After the relative bleakness of the previous episode, A Starlet is Born brings a refreshing dose of fun, and who better to take centre stage than Ruth Higgins-Newsome (Siobhan Murphy)? Veteran writer Simon McNabb and first-time Murdoch director Duane Crichton deliver a highly entertaining comedy mystery, underpinned by themes of gender roles, male pride, and the absurdity of fame.

In this episode, Ruth has been discovered as an actress and stars in The Adventures of Agnes, a thinly veiled reference to the 1913 motion picture serial The Adventures of Kathlyn, the first of the cliffhanger serials. Several attempts are made on her life — mimicking chapters from the serial — and Detective Murdoch (Yannick Bisson) is tasked with finding the would-be killer and acting as Ruth’s bodyguard.

Hidden Depth

It’s been years since we last saw Ruth, but Siobhan Murphy’s impeccable comedic timing immediately reminds us why her character is a fan favourite. Ruth may be an entitled airhead, but she always carries a sense of (very well) hidden depth — from her brief stint as a nurse to her involvement in a sting operation and even writing a novel. As Ruth’s husband Henry (Lachlan Murdoch) aptly puts it, she’s accomplished everything she ever set her mind to. Here, she alternates between being a clueless snob (Do you think he’s all right? is vintage Newsome) and saving five people using skills she picked up as a heroine in the motion pictures, as well as being savvy about her ironclad contract and not daring to jump out of a carriage with Murdoch (I don’t actually do my own stunts… Sorry.).

Much like the serials that Ruth Newsome stars in, this playful episode feels like a popcorn flick. Yet, it offers much more beneath its lighthearted surface and can be enjoyed on multiple levels. Simon McNabb’s densely packed script is hilariously funny and at the same time offers commentary on gender roles in early cinema — and I dare say, even today. There’s a wonderfully self-referential aspect to the humour, which explores the absurdities of fame and the darker sides of celebrity culture. Everyone involved in the production of this episode is clearly having a good time, which adds to the audience’s enjoyment.

Male Pride

Serving as the backbone of the narrative, the theme of male pride drives character actions and influences plot development. For one thing, it serves as a motive for murder. Cal Whitman’s (Carlos Gonzalez-Vio) career has stalled and he’s embittered because a woman has become the hero and he is the helpless victim. He feels it’s not a woman’s place to star in the pictures, much less in a role meant for a man. Stuntman Hooter McCoy (Kent Sheridan) doesn’t respect Ruth because she takes all the credit, and he is left to suffer in the worst of all places: obscurity. Henry feels like he’s losing Ruth because she doesn’t need him anymore now that she has become a star, so he resorts to disapproving of her work in the serials and feebly staging a break-in that doesn’t even fool his wife. Even Inspector Choi (Paul Sun-Hyung Lee) seems to feel the need to hide his love for the serials behind bravado and a — hilarious — diatribe about serial cliffhangers being a swindle. Murdoch seems to be the only man secure enough in his masculinity, and in the end, he saves Henry’s pride at the expense of his own. He gives the credit for solving the case to Henry, despite Ruth chewing him out — What kind of a bodyguard goes missing in action at the most important moment? He certainly won’t take credit for the fact that someone was familiar with that stretch of track, knew the schedule of the train and deduced the location of the switch which, when thrown, would send the train off its course. Murdoch remains the unsung hero — who else would know the train schedule by heart?

Clever and Witty

Simon McNabb, who has (co-)written many episodes featuring the Newsomes, demonstrates an intimate understanding of his characters. His script pokes fun at everyone — from the actors to the audience to the writers themselves. The episode is rich with nods to the audience, such as Ruth tiptoeing out of the house and whispering to Henry that she’s going to the hair salon — in the exact same way her brother Roger did in Weekend at Murdoch’s.

Aided by Duane Crichton’s crisp direction and Robert Carli’s wonderful soundtrack, this episode is deliciously self-aware, and clever and witty about filmmaking. It balances absurdity with truth, creating many laugh-out-loud moments. In fact, there are so many funny scenes that I’m inclined to cite them all. I won’t, but among my favourites are the (ahem) French-speaking manager, Murdoch and Ruth in the carriage, Louise Cherry (Bea Santos) thinking she is the piano player in Violet Hart’s (Shanice Banton) metaphor, and the train changing tracks in the nick of time. Oh, and of course, Ruth trying — and failing — to pronounce the word admirers. Finally, as a fan and, apparently, not exactly the keenest spur on the ranch, I loved that this episode shows fans in all shapes and sizes, from closeted Choi to fangirl Violet Hart to the unhealthily obsessed Mr. Quint.

Ultimately, “A Starlet is Born” is a celebration of the show’s ability to blend humour, mystery, and social commentary. It’s a reminder of the show’s knack for balancing the heavy with the light, all while keeping the audience thoroughly entertained. With its engaging plot and delightful character dynamics, this episode is a testament to why fans adore Murdoch Mysteries.