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Murdoch Mysteries; Caleigh Bacchus breaks down “The .38 Murdoch Special”

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[Spoiler alert: Do not continue reading until you have watched “The .38 Murdoch Special.]

Named on of Playback magazine’s 10 to Watch in 2020, Caleigh Bacchus is a new member to the Murdoch Mysteries‘ writer’s room. She, along with Simon McNabb, penned Monday’s instalment, which investigated murder, racism and more.

We spoke to Caleigh Bacchus via email about the key storylines and what fans can expect as Season 14 closes out.

Welcome to the Murdoch Mysteries team! You’re a former track and field athlete. How did you end up working in Canadian television?
Caleigh Bacchus: I’d always been interested in storytelling, but it took me a while to figure out the best medium to do so. It wasn’t until I moved to Toronto that I saw film crews all around the city and I considered screenwriting. So I decided to go back to school for film and it was the best decision that I ever made.

And how did you end up in the Murdoch Mysteries writing room?
CB: I interviewed for MM in 2019, but I didn’t get the job that year. They remembered me the next year (2020) and offered me the script coordinator position.

You previously worked on Diggstown with Floyd Kane. What did you learn from him – about storytelling, the craft of TV or anything else – while working with him?
CB: Diggstown was a great experience and it was where I first learned how to break story and really break down a script. After that I was able to go back and apply what I’d learned to my own work. I also learned from Floyd that it’s important to have some ownership over your projects. To take the risk and invest in your work so that you truly have a stake in it.

How did the idea for the main storyline come about, regarding the opium den? Was it discussed in the room first and then fleshed out? What was the inspiration for it?
CB: We started breaking this story during the summer of 2020 while the BLM protests were happening worldwide and we thought that it was important to join in on that conversation of racial injustice. Upon researching the topic, we discovered the Vancouver anti-Asian race rots of 1907 and the Opium Act of 1908 which was also seen as an anti-Asian law. It was a great opportunity to highlight this bit of history so we decided to focus the story there.

It was interesting to get a little history on opium via Brackenreid, Murdoch and Watts. What was it like researching it?
CB: I didn’t personally know all of the history around the opium laws and anti-Asian sentiments in Canada so the research was both informative and heartbreaking.

What about the history of mayonnaise? I didn’t expect that little tidbit.
CB: While mayonnaise had been around since the 1700s, it wasn’t jarred and sold until 1907. So we thought it would be fun if Murdoch and Ogden tried it for the first time on the show.

How did the writing process work between yourself and Simon McNabb? Did you write first, and then pass it to him?
CB: Writing with Simon was a very smooth process. We would split the writing work 50/50 then put our halves together and then we would each do a round of edits to the entire document.

What was the idea behind not showing Miss Hart’s wedding? Was it just due to the shortened episode order?
CB: We thought it would be in character for Miss Hart to have her wedding without inviting any of her colleagues.

The addition of composer Samuel Coleridge-Taylor as a historical reference was neat.
CB: Yes. A wonderful black historical figure.

Watts going to Ogden, seeking hypnosis as a “cure” was so heartbreaking. What has it been like to follow Watts’ journey this season?
CB: It’s been quite an emotional journey watching Watts’ plight. It’s good to see how far we’ve come as a society but also a reminder that there is work still to be done because, unfortunately, we can still draw too many similarities from Watts’ story and apply them to the issues facing the LGBTQIA today.

Racism has always been a part of Murdoch Mysteries’ storylines, in particular against the Black community. What has it been like telling Black stories like Momo and Nomi’s on Murdoch this season?
CB: I was really glad to be a part of telling this story and portraying some of the issues that the Black community faced and still face to this day through the characters of the world.

I feel like Brackenreid has put himself in danger with his revealing Nomi is his daughter. Should I be concerned?
CB: You’ll have to wait and see :)

There are just two episodes of Murdoch Mysteries left this season. What can you say about them without giving any secrets away?
CB: They’re a whirlwind. Prepare yourself for a lot of jeopardy and some heart wrenching twists.

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

Images courtesy of CBC.

