Tag Archives: Simon McNabb

Production begins on new original drama, Rex – coming to Citytv in 2019

From a media release:

Shaftesbury, Pope Productions, and Citytv announced today that production has begun on new drama series REX (wt). Centred on the partnership between a police detective and his hardworking dog, REX is a procedural drama with a twist. Starring John Reardon (Van Helsing, Continuum), Mayko Nguyen (Killjoys, Fahrenheit 451), and Enrico Colantoni (Bad Blood, Flashpoint), the eight-episode, 60-minute series is based on the long-running, international hit series Rex, a Cop’s Best Friend. Executive produced by Christina JenningsScott Garvie, and Paul Pope, the series has begun shooting in St. John’s, Newfoundlandand will continue through December 2018.

Set in St. John’s, NewfoundlandREX is an action-packed police procedural drama focused on the partnership between a dedicated detective and his extraordinary former K9 dog. Rex and Charlie are a detective team that combine their individual skills to solve the most puzzling crimes. This is the first English-language adaptation of the highly successful European format that has aired in 125 countries around the world for 18 seasons.

Starring John Reardon as Detective Charlie Hudson, Rex’s partner; Mayko Nguyen as chief of forensics Sarah TruongEnrico Colantoni as Superintendent Joseph De Luca; and Diesel (a Canadian Kennel Club Grand Champion) as Rex.

Shaftesbury and Pope Productions Ltd. produces REX in association with Citytv, a division of Rogers Media, and Beta Film GmbH. Beta Film GmbH holds worldwide distribution rights. Produced with the participation of the Newfoundland and Labrador Film Development Corporation, the Ontario Film and Television Tax Credit, the Canadian Film or Video Production Tax Credit and the Rogers Documentary and Cable Network Fund.

REX is executive produced by Christina JenningsScott GarviePaul PopeKen Cuperus, and Avrum Jacobson, followed by Laura Harbin as Supervising Producer, Julie Lacey as Producer, and Lisa Porter as Associate Producer. Friedemann Goez and Oliver Bachert are Executive Producers from Beta Film GmbH. Episodes are written by Showrunners Ken Cuperus, Paul AitkenJohn CallaghanJessie GabeAvrum JacobsonSimon McNabb, and Celeste Parr. Episodes are directed by Felipe RodriguezAlison Reid, and John Vatcher.


Murdoch Mysteries: Simon McNabb on “Crabtree a la Carte” and Violet Hart’s intentions

Spoiler alert! Do not continue reading until you have watched “Crabtree a la Carte.”

Just what is Violet Hart up to? That was my biggest query going into Monday’s new episode of Murdoch Mysteries, especially after fans noted her odd behaviour in and around William. That was just one of many questions I had for Simon McNabb, who wrote “Crabtree a la Carte,” an instalment with plenty of fun thanks to Crabtree and Margaret, a gruesome poisoning and some tense moments between Julia and William.

I need to ask you about Violet Hart. Fans have noted her odd behaviour. She went to Josephine’s grave in “Mary Wept,” and made a comment to William about perhaps one day marrying a detective like him. Should fans be worried? Do we have another Eva Pearce on our hands?
Simon McNabb: [Laughs.] As a fan, I love any character who has a strong point of view and can bring some drama to the table. What kind of drama that might be for Violet Hart, obviously I can’t disclose, but I don’t think anyone should be worried, I think they should be excited.

I’m not sure if ‘excited’ is the right word if it means something bad happens to any of our core characters.
[Laughs.] That’s fair enough. I can’t say anything specific with respect to Violet, but I hope that, like all of our best characters, that even if we have questions about her we come to understand her at the end of the day.

She is certainly diligent. She works through the night to get William the information she needs with respect to the tainted meat.
One of the things that is interesting about her, as a character from our point of view as a writing team, is that she’s really good at her job which everyone on our show is if we’re being honest. Other than on occasion, when Higgins gets lazy. But, as a young woman in a male-dominated profession, what we haven’t really done before is bring in a character who right off the bat says something like, ‘I’m not going to be your assistant forever.’ She is somebody who has ambition from the get-go and isn’t afraid to say what she wants and wants to get out of life.

A reader picked up on Daniel Kash’s character’s name as being Randall Gordon, a take on Gordon Ramsay. I didn’t even twig to that.
Yeah, that was intentional. We’ve done it on occasion in the past as well as a sly reference to contemporary personalities and people we know in the public sphere. We’re always curious about what people will pick up on and we’re happy when people do because it means we’ve built the character strongly enough that there is just a little bit of Gordon Ramsay that comes through in Daniel’s performance.

