Buttigieg bread truther movement crumbles
Discover more from Twelve Thirty Six
Confirmation arrived of Pete Buttigieg’s six-month McKinsey & Co. consulting stint with Loblaws, where the U.S. presidential candidate built an analysis of how to cut prices while boosting the bottom line. This led to even more suspicion of what exactly the job entailed, but Mayor Pete’s campaign claims it didn’t involve fixing bread prices.
The face of staying in place
The Conservative leader wants credit for digging deeper into the China crisis, but the minority Liberals still survived their first confidence vote in the House of Commons. Knives remain out for Andrew Scheer, as the Conservative Victory brigade started advertising on Facebook, although a rival Stand with Scheer campaign has launched.
Wattpad chose Halifax due to the wrath of Wexit. The user-generated fiction platform, based in Toronto, requested proposals for its second HQ earlier this year. The Logic learned that tax credit cuts were a factor in not choosing Calgary, but so was the Wexit separatist movement. (Alberta politicians will now have to fight about it without Wattpad.)
Weed war in Kensington Market
The storefront at 241 Augusta Avenue is accustomed to controversy: from protests for President’s Choice products, to a stand-off between cousins named Zimmerman, to an “art maze” idea to foreshadow a big bar that never opened. Now the window has a notice inviting comment on its next proposed tenant, a Toronto flagship for One Plant:
Citytv is really utilizing the rights to one sitcom. Mom, the Chuck Lorre-produced show, which airs nightly from 7 to 8 p.m. on the Rogers-owned network, will get seven additional airings a week as part of a wan winter schedule. Needless to say, Rogers is investing far more in its new telecom retail store, across the street from Citytv Toronto.
“Ooh, I hear it likes the girls”
Ghostbusters: Afterlife, the Jason Reitman-directed sequel to the two movies made by his father, Ivan, wrapped shooting in Calgary. And it now has a trailer, as the film assumes its position as the future of the culture wars. Reitman calls it “a love letter” to the original. Richard Dreyfuss’s son has a different take:
