It’s hard to overstate Constable George Crabtree’s (Jonny Harris) importance to the success of Murdoch Mysteries. His comic charm, imagination, and genuine moral warmth are at the heart of the show. As such, both the character and the actor deserved a better farewell than Diamonds in the Sand. By rights, this should have been a landmark episode — a momentous, if sad, occasion marking the departure of one of the original stars. Yet it never quite rises to that occasion.

I’ve written before about how difficult it must be for the show’s writers to navigate actors’ availability and other real-life constraints. For years, they’ve had to invent explanations for Crabtree’s prolonged absences, as Jonny Harris has taken time away to film and produce his other series, Still Standing. It’s such an intricate puzzle — and I’m just glad I’m not the one who must piece it together. All this to say, I do understand how Jonny Harris’s hanging up his constable’s hat presented writer Peter Mitchell with two immediate problems: how to write out Crabtree while leaving the door ever so slightly ajar for a future guest turn, and how to do that without also writing out Effie Crabtree (Clare McConnell), whose character is so much more than just Crabtree’s wife.

Deserving More Than Half an Episode

George wanting to go home to Newfoundland to raise a family may be a bit unexpected, but it’s not completely contrary to what we’ve seen in earlier episodes. Neither is Effie’s dilemma. What does seem out of character for George is how he deals with this. From everything we’ve seen before, he would talk to Effie about his wishes and dreams — and he would definitely not utter the chauvinistic words What woman doesn’t want to have children? Has he even met his wife?

Crabtree may be many things, but the strong, silent type he is not. We’ve always seen him come to Murdoch (Yannick Bisson) with his thoughts, ideas, dilemmas, and problems. So why, all of a sudden, he couldn’t think of the words to tell his best friend that he’s leaving — and even try to slip away without saying goodbye — is beyond me, as is the emphasis on Murdoch’s reaction to Crabtree becoming an inspector before him. Brackenreid (Thomas Craig) is right to say: He’s always been your biggest champion, no matter what nonsense you spout.

Much of what’s wrong with the episode can be traced to its A/B story format. Surely the conclusion of Crabtree’s story deserved more than half an episode. I would have much preferred seeing Murdoch, Brackenreid, and Crabtree solve one more case together to the entirely forgettable B-story. Again, I understand that the choice to have two separate stories in two separate locations was probably due to real-life constraints — Yannick Bisson directing this episode means he couldn’t appear in as many scenes; the sets were still being moved at the time of filming; and the writers likely only learned about Jonny Harris’s plans quite late. Still, both George Crabtree and Jonny Harris deserved a better farewell after eighteen years.

Amor Fati

Now, I’m probably being over-critical because I’m just sad to see Crabtree go. And to be fair, much was done well. For one thing, Detective Watts (Daniel Maslany) casually name-dropping Friedrich Nietzsche was no coincidence — like Crabtree, Peter Mitchell is not an uncultured man. In Also sprach Zarathustra, Nietzsche writes about a prophet-like figure named Zarathustra, who preaches that humanity’s goal should be to evolve into the Übermensch — a being who creates their own values and lives courageously and creatively, rather than following old moral or religious rules. He also introduces the idea that you must live as though you would have to relive your life endlessly, exactly the same way, forever. It’s a test: could you affirm life so completely that you would joyfully choose to live it again, eternally? To become the kind of person who can love their fate — amor fati — is the highest ideal. This philosophy gives added weight to George and Effie’s choices. Both ask themselves what might bring them a chance at true happiness — for George, children; for Effie, her career — and they defy the conventions of their time to pursue it.

Effie’s dilemma, in particular, is explored mainly through the excellently written and acted scenes with Violet Hart (Shanice Banton) and Llewellyn Watts. Clare McConnell is tragic and funny at the same time as she tries to drown her sorrows in the Starbright Club — we already know she’s great at playing intoxicated — and both Miss Hart and Detective Watts ask exactly the right questions to bring the problem into sharp focus.

Heart and Humour

Amid all the heartache, there are still glimpses of what makes George Crabtree such a joy to watch. There are several Crabtree-isms: the pillow strapped to his suitcase; his What if gesture, hands pressed to his forehead; Brackenreid’s Oi, Bugalugs; and, of course, Murdoch’s What have you, George?

And it’s not just Crabtree bringing the fun. I loved Murdoch’s tongue sticking out in concentration and his interactions with Watts — especially the moment where Watts tries to breathe through Murdoch’s semi-permeable cellophane, reminding us that even with Crabtree gone, he’ll still have someone to roll his eyes at. Even the B-story had its share of humour, mostly centered around the aptly named Jabber (Matt Baram).

Easily the best parts of the episode are the goodbye scenes. Brackenreid’s gruff wisdom and warmth, Higgins (Lachlan Murdoch) tearing up but still cheeky, Effie lovingly releasing George — I can’t bear the idea of leaving you longing for something that I am never going to give to you — and still managing to be saucy; it’s all done with just the right dose of pathos and heart. And while I still don’t think Crabtree would simply leave without telling Murdoch, their final scene is played beautifully.

Let me end by quoting George and Effie — a farewell that speaks for all of us who will miss Constable George Crabtree and Jonny Harris:

G: We had some incredible times, didn’t we?
E: Time won’t undo those, George. No one will ever replace you.