The short newsletter before a long weekend
Resist the many rabbit holes within
Real talk about the state of housing in Canada by Jen Gerson challenged the government refrain that the affordability crisis is a problem they’re eager to solve. Lately, it’s involved Chrystia Freeland calling the spiralling prices an “intergenerational injustice,” although Pierre Poilievre blames red tape he’s looking to break.
Accentuating the positives
A positive test for COVID-19 is still considered newsworthy when it’s the mayor of Toronto, as the emergence of Omicron XE is now moving into headlines. John Tory spent part of the prior day at the first in-person assembly at any public school amidst the pandemic, in honour of the Day of Pink, but the Toronto board won’t follow Ottawa by reviving mask mandates.
“Let’s liberate the Canadian landscape from the Group of Seven and their nationalist mythmaking.” An opinion piece by Matteo Cimellaro on the CBC’s website didn’t receive much attention until it was linked to on Twitter by the Canada Council for the Arts. Failing to clarify that this wasn’t the council’s own policy may explain why the tweet is now deleted.
Twitter is still a terrible editor
The appointment of a new CEO and president for the Toronto Star came with touting the experiences of Marina Glogovac. It also meant looking at what she’s had to say on social media, some of which clashed with a pandemic narrative furthered by outlets like the Star:
The Kids in the Hall front the expansion of Cancon on Amazon. New trailers were released in green and red as the Toronto troupe returned to their Rivoli club origins to promote May 13 streaming of their new series via Prime Video. Amazon’s wider lineup launch at Massey Hall included announcing a documentary about the Tragically Hip.
Finally, the Cannes of worms
Crimes of the Future is the next body horror film by David Cronenberg, which shares a title with a movie he made in 1970, though this isn’t a remake. Cronenberg mused about retirement in recent years, but now he’s headlining the Cannes Film Festival before a theatrical run. A teaser was unleashed to maximize exposure with the crowd drawn to trigger warnings: