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Murdoch Mysteries’ Simon McNabb breaks down “Excitable Chap”

Monday’s new episode of Murdoch Mysteries, “Excitable Chap,” marked the return of two favourites. Thomas Brackenreid was back from St. Louis, sporting a gold medal for soccer that he’d won coaching Galt to victory. Monday also saw James Pendrick back in Station House No. 4, first to hang out with Brackenreid because they’d bonded at the World’s Fair and then because, no surprise, he was suspected of murder in a very Dr. Jekyll and Mr. Hyde storyline.

But rather than fall back into his routine, Brackenreid has been grabbed by wanderlust and excited by the world. No longer content, for the moment at least, being a copper, he’s gone off on an adventure with Pendrick—he was once again exonerated of killing—in pursuit of Ashmi, who’s stolen the inventor’s formula for the fountain of youth.

We spoke to Simon McNabb—who co-wrote the episode with showrunner Peter Mitchell—about Brackenreid’s departure, Nina and Crabtree’s breakup, and a peek at next week’s holiday special.

It was interesting to see Brackenreid return to Toronto with his world view opened up and wanderlust triggered. Could this be the final season for Brackenreid?
Simon McNabb: Well, anything is possible. I can’t speak one way or another about what happens to the character in Season 10 or any possible future seasons but he’s certainly developed a taste for wanderlust as a character. We, as writers, wanted to explore what it would give to him as a character and open some interesting avenues for him in the future.

We thought this was sort of an interesting way to explore with Tom Brackenreid. Maybe this is the 1904 equivalent of buying a sports car; getting back out there and having that sense of adventure.

It was interesting that you referenced Ota Benga in the episode, who was really part of the St. Louis World’s Fair.
That emerged organically from our desire to put in as much as possible from the history of the period and that was one of the headlines of the St. Louis World’s Fair. At the time, they had these pygmies who were essentially on display which is sort of shocking by today’s standards. We were sort of at the end of this tradition by the end of 1904, but it had been going on for years that people had been brought and put on display at world fairs. We saw a little touch of it last year in the Arctic episode when Crabtree meets the Inuit man and thinks, for a moment, that he’s part of the display. One of the headlines from the World’s Fair is that they had these pygmies on display and did keep them locked up. The young man that Brackenreid is obliquely referring to did go on an adventure for awhile and left the fair and wandered about as a free man and then was either recaptured or returned to the group and travelled around parts of the United States as sort of a cause célèbre.

You and Peter Mitchell shared writing credits on this episode. How did that work?
The story itself took awhile to develop in that the very basic notion of a Jekyll and Hyde story was one that has sort of wandered in and out of the writers’ room over and over again. At some point, the notion of doing it with James Pendrick as the Jekyll and Hyde figure stuck around and we were all tickled by it. And then, Pete Mitchell early in the development process for this season had a few ideas about it and broke out most of the story you see there quite quickly on his own and then brought me along to help him write it. We split it up as front half-back half.


You picked a great character to be Jekyll and Hyde. Peter Stebbings has such an emotive face.
He was such a natural fit. Peter is such a great actor when it comes to emotion and can play all sorts of different angles and elements and if you give him the opportunity he’ll play it right up to the max. I think this was the episode of Murdoch Mysteries that gave him the most room to go a little over the top. We knew he would have fun doing it, and we would have fun watching it.

I enjoyed the tongue-in-cheek reference in the script about Pendrick showing up just in time to be accused of murder.
It’s one of those things where, as a murder mystery, it’s very hard to bring back anyone without them being involved, in some way, with the murder of the episode. Sometimes we come up with a way to just have them around for the week and not accused of murder but sometimes it’s just to much fun to have them as the prime suspect. You have to wink at yourself because, at this point, the audience is pretty convinced Pendrick won’t be the killer by the end of the day.

Nina and George have broken up. What can you say about the demise of their relationship?
George’s relationships have been a roller coaster and I, for one, am in favour of it. I’ve been a sucker, since I first started watching the show, for the troubles of George’s heart. At the start of last season, we tried to challenge Crabtree a little bit when it comes to what he wants out of a relationship and life. Through the years, we have matched him up with women and all of them offered the same sort of future he imagined for himself, getting married and having a family. By introducing Nina Bloom, we forced him to challenge that. He falls for her despite having none of those things and he starts to reconsider how much he values those things or whether this very exciting love affair might be something that he likes and appreciates and wants to explore more than the conventional lifestyle.