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Murdoch Mysteries

Link: Hélène Joy reveals secrets to ‘Murdoch Mysteries’ success

From Rick Bentley of KGET:

Link: Hélène Joy reveals secrets to ‘Murdoch Mysteries’ success
“We have 10-year-olds who love the show. We have 85-year-olds who love the show. And, everyone in between. If ever there was a demographic in their 20s that we didn’t have, we have them now because we got them when they were 10. So now we have everybody across the boards.” Continue reading.

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Featured, Murdoch Mysteries

Murdoch Mysteries: Christina Ray talks “The Ministry of Virtue”

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[Spoiler alert! Do not continue reading until you have watched “The Ministry of Virtue.”]

Christina Ray is one of two new additions to the Murdoch Mysteries writer’s room for Season 14. No stranger to Canadian television, Ray has penned and/or produced for series like The Collector, The Best Years, The Pinkertons, Blackstone and Tribal. And, on Monday night, she turned in one heck of a script for Murdoch.

Amid a main storyline about arranged marriages was a tragic blow to the Watts/Jack relationship, as well as a major jump forward in Miss Hart’s bond with Arthur Carmichael. We spoke to Christina Ray, via email, about “The Ministry of Virtue.”

Welcome to the Murdoch Mysteries writer’s room! Give me your backstory. I know you’ve written for shows like The Pinkertons, Blackstone and Tribal. How did you end up in writing in the Canadian TV industry?
Christina Ray: A lot of Canadian writers seek their fortunes down in L.A., but I did the opposite. After winning a screenwriting award in Austin, Texas, I married a Canadian and moved here. I have no regrets. I love Canada.

And how did you end up on Murdoch Mysteries?
CR: I’d worked with executive producers Paul Aitken and Peter Mitchell years ago when we were developing a show about Bulgarian vampires. Alas, that show never came to be and the world will forever be deprived of our Bulgarian vampire brilliance. Flash forward 10 years and I get called in to an interview for Murdoch. I was thrilled by the prospect of working with Peter and Paul again, because they are such witty, fun and generous collaborators.

Where did the idea for the main storyline, arranged marriages, come about? Was it inspired by research you did or was it pitched in the virtual room by someone?
CR: Executive producer Simon McNabb had discovered an article published in The Globe and Mail in 1906 about “Salvation Girls,” women who’d been convicted of various offences in England who were offered the chance to start new lives in Canada as servants, wives and mothers. This was an actual program sponsored by the Salvation Army at the time, and we felt the concept of mail order brides was a juicy one to explore as a Murdoch storyline.

Detective Watts has evolved into a complicated character and he does a lot of heavy lifting with story in this episode. What’s it been like writing for him? Daniel is fantastic in the role.
CR: I loved writing the Watts and Jack scenes. The arc of their relationship is especially heart-wrenching in this episode. Watts is wonderful, quirky and complex in a way that is quite lovable. It’s compelling to watch him navigate the difficult reality of a being gay man at a time when his very identity was against the law.

Miss Hart is another interesting character on Murdoch Mysteries. People love, or hate, her. What’s your take on Miss Hart? Is she just misunderstood?
CR: Violet Hart is a sly, feisty survivor. Despite the challenges of being a woman of colour during the turn of the century, she pursues the life she wants, and I admire her moxie. She’s surprising and mysterious. Her personal dynamic is unlike anyone else in the show. She’s definitely polarizing, but I love her character.

Miss Hart and Arthur Carmichael shared a kiss that was not shown on-camera. Was that a reflection of the shock of the time? Was it written in the script that way or was that a decision director Mina Shum made?
CR: You can thank COVID-19 for that! I would have loved to have shown the kiss on screen, but the pandemic affected our creative choices. As one of our many pandemic related precautions this season had a ‘no kissing’ rule! Many other precautions were taken to keep everyone in our cast and crew safe: daily health check questionnaires, temperature checks, location disinfection, mask requirements, etc. Shaftesbury really knocked it out of the ballpark when it comes to finding a way to continue production during this crisis.

