Eden Robinson's trilogy is flipping the script on Indigenous stereotypes in media.
Emmy history made, with not an “Ew, David” in sight.
They all self-isolated in advance so that they could celebrate the night together.
His ode to the iconic Ryan Gosling show was a Canadian heritage minute if we've ever seen one.
A Canadian culture that can't speak to the many variations of Canadianness through its own storytelling really doesn't seem like much of a Canada at all.
This collection of stereotype-defiers, trailblazers, witty geniuses and bad-ass storytellers all have made a lasting mark on the Canadian media landscape.
Plenty of your favourite kids' shows are actually Canadian. Find out which ones in the video above!
The representation problem on Canadian screens is severe, not just in terms of ethnic diversity but also gender. Why are we still slow on the take, emulating what Hollywood does without considering what we should be doing better? Why are we still waiting for someone else to fix our problem?
Any time someone pontificates about Canada, they're going to get it in the neck - from regionalists who get red faced when any region but their own gets a moment in the spotlight, from people who simply feel their agenda isn't being represented. But those decrying the series' omissions are missing its intent.
Two Canadian dramas are aiming to bring a bit of cable edge to mainstream networks. "Pure" is a crime-drama whose premise might sound like a joke: The Mennonite Mob! While "Mary Kills People" is about a doctor who has an illegal side-line helping people commit suicide.
How will Donald Trump's America affect Canadian film and TV shows? OK -- that probably sounds like the weirdest angle on
Kim's Convenience may be breaking ground with its Korean-Canadian focus. But arguably it can still fall into the trap of putting people into "us" and "them" boxes. And, sadly, that too shows how truly universal it is.
I'm going to bang on some more about the recent controversy about the CRTC (the Canadian TV/Radio regulatory body) and its proposal to loosen rules regarding importing talent to work on Canadian productions. I'm re-visiting it because folks in Canadian film/TV are angry and it's worth drawing more of the audience's attention to the matter.
The rules weren't put in place to keep out imported talent -- they were put in place because no one trusted producers to give domestic talent a fair shake. (And history has shown this isn't just paranoia). So why does the CRTC want to change this?
Storytellers often draw upon what they know. You could program an entire cable network with nothing but movies and TV shows self-reflectively set within the world of Hollywood. Yet the Canadian film and TV industry has rarely been explored in Canadian films or TV.
Nielsen, the gold standard in TV ratings, has just made an important discovery about smartphones: All those people walking around staring at their phones are not watching video. At least, not very often or for very long. They aren't streaming much audio either. So if mobile streaming isn't killing TV -- what is?
Is the problem deeper than faceless executives supposedly redacting Canadiansms from scripts? Maybe too many of the writers and actors and directors themselves don't know any better. And they don't care.
There are different ways we define our society: One: the way we genuinely perceive it. Two: the way we want to perceive it (and how we want others to perceive it). Three: the society we want it to become. The Canada I perceive, the values I think it represents -- might not be yours.
Premiering May 26th on Global is a new light-hearted Canadian detective series starring Jason Priestley and Cindy Sampson and called, bluntly enough, Private Eyes. It's a fairly generic light-hearted PI series. And I actually mean that as a compliment!