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Cardinal: Writer Shannon Masters breaks down “Lemur”

Alas, poor Lemur. Perhaps the strongest all-around survivalist aside from Mama (Rya Kihlstedt) herself, Lemur (Nick Serino) met and untimely, and messy, end at the hands of Jack (Alex Ozerov). Jack took advantage of Lemur being on the run from the police during a botched ATM robbery and killed his “brother.”

Thursday’s newest instalment of Cardinal, “Lemur,” also opened the door on what horrors Jack endured when he was younger and shaped who he is today. Finally, after very much looking to Cardinal (Billy Campbell) for guidance during the past two cycles of Cardinal, Lise (Karine Vanasse) has officially read her partner the riot act. We spoke to the episode’s writer, Shannon Masters—who has written for Burden of Truth, Mohawk Girls and penned her feature film Empire of Dirt—about Jack, Lise and killing off Lemur.

Thanks for taking the time to answer these questions and congratulations on being part of Cardinal. I love the franchise and am enjoying Season 3 immensely.
Shannon Masters: I’m glad you’re loving watching it as much as we enjoyed making it.

Before we get into specifics about the series and your episode, how did you get into the Cardinal writer’s room in the first place?
SM: Two words: Patrick Tarr. We’ve been friends for well over a decade and I think he got tired of watching me bang my head against the wall trying to break into television so took a chance and gave me a shot in the room. Plus, I’m cheap so didn’t break the budget. Ha ha.

This past week has been all about your work. I watched Empire of Dirt the other day on Super Channel and your latest episode of Burden of Truth was on CBC. You’ve taken over Canadian TV over the last 10 days!
SM: Finally. Seriously though, someone has to pinch me because I still can’t believe I get to do this job.

I imagine working on Cardinal has been very different from Burden of Truth and Mohawk Girls. How have you grown as a writer through the Cardinal experience?
SM: Every writing experience is unique, just as each show and showrunner are unique and all provide the opportunity to evolve in different ways. But my growth as a writer on this show specifically was exponential because Patrick trusted (and expected) me to do the job well. That gave me a new confidence in both my ability and my voice. Plus, there is something to be said for having a showrunner who comes in with a rock-solid vision. Lesson: being prepared and having a plan gives you freedom.

It’s been hard to feel anything but anger at Jack and the way he’s been acting. But in the opening moments of ‘Lemur,’ we discover he’s endured something horrifying in his past, including his relationship with this father, and how that connects him to Mama. How do you tackle writing a character like him?
SM: I believe the key to writing bad guys, whether they have a difficult past or not, is to write them as though they believe in what they’re doing, that they don’t think their actions are wrong or bad. In general, people have no idea what they are truly capable of until they find themselves in extraordinary circumstances and are faced with hard choices. That holds true for fictional characters as well. So trying to get into their heads and seeing things through their eyes often lends those characters an intriguing level of depth.

I’m not sure if you’ve seen the rough cut for ‘Lemur’ yet, but there is a moment before Cardinal goes into the apartment to talk to Roger, the ex-con-turned-accountant. John pauses at the top of the stairs, loosens his neck and takes a deep breath. He wants to keep it together and not wring Roger’s neck. Do you remember if that pause was written in the script, or something Billy ad-libbed?
SM: It’s been such a long time since I wrote the episode so it could have been on the page, an acting choice or something that came from our director. What I do remember is going into Cardinal’s story this episode with the feeling that he knows he’s skidding down the rabbit hole but just cannot stop himself. His cop instincts are too strong and his GUT is telling him that his wife did not kill herself. So while he knows that every moment he pursues these men he’s put away, Roger Felt included, his grip on the situation slips a bit more, but he’s gonna do it all the same. So he’s kind of stealing his nerves here before he dives in yet again.

You killed Lemur! Now there is nothing stopping Jack from taking advantage of Nikki. How could you?!
SM: Lol. Nikki is tougher than she looks.

Lise has taken a fierce stand against Cardinal. It’s been fascinating to watch her gaining confidence and taking command. Has it been fun, as a writer, to explore their relationship in Season 3?
SM: Their relationship is fantastic and it’s been incredibly rewarding to get to flesh it out even further this season. In this episode specifically, Delorme’s ferocity is born from her desire to help Cardinal. She and Cardinal have morphed from colleagues into friends with a mutual deep respect, so she doesn’t want to see him torture himself or torch his career. And she’s also got a job to do. She’s been given a lot more responsibility this season and she takes it very seriously.

