Tag Archives: Peter Mitchell

Murdoch Mysteries: Showrunner Peter Mitchell, writer Mary Pedersen and Hélène Joy tease Season 12

Spoiler alert! Do not continue reading until you have watched the Season 11 finale, “Free Falling.”

Well Murdoch Mysteries fans, are you feeling a little better? After last week’s episode, “Shadows are Falling,” viewers were left reeling. Not only did Julia lose her baby to a miscarriage, but she and William had a major falling out. Julia had instructed Rebecca on how to perform an abortion, which led to a dramatic conclusion: William left the hotel and was last seen walking down the street.

Thankfully, cooler heads prevailed. William, working the case of a missing woman alongside her supposedly distraught husband meant he could reflect on the things he’d said to Julia. And she spent several moments, with help from Inspector Brackenreid, recalling her own remarks. By episode end the pair had tearfully reunited.

But not all is well. Nina and Crabtree broke up and—as many of you suspected—Violet is up to no good. I spoke to showrunner Peter Mitchell, writer-producer Mary Pedersen (who co-wrote the finale with Simon McNabb and Dan Trotta) and actress Hélène Joy about “Free Falling,” and a peek at what’s to come in Season 12.

Peter, was the episode title, “Free Falling,” a reference to the Tom Petty song as well as what our characters were going through?
Peter Mitchell: I think so. The Tom Petty song is a little bit about breaking up with the girl who is perfect for you and feeling kinda good about it. And also about all of the characters because they don’t know what’s going to happen next.

Why was it important to keep Julia and William apart for the entire episode?
Peter Mitchell: To establish some tension in the story. We’re often more willing and more able to talk to strangers about things that we’re thinking about than those who are closest to us.

Of course, it was wonderful to have William and Julia reunite. But, you tore another couple apart: Crabtree and Nina. Why, Mary?
Mary Pedersen: I think that was really natural. We love Erin Agostino. She has been wonderful and has really won over the fans which is really something because the character, on paper, doesn’t look like someone Crabtree should end up with. That’s really a credit to Erin’s work. That was the truth of their situation. Nina doesn’t want the things that he wants. They tried to fit that square peg into the round hole and it’s not going to work. He really would have had to sacrifice so much not only by leaving Toronto, but then what does his life look like in Paris? It was definitely a sad thing because we’ve all grown to love that character and Erin, but there wasn’t really a way to turn that ship around and have her be the person that Crabtree is ultimately the person he’s meant to be with.

Peter Mitchell: George could try to abandon his core principles but I don’t think he has it in him. I think he does want whatever the turn of the century version of the white picket fence is. I didn’t want to compromise the Nina character and have her roll over on her core beliefs to make George happy. Sort of like Ogden and Murdoch, but in a different way.

By the end of the episode, Violet is plotting with Horace McWorthy to take over the morgue? How did you feel about that twist Hélène?
Hélène Joy: I thought it was great. I know the audience loves to hate some characters and this character is on that hit list for sure. That’s what’s fun about Murdoch. We try to keep it surprising. You can’t love everyone all of the time. I think it’s great that it’s happening this way and makes it far more interesting for the character and for the actress playing the character. I’m really intrigued to see where it goes. How evil is she going to get? I feel for Shanice because I know what it’s like to be hated. If you remember back to Julia’s first husband, Darcy, there were whole Facebook pages that were just about hating Darcy.

What excites you about Season 12?
Hélène Joy: I get excited because the writers always blow me away. I hear little rumblings about what Julia these things that Julia will be doing this year and I’m like, ‘Oh! Who would have thought?!’ Of course, I can’t tell you!

Peter, will there be a time jump between Season 11’s finale and Season 12’s debut?
Peter Mitchell: Yup. Normally, we pick it up three or four months later and I think that’s so we can start off on a fresh foot while doing some housekeeping as to what happened last year.

Any storylines you’re working on that you can talk about?
Peter Mitchell: We have an idea that Julia and Murdoch might be writing a book together, which could be fun. We might actually find George’s girl of his dreams this year. There might be some interesting developments in the Brackenreid household and the wedding bells will indeed ring for Henry Higgins. I think we might have Alexander Graham Bell back—he’s a fun character—and introduce the architect Frank Lloyd Wright … a couple historical figures we haven’t seen yet and a couple we’ve seen in the past. We’re just getting started.

What did you think of Murdoch Mysteries‘ Season 11 finale? What do you hope for Season 12? Let me know in the comments below!

 

 

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Murdoch Mysteries: Mary Pedersen, Peter Mitchell, Yannick Bisson and Hélène Joy discuss what’s next for William and Julia

Spoiler alert! Do NOT continue reading until you have watched Episode 17, “Shadows are Falling,” of Murdoch Mysteries. I’m serious.

I know a lot of you are upset. I understand that. So many Murdoch Mysteries fans have wanted William and Julia to be parents of their own baby. Sadly, that’s not going to happen. At least, not in the near future. That was the sad reality during “Shadows are Falling,” when Julia lost the baby to a miscarriage, leaving the couple in tatters. By episode end, emotions were running high and William walked out.

The reality is, Murdoch Mysteries is—as always—about the mysteries. The murders. The crimes. Anything else is just extra stuff we get to enjoy. Murdoch‘s showrunner, Peter Mitchell, and his writing staff know what they’re doing. I trust them and have for years. They know these characters better than we do and also know what’s best for them. So, while I understand some folks being angry with Monday’s storyline, I’m in for the long haul. I love all of these characters, their experiences and their lives. But I’m also in it for the mysteries, especially now that Season 12 has been announced!

With that in mind, here’s my chat with episode writer Mary Pedersen, showrunner Peter Mitchell and actors Hélène Joy and Yannick Bisson.

Yannick, Season 11 of Murdoch Mysteries has been fantastic. Great, funny, storylines, creative mysteries and wonderful new characters. You must be thrilled.
Yannick Bisson: It’s been another great season and for the folks that have stuck with us, and for the new viewers, it’s been a pretty great season for them. We’ve been able to have some really light-fare episodes that the fans have really responded well to. I think our highest-rated episodes this year was one of the more, sort of, light ones with ‘Crabtree a la Carte.’ It’s fun to see how things flow and change and the show keeps building.

That said, Monday’s episode has shocked and upset many fans.
Yannick Bisson: Absolutely. When you’re talking about big strains on relationships and stuff like that, these are universal themes that hit home with people. And I think there is a sense of ownership and investment with a lot of fans. When they are confronted with some of the stuff that’s coming, there are going to be some upset people.

Do you think Julia and William should have a baby?
Hélène Joy: I think they should have one if they want one, yes. I think they should be able to make that choice if they want and be free to change their minds and go another way, like adoption. We discovered from the adoption process earlier that it made them just as happy. I feel like, in the end, they will and should find a child to love.

Mary, I was reading through Facebook and you were referred to as “the writer of doom,” because you wrote “The Accident” and were the credited writer on “Shadows are Falling.” 
Mary Pedersen: I love it! I’ve demanded that everyone in the writer’s room call me that from now on.

These storylines go through so many approvals—from Pete Mitchell to Shaftesbury and CBC—one person cannot be blamed.
Mary Pedersen: A year ago we arced out what we wanted for Murdoch and Ogden this season and that started with something the fans have also been saying, ‘Oh, they’re married now. What’s going on, it’s boring? When are they going to have a baby and get a house?’ The thinking was that if we went back to the time when there was a lot of excitement, tension, curiosity and questions about what was going on in their relationship before that actually got together, how could we bring back some of that tension into their lives? Not the miscarriage itself, but the overall taking them into a new experience was really the goal of the whole thing. We knew it was going to be something that would create some difficulties for them and some questions for them and their relationship in a way, that I hope, is a natural thing that happens in any relationship. You’re always going to come up against challenges and difficulties and, of course, we confidence in Yannick and Hélène’s abilities to really portray that.