There is so much buried in an episode of Murdoch Mysteries, from the murder itself to names of characters to props and signs. You really need to watch an episode more than once.
The great thing is we have a bunch of fans who do watch the show more than once. We’re aware of that and are excited, thrilled and quite honoured, frankly, that people like it enough that they revisit it, sometimes the same night that it airs or the very next morning. That’s just amazing that people care about it that much. In the writer’s room, we think about that but also people in all the departments—the crew—really get a kick out of that fact as well. People like Craig Grant in the props department and Bob Sher, our production designer and art director, go that extra mile so that there are those extra details.

Leslie Hope has directed a handful of Murdoch Mysteries episodes. I thought she did a great job capturing the action between Crabtree and Margaret during the Madison Fine Beef Culinary Challenge. What does Leslie bring to the table as a director?
When Leslie read the script [for this episode] during our first meeting about it she told me she had never seen any of these cooking competition shows. It shocked me that anybody could miss this enormous cultural phenomenon. But she got right into it and got very excited about it and watched a whole lot of the shows [as research] and really wanted to bring that aesthetic to the way that she shot the cooking sequences and then they way they cut it together. As a director in general, I think Leslie is someone we all love to work with. She’s been on the show for a couple of years now and she is somebody who, because she has a background in acting herself, the actors really respond to and enjoy working with. She is somebody who brings an energy and a focus to set that gets the crew and everybody excited to be there.

For me, the tainted meat in this storyline reminded me of what happened with Maple Leaf Foods back in 2008.
It’s funny, that’s not a case that we researched for this episode. The case that we had at the top of our minds in terms of the PR strategy and that kind of storyline was the Tylenol case from the 80s, which was not their fault at all but they decided to come out and apologize before they knew what the cause was. It came out that it was actually a lone wolf who tampered with a few bottles. Our view and the general consensus at the time was that it was a brilliant move to take responsibility before they had to and get in front of it because once it came out they had nothing to do with it they came out smelling like roses. So we tried to mirror that up and down scenario with our tainted meat scandal.

On the heels of the happy news that Julia is pregnant came an uncomfortable few scenes between she and William. Of course, that happened in front of Violet. Will there be more moments like this as Julia moves forward?
I hope it’s not all sunshine and lollypops because if it is it gets a little boring. At the same time, I hope the audience likes the direction that the rest of the season goes in. As for their fighting in this episode, it’s the perfect example of something the fans can enjoy and be excited about because, yes there is some friction between them but it comes from a place of love and William wanting to be everything he can for Julia and Julia wanting to be the best expectant mother that she can be.

There are a lot of balls in the air as we get into the last handful of episodes of Season 11. The pregnancy, Higgins and Ruth’s engagement … I can’t imagine every storyline will be wrapped by the season finale. 
I hope there is enough of a sense of closure at the end of the season that people will be satisfied even if there are hanging questions left over. Compared to the end of last season, there will be fewer question marks hanging over the heads of our characters and the audience.

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

Images courtesy of CBC.




Murdoch Mysteries: Simon McNabb discusses Home for the Holidays

Monday’s annual Christmas TV-movie Murdoch Mysteries: Home for the Holidays was unique on a couple of fronts. First, it didn’t feature the entire cast of characters all in one place toasting Christmas and smooching under the mistletoe. Second, it delved into an unlikely main storyline for a holiday episode: the plight of First Nations people. The tale followed William and Julia to Victoria to visit Murdoch’s brother, RCMP officer Jasper Linney (Dylan Neal), and the trio was drawn into a murder connected to an archaeologist (Megan Follows) who has uncovered an ancient Indigenous settlement.

With Home for the Holidays safely nestled into its bed, we spoke to Simon McNabb—who co-wrote the episode with showrunner Peter Mitchell—about all that and more.

Simon, this year’s special was different in tone. Sure, we had snow, holly and the traditional stuff with Higgins and Crabtree back in Toronto, but in Vancouver, with William and Julia, there was the green and the serious Indigenous Peoples storyline. What’s the background on how the A-story came about?
Simon McNabb: I think it came out of a desire to do something a little different. We felt like we’d done two Christmas movies set in the city and had explored so many of the Christmas movie tropes. When we did the first one, we never thought we’d do another one so we used as many possible Christmas movie references, ideas, themes and tropes as we possibly could. And then we had to do another one, so we came up with even more. This time we felt that if we did the same thing over again we would be wearing a little thin. We wanted to do something that was unusual, or at least unusual for us. And, at the same time, there was a desire to travel the show somewhere because we hadn’t filmed outside of Toronto or Southern Ontario since we went to Newfoundland.