Cardinal airs Thursdays at 9 p.m. ET on CTV.

Images courtesy of Bell Media.

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Workin’ Moms: Tennille Read reflects on being the new kid (and mom) on the block

In Season 1 of Workin’ Moms, viewers were immediately plunged into the lives of four women juggling motherhood with jobs and responsibilities. What is was like getting and being pregnant was discussed, but not a focal point of the show. It was about life after baby (or babies) had arrived.

That’s changed in Season 3 with the arrival of Bianca. Played by Tennille Read, we’re getting a crash-course in the emotions and doubts that go along with deciding to get pregnant. And, of course, we’re shown the support system Frankie (Juno Rinaldi) can supply.

“It’s a great take on motherhood and starting from the very beginning,” Read says during a recent phone chat. “The fears, the anxiety, the uncertainties, especially showing it through the eyes of a single woman. Bianca is flying solo; she isn’t partnered with anyone and she’s deciding to start a family. I think that is unique to the show and hasn’t really been explored before.” Read teases viewers will see a new side to Frankie as well, because she’s in a place of more stability and can help. (Though, it must be said, Juniper did throw a curve ball at Frankie last week.)

Read, a graduate of the George Brown Theatre School, never expected a lone Season 2 appearance would be expanded. When it was hinted Bianca might become a recurring character, she assumed that meant two more episodes. Instead, it became eight, and the opportunity not just to show growth for Frankie, but all of the main characters.

“The ‘typical sitcom’ highlights those characteristics in the character that makes them unique but doesn’t necessarily develop them and allow them to grow and become something bigger and better,” Read says. “Workin’ Moms does allow for the characters to grow.” She’s right. We’ve seen that for everyone, from Anne (Dani Kind) being over-protective of Alice (Sadie Munroe) to Kate’s (Catherine Reitman) getting into bed figuratively with a men’s group and literally with Nathan (Philip Sternberg).

And though she was a new face to the cast—Read worked with many of the crew on prior projects—she felt welcome right from the start.

“I met Dani Kind in the makeup trailer and we had a 10- to 15-minute conversation because she’s so open and lovely,” Read says. “She wanted to know more about me because we haven’t had that interaction before. It made for an easier transition for me to go from being the new kid on the block to having more investment in the show.”

Workin’ Moms airs Thursdays at 9 p.m. on CBC and CBC Gem.

Head shot image courtesy of Dane Clark. Workin’ Moms image courtesy of CBC.

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Murdoch Mysteries: Maureen Jennings talks “One Minute to Murder”

Spoiler alert! Do not continue reading until you have watched the most recent episode of Murdoch Mysteries, “One Minute to Murder.”

It’s always fun to catch up with Maureen Jennings. As most of you know, without her there would be no Murdoch Mysteries. I spoke to the author, who created Detective William Murdoch, to discuss the episode she wrote, “One Minute to Murder,” and what didn’t make it into the episode.

Wow, 12 seasons. Are you surprised that Murdoch Mysteries has gone on this long?
Maureen Jennings: Totally surprised. At the beginning, we were literally saying, ‘Maybe we’ll get two seasons out of this,’ and then three, and then four, and then … Yeah. It’s wonderful. It is one of those things where you go, ‘Wow!’

We talked a little bit about this last year, and how the storylines come about. You had told me then that you usually pitch three or four episode ideas and then they select one. Is that how it worked for tonight’s episode, “One Minute to Murder”?
MJ: Actually, no. That’s the typical way, but I was very pressed for time this year. I felt a bit guilty about this. I went in with literally an idea, as opposed to a developed story of any kind. This was the typewriting competition, which I had come across, and I used in another book, actually. I’d come across this at some point with a fantastic photograph of these very, very dressed up folks watching a typewriting competition.

They were very, very popular. I guess the competitive nature of them. Big purses and I don’t know. It’s a bit hard to imagine, somebody going in with a keyboard on his computer and everyone spending whatever amount of money. Hundreds of people coming in watching you do your keyboard. I thought it was very funny.