Peter, why was it important to take William and Julia on this journey?
Peter Mitchell: I wanted to do a story of consequence for both the characters and the actors. They are so at ease with their characters that people sometimes forget the fact these two can really act. I wanted to give them a story that both the actors and the characters could sink their teeth into. Plus, it’s a story that is true for a lot of couples. And I hope the fans can accept that. Sometimes in a series, the stories of the most emotional consequence are carried out by the guest characters. The guest character gets the wrenching story and the main character is an enabler or solver of problems.

Do you enjoy putting these characters through an emotional roller coaster and getting feedback from the fans?
Mary Pedersen: Yes. We know that it’s a gift. Sometimes we get comments that are not that great, but ultimately at the end of the day, every day, the fact that the fans care this much is a gift. And we don’t take that lightly. It’s really meaningful. I’ve worked on other projects where you don’t hear a thing. It’s completely different at Murdoch. The woman at the store where I get my pet food is excited. My neighbours are excited. It really changes the experience and it’s really wonderful. The passion that the fans have for Murdoch and Ogden and I think the joy that they felt for the pregnancy and the sadness and empathy they have for their loss is the same that they might have for a family member and that’s a great thing. Being able to do that with the viewers is a gift and one of the things you go into writing or acting for.

Hélène, how have you felt about Julia’s journey this season?
Hélène Joy: I think it’s great. First and foremost, this is a show about mysteries and we like to make sure that’s true. But it’s undeniable that the audience is in love with this couple and their journey. We’ve had all different incarnations of that but it’s been really nice. Obviously, the journey of wanting to have children is so personal and I think a lot of women have responded to her real desire to do this and the joy of it. What happened tonight is devastating but it’s so, so, common. It’s an incredibly common experience, trying to have children. It doesn’t mean they can’t have one again, but it happens a lot. It’s been really brave of the writers to go there and for me, it’s been fun to have such highs and lows to play.

Everything came up in the argument between William and Julia. God, guilt, punishment, faith and then the hot-button topic of abortion. You didn’t leave anything out.
Mary Pedersen: At the beginning of the episode when William is there at her bedside … if they were able to go home then and just be alone together none of this would have happened. But, because they are interrupted and spent time apart, they start to spiral into their own bad places. Because they weren’t able to process their grief together, they were in different places and it brought up all of those things. In any marriage, there are some big issues that are unresolved and you put it in the closet and hope it won’t come up. But it always, always, always will come up. This felt like a natural place to go with them.

The scenes between William and Julia are so raw and emotional. Was it difficult to get into that mindset for filming?
Yannick Bisson: Yeah, the subject matter is dark and difficult and in any given scene you have to sustain an emotional place for hours and hours—sometimes an entire day in order to get all of the coverage—and it sucks to go to work on those days, especially when you’re talking about some tough stuff like loss and betrayal.

Hélène Joy: Yannick and I were like, ‘Is it over yet?’ You have to, as an actor, dredge it from somewhere. It has to come up. It can be kind of exhausting. The scene where I’m lying in the hospital bed and I wake up. There are no words, just a lot of grief. That was at the end of the day and I knew it was coming. So the process begins, unconsciously, at the beginning of the day that you begin to think of the things that make you feel that bad. What happens with me throughout the day is that I get sadder and sadder. It was hard. Yannick and I both hated it.

A lot of folks, including myself, don’t trust Violet Hart. What kind of impact has Violet had in the writer’s room this season?
Mary Pedersen: It’s been great. We miss Mouna but it’s been nice to go in a different direction and try something new with the Violet that we weren’t doing with Rebecca. It’s an opportunity that’s going to pay off for a while.

What can you tell those upset folks that will help them cope until next week’s episode?
Yannick Bisson: Hang in there. There are ups and downs in life and we’re trying to mirror that with the show. The biggest thing to keep in mind as that you have two very strong characters and they have certain points of view. That’s what we’ve come to enjoy from the writing, so we have to stick it out and see them come out the other side.