As soon as we did that, we realized we’d have to bring in someone who represented the more traditional choice and see if he really was ready throw away the whole notion of settling down and having kids. That’s what we’re trying to explore; where he lands I’m not sure.

I laughed out loud when Julia said, ‘I’ve had better,’ after Pendrick kissed her while he was The Lurker.
That was a line written by Peter Mitchell.

What can you tease about the next episode, the holiday special ‘Once Upon a Murdoch Christmas’?
It focuses more heavily on Crabtree than last year’s special. He is sort of at the centre of the main mystery and story this year. This year he is really in the thick of what is, I think, an exciting and delightful adventure.

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


This Life’s Janet-Laine Green on her tough scenes in “Well Fought, My Love”

Spoiler warning: Do not read this article until you have seen This Life Episode 209, “Well Fought, My Love.”

On Friday, Janet-Laine Green told us about her experience playing Janine Lawson on CBC’s This Life. In the second part of our interview, Green tells us about receiving the news her character was going to pass away in Episode 209, “Well Fought, My Love,” and what it was like to portraying her final scenes of the series.

Several of your cast mates told me they were shocked by the events in Episode 209. When were you told Janine was going to pass away?
Janet-Laine Green: I think a couple of weeks before I went down to shoot, and it just tore me apart. It just broke my heart. Honestly. I think because of the reasons that I said before, that it’s such a special show. It’s rare in a series–and I’ve done a lot of series–that you actually have the sense of family and real joy to be on the set, and we just all connected so well, the young people and my kids on the cast, and shooting in Montreal was just a joy, so beautiful. So when I got the word, I went, “Why? Why would you do that?” And I couldn’t take myself out of the character. And it really is, that series, like any series, it’s all about storylines, story plots, what’s going to shock the family, shock the audience. And because it is a family, when something like that unexpected happens, that’s a great storyline. But I totally took it personally. I really went, ‘Oh, it doesn’t really matter if Janine’s in the show.’ Now I know that’s not true and having some time away from it, I went, ‘I can see why they would do it.’ But it really makes me very sad not to be in the show. Really sad. Because we like each other so much. I think that, more than anything, it was a really special combination of people.

It was definitely a shock.
It is shocking. You’re not set up for it at all. And that’s I guess what I mean by living your life to the fullest is, one doesn’t know when you’re going to die. And when there’s illness, it gives you such a different perspective on life and death. When one has been ill, you’ve been dealing with life and death quite a bit. And you’re looking at, ‘Have I done everything I wanted to do?’ and ‘What do I want to do?’ But when something like that happens that quickly, there is no looking back, there is no preparing, it’s everybody else who has to deal with the fallout.

I haven’t seen the episode, but I was there with Natalie, and I was there with Gerald, but I didn’t see how anybody else reacted. And that doesn’t matter really, it’s just being on the other side. Playing dead was awful. It was awful. Because you want to say goodbye. You want to say goodbye to your kids. You want to say goodbye to your husband. You want them to say goodbye to you. But there is no goodbye. And I think that’s even more shocking than if you have some time if you’ve been ill.


What was it like to play a body in the episode?
It’s very hard, because, for one, Peter as Gerald is trying to resuscitate me. So they had built this contraption, and they had paramedics there–real paramedics–and he had to pound on my chest to try to get me back. And they had built sort of a metal contraption to sort of protect my body from the real strong pressure that you have to give. And I went, “No, I’m just going to do it, and I’m not going to wear the contraption. Just, Peter, do what you need to do.” But the hardest thing is holding your breath and not showing your breath. That’s really hard. You have to hold your breath for quite a long time. Because the camera sees it.

And then people are really sad around you. You can’t go, “It’s okay, it’s okay.” And after I had finished playing dead, the director said, “Oh, I much prefer you being alive. You’re a much better actress when you’re alive!” [laughs] But that was Louis [Choquette] again. Louis shot my last episode, so it was really nice to start with him and finish with him.

Do you have a favourite scene of the season or the series as a whole?
I loved the scene in 209 where Peter and I are just kibitzing in the kitchen and making tea and just being sort of silly, and he had to go to work and I wanted to go for a walk. It was so natural and everyday, and yet a couple who had worked through their marriage and were just having a cup of tea and were happy to have time for each other. That was actually a really beautiful scene. Even if I didn’t die, it had such a nice quality to it, and then she walks out into the sunshine.

Is there anything else you’d like to say about your time on This Life?
Thank you. Thank you to CBC for greenlighting this production, and thank you to the wonderful cast. I adored working in Montreal and all the people that made me feel so welcome and comfortable. It has just been a treasure in my career, doing this show.

And what’s next for you? 
We’re going to Mexico for a month in about a week, and then I’m coming back and doing a play called Peace River Country at the Tarragon (Feb. 7 – March 19, 2017), which is a brand new play about fracking in Alberta.

This Life airs Sundays at 9 p.m. on CBC.

Images courtesy of CBC.


This Life: Rachel Langer finds catharsis writing heartbreaking “Well Fought, My Love”

Spoiler warning: Do not read this article until you have seen This Life Episode 209, “Well Fought, My Love.”

Well, that was a gut punch.

We’ve spent nearly two seasons worried about Natalie’s (Torri Higginson) terminal cancer on CBC’s This Life, but it was Lawson family matriarch Janine (Janet-Laine Green) who received an unexpected curtain call on Sunday night’s episode, “Well Fought, My Love,” written by Rachel Langer.

In the heartbreaking installment–the penultimate episode of Season 2–Janine succumbs to a sudden heart attack on a quiet Montreal  morning. And while the family is still reeling from that shock, Natalie suffers a potentially deadly medical complication that requires immediate surgery, forcing everyone to face two traumas at once.

“We talked a lot about whether that was the right move, but I think ultimately that’s life, right?” says Langer. “You get hit twice in a row sometimes, and things happen at really, really inopportune times.”

Langer joins us by phone from Vancouver to break down this difficult episode and tell us why the storyline hit so close to home for her.

First the big question:  When and why did the writers’ room decide that Janine was going to pass away?
Rachel Langer: It’s something we knew was coming for quite a while. It’s a show that talks about life and death in very grey terms. It’s not as black and white as it seems. So we knew very early on that we were going to build to that, but we didn’t know how or when. It just naturally came together as we built the rest of the season that those were the details of it.

And for Natalie–who is a mother who has spent the entire series worried about leaving her kids, worrying about how she spent her life the way that she wanted to, how she left the legacy she wanted to– to then lose her mother, it just really puts a fine point on the things she’s been going through. And it was so sudden for Janine, which is the exact opposite of her journey. So it was a story that we knew we wanted to tell, and I think we were all a little like, ‘Oh, do we do this?’ and ‘How do we do this?’ But you go where the story leads you, and we knew it was leading there for a while, so we just had to get there.

I know this episode was a very personal one for you.
When we were breaking the season we had three different development rooms in Toronto, and then once we got greenlit, we had a writers’ room and prep in Montreal. And I think during our second room, I got a call from my father that my grandfather underwent a massive stroke, and we weren’t sure what the prognosis was for a couple of days and then found out that he couldn’t swallow and it had shut down a couple of systems in his body, so it was just a waiting game for him to pass away. So everybody that was in the room was, ‘Go home if you need to go home. Don’t worry about us.’ They were just wildly supportive, specifically [showrunner] Joe [Kay] and Virginia [Rankin], our executive producer.

I basically was in the room breaking stories about a woman who was terminal and her friend Tia passing away and knowing where we were headed up to, while waiting for the news that my grandfather was going to eventually die. So it was quite a life imitating art imitating life sort of experience.

When I got to Montreal and was assigned this episode, it was after the funeral for my grandfather had happened and I’d had a month of two to kind of process it. I realized it was going to be mine, and I tried to trade Joe, but he said no. [laughs] And it was good he did, because it was a very cathartic experience for me to write about that. But it’s also hard to separate yourself and your personal experience and make sure you’re doing justice to the characters, instead of just your own journey.


The aftermath of Janine’s death was pretty realistic, with the EMS personnel standing around and decisions having to be made about her body. Were there many discussions about how you wanted to present the uncomfortable realities of death in the episode? 
There were a lot, actually. In the breaking of the episode as well as when I was going through and outlining. It’s such a fine balance because our whole show is based around the real. We want to just keep that as our mandate at all times. This is about real life; this is about real people–well, they’re not real people, but they could be. And I think death is dramatized on TV as a lot of crying and weeping and wailing, and we all know that happens, but in the middle of those things, are quiet moments where you just have to figure out what to do next. So we had to make sure that we had enough of those to make it feel real without making it feel completely morose, while still showing the joy of families coming together.

