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Hudson & Rex’s Mary Pedersen talks directing and filming two Season 4 finale endings

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Last month, we got the scoop on Season 5 of Hudson & Rex from Mary Pedersen. The writer and co-executive producer (top left in the image above)—who has done stints on Murdoch Mysteries and Frankie Drake Mysteries—added director to her resumé when she went behind the camera on Sunday’s newest episode.

“The Good Shepherd,” airing Sunday at 8 p.m. Eastern on Citytv, finds Charlie enlisting the help of an unorthodox ally when Rex is accused of attacking a decorated former police officer. With a guest turn by Shaun Majumder, we spoke to Mary Pedersen about her transition to directing. And, she gives us a major behind-the-scenes peek at the decision to put Charlie and Sarah together.

Was directing an episode of Hudson & Rex something you’ve been interested in doing? And did you end up shadowing some directors over the past few seasons to get ready?
Mary Pedersen: I had shadowed [showrunner] Pete [Mitchell]. I don’t remember if it was my last season on Murdoch or the second to last, but I did shadow him on one of the last blocks when he was directing. Pete’s always been such a mentor and a role model to me as a showrunner and I could see how being a director informs his show running. I think it helps him really marry the creative and the practical. We always have to think about both things in film and he’s got a great eye for, ‘What are we going to see of this? What’s going to be on screen and what’s going to be entertaining?’ And I love his directing.

I knew that, as I’m aiming towards trying to show run one day, that I wanted to direct and learn more about making TV from that perspective, so I’d asked. They were generous enough to take a shot at me. I’d never directed anything before, so I’m very grateful for the opportunity for sure.

What was the hardest part of directing?
MP: The hardest thing was the waiting. We started making plans in January or February for who was going to direct the season. I found out then and started prepping, I think, in July. I was very nervous, but also really what a great creative challenge, to have to do something that I haven’t done before and to look at the show in a whole new way.

When you get into the process of prepping for a season, that’s also very familiar because the writer’s going to prep meetings and we’re familiar with that whole process from start to finish. It was just sitting in a different chair during prep.

One of the great things is that having been on the show for a season and a half, I have so much trust in our cast and crew and people would say to me, ‘You’re not going to be able to mess it up.’ I have so much confidence in our director of photography, Ian Vatcher, who has been on the show from the start, and the first AD that I was working with, George Jeffery, so I felt like I had a good safety net and the nerves basically, for the most part, dissipated after Day 1.

MaryPedersen, second from right, on the set of Hudson & Rex

Writing for the page, you have got the picture in your head. When you’re directing, the pictures are evolving in front of you. Did you find that to be a huge, huge difference?
MP: No. I say no because the first script I wrote 20 years ago, I was faced with that shock of the difference between what you imagine when you’re writing it and what it is when they shoot it and that’s been happening to me over and over since then. It’s never what you think it was, but very often it’s better.

Shaun Majumder guests in this episode. What it was working with him?
MP: I mean he is so lovely and he’s so funny and he’s so thorough. He’s got a speech in the episode and he adjusted it to make it more Newfoundland which I really appreciated. I feel like I lucked out so much with him and, really, with all the cast because they are all so professional, so prepared and so delightful.

Unlike Murdoch Mysteries, where William and Julia’s relationship was dragged out, you didn’t really wait with Charlie and Sarah. They are together. Were you happy with that decision? You can either answer that as a writer and executive producer or as a television fan.
MP: We actually shot two endings for last season. And then it was decided a bit later [which ending to use]. That was because of that exact question, ‘Are you going to want to draw the will they, won’t they out for longer?’

I love a will they, won’t they. I will stick with the show forever for that. I love it, but I also love Sarah and Charlie together. We thought, ‘We can do it.’ They have such great chemistry and I felt like that’s really a challenge for the writers to keep it interesting. What’s it going to be like while they’re together? I’m hoping that we’ve done that.

Hudson & Rex airs Sundays at 8 p.m. ET/PT on Citytv.

Images courtesy of Shaftesbury.

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Hudson & Rex’s Mary Pedersen talks Season 5

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Mary Pedersen and I go way back. We first connected when she was a story editor on Murdoch Mysteries. After five seasons as a writer on Murdoch, Pedersen moved to Frankie Drake Mysteries where she was a writer and co-executive producer. These days, the Canadian Screen Award nominee can be found writing, co-executive producing (and directing her first-ever episode of TV) on Hudson & Rex.

