#Anne with an E CBC

[hug-kiss-marry-kill]

[julymoonx]

CBC has whitewashed Israel’s crimes in Gaza. I saw it first hand

By Molly Schumann | May 16 2024

Working for five years as a producer at the public broadcaster, I witnessed the double standards and discrimination in its coverage of Palestine-and experienced directly how CBC disciplines those who speak out

The executive producer peered at me with concern. It was November 16, 2023 and I had been called into a virtual meeting at CBC. I was approaching my sixth year with the public broadcaster, where I worked as a producer in television and radio.

He said he could tell I was "passionate" about what was happening in Gaza. His job, he told me, was to ensure my passion wasn't making me biased. He said I hadn't "crossed the line" yet, but that I had to be careful. The conversation ended with him suggesting that I might want to go on mental health leave.

I declined. My mind was fine. I could see clearly what was happening.

Earlier that day, I had spoken out in a meeting with my team at CBC News Network-the broadcaster's 24 hour television news channel. It was six weeks into Israel's siege and bombardment of the Gaza Strip, which had, at the time, killed over 11,000 Palestinians, the majority of them women and children.

Legal experts were already suggesting that what was taking place could be a "potential genocide" with an Israeli Holocaust scholar calling it "a textbook case."

I expressed concern to my team about the frequency of Palestinian guests getting cancelled, the scrutiny brought to bear on their statements, and the pattern of double standards in our coverage. After this, I pitched a reasonable and balanced interview: two genocide scholars with opposing views discussing whether Israel's actions and rhetoric fit the legal definition of the crime.

Senior colleagues sounded panicked. My executive producer replied that we had to be "careful not to put hosts in a difficult position. They wanted time to consult with higher-ups before making a decision. A few hours later, I was sitting across from the same executive, being warned about "crossing the line.”

The following afternoon, I showed up for what was supposed to be a typical meeting to go over the interviews we had lined up for the coming days-but some unusual guests were present. In addition to my co-workers, the faces of my executive producer and his higher-ups appeared on Google Meet.

The managers were there to talk about my pitch. They said they weren't vetoing it-they weren't meant to even make editorial decisions-but suggested our show wasn't the best venue. I pointed out that the network was deemed a suitable place for interviews with guests who characterized Russia's war on Ukraine and China's oppression of the Uighurs as instances of genocide. The managers looked uncomfortable. I was reassigned to work on a panel with two guests calling on the West to support regime change in Moscow and Tehran.(Ever since these unusual meetings had started, I was recording them for my protection.)

—

But that wasn't the end of the blowback.

The next week, late on a Friday afternoon, I received an email from the same two managers who had poured cold water on my pitch. They needed to speak to me urgently. Over the phone, I was asked to keep the conversation secret.

They told me I had hurt the feelings of some of my co-workers. But it was more than just hurt feelings: someone was accusing me of antisemitism.

I had, it appeared, "crossed the line."

Trying to work your way up to a permanent position at Canada's public broadcaster requires knowing the sort of stories, angles and guests that are acceptable-and which are out of bounds. As a precarious "casual" employee-a class of worker that makes up over a quarter of CBC's workforce-it hadn't taken me long to realize that the subject of Israel-Palestine was to be avoided wherever possible. When it was covered, it was tacitly expected to be framed in such a way as to obscure history and sanitize contemporary reality.

After October 7, it was no longer possible for the corporation to continue avoiding it. But because CBC had never properly contextualized the world's longest active military occupation in the lead-up to that atrocity, it was ill-equipped to report on what happened next.

The CBC would spend the following months whitewashing the horrors that Israel would visit on Palestinians in Gaza. In the days after Israel began its bombing campaign, this was already evident: while virtually no scrutiny was applied to Israeli officials and experts, an unprecedented level of suspicion was being brought to bear on the family members of those trapped in Gaza.

My job required me to vet the work of associate producers and to oversee interviews, so I was well-positioned to see the double standards up close.