The choice to have Natalie have a medical emergency on top of Janine’s death was bold. Why the double tragedy?
That’s a good question. We talked a lot about whether that was the right move, but I think ultimately that’s life, right? You get hit twice in a row sometimes, and things happen at really, really inopportune times. I think everybody in the room had a story of the moment where the worst thing imaginable happened, and then it was followed up by the next worst thing imaginable.

Here we are coming toward the end of the season, and Natalie’s had some really good news. She’s had to work through a lot, but she’s had a fairly smooth season, except for Episode 203, where we got to show what it’s like when she has a bad day. It’s inevitable that she’s going to have ups and downs, and it wouldn’t feel real if she didn’t, and to put these two tragedies together was a really interesting exploration of life saying, ‘Okay, this is all happening, so deal with it.’ And so we were just like, ‘Okay, that’s what we’re going to do.’ Also, you have to admit, it’s very high-stakes drama. [laughs]

We’ve spent two seasons exploring what will happen to Emma and Romy if Natalie should die, and then Natalie’s surgery forces them to make a sudden decision. 
It was interesting to us because we had dealt with this for so long, of what was going to happen to the kids. And then to throw it into relief and say, ‘Oh, actually, we have five minutes to decide, so I sure hope they’re ready.’ And in that moment have Natalie relinquish control to the girls and say, ‘You have earned the right to choose for yourself,’ was such a huge catharsis for us as a room and I’m sure for the characters as well, because they’ve been wrestling with this and then it comes down to crunch time and there’s that relief after the decision is made. And I think it’s pronounced through Romy because that’s probably not who Natalie would have chosen for her, but she has finally said, ‘You have earned the right to choose, and I’m going to respect that.’ That just felt like huge growth in a very quick moment for us.

Matthew and Nicole finally reconnected in this episode. What’s next or them?
I think they’ve entered a new zone now. I think we all know sex changes things, and I think the nature of how and why that happened for them is really interesting. Because Nicole showed up at a time of crisis and wanted to be there for Matthew, and that just sort of gets rid of every piece of baggage you had because you’re only focused on getting through the moment and the love that comes with that. And so now the question for them becomes, ‘As we heal from this crisis, what does what we just experienced mean for us?’ and ‘We can’t go back, so how do we go forward?’ I’m sure that they will both have fairly different view points.


Oliver also got the EMS guy’s number, proving life goes on even in the middle of a crisis. 
Yeah. That’s exactly it. You basically said exactly what Joseph said when we were discussing Oliver, to say that there are moments of joy and hope and happiness in the midst of tragedy, and you can choose to shut them out or you can choose to go with them. Oliver’s had a really hard time, so to give him something that he can go for in the moment, it felt really good to see him make that happen. And also I think because we’d dealt with the mood stabilizers that he’s now on, so if anybody’s in a position to see outside of the cloud of grief, it’s Oliver in this moment. So he’s well positioned to have a win there.

What were the most difficult scenes for you to write? 
The scene on the terrace where Gerald is talking about the funeral lunch. Even though it feels somewhat lighter compared the other stuff, it was a scene where I was using experiences that we had just gone through to try to inform the scene. So working through that and working through every single scene where someone had to be told or found out, those were the really difficult ones.

And, funnily enough, the scene with Emma and Romy in bed where Romy is giving the small facts on the whale. It was not a hard scene to write, because those are just things my husband and I do, but it was surprisingly emotional, because it was just a moment of, ‘How do we come together and not talk about the thing but still connect?’ And those sisters, I mean they’re so different, so that one really got me, too.

I thought the Stephanie Janusauskas and Julia Scarlett Dan were excellent in that scene.
That part about the polar bears at the end? That was all them. I wrote–and the team wrote–up until the part about the ants and, ‘Got any more,’ and then that was all the girls improvising about the polar bear, and it was perfect. Those two are so talented, and they have excellent onscreen chemistry.

What was your favourite scene of the episode?
I know it was a difficult scene, but the scene with Gerald and Maggie in the living room. They are both so good, and it was just so real, what they brought to it. Just seeing it come together like that, like the direction from Louis [Choquette] and the editing. You know, you take it so far as a group of writers and you all help each other out, and then you give it over, and these people just make it something completely different. That was just a magical one to watch. Peter [MacNeill] and Lauren [Lee Smith] are just next level in that scene.