Mary Pedersen: This is a quote that I like that I keep coming back to, somehow, for this: ‘Everything will be OK in the end.’ Not meaning Episode 18, but Murdoch and Ogden overall.

Will fans be happy by the end of the Season 11 finale?
Yannick Bisson: There is some resolution but I think we’re going to leave some room for people to tune back in for Season 12.

Murdoch Mysteries‘ Season 11 finale airs next Monday at 8 p.m. on CBC.

What did you think of the episode? Can William and Julia turn it around for the season finale? Are you happy Murdoch Mysteries will be back for Season 12? Let me know in the comments below.

 

 

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Murdoch Mysteries: Author Maureen Jennings discusses “Game of Kings” and her latest Murdoch novel

Spoiler alert! Do not read this until you have watched the latest episode of Murdoch Mysteries, “Game of Kings.”

It’s always a pleasure to speak to author Maureen Jennings. After all, she created the character of William Murdoch that we’ve enjoyed first in her novels and then on television. Monday’s newest episode, “Game of Kings,” contained several noteworthy moments and storylines, among them a history of Poland, the intricacies of chess and how everyone in Station House No. 4 knows Julia is pregnant.

I spoke to Jennings about writing Monday’s instalment and what fans can expect from her latest Murdoch novel, Let Darkness Bury the Dead.

This was a fascinating episode that contained a lot of Polish history, including the hussars—the winged calvary—and the coronation sword, Szczerbiec. Where did the inspiration for this episode come about?
Maureen Jennings: I was invited to Poland as part of a writer’s festival, so I learned a little bit of the language. Then I came across the story of the husaria, the winged horsemen, and the ceremonial sword. I thought it all was a great possibility for an episode. Then I came upon the real story of a chess tournament that had happened in the United States—I think it was in 1904—and thought it was a great combination, especially these days, to have an international chess tournament and have all of this other nationalism going on with the Polish husaria. At the time, Poland was occupied by Russia and it was a difficult time. Through this tournament, some of these ancient conflicts would show themselves.

It’s amazing that, as reflected in this episode, the coronation sword really was brought to Canada for safe-keeping, though that was during the Second World War.
All of that came afterwards, so I thought it was great. I fiddled a little bit but it was not at all implausible that there would be this sword here. It was a great connection.

How did you go about fleshing out the chess storyline, regarding Crabtree, Higgins, Watts and Nina?
Initially, I pitched a blindfold chess tournament that I got very attached to. Again, this was all based on true events. One man played, I think, 22 boards at once. He had his back to the boards and had to keep all of those games in his mind which I think is phenomenal. But when we talked about it, Peter thought it would be a bit difficult to do it that way and that the more traditional tournament that ended up in the show would be a bit easier to film. Chess is a funny game because it’s very quiet and formalized conflict and I really enjoyed trying to depict that.

The history of chess goes back far in Canadian history. At least as far back as 1872 with The Chess Federation of Canada.
I’m always finding out interesting information like that. I like chess and I did a lot of study on it for this episode. I was so impressed with these chess geniuses.

There was that wonderful moment when it was revealed that Nina and Karina were the truly skilled chess players and the men were just making the moves as instructed.
Yes. Again, women were not playing as much but there was a women’s league and they were fantastic as well.

How does it work with regard to which episode you’ll write in a season?
I’ll present four or five stories that I’m interested in, we’ll talk about it and they’ll say, ‘Why don’t you work on this one?’ They’re all stories that I’m interested in which I’m lucky to have. No one just tosses me a story and says, ‘Write a script.’

