“Today went badly.” — Bjorn
“Yes, it did.” — Ragnar

That pretty much summed up the sad result of “To the Gates!” Ragnar’s attempt to plunder Paris. I have to say, things started out so well that I honestly thought the Vikings were going to make mincemeat out of Count Odo and his soldiers. But, thanks to history, we know this actually never happened. The Vikings waged three major attacks on Paris in the past and none of them were successful. That isn’t to say show creator Michael Hirst will stick with what happened in history, but he’s been pretty accurate in his dramatic re-telling so far.

For those who are interested, historical documents actually place Rollo at the centre of one siege on Paris and find him marrying a French princess, something that certainly seemed to be in its initial stages when Rollo and Princess Gisla made goo-goo eyes at each other mid-mayhem. And what mayhem it was. I can’t imagine how long it took to choreograph, rehearse and film the multiple angles of the siege, from  the waterline to atop the towers, from outside the bridge to the drawbridge leading into Paris. It was horribly magnificent to behold, that blood-soaked fight for control of the city.

I had assumed Ragnar was setting up Floki for failure, and that was confirmed during his very Shakespearean parley with Athelstan at the end of the episode. He gave Floki the responsibility, knowing the blame would fall on the  mad genius when things went south. Ragnar may be a patient man, but his damaged kidneys and broken ribs could mean his survival past the end of this season may finally be in doubt. Speaking of survival, I did—for a moment—wonder if Bjorn had been killed. Thankfully it will take more than crossbow bolts to put Bjorn Ironside into the ground.

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

Before I get into this week’s Vikings review, I’d like to pause for a moment and remember Athelstan. Unlike Siggy, I didn’t really see his death coming. Sure, Floki has been giving Athelstan major side-eye this season, but still, I thought Ragnar’s Christian friend would last until the end of the Viking king’s reign. He will be missed.

When Clive Standen told me earlier this year that the siege of Paris was coming, I was excited. Then I spoke to the folks at Mr. X Inc. and Take 5 Productions, who do the visual effects for Vikings. From what they told me, this Thursday’s episode, “Paris,” would blow my mind.

And it did. Wasting absolutely no time with the journey around Europe, Ragnar and his supporters cruised up the Seine and had Paris in their sights. (That staring fight between Ragnar and Floki was amazing, wasn’t it? Floki looked pretty scared, if you ask me.) Unfortunately, the battle didn’t take place this week. But heck, you have to set up camp and prepare. And what preparations! I’m assuming Ragnar is playing Floki like a lute by giving him the important role of leading the first siege against Paris. If Floki fails, it will be his fault and because the gods are angry with him. But he might just succeed, what with those cool and impressive-looking siege towers he’s constructed.

“Paris” also introduced viewers to a pair of real historical figures in Count Odo and Emperor Charles, the former a bold, brash, calculating man and the latter a weakling paranoid he’s not as revered as his predecessor, Charlemagne, and relying on his daughter, Princess Gisla, to keep him focused. Charles clearly wanted to run off as soon as Odo reported the Northmen were on the way.

Meanwhile, back in Wessex, King Ecbert and Queen Kwenthrith were involved in a pissing match over who was the most powerful and it looks like Ecbert is going to win out. He has, after all, stayed ahead of Ragnar and is plotting to take over the land lorded over by Judith’s father. (Did anyone else find it a little creepy that Ecbert kissed his daughter-in-law passionately on the lips?)

The teaser’s for next week’s episode shows Floki leading the charge against Paris. A quick Google search revealed the Vikings didn’t sack the city, so we’ll see if Michael Hirst’s story sticks to historical events or goes off in a new direction.

Notes and quotes

• The throbbing background beat during Ragnar’s voyage up the Seine set the tone for the episode.
• I’m digging Ragnar’s bald look. Paired with those tattoos, he looks totally scary.
• The snake and mouse Ragnar was holding in the camp wasn’t coincidence. But was Ragnar the serpent or the rodent?

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

Bjorn Ironside has invaded Canada.  Cameras are officially set to start rolling on Season 4 of Vikings in Ireland this spring, but the Canadian co-production is getting a head start in northern Ontario.

History Canada has confirmed that Alexander Ludwig—who portrays Ragnar Lothbrok’s eldest son on the network’s Thursday night drama—is in Sault Ste. Marie, Ont., working on preproduction for Season 4 prior to initial production starting on the Emerald Isle. History didn’t release any details as to the storyline surrounding Ludwig being in Ontario.

On Friday, the city’s mayor, Christian Provenzano, posted a picture via his Twitter feed, welcoming the Vancouver native to the area.

Last Thursday, Ludwig tweeted his location to followers and posted a picture on his Instagram account showing him arriving in the outpost.

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

The advances in visual effects in television has made it difficult to tell what’s real and what isn’t, especially on a program like Vikings. That’s where the folks at Mr. X and Take 5 come in. The production houses are charged with creating everything in History’s Thursday night drama, from Ragnar Lothbrok’s longboats to King Ecbert’s expansive compound to the soaring peaks surrounding Kattegat.

That work falls to Mr. X Inc. and Take 5 Productions, two studios specializing in visual effects and animation for television and feature film.

“We get scripts later in the process than the producers and the directors,” Dominic Remane, visual effects supervisor at Mr. X, says. “We’ll make a note of an establishing shot of Kattegat that has to start high and wide, or a fleet of 60 longboats leaving Kattegat for Wessex.” From directions in the script, Remane and his team of 60 know they’ll have to add in more of Ragnar’s ominous ships—only a handful of real longboats exist—and that the end of the real lake the boats are on needs to be deleted and elongated to look like a Scandinavian fjord.