Returning for Season 5 on Sunday at 8 p.m. ET/PT on Citytv, Hudson & Rex has become not only a Canadian hit but an international one too. The tale of St. John’s Detective Charlie Hudson (John Reardon) and his capable canine partner Rex (Diesel vom Burgimwald) have resonated since it was adapted from the original German series.

In the season debut, “Lost in the Barrens,” Charlie, Rex, Dr. Sarah Truong (Mayko Nguyen), tech expert Jesse Mills (Justin Kelly), Superintendent Joe Donovan (Kevin Hanchard) and new forensic pathologist Karma Poole (Bridget Wareham) are on the case of a missing woman, and suspicion quickly falls on her boyfriend (played by Murdoch‘s Daniel Maslany).

We spoke to Mary Pedersen ahead of Sunday’s return.

We have a lot to talk about! One of the great things about Hudson & Rex is that you know you’re going to get a solid hour of entertainment.
Mary Pedersen: Yes, and for all those dog lovers out there, there’s dog action. Anytime I see the dog on screen, I’m happy. So I’m one of those people.

Is there a major difference in writing for a TV series set in the modern day as opposed to a period drama like Murdoch Mysteries or Frankie Drake Mysteries or is story just story?
MP: Story is story. [Co-executive producer and writer] Keri Ferencz and I both came from Frankie onto Hudson & Rex and the main thing we noticed that we were delighted about was, ‘Ooh, cell phone calls, ooh, Internet!’ You can get your clues from a different place and sometimes it speeds up the action a little bit so that people can make calls and things like that.

And [showrunner] Peter Mitchell wanted to try to show more police procedural than mystery, so that also was an adjustment for us. But I’m constantly harassing the writing room with my love of NYPD Blue, so it appeals to me, and that’s been really fun.

It’s still a mystery. We’re still often meeting all our suspects pretty early on in the story. It’s a bit of a tweak mentally in terms of more of the action and discovery feels like it’s happening in the present, as opposed to we’re unravelling something in the past. There’s also the focus on how our cops figure out what they figure out, which is also true in Murdoch Mysteries. William Murdoch has a very specific way of solving crimes and of course, Charlie has a specific way of solving crimes with his trusty dog.

When you’re writing a script and you’re referring to something that Rex is going to do, do you write, ‘Rex looks this way,’ or ‘Rex whimpers’?
MP: We always feel his presence and all the directors on the show, most of our directors have been on the show before and they’ll know that you want to find Rex action as much as you can in every scene that he’s in, even if it is a matter of listening and reacting to the conversations that are happening.

So yes, we write it in to make sure we always feel his presence and that we, as writers, are thinking about him, [executive producer and dog master] Sherri Davis, and all of our cast. Our cast elevates what’s on the page and Sherri does the same thing. So she’s also so in tune with the dogs and knows what they can do and she will often look at the action we’ve written and suggest, ‘Oh, if we do it this way, that’ll be more exciting,’ or ‘This is something that we haven’t done on the show before and why don’t we?’ I think she also loves the stunt work as well as working with the dogs, so she’ll really elevate a lot of the Rex action as well.

What a place to be filming. The Murdoch Mysteries backlot is cool and everything, but man, St. John’s, Newfoundland, you can’t beat that.
MP: I first went out there, a year ago in May for Season 4 and I had never been before. I am from Nova Scotia, but I’d never been to Newfoundland before and it is just spectacular. Even now when I go, you can’t look anywhere that’s not gorgeous.

I love it a lot and I’m really glad that we’re getting more and more of St. John’s and the landscape around it onto the show. I think that’s just such a wonderful world and I love that we can put it on the show.

In addition to the key cast of characters we’ve gotten to know over four seasons, we’ve got the new addition of Bridget Wareham playing forensic pathologist Karma Poole.
MP: One of the main motivations for me, when we were talking at the beginning of the season about possibly bringing on another regular, semi-regular, was that Sarah—we saw this last season in one of the episodes, she goes on a retreat with some other professionals—and it really sort of drove home to both Mayko and I that Sarah doesn’t really get to talk to other women a whole lot. That was a big thing, to have somebody that Sarah could talk to besides the boys. She obviously fits in very well with the boys, but female relationships are really important in life, so that was a big part of the motivation for me in terms of getting another character onto our regular roster.

Hudson & Rex continues to welcome a whos who of Canadian talent to its episodes. Daniel Maslany kicks it off in Episode 1, but people stopping by include Paul Bronstein, Jake Epstein, Stuart Hughes, Matthew MacFadzean, Mary Walsh, K. Trevor Wilson, Steven Lund and Carlo Rota… how fun is it to write for guests of this calibre
MP: We’re so lucky. I think people love to come to Newfoundland. People have just been really game to come out and play with us.