What has been the most challenging transition when you go from writing a novel to writing a television script?
I had to constantly be aware of my words. In the beginning, Paul Aitken was always telling me I was writing too many words. I had to really keep it in mind that this was a visual medium and to cut that down. That wasn’t so hard. What was challenging and fun to learn more of the mechanics of a TV show. It’s not just the script as such. In the first episode I wrote, for example, that there was a big thunderstorm. That’s not a big deal for me—I just write ‘big thunderstorm’—but in fact on a set, rain and snow are very difficult to do. Nobody wants to do rain because you ruin the cameras, never mind the cast. It’s things like that that I had to think through.

It was revealed, in very funny fashion, that Julia is pregnant and everyone knows. How do you feel about her being pregnant?
I like that thread. It’s been going on for a while and set up quite well.

Finally, let’s discuss your latest novel Let Darkness Bury the Dead. This is your first Murdoch novel in years. What’s it about?
I advanced the story to 1917 and it turned out to be a fabulously interesting time period. I often say that sometimes writing a novel changes your life and I think that’s the case with this. It was so amazing to study that time period. Because it’s 1917, Murdoch is 56 so I had to think about that. Is he physically different? What has happened to him in that amount of time? That was a bit easier than I thought, but it’s a bit like reconnecting with an old friend. I liked going back to Toronto because it had changed but not dramatically so. I’ve currently just done another jump to 1936 and that is very, very different because it’s post-War and things were very different in Toronto after World War I.

Get the latest news on Maureen Jennings from her website. What did you think of “Game of Kings”? Let me know in the comments below!

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

 

 

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Murdoch Mysteries: Peter Mitchell on the premiere and previews Season 11 storylines

Spoiler warning: Do not continue reading unless you have watched Monday’s Season 11 episode, “Up from Ashes.”

If you’re still reading, it’s because you have either A) watched Monday’s premiere, or B) you love spoilers. After a Season 10 cliffhanger that saw Doctor Julia, Inspector Brackenreid and Constables Crabtree, Jackson and Higgins all in danger and Detective Murdoch in custody, “Up from Ashes” returned with an emotional thrill ride that not only exonerated Murdoch but collared Councilman Williams, Robert Graham and Chief Constable Davis. Unfortunately, Jackson passed away as a result of his gunshot wounds, leaving Station No. 4 in mourning. (But how great was it to see Hodge has landed back on his feet?)

In the first of our exclusive weekly discussions with the Murdoch Mysteries writing team, showrunner Peter Mitchell—we caught him scouting locations for an upcoming story about a white moose—explains the season premiere and what’s to come in Season 11, including the two-hour holiday special, which explains the Murdoch Takes Vancouver event!

Congratulations on a great season premiere. It was well-written and well-performed. You were able to bring all of the storylines together in an exciting way.
Peter Mitchell: I think we did a nice job. It was economical and worked.

It’s now official: Constable Jackson did not make it out of the church alive. Did Kristian Bruun want to leave Murdoch Mysteries?
When I decided to commit to doing a cliffhanger like that, someone couldn’t make it. It would have been dishonest if everybody was fine. I hadn’t even really decided who it was going to be when I wrote it.

How, then, did you decide who it was going to be?
Fan loyalty, number of years on the show, Kristian had some other opportunities … Daniel Maslany [Detective Watts] has a bigger presence on the show this year, our cast was starting to get large, large, large and I think we served Kristian well and he served us well. There were no hard feelings or anything like that, it’s just what happens.

Fans become so attached to characters and they don’t want to see anyone leave. But I think that becomes boring if you don’t shake things up. 
I think so. And, at the heart of it, this is a drama. Without conflict, without change and without loss … every jeopardy can’t be on just secondary characters. You have to have it happen to your primary characters to have any kind of impact.

Can you go into more detail about Detective Watts’ involvement in Station No. 4 this season?
He’s in at least half of the episodes, he’s kind of a gadabout detective and he comes and he goes. He is semi-permanently stationed in No. 4.

Is that a case of Daniel comes in and your plan was just to have him for a few episodes and then you change your mind because of what life he breathes in Watts?
I think so, yeah. Kristian was like that too. Kristian came in as Slugger Jackson a few years ago and I couldn’t help keeping him in my mind, and we decided to bring him along, much like we did with Lachlan Murdoch; his participation has increased with every season of the show and continues apace this year.