Is there anything else you’d like to share about your experience writing, “Well Fought, My Love”?
I get so sappy about this episode because it was so tough. But I realized how much of a team environment making television can be, and not every show has that. I felt incredibly supported going through this one, and I couldn’t claim ownership over what happened at all, over the end result, but it was just a big honour to be able to write something so personal, and then have people come in and say, ‘Okay, now we’ll help you take it to where it needs to go.’ It was just a really big honour for me to do that.

There’s only one episode left! What can you say about the season finale?
People come back and things are different. I really like the way the kids’ storylines coalesce in 210. I really like where Emma’s journey of identity has gone this season, and I think it’s a really interesting kind of place for her. She’s got a lot going on in her head, and I think that’s realistic for a girl her age. And the same with Romy in making her choices. So I think it’s a really good kind of place that they get to.

This Life airs Sundays at 9 p.m. on CBC.

Images courtesy of CBC.


Heartland’s Graham Wardle talks the winter finale and Ty’s journey

Whoa, talk about one heck of a winter finale for Heartland. “A Horse with No Rider,” was jam-packed with drama and danger on both sides of the world.

First, Ty and Bob were on the hunt for the elusive—and endangered—Gobi bears in Mongolia. They ran into some pretty tough customers on the road and then battled the heat and terrain in their quest before finding a cub whose mother had been killed.

Back in Alberta, Tim, Georgie and Amy fought for their own survival after a rockslide crushed the truck and horse trailer. With a horse trapped inside the trailer, Tim suffering from a concussion and Amy in physical distress with the baby, Season 10 is taking a break with plenty of drama.

One of the most interesting—and galvanizing—storylines this season has been Ty’s personal journey. He left Heartland with Bob because of something he believes in, despite Amy’s pregnancy. Not only has this story angle been an adventure for Ty but actor Graham Wardle, who really jetted to Mongolia earlier this year to film segments for the series and Ty’s blog, BordenWithoutBorders. With 10 seasons playing Ty under his belt, we spoke to Wardle about Ty’s journey, his time in Mongolia and what’s the come for his character.


I just watched the pilot episode of Heartland on Netflix a week or so ago. Was it ever a kick to see Ty in a leather jacket and smoking a cigarette.
Graham Wardle: [Laughs.] Yeah, that was the character back then. He was a smoker, but they axed that as soon as the show got picked up. They were like, ‘Yeah, we’re not going to have him smoke.’ I think it was a wise decision, because having to smoke on-screen for 10 seasons … my character would have lung cancer by now. [Laughs.]

What’s it been like to have that character evolution? To go from a guy who was rough and tumble to the man we see today, who not only has a baby on the way but is in Mongolia because of something he believes in?
I’m very honoured to be part of the journey this character has been on and able to contribute to it. I think that’s what every artist wants to get out of their work. To contribute something authentic, to contribute something that inspires them and other people as well and speaks to bigger truths about turning your life around or going from a rebel troublemaker to getting his life straightened out and standing up for what he believes in is a big turn. That’s a big storyline. I’m a bit older than the character, but close enough in age that, as he goes through these things I learn and then want to contribute and add to him. I feel very blessed and passionate about telling those bigger stories, arcs and journeys. This is one of them.

I wanted to talk to you because of Ty heading to Mongolia. You really went there to film scenes. How did that and the story that sent Ty there come about?
It was a bit of a collaboration where I had sort of presented an idea about doing something a little bit different and we were going back and forth. [Showrunner] Heather [Conkie] had found a story about the Gobi bear and how there are, I think, less than 24 left in the desert. They are on the brink of extinction. And, from what I remember, the Cecil the lion incident was kind of part of that idea and how that impacts society, along with the Gobi bear story in Mongolia.

That was presented to me and I thought it was really cool, very unique and very different. As we started Season 10, I thought, ‘Well, what if I really go there?’ Most of the time when a character goes away somewhere they’re talked about but not seen, so I thought this was an opportunity to do something new and different and, I think, add a tremendous amount of value for the audience because they’d see a new part of the world and it would expand the storyline beyond Canada and Alberta. How to other people interact with their animals on the other side of the world?