At first, out of concern that it would jeopardize my chances of landing a staff job that I had recently applied for, I only voiced mild pushback. But as the death toll mounted, my career started to seem less important. If journalists in Gaza were sacrificing their lives to tell the truth, I should at least be prepared to take some risks.

Besides, I naively told myself, it would be easier for me to dissent than most of my colleagues. I am of mixed Jewish heritage, having been raised by a father who fled the Holocaust as a young child and dealt with the life-long trauma and guilt of surviving while his family members were murdered by the Nazis. It would be more challenging, I believed, for cynical actors to wield false accusations of antisemitism against me.

I turned out to be wrong.

The Palestine exception at CBC

In the run-up to Oct. 7, a senior colleague said that if we were lucky, "the news gods would shine on us" and put an end to a stretch of "slow news" days. Waking up on that fateful Saturday to multiple alerts on my phone, I knew that both the world and my professional life were about to dramatically change.

Even before Oct. 2023, trying to persuade senior CBC colleagues to report accurately on Palestinians was a struggle. Here are some of the TV interview ideas that a colleague and I pitched but had turned down: Human Rights Watch's 2021 report designating Israel an apartheid state; the Sheikh Jarrah evictions in the same year; Israel assassinating Palestinian-American journalist Shireen Abu Akleh in 2022; and the Israeli bombing of the Jenin refugee camp in July 2023.

The last of these ideas was initially greenlit but was later cancelled because a senior producer was concerned that the host would have too much on her plate. Around this time, I also pitched someone from the Israeli human rights organization B'Tselem to talk about the potential impact of widely-protested judicial reforms on Palestinians-but this was nixed for fear of complaints. These would become familiar excuses.

After October 7, I dreaded going into work: every shift, the impact of the biases went into overdrive. Even at this early stage, Israeli officials were making genocidal statements that were ignored in our coverage. On October 9, Defence Minister Yoav Gallant said, "I have ordered a complete siege on the Gaza Strip. There will be no electricity, no food, no fuel; everything is closed. We are fighting human animals and we act accordingly.” Even after this comment, my executive producer was still quibbling over uses in our scripts of the word "besieged" or references to the "plight of Palestinians."

On October 20, I suggested having Hammam Farah, a Palestinian-Canadian psychotherapist, back on the network. In an earlier interview he had told us that his family were sheltering in Saint Porphyrius Greek Orthodox church in Gaza City. The following week, I learned from social media that his step-cousin had been killed in an Israeli airstrike on the 12th-century building. My executive producer responded to my pitch via instant message: "Yeah, if he's willing. We also may have to potentially say we can't verify these things though-unless we can.”

I was stunned. Never in my nearly 6 years at CBC had I ever been expected to verify the death of someone close to a guest, or to put a disclaimer in an interview that we couldn't fact-check such claims. That's not a standard that producers had been expected to uphold-except, apparently, for Palestinians.

Besides, even at that early stage, civil society had completely broken down in Gaza. I couldn't just call up the health authority or courthouse to ask that they email over a death certificate. I already had Farah's relative's full name and had found a Facebook profile matching a commemorative photo he had posted on Instagram. This was already more verification than I had done for Israeli interviewees who had loved ones killed on October 7. A few days later, a different program on the network aired an interview with the guest using passive language in the headline: "Toronto man says relative was killed in airstrike that hit Gaza."

I was being forced to walk a tightrope, trying to retain some journalistic integrity while keeping my career intact.

In early November, I was asked to oversee production of an interview with a former US official now working for the Washington Institute for Near East Policy, a pro-Israel think tank.

During the interview, he was allowed to repeat a number of verifiably false claims live on air-including that Hamas fighters had decapitated babies on October 7 and that Gazan civilians could avoid being bombed if only they listened to the Israeli military and headed south. This was after civilian convoys fleeing southward via "safe routes" had been bombed by the Israeli military before the eyes of the world.

As soon as I heard this second falsehood, I messaged my team suggesting that the host push back-but received no response. Afterwards, the host said she had let the comment slide because time was limited, even though she could have taken the time from a less consequential story later on in the program.

