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Featured, Heartland

Heartland: Amber Marshall addresses Season 14’s emotional return

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[Spoiler alert: Do not continue reading until you have watched the Season 14 episode, “Keep Me in Your Heart.”]

Midway through last fall, TV, Eh? began getting emails. There were rumours among Heartland fans that Ty Borden (Graham Wardle) would not return to the show. We the rumours true, those emails asked? I don’t like rumours, so I didn’t address them. Instead, I let the Season 14 premiere of Heartland speak for itself.

And, sadly, as those rumours were true. On Sunday night, viewers learned that Ty succumbed to the gunshot injury he received in Season 13. “Keep Me in Your Heart” was an emotional hour with a memorial for Ty as its centrepiece, a year-later goodbye for the characters that was truly emotional. Here, Amber Marshall answers our questions about Ty’s death and what it means for Amy and the rest of the family moving forward.

Congratulations on Season 14 of Heartland. Can you believe it’s been 14 seasons already?
Amber Marshall: It seems like only yesterday we were all meeting for the first time. The beautiful thing is the excitement we all shared to be a part of that first season, is still strong over a decade later. We genuinely love and respect one another. The cast and crew have remained close and all have each other’s best interests in mind.

COVID-19 threw a wrench in everyone’s lives. How difficult was it for you and the Heartland family to adapt to filming during the pandemic?
AM: Being such a close and social workplace, it took a while to become consistent with a new routine. We are a group that hugs when we meet in the morning and when we leave at the end of the day. We spend many hours on set in close quarters and typically in between scenes and setups we usually all huddle together and run lines, or chat socially. This all had to change in season 14 to allow for COVID protocol to be followed. Lunches were now spent alone in our trailers or vehicles and any time we had in between setups or scenes was usually spent the same way. In some ways it allowed me to get more ‘homework’ done during the day, but the social side of Heartland looked very different.

Sunday’s episode revealed that, unfortunately, Ty developed complications and passed away. As a cast member and friend of Graham’s, how hard has it been to not have him around on-set?
AM: The story of Amy and Ty has been very prominent since Heartland’s beginning. Graham and I have had many beautiful stories on Heartland over the years and have remained very close friends off-set as well. This year was a strange new reality on all fronts. In a way, the longevity of the Amy and Ty story gave me inspiration as an actor to be able to feel the grief and sorrow of losing that character. Graham and I still spoke often throughout the season and I was able to visit him recently as well.

What would you say to fans who are upset Ty is no longer on the show? He and Amy have been the centrepiece of this show since Day 1.
There are things in our lives we can never prepare for. And when something devastating happens it feels as though our world is ripped apart and could never be put back together. I know fans of the show will be deeply saddened by the loss of Ty and I hope that they can join Amy and the Heartland family during this season of healing. There will always be events in our life that are out of our control and upset us. Instead of attacking them, or shutting down, we experience the most growth when we remain open and understanding.

When we pick up with the new season, a year has gone by. How do you feel about the time jump?
AM: Heartland was supposed to begin filming Season 14 in April of 2020. At that time the scripts were written to be six months after Ty’s passing. When the pandemic caused us to push our start until September is was a beautiful thing for our story. Now, instead of ‘six months later’ we have a more powerful story of a whole year passing. I believe this added immensely to the journey of our characters. The memorial on the one-year anniversary of his death was so much stronger than if it was only six months later. Also, the seasons and backdrop to the stage we were setting was far more tailored to the events. To me, the colder climate and fall/winter landscapes make the audience feel the grief so much deeper than a spring/summer backdrop.

Ty leaves a huge hole in the family. How will Amy adapt to this new life, especially being a single mother?
AM: Amy is no stranger to loss. The series begins with the death of her mother and her journey forward down a new road which she must travel without Marion. It is the horses that have always grounded Amy and as she works to heal their traumas, they, in turn, heal her. When Amy loses Ty, she goes through a wide range of emotions. She is numb to it for many months, then has strong guilt for not doing more to prevent it. With Jack’s help and understanding, she accepts that it was out of her control and the best way to honour Ty is to move forward and be present for their daughter. Amy leans on what has always comforted her in times of sorrow: horses. She includes her daughter in this form of healing and together they share some beautiful moments.