Bill Halliday, visual effects producer at Take 5, says both companies see Vikings as a project with the hallmarks of a feature film look hemmed in by the constraints of a television show budget. And, as Halliday points out, Vikings regularly surpasses movies when it comes to the number of visual effects done in one episode.

“In the first episode of Season 3 there were over 100 visual effects, which by television standards is a huge amount,” Halliday explains. “In Episode 8, the invasion of Paris, there are over 300 visual effects which is remarkable. I worked on The Tudors and we did fewer effects in a season than we would on one episode of Vikings. A feature film runs around 200 visual effects.” It’s a stunning scope, Halliday explains, and one that—if everyone has done their jobs right—nobody notices.

A difficult aspect of the job with regard to Vikings is meeting the demand of show creator Michael Hirst, whose imagination pushes everyone to be creative. There have been times when they couldn’t deliver; Halliday notes a recent request to create a fully-digital animal to interact with a character couldn’t be created within the short time frame TV works in.

Perhaps the biggest jewel of Vikings’ Season 3 crown will be Ragnar’s invasion of Paris. It’s a story angle that’s been ramping up all season and cast member Clive Standen told me it will blow viewers’ minds. Remane worked closely with the show’s production designer, Mark Geraghty, to research the oldest castles in Europe to base Ragnar’s 850 AD attack on. They found it in Carcassonne, France, where surveying was done to select parts for which they could base Paris of the time period on.

“I’ve always wanted to be working in visual effects, but I never thought I’d be doing it to this level,” Remane admits. “I never thought I’d be going to Europe, France and Ireland, going to Norway and filming plates for the show.”

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

Ken Girotti has directed some of the most critically acclaimed—and entertaining—television shows in recent years. In the U.S., he’s worked on Denis Leary’s firefighter drama Rescue Me, Dick Wolf’s Law & Order: Criminal Intent and spy drama Covert Affairs.

In Canada, the homegrown man behind the lens has worked on Combat Hospital, Flashpoint, the Stargate franchise, ReGenesis, Copper, Bomb Girls, Orphan Black and Saving Hope.

Girotti’s work can currently be seen on History’s sweeping Vikings, tracking the ongoing adventures of Ragnar Lothbrok and his followers as they explore the ancient world, and includes an attack on Paris later this season. We spoke the veteran director about the challenges and rewards of working on a series like Vikings, which involves filming longboats on rough seas and choreographing intense battle scenes for the small screen.

Vikings is a really cinematic series that deserves to be on a feature film screen.
Ken Girotti: I have to agree with you. The scope and scale of the show looks pretty good up there.

Are you the type of director who can just watch you work afterwards and enjoy it, or are you picking things apart?
Oh no, I play director. It never stops with me. It’s either, ‘Wow, that worked out really well,’ or ‘Oh my god, how could they have done that?’ or a mixture of those things. That’s part of the deal when you’re in television.

When you get a script from Vikings creator Michael Hirst, what is the first thing that you do? Walk me through the process.
The first thing I do is sit back and have a good read and see how it all washes over me. Almost always with any script—whether it’s from Michael Hirst or anyone—you’ll have questions about what exactly some things mean. And sometimes you never ask those questions because you want them to remain questions. Then I take a second read and try to fine-tune the script and put it through a filter. Are things clear? I’m starting to circle a place where I see the story unfold in my mind in pictures and words. That’s when the real job of directing begins because I start to interpret what Michael has written for me and try to embellish it and move it forward.

Directing is such a collaborative process. You have your vision and you’re getting into someone else’s sandbox. Is that sometimes a challenge?
On something like Vikings it’s pretty easy because I share a sensibility with Michael. I feel like we have a commonality in the way that we approach life and truth, beauty and art and all of those things. I have a deep respect for his writing; he writes in such an evocative way that speaks to me personally. There are some things that I become completely obsessed with. One little line.

One of the things that I never really observed about Vikings before is the exploration into religion.
I think it’s very subversive. It’s never on the surface. There’s slashing with axes and stuff, but everything that they do has an effect on the next thing that they do. And that’s very existential, I think.

Filming those longboats must be a challenge.
They are the most difficult things to manage ever. They’re difficult and annoying and beautiful all at once. You think about moving a camera while moving an actor on dry land and camera goes this way and the actor goes that way in a nice little coordination of movement. Then you add an element where you can’t predict where anything is going to go and that’s water. It creates organizational anarchy. The marine guys are amazing and my first AD, Raymond Kirk, is truly an amazing first AD. They had to build docks for these boats. They hoist them in with cranes. It’s immense and the logistical challenges with regard to the boats is just huge.

The battle scenes are intricate work too. I’m thinking of that battle in Episode 1 of this season.
We were on that site for six days, I think. It was a pretty big sequence. What we tried to show there was sort of a storming the beaches at D-Day. There was something similar earlier in the series where Jarl Borg rolls up on Kattegat. This was quite a bit bigger and we tried to stay on the beach for as long as we could and we wanted to show how hard it was to get your feet out of the water as a Viking and fight against those Mercians.

I can’t imagine what it would have been like to be a Mercian and see these big, ugly, hairy guys with axes on boats rowing towards you. It must have been horrible.

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

(Image credit: G. Pimentel)