This is the third show that you’ve worked on that is not only a critical hit, but also done very well internationally. Obviously, as a professional writer, you’re happy to have a gig, but do you ever sit back and pinch yourself?
MP: Every day. So much credit to Shaftesbury for making that happen and for making shows that appeal to so many people and Pete. Pete’s always, always, always had an eye on what is going to be entertaining. You don’t get a story past Pete if he thinks something is boring about it or too earnest. It’s all about having fun and entertaining people and yeah, I feel incredibly lucky to have stepped onto that boat.

Hudson & Rex airs Sundays at 8 p.m. ET/PT on Citytv.

Images courtesy of Shaftesbury.

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Murdoch Mysteries: Mary Pedersen breaks down “Operation: Murder”

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Murdoch Mysteries showrunner Peter Mitchell promised several Season 12 episodes would focus on other members of the series. He wasn’t kidding. Monday’s latest, “Operation: Murder,” saw Julia step into the spotlight as she investigated a series of deaths at the University of Toronto’s School of Medicine.

Meanwhile, George was smitten by a young Florence Nightingale Graham (Kathryn Alexandre) before she left town in favour of a career in New York City. As for William? Well, his latest creation seemed intent on gobbling him up. We spoke to the writer of “Operation: Murder,” Mary Pedersen, all about what went on inside and outside Station No. 4.

I had no idea Florence Nightingale Graham was Canadian. How did she come up in the Murdoch Mysteries research?
Mary Pedersen: Every season we like to feature real historical figures, so we’re always keeping an eye on what important Canadians were doing around our time, and what famous international people might have been in Toronto then. Elizabeth Arden was on that list, and since she had actually attended nursing school in Toronto, it happened to dovetail nicely with the idea of a mystery set at the hospital where Ogden is completing her training to be a surgeon.

Were there other facts about Florence/Elizabeth that didn’t make it into the episode?
MP: What I find really fascinating about her is that she was the daughter of immigrants in small-town Ontario, her mother died when she was in her teens, and she went to nursing school to help support her family. So for her to go to New York City and go on to build her own cosmetics empire—really one of the first such businesses, with her name on the products—strikes me as a story of such bravery and determination. I would love to have been able to get into more of that, but of course we’re dealing with just a small moment in her life, really before she knew what she would become. I hope we were able to depict a little bit of what was to come through George’s enthusiasm for her dreams. He has a special skill for giving talented women a nudge in the right direction and I love that about him.

Peter told me that other characters would get more screen time this season. That started tonight with Julia doing the investigating. How refreshing was it for you to write a mystery where William took more of a back seat?
MP: I’ll tell you, I loved it. I got a little cocky writing the first draft; I was telling everyone I could totally write a medical drama if I had to! That’s from years of being a devoted fan of ER and Grey’s Anatomy. Of course, you wouldn’t actually want me doing a tracheotomy! Luckily, I have friends and family in health care who coached me through the medical stuff, and we have a terrific consultant to make the medical stuff look and sound good. So that was fun, to bring us into a different world, get to know Julia’s new workplace and the people there, and make her the primary detective on the case. I’ve always appreciated that Murdoch Mysteries has that latitude to make room for the actors to do what they do best, to explore different worlds and tones, and we hope that quality will help keep things fresh in Season 12 and beyond!

Yet another woman enters George’s life ever so briefly. Will he ever find love?
MP: He really comes up against his essential problem in this episode, doesn’t he? He loves ambitious, complicated women. He’s such a special character and I think he deserves someone who’s one in a million like him. But if he finds his true match, will she accept that he’s ‘just’ a constable, and will she want the same life that he does?

I was so glad to see the incredible set for William and Julia’s house has stuck around for another episode. Is it as impressive in person as it is on-screen?
MP: It is. Bob Sher and the art department did such an amazing job on it, really making it feel like a home that expresses who Murdoch and Ogden are. It’s become my favourite set to visit, and it’s much cozier than the morgue, so there have been a few times this season when I’ve snuck down and put my feet up on one of those built-in sofas to read a script. And there have been a few more great scenes shot in the house already this year.

Next week Higgins and Ruth are scheduled to marry. [Preview picture above.] What can fans expect from the episode?
MP: The Newsome family episode has become really one of the highlights of every season for the writers, and you can imagine that with a wedding, the extended Newsome family coming to stay, Ruth determined to find George a girlfriend, and of course a murderer on the loose, that Murdoch, Brackenreid, Crabtree and Higgins will really have their hands full next week.

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

Images courtesy of CBC.

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

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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

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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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