The majority of Palestinian guests I spoke to during the first six weeks of Israel'c accault on Gaza all said the same thing: they wanted to do live interviews to avoid the risk of their words being edited or their interview not being aired. These were well-founded concerns.

Never before in my career had so many interviews been cancelled due to fear of what guests might say. Nor had there ever been direction from senior colleagues to push a certain group of people to do pre-taped interviews. (CBC told The Breach it "categorically rejects" the claim that interviews were "routinely cancelled".)

On another occasion in November, a Palestinian-Canadian woman in London, Ontario named Reem Sultan, who had family trapped in the Strip, was scheduled for one such pre-taped interview. Because of her frustration over previous interviews that she had given and coverage of her family's situation being "diluted”, she asked if she could go live instead.

When I asked the senior producer, he looked uneasy and said the interview should be cancelled, citing that the guest had already been on the network that week. I agreed that it would be preferable to interview a new Palestinian voice and said I had contact information for a number of alternative guests. However, after cancelling the interview with Sultan, the senior producer informed me that he didn't want another guest after all.

Editing out ‘genocide’

Most shows on the network seemed to avoid airing any mention of "genocide" in the context of Gaza.

On November 10, my senior producer pushed to cancel an interview I had set up with a Palestinian-Canadian entrepreneur, Khaled Al Sabawi. According to his "pre-interview"—a conversation that typically happens before the broadcastable interview-50 of his relatives had been killed by Israeli soldiers.

The part of the transcript that concerned the senior producer was Al Sabawi's claim that Netanyahu's government had "publicly disclosed its intent to commit genocide." He also took issue with the guest's references to a "documented history of racism" and "apartheid" under Israeli occupation, as well as his suggestion that the Canadian government was complicit in the murder of Gazan civilians.

The senior producer raised his concerns via email to the executive producer, who then cced one of the higher-up managers. The executive producer replied that it "sound[ed] like [his statement was] beyond opinion and factually incorrect." The executive manager's higher up chimed in, saying she thought the interview would be "too risky as a pre-tape or live [interview]."

Despite the guest's position aligning with many UN experts and Western human rights organizations, the interview was cancelled. (CBC told The Breach "the guest turned down our offer of a pre-taped interview,” but Al Sabawi had said to the producers from the start that he would only do a live interview.)

—

In another instance, a Palestinian-Canadian guest named Samah Al Sabbagh, whose elderly father was then trapped in Gaza, had part of her pre-taped interview edited out before it went to air. She had used the word "genocide" and talked about the deliberate starvation of Palestinians in Gaza. The senior producer told me the edit was because of time constraints. But that producer and the host were overheard agreeing that the guest's unedited words were too controversial. (CBC told The Breach it "has not 'cancelled' interviews with Palestinians because they reference genocide and apartheid.")

By November 2023, it was getting harder to ignore the brazen rhetoric coming from senior Israeli officials and the rate of civilian death, which had few precedents in the 21st century. But you wouldn't have heard about these things on our shows, despite a number of producers' best efforts. (By early 2024, the International Court of Justice's hearings-and later its ruling that Israel refrain from actions that could "plausibly constitute" genocide-forcibly changed the discussion, and the word "genocide" finally made some appearances on CBC.)

But back in late October, I booked an interview with Adel Iskandar, Associate Professor of Global Communication at Simon Fraser University, to talk about language and propaganda from Israeli and Hamas officials. The host filling in that day was afraid of complaints, was concerned about the guest wanting to be interviewed live, and judged him to be biased. Yet again an interview was cancelled.

A secret blacklist?

One Saturday in mid-October, I arrived at work shortly after the airing of an interview with the prominent Palestinian-Canadian lawyer and former spokesperson for the Palestine Liberation Organization, Diana Buttu.

There had been a commotion, I was told. A producer from The National-the CBC's flagship nightly news and current affairs program-had apparently stormed into the newsroom during the interview saying that Buttu was on a list of banned Palestinian guests and that we weren't supposed to book her.