Anyway, I literally went in with just that idea. Not even what happens, except that it’s around the competition. The writing room was great. They just took that and developed a story. We kind of have to have a crime in there. I didn’t. All I had was a typewriting competition. That’s how that evolved this time.

It’s interesting you say, it’s a little bit shocking imagining a room full of well-dressed people watching a typewriting competition. The thing is there are people that sit and watch people playing video games all the time. We may be and 2019, but people will still watch other people doing things.
MJ: Right. That’s a good way to put it. I would have been impressed, I’m sure, but the speed, the unusual speed of these competitors. I guess the same if you don’t play video games, and you’re seeing these kids doing these brilliant things. You go, ‘Wow! That’s really good.’ I found another picture afterwards that was taken at the CNE, and the same thing. A whole bunch of people crowded around watching this guy typing. So there you go.

You pitched this little nugget of a story idea to the writer’s room. When you say that they developed it, how involved were you in the writing of this episode, besides coming up with this competition?
MJ: Well the typical process is they broke the story. They had all the beats, which is another word they use. I went in and they presented me with that, and there was another story that was already developing about Murdoch and Julia writing a book. There’s been I think at least three episodes where that’s been going on. That was in the episode as well. So they present me with that, and then I went home, and wrote it up, and added my scintillating dialogue. Then it goes back, and people do this and that and the other. I had a little less involvement than typical developing the plot, I must say. And as I said, I felt a bit guilty about that, but it was a fun idea to them, so I think they were OK.

Louise Cherry is an interesting character. A lot of people don’t like her, because of the things that she said about William and Julia in the past. The way that she treats the police. How do you feel about her, and what was it like writing for her?
MJ: Well, good question. How it was initially presented to me was we want to do a story around journalistic ethics, which I was dead keen to do. I like stories about ethics. I did a bit of exploration with that. I called the Ryerson Journalism department. Now, unfortunately, because of the actual time constraints, it’s not a lot of time in the episode, as you know, to develop much of the story. All of that ethical stuff, which I was very interested in, kind of got cut actually, but we had three ‘suspects’ who, for me were each representing an aspect, and ethical aspect of things, which is so current today. But we couldn’t really develop that. I wanted to make Louise Cherry a little more vulnerable. But that got shot down. I wanted her to be a bit softer, and they wanted her to be a bit tougher.

There was that little bit there. She let the wall down a little bit with George. 
MJ: As a character, I think she’s nicely multifaceted, actually, but I certainly, personally always like it when we get a bit of the softer side of her and other people. Anybody, whoever it is. I think we’ve done with a lot of the characters, actually.

When we were discussing the story, the very original draft, [William and Julia] go into an empty room. I said, ‘Actually it’s much more humiliating to have three people than to have no people because I’ve done it.’ When I started out, there were literally two people … I did it at Chapters. My very, very first talk was at Chapters. Two people, the manager, my friend, and my husband. If there’s nobody there, then there’s nobody to witness that you’re going, ‘Oh no.’

Peter Mitchell posted on Facebook the other day, and he wanted to know everybody’s Top 5 favourite episodes. Do you have a couple of favourites or five favourites?
MJ: I don’t want to hurt anybody’s feeling who’s not on my list, as it were, but I particularly have liked ‘The Accident.’ That’s been nominated for a Canadian Screen Award. Way back, I really liked ‘Dead End Street.’ I thought that was very good. I must say I liked ‘Shipwreck,’ which was from my book. I thought that was a good episode, regardless. I liked the most recent episode, too, that Simon did. I thought that was really good.

‘Sins of the Father.’
MJ: Yes. Yes. Again, my whole orientation is definitely to emotion and relationships and the past and everything. I thought that came off really well. Over the years there are things that have been quite outstanding. I look back on them and go, ‘Wow!’ It’s still amazing.

What have you got coming up, Maureen? I’ll, of course, point folks to your website.
MJ: Oh, thanks, Greg. Let me see. I’ve finished a book and it will be released in March. March 23rd. It’s called Heat Wave: A Paradise Café Mystery. This came about because I read that in 1936—it’s set in 1936—there was a heatwave in Toronto, and Canada, that has never been equalled before or since. You know we’ve had some sweltering summers. But this was just beyond, beyond. I really was grabbed by that. I thought, ‘OK.’ I wrote a short story about it for Taddle Creek magazine. Then I said, ‘Hey, I like this. I’m going to develop into a book.’ So, that’s the most recent one, and with a female PI.