Scott Lepp, our digital producer, set up BordenWithoutBorders, where Ty updates—within the reality of the show—Amy and his family about what’s going on. I went with a friend from Toronto, a good friend of mine who I went to school with named Peter Harvey. He came along and he shot stuff and I shot stuff. We were out there for just under two weeks and we did everything we could.

This storyline is important to me because I think it’s something everyone struggles with, including me. How do you balance your passion with making time for your family, your loved ones and your responsibilities?

You said you had some ideas for Ty before this was sussed out. What were some of your ideas?
I’m actually meeting with the writers to go over potential storylines for next year and is exactly some of the stuff I pitched to them originally. I could tell you, but then it would be out about what could be happening next year. It speaks to the larger vision that I want to contribute to this role and this show … the relationship of human beings to animals and how we see that relationship. A lot of people see animals as less than us … I want to explore the magical connection between animals and us.

You mentioned yourself and Peter filming the Mongolia bits. It sounds like you’re moving into producing and directing your own stuff. Is that fair?
Absolutely. I’m writing my own scripts and taking classes and doing my best to further my storytelling abilities behind the camera. That fits into that vision of what I feel passionate about in my life and what I want to contribute to the world is telling stories either in front of or behind the camera.

What was filming like in Mongolia? It’s not a country I know very much about.
Neither did I! I got a Lonely Planet book and was reading it. I met a guy from Mongolia who was an actor on the show before I went over. We filmed some stuff in Drumheller and I was talking to him about it and he told me what it was like. Filming there was a challenge at first because of the jet lag. Peter and myself taking care of the acting, the continuity, the scripts, the costumes and the filming … that was a challenge to do all at once. The heat wasn’t that bad, the people were really friendly, we could stop and talk to anybody at the side of the road and find out what was going on. Beautiful country and beautiful people.

OK, so what segments were actually filmed in Mongolia? Bob and Ty looking for the bear cub was done in Drumheller.
Almost all of the Skype calls, the blog and then some establishing shots were done in Mongolia. The rest is Drumheller doubling as Mongolia.


Let’s talk about Ty and Amy. This storyline has been galvanizing for the fans. Some want him on this journey and others think he should be with Amy. Where do you stand, as Graham the actor?
It’s something I took seriously as an actor and a person. We all have responsibilities in our lives, things we are committed to and responsible for. At the same time, we all have dreams, hopes and wanting to experience and give more. This storyline is important to me because I think it’s something everyone struggles with, including me. How do you balance your passion with making time for your family, your loved ones and your responsibilities? I’m glad that the fans are interacting because it means it’s striking a chord with them and they’re asking those questions or stating those opinions. That conversation is out there and I’m happy about it.

What can you say about how this experience affects Ty? I feel like taking care of horses would be boring.
Hey man, you’re onto the nerve of it in a sense. That’s what I want to talk to with the writers. Where does he go from this? How do things change going forward? We have some pretty cool ideas about that.

Heartland returns with new episodes on Sunday, Jan. 15, at 7 p.m. on CBC.

Images courtesy of CBC.


Photo gallery: First look at “Once Upon a Murdoch Christmas”

It truly is the most wonderful time of the year, as Murdoch Mysteries‘ two-hour holiday special, “Once Upon a Murdoch Christmas” approaches. Written by Paul Aitken, Carol Hay and Michelle Ricci and directed by T.W. Peacocke, CBC says the following:

It’s four days ‘til Christmas, and with no snow on the streets of Toronto, spirits are low until two bombastic businessmen barge into Station House No. 4 with a far-fetched story about a train robbery – a bandit is trying to steal Christmas! Murdoch is baffled but soon, more impossible robberies have him giving chase around the city. Crabtree is convinced the bandit is based on his latest fictional hero but Brackenreid dismisses this outlandish theory. Meanwhile, Constable Jackson forms a Station House No. 4 choir, but with only a few days to whip the singing constables into shape he begs Rebecca James for help. And Ogden finds herself mysteriously spirited away after a family of children who need her help mistake her for a storybook heroine. Stories collide on Christmas Eve – and once again, Murdoch must find a way to pull off a Christmas miracle.

CBC has given us an early Christmas present by revealing the following seven images to get you in the holiday mood! Let me know what you think of the storyline, and images, by commenting below!


Murdoch Mysteries‘ “Once Upon a Murdoch Christmas” airs Monday, Dec. 12, at 8 p.m. on CBC, with an encore broadcast on Christmas Day, Sunday, December 25, at 5 p.m.