I heard from multiple colleagues that the alleged list of banned Palestinian guests wasn't official. Rather, a number of pro-Israel producers were rumoured to have drawn up their own list of guests to avoid.

Later, I was told by the producer of the interview that, after the broadcast, Buttu's details had mysteriously vanished from a shared CBC database. By then, I had also discovered that the name and contact details for the Palestinian Ambassador Mona Abuamara, who had previously been interviewed, had likewise been removed.

It didn't seem coincidental that both guests were articulate defenders of Palestinian rights.

While producers distressed by the CBC's coverage of Gaza were speaking in whispers, pro-Israeli colleagues felt comfortable making dehumanizing comments about Palestinians in the newsroom.

In one case, I heard an associate producer speak disparagingly about a guest's decision to wear a keffiyeh for an interview before commenting that "[the host] knows how to handle these people." This guest had dozens of family members killed by the Israeli military in Gaza.

It seemed the only Palestinian guest CBC was interested in interviewing was the sad, docile Palestinian who talked about their suffering without offering any analysis or solutions to end it. What they did not want was an angry Palestinian full of righteous indignation towards governments complicit in their family's displacement and murder.

At this stage, I was starting to feel nauseous at work. And then one Saturday night, that sickness turned into anger.

I had been asked to finish production on a pre-taped interview with a"constructive dialogue" researcher on incidents of campus hostilities over the war and how to bring people together-the sort of interview CBC loves, as it's a way to be seen covering the story without actually talking about what's happening in Gaza.

I carried out the task in good faith, writing an introduction leading with an example of antisemitism and then another of anti-Palestinian hate, taking care to be "balanced" in my approach. But my senior producer proceeded to remove the example of anti-Palestinian hate, replacing it with a wishy-washing "both sides" example, while leaving the specific serious incident of antisemitism intact. He also edited my wording to suggest that pro-Palestinian protesters on Canadian campuses were on the "side" of Hamas.

I overheard the host thank the senior producer for the edits, on the basis that incidents of antisemitism were supposedly worse. While the introduction of these biases into my script was relatively minor compared to some other double standards I witnessed, it was a tipping point.

I challenged the senior on why he had made my script journalistically worse. He made up a bad excuse. I told him I couldn't do this anymore and walked out of the newsroom, crying.

Truth-telling about CBC

That evening at home, the nausea and the anger dissolved, and for the first time in six weeks I felt a sense of peace. I knew it was untenable to stay at CBC.

At a team meeting the following week, in mid-November, I said the things I had wanted to say since the start of Israel’s assault on Gaza.

I prefaced the conversation by saying how much I loved my team and considered some coworkers friends. I said the problems weren't unique to our team but across the CBC.

But the frequency of Palestinian guests getting cancelled, the pressure to pre-tape this one particular group, in addition to the unprecedented level of scrutiny being placed on them, demonstrated a pattern of double standards. I said there seemed to be an unspoken rule around words like "genocide."

I pointed out that Arab and Muslim coworkers, especially those who were precariously employed, were scared of raising concerns, and that I and others had heard dehumanizing comments about Palestinians in the newsroom. (The CBC told The Breach that there "have been no specific reports of anti-Palestinian and Islamophobic comments in the newsroom for managers to respond to or follow up".)

I said that two decades since the US-led invasion of Iraq, it was widely-acknowledged that the media had failed to do their jobs to interrogate the lies used to justify a war and occupation that killed one million Iraqis-and that as journalists we had a special responsibility to tell the truth, even if it was uncomfortable.

A couple of coworkers raised similar concerns. Others rolled their eyes. (CBC told The Breach that it doesn't recall there was anyone else who raised concerns in the meeting, but audio recordings show otherwise.)

The question of why there was nervousness around this issue came up. I said one reason why we were adverse to allowing Palestinian guests to use the "G-word" was because of the complaint campaigns of right-wing lobby groups like HonestReporting Canada.

Indeed, in just 6 weeks, there were already 19 separate instances of HonestReporting going after CBC journalists, including a host on our team. HonestReporting had also claimed responsibility for the firing at two other outlets of two Palestinian journalists, one of whom was on maternity leave at the time.