What can fans expect from the new season of the show?
AM: As always, be prepared to laugh, cry and maybe throw something at your TV – perhaps all at the same time! This season is undoubtedly an emotional one, but the strength of the Heartland family coming together and the beauty of the cinematography brings so much to the hearts of the viewers who join us on this journey.

Heartland airs Sundays at 7 p.m. on CBC.

Images courtesy of Michelle Faye Fraser for Rescued Horse Season Fourteen Inc.

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Featured, Hudson & Rex

Hudson & Rex Showrunner Derek Schreyer: “We’re all craving connectivity in these crazy times”

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In my first interview covering the third season of Hudson & Rex, I spoke to show co-stars Mayko Nguyen about how emotionally draining the season debut was. Showrunner Derek Schreyer believes he knows the reason why.

“I think these times have shown us not just how much we love our animals, but how much they love us,” he told me in an email. I agree. I certainly have spent a lot more time bugging my cat, much—I’m sure—to his chagrin. But enough about me; here is my email chat with Derek Schreyer about the challenges of running a TV series during a worldwide pandemic.

How challenging was it for you, as showrunner, to create this season during COVID-19?
Derek Schreyer: I’d be lying if I said it wasn’t much of a factor. We started rolling into Season 3 just as the world began to shut down, and the pandemic panic was at its absolute high (even though we’re actually much worse off now). Getting into a groove on a new season is challenging enough, but here was this added complexity of being forced to work on Zoom, and oh yeah, the world is burning. So those first few days were spent musing about life while figuring out the software (we use Miro to replicate a whiteboard) and all the new rhythms of a virtual room.

So yes, there were bumps. In a physical workspace, we can pace and move around and scrunch up the bad pitches (which will inevitably become ammunition). Sometimes we’d take group walks to stretch the legs or have a coffee break in a park, which is where some of the best ideas are formed. None of that possible in a virtual room, so we had to figure out new ways to spark our imagination. Complicating things further is everyone has a life, which can’t help but spill onto the zoom screen—there are the kids and the ferrets and the delivery men and the partners and the barking dogs, not to mention the technical glitches and different time zones.

But here’s the funny thing: I learned to love all that stuff. Distractions create amusing bonding moments, which can actually generate ideas. It really didn’t take our team long to gel. Of course, it’s not like we had a choice—our development window is much shorter than most one-hour shows, so we had to learn how to work together fast. That we’re not a massive room worked to our advantage, and we have a nice mix of new faces with returnees. There’s really only four of us—Vivian Lin and Joseph Milando from last season, and Sonja Bennet coming in fresh. We also had Cal Coons do the heavy-lifting on some of the earlier episodes, it would have been near impossible to slide right into Season 3 without him. And we were blessed with some strong outside writers, a number of whom have already written for the show.

And yes, COVID was certainly a factor in how we told our stories. We chose not to depict the pandemic in our fictional world, but production still had to manage it in real life, which meant fewer crowds and more two-handers and outdoor scenes. So there were definitely more barriers for the storytelling this season. But sometimes barriers breed innovation, and I’m very proud of the places we took our scripts. I honestly believe it’s our strongest season yet.

Mayko mentioned a lot more filming outdoors this season. Was this because of the pandemic, or was that just the nature of the storylines?
DS: It’s actually a bit of both. Newfoundland has some of the most spectacular scenery in the world, which is one of the reasons we now air in over 100 territories—that rugged landscape is an appealing draw for places like Italy, France, and Germany. Some of our strongest episodes from previous seasons took advantage of that. And of course, with this year and COVID, it’s just easier and safer to shoot outdoors, so we definitely leaned more that way at first.

Luckily the outdoors is a natural fit for our world, given the Rex factor. There is something appealing about a man and his dog in the wild, that Jack London call to adventure is innate and universal. One episode finds Charlie and Rex venturing deep into the forest to a small nomadic civilization living off-the-grid. Another takes place under the ocean and involves Charlie strapping on a SCUBA suit in the search for clues on the ocean bed (both ideas inspired by our star John Reardon, who is a Master SCUBA diver in real life). The point is that this season often our story obstacles came from the elements, as opposed to complex set-pieces requiring a large cast, which is true to the DNA of our show.

The one down side to shooting outdoors is that Newfoundland does not have a very long summer. That can be difficult on the actors, who sometimes have to pretend it’s warmer than it is. Watching them in some of these dailies makes me realize how incredibly devoted they are to their craft and this show. Luckily, we plan our stories according to the elements, so the last three episodes shooting in the new year feature worlds that are largely indoors.

Did you have to alter anything in the planning and/or production because of COVID-19?
DS: Absolutely, both on the page and on the floor. Production did an incredible job tapping down on COVID—employing working pods and zones, sanitizing stations, strict quarantining of out-of-province cast and crew, essential mask-wearing, and of course constant testing. All of this costs money and time, so almost every department, including Story, had to make concessions. So sometimes, if a test result wasn’t ready, we’d have to adjust a scene or write someone out. Re-inventing on the fly is not unusual during production, but COVID took it to another level.
Having said that, as crazy as it sounds, the limitations didn’t hurt the episodes. At times they even helped them. Smaller scenes can become more visceral and intimate, allowing Rex and the cast to really shine. Crowds were certainly a casualty this season, but we quickly discovered we didn’t always need them. For instance, one episode is set at a dog show. We could never replicate the Westminster Kennel Club Dog Show, so we developed a fictional version that felt truer to St. John’s. And we’re working on an episode involving magic, which usually involves spectacle and an audience, but the more interesting things happen behind the scenes.

I’ve told both Mayko and John that there is a groove to the first episode of this new season. It feels like everyone “gets” their characters and there is a confidence/swagger to the show. Have you felt that?
DS: Absolutely. Our four human leads really have found their groove this season, hitting new heights in clarity and depth. I strongly believe that any of them could anchor a U.S. show. But as good as they are individually, they’re even better as a team. I like to think it’s because of the brilliant writing, but it’s more likely that chemistry generates over hardship and time, and after two seasons and 32 episodes this cast has had plenty of both (epic reshoots, snowmaggedon, a pandemic … and I’m only scratching the surface!)

The other factor is, now that we’re deep into the third season, we really have figured out what makes each of these characters unique. We’re not a soapy show, and don’t go too deeply into the personal lives of our characters. So we can’t rely on shortcuts like bringing in a parent or girlfriend or brother or following anyone home (except Charlie and Rex). This means we need to define our characters through nuance in dialogue and work style. It helps that everyone works together to ensure their voices are clear and consistent, including the cast themselves.

Hudson & Rex is able to provide light and dark moments. The scene of Rex and his dead partner in the season premiere, and the closing scene at her tombstone, was emotional for me. Can you talk about the joy of bringing those moments to the screen?
DS: Our opening episode was an idea that had been kicking around for a while, but was felt too early in the series arc for an origin story. But now that 30-plus episodes have been filmed, and given how crazy 2020 has been, I cannot think of a more perfect season kicker. It’s obviously a heavy episode that deals with loyalty, loss, and renewal. Jackie May did a lovely job capturing the raw emotion, and I don’t think you’re the only one who felt moved by the episode.

In many ways, that opener is very 2020. We’re all craving connectivity in these crazy times, and that is especially true with the animals we love. My parents had to put down their German shepherd not long before COVID hit, and they’re missing that dog every day. And I had to put down my best pal Cooper, our Portuguese water dog, the day we went into lockdown. We’ve learned to appreciate the bond we have with our animal companions. For this season’s opener, we’re telling that same story, except from the dog’s POV, which is even more wrenching.

I think these times have shown us not just how much we love our animals, but how much they love us, which is why our opener packs such an emotional punch. But the ending alludes to renewal, hope, and purpose—something we all could really use these days.

Hudson & Rex airs Tuesdays at 8 p.m. ET on Citytv.

Diesel and Derek image courtesy of Derek Schreyer. Show images courtesy of Rogers Media.

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Featured, Reality, Lifestyle & Documentary

Preview: The Nature of Things goes “Searching for Cleopatra”

Shocking but true: Cleopatra was nothing like the person Liz Taylor played in the big-budget 1963 film. That’s one of the first facts I gleaned from The Nature of Things‘ newest episode.

“Searching for Cleopatra,” broadcast as part of The Nature of Things, debuts Friday at 9 p.m. on CBC, pulls back the curtain on the most famous of the Pharaohs. Did she really fall in love with two men—Julius Caesar and Marc Antony—and die with a little help from a poisonous snake?

Viewers follow archaeologist Kathleen Martinez (pictured above)—who has been sifting through the ruins of the huge temple complex of Taposiris Magna, or City of the Dead, outside of Alexandria—in search of Cleopatra’s final resting place. Martinez has found tantalizing clues that she is in the right area, but nothing concrete. As cameras capture the digging, we are given the history of Cleopatra. What is true is that, over 2,000 years ago, Cleopatra ruled over 7 million people, wasn’t Egyptian and led an army against her brother. Also true: the Romans are credited with the depiction of Cleopatra that led to Hollywood’s version of the ancient ruler.

In addition to Martinez, Canadian Classical Studies professors Kelly Olson, from the University of Western Ontario, and Sheila Ager of the University of Waterloo, share their knowledge of the Egyptian queen and her times and emphasize she was a ruler whose exceptional skill was her ability to grab and hold onto power.

“Searching for Cleopatra” airs as part of The Nature of Things on Friday at 9 p.m. on CBC.

Image courtesy of CBC.

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Featured, Murdoch Mysteries

Murdoch Mysteries: Simon McNabb breaks down “Murdoch and the Tramp”

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[Spoiler alert! Do not continue reading until you have watched “Murdoch and The Tramp.”]

Like a Christmas present arriving late out of the blue, this season of Murdoch Mysteries launched several months later than usual. It has definitely been worth the wait. Monday’s storyline melded several of my favourite pieces of the Murdoch Mysteries puzzle—Murdoch’s technology, historical figures and classic Crabtree humour—to provide a rollicking hour of entertainment. In my inaugural Season 14 chat, I spoke to Simon McNabb, the episode’s writer and Murdoch co-executive producer, about it.

How did COVID-19 affect your life and being able to work on a TV show?
Simon McNabb: It affected the writers in a couple of ways. The most immediate one was just, of course, on March 13th or whatever it was, we disbanded the writer’s room and didn’t see each other face to face for many months after that. It was kind of right in the middle of us breaking the arc for the season and coming up with the first batch of episodes, so we were able to sort of go off and write at that point, but then normally we would come back together and continue to talk about what the next episodes would be and give notes on those first episodes.

Like everybody else in the world, we just started doing everything over Zoom, which was nice in terms of being able to roll out of bed, straight into the writer’s room. But it was also challenging in that it’s a very different dynamic to be talking over video conference as opposed to being in person, in part because we’re not there in person, but also because it’s hard to sit on a video conference for, like, eight hours a day. We would generally do a short meeting where we got everything out—which takes away that opportunity to sit around and put your feet up over lunch and just say something that’s totally out of left field that might add a little creativity to the proceedings—but I think, ultimately, we found a good way of working bringing some of that creativity into the process anyway. It was pretty unusual, but it turned out pretty well.

Maybe the positive is that you are such a veteran writers’ room that, that may be unlike maybe a newer show, you can kind of roll with the punches a little bit better than others can.
SM: Absolutely. I think we were pretty uniquely suited to roll with whatever was thrown at us. And I also think there is an upside to only having a short meeting a day and then having some time as a writer to just sort of think on your own and reflect. It slows the pace down a little bit. But it means that when you do meet again, say the next day for a couple of hours, everybody has more ideas and is a little more refreshed and had something they really are burning to say.

Do you remember if it was you that came up with the idea of having Charlie Chaplin, Buster Keaton and Stan Laurel involved in this episode, or was it a collaborative effort?
SM: Well, it’s always collaborative. I think in terms of somebody saying the words Charlie Chaplin, I believe it was me back in March when we were still sitting around a communal table. But at the same time, I also know that some years ago—probably multiple times over the years when we’ve been sitting around brainstorming ideas and what historical figures we might want to see—Charlie Chaplin has come up before. And then we check the historical record and find out that he was only 11 years old at that time or something and we decided to move on. So it had been a couple of years, I think, since anyone had mentioned it.

I just Googled him and found out that in 1908 I believe was the year that he first got on a boat and left the UK to tour with Fred Karno’s vaudeville troupe. As soon as we sort of got that historical green light—that it was vaguely possible within our fictional world, that he could’ve come to North America—then we ran with it and discovered the truth that Stan Laurel had been his understudy and discovered that Buster Keaton was already touring with his family around North America. And we decided, if we were going to do one of them, we might as well do all of them there to do vaudeville in a new way with some of the biggest historical figures we’ve ever had on the show in terms of fame and profile.

I had no idea about Stan Laurel being Charlie’s understudy.
SM: Yeah, I had never come across that either, but it was true that he was Chaplain’s understudy while they were with Fred Karnos’ company. And I think he was quoted many times in his career as saying that Charlie was just this unbelievable talent who taught him an enormous amount.

You must love it when you’re able to hint that Crabtree invented The Tramp character and provide a wink to the audience.
SM: For sure, and the winking to the audience, and the winking to the historical record and what we now know to be true today, is a huge amount of fun of the premise of this show. It was something that was set up long before I started working on that and it’s such a stroke of genius. I don’t know who exactly came up with sort of that attitude to look back at history in that way through these characters on Murdoch Mysteries, but it’s something that the audience delights in. We see great comments on Facebook and Twitter every time we get a chance to really properly profile a great historical figure. Hopefully people will be pleased with the fun we’d had in this episode.

What is Yannick Bisson like as a director?
SM: Yannick is a fantastic director. I’ve worked with him before. He directed an episode last year about George Crabtree’s father that I wrote, and we collaborated on that episode last year and I got to watch him up close and personal. He comes at it from his enormous experience as an actor and, as a result, is really perceptive in terms of character and in terms of working with not only the main cast but guest actors. He has a real instinct for visual gags, for telling the stories through the set, the location and the great sets that our art department has been making the last couple of years. I remember one of the Christmas movies, him just making a great deal of incredible humour out of something that on the page, there’s only a couple of direction lines. And I think, as a director and an actor, he managed to sort of embrace the spirit of this episode in a big way.

Let’s use the chase scene in this episode as an example: how much of that would have been in the script?
SM: The chase scene was definitely the biggest set-piece in that episode. One of the biggest ones we’ve ever done maybe in terms of just the number of moving parts, the number of characters and the number of what do you want to call them stunts or gags that we wanted to incorporate, and it really paid off. There is Crabtree’s influence on The Tramp, but there’s also a Buster Keaton gag in there. I would say it was very specifically scripted, however, the realities on the day are always different than what’s in the minds of the writers who we’re sitting in the writer’s room.

That was the sequence went through a lot of labour and prep from all the departments that were changed repeatedly due to both constraints in terms of the time and budget. I remember, specifically, new ideas coming up in prep about how to make it funnier and more specific to the characters. I know that Yannick had a couple of ideas during prep of how to pay off gags better and make things a little more lively in that sequence. I know on the day there were things on set that were just like, well, it’s not going to quite work the way we wanted it to in this very specific way. So let’s change it and do it this way instead and, luckily, the result was pretty great.

With this shorter season, how many episodes are you credited with writing?
SM: This year I wrote two episodes. I wrote the Charlie Chaplin episode and another forthcoming episode that features some members of the Newsome family and the writer’s room as a whole collaborated on the last two episodes of the season. So I had a small hand in working on those scripts as well.

How many seasons have you been with Murdoch Mysteries?
SM: Eight seasons.

Wow. Do you ever look back and think about that, or no?
SM: It’s shocking every time I stop to think about it. I feel like it’s a very unusual career trajectory to happen onto a show that’s already well-established and then rise from being script assistant and story coordinator to a relatively senior writer and co-executive producer over the course of eight seasons. It’s crazy and it’s not something I ever, ever expected when I started working on Murdoch Mysteries. I thought, ‘Well, yeah, this show will probably go another season maybe,’ and here we are eight years later. And hopefully, there’ll be more.

Murdoch Mysteries airs Mondays at 8 p.m. on CBC.

Images courtesy of CBC.

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Featured, Hudson & Rex

Hudson & Rex: John Reardon and Mayko Nguyen discuss Season 3

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The third season of Hudson & Rex returns on Tuesday with an episode new and veteran fans will love. Entitled “The Hunt,” the instalment serves as the show’s origin story, revealing how Charlie (John Reardon) and Rex (Diesel vom Burgimwald) became partners. Charlie recalls the story to Sarah (Mayko Nguyen) and we view the emotional adventure through flashbacks.