The scene where Murdoch realized Crabtree was really alive and working behind-the-scenes was pretty emotional.
The bromance between those two has been and will continue to be, a key element of our show. It just felt that natural way to play it. William had kind of given up hope on him; he had never really given up hope on Julia, and he kind of expected Brackenreid would be OK. And he saw Crabtree lying there, dead, in the season finale.

Are we going to revisit Murdoch’s house building this season?
We’re constantly riding that line between murder mystery and domestic drama and we have a whole new domestic drama for Murdoch and Ogden this year that is more important than houses.

When I spoke to you last season, you thought Teddy Roosevelt might be back this season. Can you confirm he does?
Well, somebody hunting the moose! [Laughs.]

What about Dr. William Osler?
Yes, he is in the early part of the season.

Helen Keller?
Yes, early part of the season.

Alexander Graham Bell?
Early part of the season.

Our friend Terrence Meyers will be back?
Yes, along with Pendrick. The nosy newspaper reporter we were all beginning to hate is back, and so is the burlesque dancer.

And Colin Mochrie is guest-starring this season as well.
With the number of incidents that have surrounded the Murdochs at their hotel, someone thought it was wise that we get a hotel detective. [Laughs.] He appears in the Helen Keller episode which is, I think, the third episode of the season.

The holiday movie this year is two hours, correct?
Yes, it’s two hours and it’s a slightly different spin on the holiday movie this year. It’s not so much a retelling of a straight-up Christmas story. There is a little extra in it. We’re going to shoot a little bit of it out in Victoria, B.C. We’re actually prepping it as we speak and are just doing the final casting decisions.

So, the west coast of the county is playing into the storyline?
Yeah, there are sort of two independent storylines. ‘Meanwhile, out on the west coast…’ and then, ‘Meanwhile, back in Toronto.’ It will have some elements of Indigenous culture, specifically the Haida. We’re going out to Victoria in nine days to shoot.

At what point did you decide that going west to film was a good idea?
It’s always been a part of this show, and particularly with Christina Jennings, that when we have the opportunity we try to travel the show. We do have fans across the country and it’s an opportunity for the fans to say Hi. In formulating the Christmas movie this year, and in an attempt to not start spinning our wheels, it was a natural part of our growth to say, ‘Let’s get out a map … where do we want to go? Is there a story we can tell here? Yup.’ We were able to come up with a story that has a bit of resonance with Canada being 150.

What did you think of the season premiere? Do you have a message for Kristian Bruun? Are you excited for the holiday movie? Let me know in the comments section below!

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

 

 

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Murdoch Mysteries: Showrunner Peter Mitchell looks ahead to Season 11

Spoiler alert! Do not read on until you’ve watched Murdoch Mysteries Episode 18, “Hell to Pay.”

Now that was one heck of a season finale, wasn’t it Murdoch Mysteries fans? It’s a good thing our favourite series has been greenlit for another season because there are a ton of questions to be answered! Will Julia be found? How will William get out of this scrape? Is Det. Watts really there to help William? Did Brackenreid fight off Davis, or is he injured or, gulp, dead? And, perhaps most importantly: did Higgins, Crabtree and Jackson all survive the gunfire?

We spoke to Murdoch Mysteries showrunner Peter Mitchell about that edge-of-your-seat instalment—the show’s landmark 150th—and where the show goes in Season 11.

First of all, congratulations on your writing win at the Canadian Screen Awards, as well as Murdoch Mysteries winning the Golden Screen Award. Is it important to you to win awards, specifically one for writing?
Peter Mitchell: Murdoch has never gotten a nomination for writing, so it was important to give a little shout-out to the writers. It’s nice to win an award, but it’s not why I’m here. I think I’ve been nominated 11 times or something and this is the first time I’ve won. Winning is better than losing. [Laughs.] I won’t deny that. It was nice of the movie to win too as a whole. Obviously, I’m biased but getting the award for most viewership is more important than anything else.