All this had a chilling effect. Hosts and senior colleagues would frequently cite the threat of complaints as a reason not to cover Israel-Palestine. During my time there, a senior writer was even called into management meetings to discuss her supposed biases after a HonestReporting campaign targeted her. Her contract was cut short.

This policing of media workers' output reinforced existing institutional tendencies that ensured CBC rarely deviated from the narrow spectrum of "legitimate" opinions represented by Canada's existing political class.

Certain CBC shows seemed to be more biased than others. The National was particularly bad: the network's primetime show featured 42 per cent more Israeli voices than Palestinian in its first month of coverage after the Oct. 7 Hamas attack, according to a survey by The Breach.

Although some podcasts and radio programs seemed to cover the war on Gaza in a more nuanced way, the problem of anti-Palestinian bias in language was pervasive across all platforms.

According to an investigation in The Breach, CBC even admitted to this disparity, arguing that only the killing of Israelis merited the term "murderous" or "brutal" since the killing of Palestinians happens "remotely.' Images of children being flattened to death in between floors of an apartment building and reports of premature babies left to starve in incubators suggested otherwise.

—

I spoke to many like-minded colleagues to see if there was any action we could all take to push back on the tenor of our coverage, but understandably others were reluctant to act-even collectively-out of fear doing so would endanger their jobs. Some of those colleagues would have loved to have walked out, but financial responsibilities stopped them.

There had been previous attempts at CBC to improve the public broadcaster's coverage of Israel-Palestine. In 2021, hundreds of Canadian journalists signed an open letter calling out biases in the mainstream media's treatment of the subject.

A number of CBC workers who signed the letter were hauled into meetings and told they either weren't allowed to cover the subject or would have any future work on the issue vetted. A work friend later regretted signing the letter because she got the sense that she had been branded as biased, leading to her pitches on Palestine being more readily dismissed.

Smeared as antisemitic

In mid-November, after laying out my concerns to my colleagues, the regular weekly pitch meeting took place. It was then that I pitched the two genocide scholars, before having to attend that virtual meeting with my executive producer-where he suggested I go on mental health leave-and yet another meeting with two managers who raised concerns over my pitch the next day. But the most unpleasant meeting with management was about to come.

A week later, I was accused of antisemitism on the basis of something I didn't even say. According to a manager, someone had accused me of claiming that "the elephant in the room [was] the rich Jewish lobby." (CBC told The Breach that "employees expressed concerns" that what she said was "discriminatory".)

The accusation was deeply painful because of my Jewish heritage and how my dad's life-and, as a consequence, my own-was profoundly damaged by antisemitism. But I also knew I could prove that it was baseless: I had recorded what I said, anxious that someone might twist my words to use them against me.

What I had actually said, verbatim, was this:

"I just want to address the elephant in the room. The reason why we're scared to allow Palestinian guests on to use the word 'genocide' is because there's a very, very well funded [sic], there's lots of Israel lobbies, and every time we do this sort of interview, they will complain, and it's a headache. That's why were not doing it. But that's not a good reason not to have these conversations."

I stand by my statement.

HonestReporting Canada is billionaire-funded. In December 2023, HonestReporting bragged about having "mobilized Canadians to send 50,000 letters to news outlets." The group has also published a litany of attacks on journalists at CBC and other publications who've done accurate reporting on Palestine, and created email templates to make it easier for their followers to complain to publications about specific reporters.

Other, similar pro-Israel groups like the Committee for Accuracy in Middle East Reporting in America (CAMERA) and the Canary Mission employ similar tactics to try to silence journalists, academics, and activists who tell the truth about Israel-Palestine.

I told the manager it was telling that instead of following up on the racist comment I had heard from colleagues about Palestinians, I was the one being accused of antisemitism and discrimination-on the basis of words I hadn't even uttered.

The banality of whitewashing war crimes

When I handed in my resignation notice on November 30, I felt relieved that I was no longer complicit in the manufacturing of consent for a genocidal war of revenge.