I like creating a world that seems real, so in ’36, Murdoch’s son, who isn’t in the TV show but is in my book, is now 40. He comes into the book as and then Murdoch has retired, not to keep bees, but more or less. He’s retired to Nova Scotia. The book before this one is 1917, where I’m completely immersed at the moment, Canada in World War I, Murdoch is 56, and he’s the centre of the story. Then in this most recent book. He’s not. It’s his son. That’s fun.

A long time ago—I don’t know if I ever said this to you—but I often quote this. Peter Robinson said being a writer was a bit like playing with dolls when you’re a kid. That you make things up and they start to have their own personalities, their own characters, and you don’t want them to go away. I sort of think, ‘OK don’t leave me yet, I’ve still got more to say.’

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

Images courtesy of CBC.

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Coroner: Tamara Podemski on Alison’s backstory and why landing the role was a “huge triumph” for her

Tamara Podemski has been an acclaimed multi-disciplinary performer for over 25 years, winning a Sundance Film Festival Special Jury Prize for Acting for the film Four Sheets to the Wind, appearing in the Broadway cast of Rent and guest-starring in such TV shows as The Rez, Heartland and Cracked. But, despite her impressive resumé, she still has trouble getting into the audition room. Or, at least, she has trouble when the part in question is not specifically Indigenous.

“I think I can count on one hand how many times I’ve played a non-ethnic specific role, where it wasn’t in the character breakdown, where it wasn’t a very culturally specific subject matter,” says Podemski, who is of Anishinaabe/Ashkenazi descent, “and this is one of those opportunities.”

“This,” of course, refers to her scene-stealing turn as Alison Trent on CBC’s hit drama series Coroner.  As Jenny Cooper’s (Serinda Swan) assistant, Alison is passionately professional, fiercely protective of the coroner’s office and a just little bit quirky. She also happens to be Indigenous—a fact the show does not belabour.

And that’s just fine with Podemski.

“It doesn’t mean that I don’t get to represent myself and my community,” she says. “It just means that I get to be who I am.”

To help us get ready for Monday’s new episode, “Confetti Heart,” we gave Podemski a call to learn more about Alison, her first TV writing gig on APTN’s Future History (which airs its Season 1 finale Tuesday at 7:30 p.m. ET), and why she believes becoming a performer saved her life.

You and your two sisters, Jennifer Podemski and Sarah Podemski, all went into the entertainment business. Why do you think you were all drawn to the industry?
Tamara Podemski: My sisters and I had a traumatic childhood which resulted in my mother leaving our father to raise three girls on his own. We were always singing and dancing around the house, but during those difficult years, the world of make-believe allowed us to process and express what we were going through in a profound way. My father took us to every class, audition and rehearsal and worked his ass off so we could have every opportunity to perform and train. He knew it was helping us cause we were thriving. I believe the arts saved my life and I think it saved my sisters, too.

It never ceases to amaze me, the more I hear of how other artists came into their performing voice or found their voice as a performer, when you hear the stories that this grew out of, there is this consistent yearning for a place to express and move all the stuff that’s inside them. And so, forever, my belief is that the arts heal, the arts empower, and the arts allow you to connect with others. Trauma tends to be a very isolating experience, so if you can have this other thing that allows you to come out of yourself, I think it’s kind of the perfect remedy.

What was your audition process like for Coroner?
TP: Luckily, I was able to go into the room to audition. That is a real rarity these days. We’re in a time of self-tapes, which means actors are in their own home putting an audition on tape or going to an audition facility. Some people love that because you’re less anxious and you get to control the environment a little bit more. Me, on the other hand, I prefer being in the room, I think I thrive when I’m in the room because I have people to bounce off of, and this was a very specific scenario where I think I was really able to show my take on this woman.

It did start out as a self-tape that I did in my bedroom with my husband and I remember the way that I interpreted her—and you don’t have much to go on, you certainly don’t have the director or writer to guide you—it was really just based on my interpretation. And so that quirky very passionate about her work, kind of socially awkward not reading social cues very well, that was all my original interpretation of who Alison Trent was. And I remember my husband saying, ‘Wow, you might want to bring that down a bit,’ because I let the biggest version of her come out. But at least they saw something in that tape that allowed me to come into the room.