Jack Walker’s butcher shop was vandalized and he and Watts broke up. How could you break them up?!
CR: The course of true love never did run smooth, said Shakespeare. The fact the audience cares that we broke them up is exactly why we broke them up! It’s called drama. Hearts and flowers all the time would be dreadfully dull. All I can say is we’re not done with Jack and Watts. Stay tuned for future twists and turns!

What kind of writer are you? Do you prefer a noisy coffee shop (remember those?) or a quiet room? Do you like to play music while you write? What works for you?
CR: I could never work in a noisy coffee shop. I like a quiet room, with as few distractions as possible. I do listen to music, but it can’t have lyrics. No words, just instruments. I need to hear the dialogue that’s going on in my head without interruption. I love all kinds of music, but while I’m writing what works for me is to listen to ambient electronic grooves like Fila Brazilia, Tosca, or Kruder and Dorfmeister.

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

Images courtesy of CBC.

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Frankie Drake Mysteries, Industry News, Murdoch Mysteries, Slasher

AMC Networks and Shaftesbury enter into new strategic partnership, further expanding the global audience for Shaftesbury’s content

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From a media release:

AMC Networks, the entertainment company behind some of the most popular and award-winning brands in television, streaming and film, and award-winning production company Shaftesbury, announced today they have entered into a new strategic partnership. Through its investment in Shaftesbury, AMC Networks will gain access to Shaftesbury’s award-winning slate and expand its content and development capabilities in Canada. Shaftesbury CEO and Chairman Christina Jennings will continue to spearhead the creative focus of the company and lead the day-to-day operational control alongside Executive Vice President, Scott Garvie. Jennings, Garvie and Shaftesbury board member Michael Levine will remain on Shaftesbury’s Board of Directors. They will be joined by two new AMC Networks directors, Harold Gronenthal, EVP of Programming and Marketing for AMC Networks International, and Matt Graham, GM of the AMC Networks-owned Acorn TV streaming service. Shaftesbury and its shareholders were advised on this strategic investment by RBC Capital Markets.

The new partnership will create growth for Shaftesbury’s existing and future slate of content across all genres, creating more opportunities for Canadian creators in front of and behind the camera. The partnership also builds on AMC Networks and Shaftesbury’s existing production relationship. Shaftesbury is the studio behind some of the biggest titles on Acorn TV, including all 14 seasons of Murdoch Mysteries. In addition to Acorn TV, AMC Networks operates the entertainment brands AMC, SundanceTV, BBC America and the fast-growing streaming services AMC+, Shudder, Sundance Now and ALLBLK.

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Featured, Murdoch Mysteries

Murdoch Mysteries: Writer Noelle Girard breaks down “Murdoch Checks in”

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[Spoiler alert! Do not continue reading until you have watched “Murdoch Checks in.”]

“It’s great to see Murdoch and Ogden together in such an informal setting, and just enjoy each other’s company. They work so well together, their skills combine to create a perfect detective team.” That’s what Noelle Girard, writer, and co-producer on Murdoch Mysteries, had to say about Monday’s newest episode. And we totally agree.

“Murdoch Checks In,” written by Girard, saw our favourite couple in the woods and part of a group headed to a lodge for a little getaway. Of course, no time away with these two is ever spent truly relaxing and this was no different. Sadly, the death of art collector Derek Ferdinand meant William and Julia were on the case.

Meanwhile, back in Toronto, Higgins and Crabtree teamed to identify a head buried in a garden allotment and Miss Hart’s relationship with Carmichael moved to the next level.

We had an email chat with Noelle Girard to find out how the episode came together.

Noelle, how has the pandemic affected the way you write? Are you comfortable writing by yourself or do you like the noisiness of a writer’s room?
Noelle Girard: While it’s always been the case at Murdoch that we write the outlines and drafts by ourselves, I did miss going into the writer’s room every day and chatting about the script. We had our notes sessions via Zoom, and while it got the job done, there’s just something about the long, sometimes meandering talks in the room that can point you in a better direction or bring out something you missed while writing alone.

How did the idea for the main storyline of a trek through the woods and murder at the lodge come about? Was it inspired by anything in particular?
NG: We like to have an episode where Ogden and Murdoch get away by themselves, and of course it’s always a busman’s holiday for them as there is always a murder to solve (or two, or three). It’s funny that while Julia does enjoy tramping and sleeping in a tent with Murdoch, this time she’s chosen their getaway, and it’s at a cozy inn.

We also wanted to bring back the character of Derek Ferdinand. That character inspired us to do something a bit different, as we typically have the murder Murdoch is investigating happen in the tease, or early in act one. But with the irascible Mr. Ferdinand, we thought it would be better to spend a bit of time with him before he’s offed.

I really enjoy it when Murdoch and Julia head outdoors. It’s the chance to see them in a new—and sometimes unfamiliar—environment. Do you enjoy that change of setting when you’re writing?
NG: It’s great to see Murdoch and Ogden together in such an informal setting, and just enjoy each other’s company. They work so well together, their skills combine to create a perfect detective team. I also love their more informal outfits, it’s a treat to see what the costume department comes up with.

Professor Leamington is a lot of fun. I laughed out loud when he first spoke of the genus of woodpeckers. Did he come fully-formed on the page or did the actor bring his own ‘foibles’ to the table?
NG: The actors always bring so much to the scripts, of course. We wanted to have a few ‘types’ as suspects, such as the flirty widow and the tweedy professor, to annoy Murdoch and Ogden, and it’s fun to play someone who thinks he knows it all off Murdoch, who actually does know it all. We had a larger cast of suspects planned and had to whittle down the numbers due to pandemic restrictions, but I think it turned out better with a smaller group of characters.

I’m not a fan of gardening, but even I know a human head isn’t supposed to be planted next to my beans. Where did that macabre detail come from?
NG: It was actually stolen from an article I read a year or two ago. A woman in France was furious that her industrious co-worker was making her look lazy by comparison. She killed the woman with a wine bottle, then buried her head in her allotment. Very gruesome. I did get second thoughts halfway through the process, but by then the prop department and the model artist were having too much fun making the head!

It was enjoyable to have Higgins and Crabtree work a case together. Do you relish the opportunity to write for a pairing like theirs and a meatier storyline for them?
NG: I just love the two of them together. I think every script I’ve written for Murdoch Mysteries has at least one daft conversation between those two. Crabtree, of course, is up to the challenge of taking on a murder investigation, and Higgins’s oblivious laziness is on full display.

Higgins is having a hard time staying focused. Clearly, the future baby is having an effect on him.
NG: Doesn’t Higgins always have a hard time staying focused? It doesn’t take a lot to divert his attention. And I have to say I’m so excited that Henny and Ru-Ru are having a baby. I’m sure their parenting will be sweet but absolutely chaotic.

And yet, his interrogation of Miss Irwin was well done.
NG: When we discussed the interrogation scene with Higgins and Crabtree in the early stages, it made us laugh that Higgins would be the one that cracks the suspect and gets the confession. While Higgins isn’t the murdering kind, it makes sense that he could understand her motivations, and sympathize a little bit.

Giving Miss Hart a romantic storyline is a welcome addition to Season 14. Has that evolution of her story come naturally?
Yes, that was planned from our early talks about this season. We wanted to continue our exploration of what makes Hart tick. We’ve seen what she will do to get ahead, how she deals with her past coming to haunt her, and now we wanted to see her clash with a romantic interest. Arthur Carmichael, being so wealthy and cocksure, has more than met his match in Violet Hart.

The theme of racism arose during Miss Hart’s date with Carmichael at the restaurant. What’s it been like writing that storyline, and dealing with racism during this time period?
NG: Hart and Carmichael’s relationship, for me, is all about power, class, and scandal. We were interested in showing the shifting power dynamics in their relationship. Carmichael is attracted to Hart but also attracted to the scandal he is causing by courting a Black woman. Of course, Hart is not one to be trifled with and soon asserts her power, intriguing Carmichael even more. The effects of racism are a part of Hart’s story, as well as her relationship with Carmichael. It’s perhaps at the root of most of their power imbalances, and it will be so interesting to see how Hart shifts all those imbalances throughout the season.

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

Images courtesy of CBC.

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