It’s a powerful episode of television, and the perfect kickoff to Season 3. We spoke to stars John Reardon and Mayko Nguyen about the evolution of Hudson & Rex, and what fans can expect this season.

How did COVID-19 affect production on Season 3?
Mayko Nguyen: I’m not going to lie, coming out of strict isolation and then being out in the world which you could be out here at that time and then being on set, being around people, it was a bit jarring for sure. But I felt confident in the measures that we were taking. We’ve shot outside a lot more this year. You know, the adjustment of wearing the masks. It’s funny. It’s just like anything else, it takes a bit, and sometimes you have people who are like, ‘Ugh,’ but then it’s like, you’re just wearing a mask. It’s not a big deal. And then you get used to it. Like now I feel weird when I don’t have the mask on. I feel like I’m missing something. So, I think it’s, again, it’s just like any transition, you just get used to it and I think we’re all happy to be there and happy to do it for the sake of getting to work.

John Reardon: I feel very fortunate that we’re able to be working right now. We’ve been working since July, I think one of the first productions in North America to come back. It’s something that we don’t take for granted because the situation in so many places is very tough for people right now. So, it’s pretty special to have people wanting to see the show and being able to keep it going. I’m definitely excited to get it on the air.

The first episode of this third season really, really well done. It was enjoyable to get the true origin story of how Charlie and Rex became partners, even if it was a tragedy that brought them together.
MN: We had a screening for the cast of that one episode. I think we do really well with this show because there’s a lot of heart, and I feel like that’s unavoidable when you have a dog who is working to help people, that’s just unavoidable, but that episode in particular … oh man, it’s just gut-wrenching. And you see how Rex and Charlie develop the start of that relationship and that also is … oh, it’s such a good episode and I was really excited when I read it for the first time because it is a departure from the standard structure of our show and it’s a special episode and I’m really glad because of course, of course, we want to know how Charlie and Rex started out, right?

JR: I remember reading that episode for the first time about a month before we went to camera and just thinking how much I felt the audience would enjoy it because they’re going to see the sneak peek of how Rex and Charlie meet and how everybody interacted before Rex was there and then sort of see where that relationship starts. I’m really happy with how it turned out and I think everybody is and so I hope people really respond to it well.

Watching the first episode, I feel like the show has confidence going into Season 3. Do you feel that?
JR: Yeah, I do. I definitely feel like I learn more about Charlie every year and I think what’s great is when we have an episode like this and we also have a few other episodes later in the season that has sort of personal stakes or alludes to our characters’ history. I think when we add that stuff in, it helps build the character even more. Things that we might not have known as the actor comes to light and then that adds an extra layer to them. In our very first episode, ‘The Hunt,’ we allude a little bit to how Charlie and Rex met, but when you infuse it with all the heart from that episode and all the scenes that we shot and you create that history, then that I feel that lives on in the future episodes as well. I think it just adds to the DNA of the show.

There are 10 directors during this season of Hudson & Rex. One of them is Tracey Deer. She’s an amazing person and director. What was it like working with her?
JR: I hadn’t worked with her before, but she’s fabulous and I really enjoyed working with her. She’s a very intelligent, very thoughtful director, and puts a lot of thought into how really small things can make a huge difference in the tone of the story. She looks at it not just at the macrocosm, but also the microcosm of everything and that’s great because it just gives you more and more stuff to play with. She’s a lovely person and I really, really enjoyed working with her. She’s very talented.

Mayko, what can you say about Sarah’s journey this season?
MN: There’s stuff going on in Sarah’s life for sure. I think that that first episode is an example of it, sort of cementing this friendship with Charlie and the rest of the team. But, you know, in that first episode, Charlie lets her in on this very special, private thing that he does, this annual thing that she gets to be part of that, and I think I feel very honoured to get be, to have that shared with me. I feel like every season we’re deepening that friendship and deepening those relationships, I feel and maybe this is what you’re picking up on, but the team does feel that much more cohesive this year and I don’t know how to articulate why or what that is, but it feels much more tight-knit and we’ve got some episodes for sure where we’re working even harder as a team to figure out some of these cases.

Hudson and Rex airs Tuesdays at 8 p.m. ET on Citytv.

Images courtesy of Shaftesbury.

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