And, at the same time, there was a desire to travel the show somewhere because we hadn’t filmed outside of Toronto or Southern Ontario since we went to Newfoundland. There were a couple of options on the table and one of them was British Columbia. Pete Mitchell was immediately attracted to that idea as someone who grew up on Vancouver Island. I’m also from British Columbia so I was excited as well. From there it became a matter of, Well, that means we’re going to do a bit of an evergreen Christmas. It’s going to be different, but we’ll still be able to draw on the fun family aspects of visiting relatives for the holidays. Aside from that, it’s going to be different and depart from the usual Santa Claus and gift-giving kind of theme.

I’m interested in what the fans have to say. I’m sure everyone would be happy with those tropes ever year but creatively it would get stagnant for the writing room.
Yeah, that’s what we felt. And once we decided to go to B.C. and do a storyline that wasn’t snow-covered we quickly realized that there were different stories to tell out there. If we were going to tell a story that had to do with the First Nations community on Vancouver Island it would sort of be impossible or inappropriate or just not right to attempt to tell a story about a Christian holiday and really embrace that. We wanted to tell a story that was a little bit more open and different.

I thought you told the First Nations story respectfully and that was clearly important to you because you brought on Haida/Cree artist Kristi Lane Sinclair served as consulting producer.
Kristi was involved and helped us not only in the story department with notes, research and insight into the history of the Haida and other nations on Vancouver Island but she was also a huge source for props and set decoration in terms of not only research but connections with First Nations artists, craftspeople and crew members on the west coast.

Was she a consultant on the language spoken as well?
Language was one of the parts interesting about it, and certainly one of the most eye-opening for me. One of the reasons we heard about Kristi and she got involved in the project is because she’d been working on a documentary for the CBC that was a behind-the-scenes documentary for a film they were filming in the summer in Haida Gwaii called The Edge of the Knife. That film was produced and directed and acted largely by members of the Haida nation. All of it is in the Haida dialect, which was done very intentionally as a way to document the language of the Haida because it’s been dying out and even fewer speak it. She was very aware of that and was able to connect us with people that could translate the Haida lines of which there were very few because we mostly interacted with members of the Songhees nation. The Songhees nation has even fewer people who speak it but Kristi was again instrumental in connecting us with some of the elders from the Songhees nation, a small handful of which are actually fluent in the language.

Home for the Holidays is a close-ended episode that doesn’t tie to story arcs, but you did bring in recurring characters to take part.
We brought in Ruth Newsome and Nina Bloom which places it a little bit in the chronology of the love lives of Higgins and Crabtree. It’s liberating to write something that isn’t linked to anything else. We allow for five to 10 per cent of the holiday episode to allow our characters to go a wild a little bit and let the spirit of the season overtake them for good or for bad. Let Margaret Brackenreid be a little bit nuttier than she usually would with her greed and then allow for a really sweet moment of redemption for anyone who does go off the rails.

Can you talk about the storyline involving the Ponzi scheme and the Brackenreids?
The Brackenreids always seem to be the heart of a holiday episode because they are the perfect nuclear family with kids whereas none of our other leads have that. It seems like there is always plenty of stuff to do with them at Christmastime. In terms of the investment storyline, that just came out of doing a little research and finding out that Charles Ponzi had landed in North America and on his way to Montreal to start his first little fraudulent cheque scheme. We thought it would be great to do something with him, and then we thought it would be great to have them almost lose the house to him and that it would be a perfect story to do at Christmas.

That’s crazy! Ponzi was in Canada during this time period?
I forget the exact time period. He landed in Boston first, I believe, and then he did go to Montreal. His first sort of criminal activity, as far as anyone knows, was working for a slightly shady bank in Montreal.

It continues to fascinate me how real-life historical figures and storylines can be worked into a storyline. I feel like a Murdoch Mysteries history class should be offered at a college.
[Laughs.] That would be fun. It would be a fun jumping-off point and I think that speaks to what we hope the show does for people in a more casual way. A professor who decided to teach history through the lens of Murdoch Mysteries would hopefully use each historical figure or incident as an opportunity to learn a lot more about it and to make sure they got all the details and facts right as opposed to the odd corner that we cut to make it fit into our episodes. And, hopefully, people who are watching the show and go off on their own and do a little more reading about it and actually understand the history.

Murdoch Mysteries returns with new episodes Monday, Jan. 8, at 8 p.m. on CBC.

Images courtesy of CBC.




Murdoch Mysteries: Simon McNabb on “Merlot Mysteries” and saying goodbye to another character

Spoiler alert! Do not continue reading until you have watched Season 11, Episode 2, of Murdoch Mysteries, entitled “Merlot Mysteries. 