Despite my experience, I still believe in the importance of the national broadcaster to act in the public interest by reporting independently of both government and corporate interests, presenting the truth and offering a diverse range of perspectives.

However, I believe that CBC has not been fulfilling these duties when it comes to its coverage of Israel-Palestine. I believe that in the future, historians will examine the many ways that CBC, and the rest of mainstream media, have all failed to report truthfully on this unfolding genocide-and in doing so likely accelerated their delegitimization as trusted news sources.

Before resigning, I raised the issue of double standards with various levels of the CBC hierarchy. While some members of management pledged to take my concerns seriously, the overall response left me disappointed with the state of the public broadcaster.

After my appeal to my coworkers in mid-November, I had a phone conversation with a sympathetic senior producer. He said he didn't think my words at the meeting would interfere with my chances of getting the permanent staff job I had long dreamed of. Despite this assurance, I was certain that I wouldn't get it now: I knew I'd crossed the line for saying out loud what many at CBC were thinking but couldn't say openly. Indeed, I wouldn't have spoken out if I hadn't already decided to resign.

As a kid, I had fantasies of shooting Hitler dead to stop the Holocaust. I couldn't fathom how most Germans went along with it. Then, in my 20s, I was gifted a copy of Hannah Arendt's Eichmann In Jerusalem: A Report On The Banality Of Evil by anti-Zionist Israeli friends. Ive been thinking a lot about that piece of reportage when trying to make sense of the liberal media's complicity in obfuscating the reality of what's happening in the Holy Land. As Arendt theorized, those who go along with genocides aren't innately evil; they're often just boring careerists.

To be sure, while there are a number of senior CBC journalists who are clearly committed to defending Israel no matter its actions, many journalists just follow the path of least resistance. The fact that permanent, full-time CBC jobs are in such short supply, combined with threats of looming cuts, only reinforces this problem.

I still hear from former colleagues that pitch meetings are uphill battles. Some shows are barely covering Gaza anymore.

Being a journalist is a huge privilege and responsibility, especially in a time of war. You're curating the news for the audience; deciding which facts to include and which to omit; choosing whose perspectives to present and whose to ignore. I believe that a good journalist should be able to turn their critical eye, not just on the news, but on their own reporting of the news. If you're unable to do this, you shouldn't be in the profession.

I purposefully haven't given away identifiable information about my former colleagues. Ultimately, this isn't about them or me: it's part of a much wider issue in newsrooms across the country and the Western world-and I believe it's a moral duty to shed a light on it. If I didn't, I'd never forgive myself.

Just as I'm not naming my colleagues, I'm writing this using a pseudonym. Although the spectrum of acceptable discourse continues to shift, the career consequences for whistleblowers on this issue remains formidable.

I encourage fellow journalists who refuse to participate in the whitewashing of war crimes, especially those with the security of staff jobs, to speak to like-minded coworkers about taking collective action; to approach your union steward and representative; and to document instances of double standards in your newsrooms and share them with other media workers.

It was scary, but I have no regrets about speaking out. My only regret is that I didn't write this sooner.

[multinanichi]

Happy Birthday to one of my book faves. 🥺

@charmingsmolbear

[cyreneduvent]

Was being extremely sad about how Netflix cancels everything before it’s time, but network tv just as often massively fucks up its story. Remembered that the only network I know of with consistent follow-through is cbc, and I fortunately am Canadian. Time to go rewatch all of schitts creek. And perhaps get started on north of north after that

I love u cbc I’m so glad fucking Pierre didn’t get to defund u

[queerly-autistic]

I've seen a lot of OFMD fans pointing at other fan campaigns recently, especially the failed campaign to save Anne with an E, and getting disheartened by what they see, and I think something that's missing in those discussions (particularly after the weirdly negative slant at the end of that Guardian article) is that not all fan campaigns are the same.

