going to get shot. And, a few of the crew knew that I was going to get shot. One day I made a joke about me getting shot. And everyone was just kind of like, ‘Oh, yeah, that’s funny.’ Even though all of them knew that that was actually going to happen in the season finale. So I think that was a pretty predetermined thing. But, yeah, Peter took me aside and he said, ‘This is what’s going to happen. You’re going to be fine, though, don’t worry about it.’ But I think he knew for a few seasons that he was going to do this.

It must be some of the easiest acting you’ve had to do. You got to lie down. You didn’t have to wear the uniform or anything.
CV: Yeah. For two episodes I had to sit down and lie down. [Laughs.]

A big part of John’s life this season has been the effect of seeing this family break up. How have you felt about seeing your onscreen parents split?
CV: I think it was a great little storyline from the writing perspective and from the perspective of the show. Because they’re both two characters that are very feisty and they’re very opinionated and I really hope that they pull this together. I have no idea what’s going to happen in the next season. As a watcher of the show, I’m really hoping that they just come out of this stronger than ever and as a couple, together. It was crazy and it kind of felt a little bit out of body because you have these two fake parents, these two parents that I’ve had for six years. And then they’re going through this divorce and sometimes you catch yourself, you’re like, ‘Oh, this isn’t real.’ I’m really eager to see what happens in the next season.

What have you thought of Season 12 of Murdoch Mysteries? What would you like to see happen in Season 13? Let me know in the comments below!

You can stream past episodes of Murdoch Mysteries on CBC Gem.

Images courtesy of CBC.

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CBC’s Diggstown tackles the legal world in a new, and compelling, way

Vinessa Antoine describes lawyer Marcie Diggs as “very vulnerable and flawed and messy.” And the actress wouldn’t have it any other way. Debuting Wednesday at 8 p.m. on CBC, Diggstown—created by Floyd Kane—takes the well-worn legal drama genre and presents it in an interesting new way.

When we catch up with Marcie Diggs (Antoine), she’s struggling with the death of her aunt (Karen LeBlanc). But legal cases are waiting, people need her help. Marcie’s co-workers—including boss Colleen MacDonnell (Natasha Henstridge), Pam Mclean (Stacey Farber), Reggie Thompson (C. David Johnson) and Doug Paul (Brandon Oakes)—work with the community finding justice in cases that explore racism, gender bias and poverty.

We spoke to Vinessa Antoine and Natasha Henstridge late last year about Diggstown and what makes it different from other lawyer series.

Can you break down how this first season of Diggstown will roll out? How is it structured?
Vinessa Antoine: We follow two cases [per episode]. There’s always the case that Marcie is working on and then the case that one of the other lawyers or all the other lawyers is working on. In the first episode, we also learn a little bit about Marcie’s past in terms of her family and the tragedy that happened. And a little bit of her guilt in connection to what happened to her aunt and feeling the struggle of, ‘Where is my place in this world and am I doing the right thing? Does the justice system actually work? Am I the problem or am I the solution?’

As you were reading the scripts and you just mentioned about where’s my place in the world and is the justice system fair? What conclusion did you come to yourself? Do you know your place in the world as Vinessa?
VA: I do. Absolutely. I know that I came to this planet for a certain reason and bring certain gifts that are, I think, to be helpful. I try to use that the best way I can. I think we all think about those things. What is the path that we pick and is it actually helping anyone at the end of the day? I think that’s also Marcie as well. Is she doing this for the money or is she actually trying to help people? I know she really wants to help people, but the justice system is so flawed.

It’s so complicated. It can literally mean the difference between using the wrong word in a sentence and now you’ve completely changed someone’s life.

I assume, Natasha, you did some research into the legal system too and saw how really flawed it can be. 
Natasha Henstridge: I’m reading a book right now that’s so about that. Small Great Things by Jodi Picoult. It’s about a lawyer and it’s about an underprivileged woman. It’s about a black woman who was a nurse who something goes wrong with the baby in the hospital and sort of where the justice system takes her. I have friends that are lawyers and I have not, luckily, been involved too much in the justice system in my real life. Although I meant to get arrested once. One time. I think there’s a lot of nuances, obviously, and whether it works or not, it’s not perfect by a long shot. These characters are doing the best that they know how within the confines of the system.

What attracted both of you to the project? I’m going to ask specifically about Floyd Kane in a second, but what attracted you to this?
VA: Well, for me, being able to be the lead of a show, to drive the narrative. That was obviously important, but when I start to read more into the character and talk more with Floyd, I realized how important this character is for Canada and for other countries as well. Just to see, not necessarily, a black woman in a leading role because we’ve seen that before for sure in the States with Kerry Washington and Viola Davis. Marcie isn’t necessarily a tough ball buster kind of lawyer that we usually see with main characters.

Especially with black women. Now, there’s an angry sense sometimes with some of these characters which are usually very valid and plausible, but I think this is a different way of looking at a black woman who is very vulnerable and flawed and messy and doesn’t always go for the ball busting to get her point across. She’s not necessarily cracking the whip and everybody falls into line. She’s the one breaking down crying and doesn’t understand why the system isn’t working.

NH: Such a great point. Such a great point. Very true.

What about you Natasha? What attracted you to the project?
NH: I have to say I read the script and I literally was like, ‘I need to get this role.’ They had me in mind. I went and auditioned. I loved the audition scenes, but then when I went and read the script. It was just the best thing that I’ve read and that was the bottom line for me and had nothing to do with anything else. I wasn’t thinking about the bigger picture at all, to be honest with you. Which now is super meaningful having done the six episodes. I just thought, ‘Wow this is really well written and well put together.’

Then I met Floyd and [executive producer] Amos [Adetuyi] at the audition. To see someone’s attention to detail and to care so much about these characters. To collaborate and be in a situation where it’s very collaborative. Where you felt like someone wanted you to understand and where he’s coming from. I just thought, ‘Wow this man really cares. It makes you care that much more.’ I’m playing an openly gay character. I thought that was super meaningful. I have a lot of gay friends that were closeted as kids and I feel so much for their plight that they’ve been through. Although it’s only touched on so far in the beginning in the show thus far. That to me was super meaningful as well.

I’m getting the sense that it’s somewhat rare to find a showrunner that is willing to be that collaborative. Sometimes they’ve just written in stone what I’ve got is my idea for the characters the way it’s going to be. It sounds as though Floyd isn’t necessarily like that.
VA: Not at all. He’s so … even before I tested for the role he and I had a conversation with the director, Kelly Makin, on the phone. It was a really weird conversation because it was like a three-way. I dialled this special number. I think there was like, maybe a half-second delay and Floyd already is a pretty quiet gentle soul himself. There were questions that I was asking and there would be a long pause. And then he would talk and we spoke, I feel like, for a good 20 to 30 minutes. Which is unheard of I think for me, as an actor, to sit down and actually conversate with the person that created this role. I had a billion questions to ask and he answered every single one of them. Even to the degree where he said, ‘You’ve actually made me go back and question some things that I wrote about the character and try to develop that even more.’

It was such a nice collaborative experience with him and then he was there so much on set. Was able to be in my ear a little bit to keep me on the right path with the character because you shoot out of sequence sometimes and you’re all over the place and the rewrites come in. I want to keep on the journey so that the viewer can follow Marcie and the story from the beginning to the end. He was so available for that.

NH: But he’s very very clear on who the people are and what they want. Which is amazing because you need the captain of the ship who actually keeps things in line and keeps you clear because it’s easy to get lost. He knows the show. It’s his show. It’s his life.

Diggstown airs Wednesdays at 8 p.m. on CBC and streams on CBC Gem.

Images courtesy of CBC.

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CBC’s Street Legal returns, grittier and great, thanks to Bruce M. Smith

It was amid the flurry of U.S. television show remake announcements—Roseanne and Murphy Brown specifically—that news dropped. The CBC was bringing Street Legal into the 21st century after a 25-year break. While some bemoaned the news, one name jumped out at me: Bruce M. Smith. I had high hopes. After all, Smith is the guy behind 19-2, a series I dearly loved. If anyone could reboot a series, I thought, it was him.

I was right. Yes, the original DNA—and original cast member Cynthia Dale (Eric Peterson and Anthony Sherwood will make guest appearances)—of Street Legal is there, but that’s where the similarities end. This Street Legal has morphed with the times.

When viewers tune in on Monday at 9 p.m. on CBC, they’ll catch up with Olivia Novak (Dale) and meet a new trio of lawyers in Lilly Rue (Cara Ricketts), Adam Darling (Steve Lund) and Mina Lee (Yvonne Chapman). The young upstarts beat Olivia to the punch when they take on a pharmaceutical company churning out highly addictive opioids. That storyline will fill this season’s six-episode arc, but as Smith told me, he expects this to be the jumping off point for more seasons.

How did Street Legal come to be?
Bruce M. Smith: The CBC approached Bernie [Zuckerman] and me about rebooting Street Legal with Cynthia Dale attached. That was the core concept. I met with Cynthia, and thought right away, ‘This character’s a lot more interesting at 58 than 28.’ That’s really the core of why I could see value in it. It seemed like a smart move from the CBC. The brand has value.

I was really interested in that, in taking that character and looking at her now. The same character, 25 years later, and then building a new show around that. What Street Legal was to its audience when it premiered, which was pushing the envelope or the box of Canadian TV. They were doing serialized stuff. They were doing controversial issues, and not necessarily wrapping them up with neat bows. They were doing character-driven soapy stuff in an adult format, and a law show, which was relatively new at the time. Certainly on Canadian TV. Unlike doing Murphy Brown or Roseanne, the idea was not necessarily to do the full nostalgia cash in, and I was always worried about nostalgia being a bit of a danger to the show.

It was great if the new show had its own identity, but if you were relying on it, then the why question is a very legitimate question. The experience was, this is a really new show. I tried to build it in a way that it would say right in the first two minutes, ‘Oh, OK, this isn’t quite the same Street Legal.

I noticed that Olivia never references her past. Was that a conscious decision?
BMS: That was really specific to the pilot. What I was doing was putting her in a situation where there are things right in front of her that are the most important to her. This case, then her firm, but it was by no way an, ‘Oh no, we’re going to ignore the past.’ No, she’s carrying it with her. Everything that happened in Street Legal is baggage for this character. It shows in her relationships, the cases she did. They’re not going to come up unless it’s relevant in the present. One of the things I did, Greg, which really excited me about this, was when CBC said, ‘We want to do Street Legal, six hours,’ I thought, ‘Well, OK. That really affects how I do it,’ because the old Street Legal was this Friday night sit down. Turn off your brain a little bit. Well, you can’t do that for six hours. I really embraced the idea of doing a six-hour pilot.

Six hours is really a mini-series, limited-run format. I wanted to do something really serialized. I’m going to start by doing a six-hour pilot. I’ve got six hours to earn the series coming back in the future, and to earn the new show. The pilot that you’ve seen, that’s Olivia’s show. By Hour 6, it’s everybody’s show. It’s an ensemble. There are four characters, but Olivia’s totally our way in.

I love that you’re going into this with the attitude of six episodes is just a way into more of this project. 
BMS: I think that’s right, and I think if you’re being given Street Legal, and you only get one season, you failed. I have to accept that for myself as a bar. I’ve been trying to make something worth renewing from Day 1, absolutely.

How did you come up with the idea for the drug and the court case being the core of this set of episodes?
BMS: Again, I thought six hours was a really great format to talk about something as complex as opioids, and chronic pain. That’s something we can’t do justice to in a story of the week, and with this six-hour pilot idea, maybe it’s really common, but I had never heard of it before, so I sort of ran with it. That lets you approach it different ways week to week. The idea of exploring it not just through court, but through this character of Adam Darling’s mother, who is the heart of the show, that’s the idea. It’s not in court, it’s in the human toll of the cost. That’s also a lesson for how to build a law show and get emotional payoffs, as opposed to just satisfying resolutions.

It just felt like a really good, deep, complex topic, that was appropriate to what Street Legal originally promised, which was that it would take on complex issues, and not necessarily wrap them up in a week. I really felt I had stuff to say about all these, as an artist, and you’ll see, by the end of the six episodes. It’s interesting where it goes. It has something to say as a show, that’s not just opioids are dangerous and pharma companies are greedy. Those things we get.

Can you say what your future plans are for the show?
BMS: I hope to get a pickup and then go make the next season. I have a story in mind. These characters are really designed with places to go and stories to go through, so they’re keyed up to go through some things, regardless of what cases they’re working on. For me, it’s continuing those character arcs.

Street Legal airs Mondays at 9 p.m. on CBC and streaming on CBC Gem.

Images courtesy of CBC.

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