I didn’t realize she was as funny, like, when the laughs started coming from how she was—and I only speak about her in the third person because I really feel like she’s so different from me. Usually, I feel closer to some of my characters, but Alison is a force. I follow her. I don’t really tell her what to do or how to be. So in the room, we just had so much fun, and then the best thing is they asked me to do an improv with Serinda of coming to work on my first day and explaining to her what she needs to do to basically operate as the coroner on that first day of work, and I went off. And I feel like whatever I found in that moment was Alison from there on.

Alison is in M.R. Hall’s Coroner books. Did you check those out before filming?
TP: I didn’t read the book because I’d known that Alison is very different in the book, and when I heard that they’d really taken her and went in a different direction, I didn’t feel like that would inform what I was doing. I think if they were trying to bring that character to the screen and honour what that original idea was, I would’ve felt more inclined to do that. But, to me, it sounded like we were creating something new for her.

Also, I do have to say that it was not a culturally or ethnically specific role when I went in for it. The majority of my roles are Native women, and so—even though I knew that we weren’t going to touch on those storylines, or from what I’d read that far—I knew that I was bringing a storyline and a background that wouldn’t be in the books from the UK. So I had to come up with a backstory that really was from scratch. I needed to be informed through an Indigenous lens of why a woman would work in the coroner’s office, of what in her life led her to take that path of justice-seeking, of speaking for the dead. We’re just at a time of these really pivotal moments by coroners, by judges, these court rulings that either bring justice for families, or they don’t. And you can see the public uprising in response to these really critical decisions that are being made. So I felt like, OK, there’s a lot of stuff there that I can use for Alison, why she chose to work in a coroner’s office. And so that was another reason why I thought I need to place her in Toronto and place her as an Indigenous woman, and that wouldn’t have been in the books.

I take it that you’re speaking of the horrific history of murders and missing persons cases involving Indigenous women in Canada. 
TP: Yes.

Do you know if the series will address any of those stories in the future?
TP: I have no idea. But I know that it’s my responsibility to myself, to my community, to my character that I’ve created that she’s got to come from somewhere and she’s got to have a story. Somebody who chooses to work in justice and someone who chooses to be a public servant, there are certain paths that lead someone to that work. And when it is a highly controversial department to work in, when you know that it’s at odds with the people and the community that you represent, I think there are rich and great opportunities to delve into that. If we get a second season, that would be a great opportunity.

Showrunner Morwyn Brebner and executive producer/lead director Adrienne Mitchell have stated that they really wanted to accurately represent Toronto by having a diverse cast and writer’s room. How do you think the rest of Canadian TV is doing with that right now? 
TP: There are a couple of parts to the current climate of diversity onscreen. One is that, yeah, Canadian television is certainly more diverse. I do feel like 25 years ago, though, we had a lot of diversity on television. When we did The Rez, that was an entire Native cast on television, and North of 60 was an entire Native cast on television. It’s been a long time that I’ve been doing this, and it’s the same network, and I guess what I feel that I still have to fight for is, can I get into the room if it’s not a Native character?

So that’s why this job was a huge triumph for me as an ethnic actor—as casting breakdowns say, ‘All ethnicities welcome.’ I am still celebrating every time that I get to go into the room where I get to be the actor with 25 years experience, where I get to represent myself as a woman in the world, where I’m not like a quota checklist. So, that’s why this really stands out. I think I can count on one hand how many times I’ve played a non-ethnic specific role, where it wasn’t in the character breakdown, where it wasn’t a very culturally specific subject matter, and this is one of those opportunities.

It doesn’t mean that I don’t get to represent myself and my community. It just means that I get to be who I am. And that’s just a more realistic picture of who we are, especially as urban Indigenous people. We’re all around. We’re amongst you. 