The campaigns to save shows that started out on Netflix (Warrior Nun, Sense8, Anne with an E, Shadow and Bone, etc.) are very different to what we are facing with OFMD, because Netflix is much more protective of its IP - and yes, they even hold the IP of shows that they've cancelled tightly to their chests and very rarely let them go. Some have been able to make the jump to different platforms, but not many, and it's actually pretty hard to do so (“For most shows, shopping away from Netflix is reportedly very difficult when Netflix owns the underlying IP”).

Because of this, fans of shows cancelled by Netflix are often campaigning directly for Netflix to reverse that decision, rather than campaigning to get it picked up elsewhere. Warrior Nun (I saw people panicking at the length of effort and the numbers they had to put in before they got their success) and Sense8 were both granted final films by Netflix to wrap up their stories after long-running successful fan campaigns - they were not saved by a different platform, and likely couldn't have been because of Netflix's strict grip on its IP. So comparing ourselves to fan campaigns for shows cancelled by Netflix isn't accurate or fair to us or to those other campaigns.

It's also worth pointing out that Anne with an E was a joint venture between Netflix and CBC, and that relationship appears to have fallen apart, which may have been a factor in its cancellation (see more at this tweet). This is also likely a contributing factor as to why, despite the campaign to save it being huge, it didn't get the reprieve from Netflix that other shows have received. That is baggage that OFMD simply doesn't have.

OFMD is in a very different position to many of the shows that were cancelled by Netflix and then went on to have fan campaigns around them, in that we have confirmation from HBO Max that they are happy for it to be shopped around. HBO Max is not holding a firm grip on the IP the way that Netflix does. We are able to try to find OFMD a new home. And that's a very different sort of campaign and trajectory than trying to convince the platform that cancelled us to reverse/amend their decision (I'd also argue it's slightly easier - nothing is certain, nothing is easy, but I think we have a better chance being allowed to look for someone else to pick us up rather than relying on the company that cancelled us to show us mercy).

Yes, some fan campaigns have had many more petition signatures than us (don't sniff at 80,000 signatures in two weeks, that's huge and fast), but that is only one part of the story. Petition signatures alone won't be the thing that clinches it. There are fan campaigns with hundreds of thousands of signatures that have failed, but there are also fan campaigns with way less signatures than us that have seen their show saved. There's so many elements at play, and every single one is unique. It's very tempting to play 'like for like' with these sorts of campaigns, but it's simply not a truthful reflection of the situation.

Every show is different. Every fan campaign is different.

We have every reason to be hopeful, and every reason to keep fighting. OFMD's numbers are good, it's already incredibly marketable to other streamers, and then ON TOP of that the fan reaction has been loud enough for a lot of people to take notice.

Yes, we're in a dip right now because that's what happens - every campaign has peaks and troughs because nothing sustains at the same level forever, and, again, it's only been just over two weeks and look at what we've done - but the impact we had, and the noise we made, happened at exactly the right time and kept happening for long enough to make an impression. A lot of things will be happening behind the scenes right now that we don't know about, and there's so many factors at play that we have no control over. It's a long game.

So don't look at other fan campaigns and be disheartened by what you see. Because what you see on the surface is nowhere near close to the full picture.

Even if we don't get our S3, lets celebrate the fact that we have made a huge impression, kicked up a huge stink, and been the thorn in the side of some people who absolutely fucking needed a couple of thorns in their side. And I think that's the best legacy that our rebellious little gay pirate show could possibly have.

[daydreamysworld]

Talking about favorite shows that Netflix has canceled and I still can't forgive them.

Anne with an E

This is everyone's comfort show! High ratings, good reviews and one of the most favorite Netflix series. We still don't know about the rest of Ka'kwet's story. As far as I know this is due to a breakdown in negotiations between its co-producers, Netflix and CBC.

Shadow and Bone (and the planned of "Six of Crows" spin-off)

It's a crime! Aside from the story not being over yet, they are also threw away the Six of Crows story (my love for Kaz and Inej). The reason for the cancellation is still unclear, some claim the production cost might be too high to be profitable for Netflix.