Let’s talk about the cliffhanger season finale, ‘Hell to Pay.’ I seem to remember Murdoch being framed for murder once before?
I believe he was at the end of Season 4 [“Murdoch in Wonderland”]. That was just before my time. I don’t think it was a cliffhanger, he was exonerated by the end of the episode.

At what point did you decide ‘Hell to Pay’ would be a cliffhanger?
I think it was around the time that we thought Trump was going to win [the election]. I just figured everything would go to hell both fictionally and in real life.

It was great to see Robin Dunne back on TV. I haven’t seen him since Sanctuary.
He was great. I had never met him before, actually, and he was a ton of fun. It was also especially fun to work with John Wildman, who was on a TV show called The Campbells a million years ago and I used to drive him to work. That’s the first time we had worked together in, like, 30 years.

You started out in the industry as a driver?
Well, as a production assistant. They didn’t have drivers back then. I was the general gofer guy.

How long were you a P.A.?
One season, and then I moved into the writing department fairly quickly once I got my foot in the door.

Did you take a TV writing course at the time?
I took one television writing course at York University for, like, a semester. My instructor was in the business, at CTV, and he got me a gig.

OK, let’s talk about the episode. Miss Cherry’s personality has certainly evolved. In last week’s episode, she was talking shit about William and Julia. There is no faster way to turn the fans on someone than having them do that.
Yeah, especially Julia. We learned that when one of the characters Emily was involved with called William a stick in the mud. That was basically her death sentence. [Laughs.] But we had portrayed Louise as being controlling over George throughout, but it was when she insults George’s friends that he can do better. I kind of knew what the reaction would be.

Is that it for Louise Cherry?
I wouldn’t say so, no. She performs a function in the finale and is not out of the picture.

With regard to Inspector Brackenreid … we hear a gunshot and last saw Davis aiming a gun at his head. 
We hear a gunshot go off and that’s the last we see of Brackenreid. I guess we’ll see what happens.

It appears we might be losing one of the constables. Murdoch is told that one of them is dead.
I think you have to think about the reliability of the narrator, the person who is telling him that. I don’t think we can end a season like that and have everything be tickety-boo. The show, in essence, has five cliffhangers: three constables, one Julia and a Brackenreid. And we don’t see any of them past the three-quarter mark of the show. And, why is Watts offering to be so helpful at the very end of the episode? Is he a good guy? I don’t know. Why didn’t he help Murdoch earlier? Why is he showing up now?

So, Watts may have ulterior motives?
Maybe. I never trust those Maslanys. They have many faces! [Laughs.] Daniel is fantastic; just a very pleasant young man.

You’ve created this mess with all of these characters. How do you clean it up going forward?
I think it’s a big enough mess that it will take more than one episode to clean it up. I’ve been studiously avoiding the hard work of making it all make sense. I think what I’ll probably do is use a couple of the early episodes to deal with the repercussions of last year and then bounce the show ahead three months in time because I don’t think we’re purpose built to go dark, dark, dark. We’re allowed to go dark on the show but I don’t think we can stay there.

Are there any historical characters you’re planning on bringing on board for Season 11?
I think we’re going to bring back good old Teddy Roosevelt. I think we’re going to bring Dr. William Osler back, one of the founders of modern medicine. I think we’re going to bring in Helen Keller, who will help solve a case. And, with Helen Keller, I think we’re going to get Alexander Graham Bell. That’s just in the early stages right now and I think we’re going to try and pay a tiny bit more attention to getting more historical characters in this year than we did last year. That might entail the return of Laurier and Terrence Meyers, of course, some of the regular characters we like to see every year.

In terms of the historical characters, they all seem to be in the world of medicine for some reason.

What did you think of the season finale? Let me know in the comments below!

Images courtesy of CBC.

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