Monday’s newest episode of Murdoch Mysteries had it all: a gruesome murder (poisoning!) right off the top, humour (Murdoch drunk!), sweet CGI (winery swiping!) and … another character departing the series. But, unlike Constable Jackson—who died in a hail of gunfire—Rebecca James (Mouna Traoré) exited the morgue to begin her own practice in Chatham, Ont. In our second Season 11 exclusive interview with the writing staff at Murdoch Mysteries, we discuss the season so far with writer and co-producer Simon McNabb, who co-wrote the episode with showrunner Peter Mitchell.

You’re going to hear it from the fans. That’s two Murdoch Mysteries in two weeks!
Simon McNabb: It’s going to be interesting to see what the fan reaction is. In Episode 1, even though people love Jackson—he has become a fan favourite in the last few seasons and a fan of the writer’s room—there was so much at stake coming into that episode and people had great fears for who and how many lives could be lost that there was a bit of relief mixed with the disappointment that Jackson is gone. In Episode 2, we’re saying goodbye to Rebecca and I think that might blindside some people and they’ll be surprised to see her walk out of the morgue.

Peter told me last week that Mouna Traoré was leaving because of other projects, and the door was left open for her to return.
Absolutely. It’s something that we’ve talked about and whether or not she comes back this season remains to be seen.

Who is the wine expert in the writer’s room?
Both Peter and I are pretty familiar with wine, with regard to drinking it. We are not experts in terms of knowing the varietals and the regions, so some of it was picked up from other writers in the room and some of it was a crash course in documentaries and reading about the history of wine, especially in the region. I think we learned just enough to skate by.

I love the back and forth between Murdoch and Det. Watts [Daniel Maslany]. Having Murdoch not be an expert in something was refreshing and fun, as was having him defer to Watts.
I love watching those two together. When we first came to the idea of introducing a new detective into the show on a part-time basis last season it was always immediately a concern, ‘How can this character be likable and smart and good and his job and still be different from Murdoch?’ Then it became, ‘How do we use these two distinct personalities and let them bump up against each other and complement each other during the course of a murder investigation?’ We thought it would be a great idea to have something that Watts knows more about than Murdoch, a real rarity. As a teetotaler and devout Catholic, wine seemed to be a no-brainer. Of course, Murdoch knows nothing about the history, details and different varieties of wine. Watts is a blank slate and we could do whatever we wanted. So it was great to have Watts be the expert and have Murdoch catch up.

A few fans have put forth the comment that Watts reminds them of Columbo. Was that the intention?
It certainly wasn’t intentional when we conceived of the character. At the same time, I think it’s something that we noticed as we started filming him. I would say the result of the similarity to Columbo is an amalgamation of the choices that were made by all sorts of people. Some of it was in the writing of the character and some of it was the costume department making him a little ragged, which came a little bit out of the writing. It was a choice. We could have made him a scatter-brained person who is dressed to the nines. And, also, a lot of it came from Daniel. I don’t know how familiar Daniel is with Columbo or Peter Falk, he’s so young he may never have seen it.

With Rebecca leaving and going to Chatham, where does that leave Julia and the morgue?
We’ll have to see. Julia can’t be on her own entirely in the morgue. She still has other responsibilities in her life and other interests in her life in the Suffrage Movement and the asylum, which we don’t explore every week but is a part of her life. As writers, when somebody leaves it’s always the opportunity to do something else. And whether that character will be somebody who is ongoing or just somebody who is there for a week or two, we’ll just have to wait and see.


Either the CGI budget is bigger this season or it’s cheaper to do it … Murdoch swiping the winery buildings out of the way to see the lay of the land was very impressive and effective.
I think it’s a combination of effects getting cheaper and a spending a little more money to do something special. We came up with that idea in the writer’s room and knew it would be very effective.

Let’s talk about the additions to the writing room this season in Dan Trotta, Natalia Guled and Noelle Girard. What has it been like having three new folks in the room with you?
All three of them have been fantastic and it’s been really exciting for all of us old hands to work with new people and get some fresh voices in. We loved everybody we were working with before, but there hadn’t been a change in the writer’s room in any way in, I believe, five years or four full seasons. To do, sort of, almost half of the writer’s room stepping aside and half stepping in was different and took some figuring out and feeling out of who everybody was and what they were going to bring to the table, but now at this point in the season we’ve been together for six months and feel like we’ve been working together forever.

Got a comment about Monday’s episode? Let me know in the comments section below.

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

Images courtesy of CBC.




Murdoch Mysteries’ Simon McNabb breaks down “Excitable Chap”

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

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

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

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

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

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

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


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

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

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

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

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

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

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