We got to learn a bit more about Alison in Episode 5 when she was invited to Jenny’s for Thanksgiving. We learned she loves to bake and that she’s having her baby on her own.  Are we going to learn a lot more about her personal life this season?
TP: Yes, we’re going to learn more about her. I like how slowly we are let into her world because I think that that is part of her protection. If you think about her and Jenny, they just met four episodes earlier, and so trust has had to build up in that time, and they certainly have developed a working relationship that has been very respectful and beneficial and supportive, and now we see Alison letting her in a little bit. It’s not that she’s necessarily private, but it seems, for instance, when she meets Sabina [Jeananne Goosen], who is close with Jenny, you just see what happens when Alison feels safe and feels welcome and feels included. She feels very surprised by the [Thanksgiving dinner] invitation. Work is a place of duty and responsibility, she takes her job very seriously, so when it crosses into her personal world, she’s maybe slightly too enthusiastic about it. But I think it’s because she really does have a huge heart, I think it’s very indicative of where she’s at in her life, wanting to have a family of her own, and yet not really having the life that fits the picture that we’re told is the way that we’re meant to make families. And so I really love what happens in Episode 5 where we get to see her in her personal world and why she makes some decisions, and what I love most is the confidence and the courage behind the decisions.

I definitely picked up a romantic vibe between Alison and Sabina, who was very quick to offer her a ride home when she said she wasn’t feeling well. Was I right?
TP: Yes! Its hard for me to talk about, because I know what was shot, and I know what we all knew, but it’s always very different how much is revealed to the viewer and what comes across. But if that did come across, that’s great. Because that’s where it was going.

What can you preview about Episode 6?
TP: We get a lot more time with Alison. There’s still great drama and some crazy mysteries that are happening, but Episode 6 does let us into Alison’s personal relationships. Mostly, we’ve seen Alison in the work mode, and what happens with this mid-season shift into these more personal interactions with everybody—just going into Jenny’s home and seeing the family and work people all intermingling—that is a shift. I think it’s a beautiful move into the deeper level of the interpersonal connections between everyone.

You are also working on the APTN documentary series Future History with your sister, Jennifer. How is that going? 
TP: We just finished Season 2, and Season 1 is on the air right now. We were actually writing Season 2 while we were shooting Coroner, so I had to set up my trailer like a little production office and in between scenes, I would go and work on that. It wasn’t the most fun. It made for a very challenging time, but it’s been one of my favourite and most challenging jobs to write this documentary series. It has been a source of inspiration because I get to find and interview the participants that we feature on the show. Each episode has three what we call Rematriation Warriors, people who are reclaiming their Indigeneity, and through language, through policy, they are shifting the colonial narrative in Canada. So interviewing these people is pretty life-changing, to get the one-on-one experience. These are very difficult people to get on the phone, so I feel very blessed to have been the writer of this show. My sister did take a chance on me by giving me my first television writing gig. Thankfully, I delivered, so she brought me back for Season 2.

Coroner airs Mondays at 9 p.m. on CBC and CBC Gem.

Images courtesy of CBC.

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Comments and queries for the week of February 8

Honestly, so lucky to be able so see such good actors perform at an excellent calibre and performing at their best. Your storyline draws you in to the very end and I appreciate Yannick’s update with his personal output of his ideas which makes me feel Murdoch Mysteries will be here for a whole lot longer. Thanks. —Sal

Living in the U.S.A., there is a large number of Murdochians if you read our posts on Tweeter you will see how everything and everyone associated with the show is loved.  Hoping that the cast and crew don’t get sick of doing the show; it would be a great loss to all. Hope we hear soon that it’s been picked up again; if not I and many others will have something to say. I have all but Season 12’s DVDs so I can view at anytime I want. Thank you for giving us insight into the show and conversations with Yannick. —Gail

Thoroughly enjoying info. Have not seen this weeks episode yet. So far Season 12 has been a credit to the writers and actors; it just gets better if that’s possible. Everything about Murdoch Mysteries is simply the best in every way. —Christine

Great episode! Wonderful storyline, a great script with deep psychological drama of the main characters. The acting game of Yannick Bisson, Hélène Joy, Thomas Craig and Jonny Harris is at the highest level as always! Thank you for the interview with Yannick Bisson; he is very talented. It’s good that Yannick Bisson and Hélène Joy are involved in other projects, but not sure that these projects will be as successful and super popular in different countries as Murdoch Mysteries. This is a unique show in which each new season is more interesting than the previous one. We really hope for the 13th and next seasons with the obligatory participation of our four favourite characters! Thanks to the whole Murdoch Mysteries team! —Lyudmila

 

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

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