It seems that Anne with an E will be hard to continue, where all the actors are too mature for the continuation of the story. But for Shadow and Bone there should be no problem if it wants to be continued either by netflix or other platforms. a girl can only dream!

[flowersandfashion]

thinking about those little 1890s sapphics again.

[eliseariel1417]

Share an example of your experience as a fan of a show that was cancelled. help us feel the feels.

One of my favorite comfort shows, Anne with an “E”, was canceled back in 2019 after the 3rd season was released, it was a show that was coproduced between Netflix and the CBC (Canadian Broadcast Channel) and it was just so well produced for it being a book adaptation. When it was canceled, I would say that the fans were less angry and more heartbroken, I was definitely one of those heartbroken people. After the cancelation, I saw many more fan edits for the characters to show their appreciation of the show, from the more artistically talented of the fanbase, they create art inspired by the show. In one instance, someone made a change.org petition intended for Netflix to have them continue the show. But with all this said, there was still a group of people within the community who did show how upset they were through anger. 

[kwebtv]

Series Premiere / Pilot

Cannonball - Runaway Truck - CBC - October 6, 1958 / Syndication in the US.

Action Adventure

Running Time: 30 minutes

Written by Claire Kennedy

Produced by Rudy E. Abel

Directed by Harry Keller

Stars:

Paul Birch as "Cannonball" Mike Malone

William Campbell as Jerry Austin

Carleton G. Young as Hijacker

Ann Doran as Mary Malone

Stafford Repp as Harry Hoffman

Eddie Little as Butch Malone

Isabelle Dwan as Waitress

Alan Dinehart

Joan Young as as Ginny Malone

This episode was probably the pilot episode because none of the regular series actors, save Birch and Campbell, appear in it. The roles played by the actors listed in the credits here were more or less a calculated guess. Very little information is available on the Internet in this respect inasmuch as the IMDb listing for this episode lists the regular series actors which suggests that the episode was remade.

[hug-kiss-marry-kill]

[natlacentral]

How Kiawentiio went from a ‘little arty kid’ to the star of Avatar: The Last Airbender

You know that classic actor’s arc, painstakingly building from bit parts to bigger roles, withstanding rejection and despair? Yeah, that’s not Kiawentiio’s story. The Mohawk Canadian actor was cast in the first thing she auditioned for, the hit CBC/Netflix series Anne with an E. Her next role was the title character in Tracey Deer’s wrenching, semi-autobiographical film Beans, followed by a gig on Rutherford Falls. And now she’s the second lead in a gigantic Netflix series, Avatar: The Last Airbender, a live-action reimagining of the beloved animated series (2005-08), shot mostly in British Columbia, arriving Feb. 22. And she’s only 17.

We meet via video call, and even on that flattening medium, Kiawentiio sparkles. (Professionally, she goes by that mononym, pronounced Guy-a-wen-di-jou.) She’s poised and friendly, without any child-actor posing. Now and again she glances over her shoulder into a corner I can’t see; turns out her mother is there for backup.

Her Anne with an E audition was a lark – or as Kiawentiio puts it, “It came out of nowhere and happened randomly.” Growing up on the Akwesasne reserve on Kawehno:ke (also known as Cornwall Island), which straddles the Ontario/New York State border, she was “the little arty kid in the corner, who stayed inside at recess to paint and draw,” and dreamed of going to art school. Her dad chanced upon an open casting call on Facebook, and they thought, might as well try it. She was the last audition of the day.

Landing Avatar: The Last Airbender, by contrast, required more of a campaign. As a kid, Kiawentiio loved the animated series – its environmental and spiritual themes, its thoughtful depictions of Asian and Indigenous cultures, the battle scenes of Benders wielding the four elements, “the character arcs, the sheer craftsmanship. It would fill me.”

So when she heard rumours a few years ago about a live-action reboot, she had a feeling she’d be right for Katara, 14, a novice Waterbender, the last in her Southern Water Tribe, traumatized by the world war being waged by the Fire Nation, yet undaunted and hopeful. Teaming up with Aang, the title character (played in the series by Gordon Cormier), she begins to realize her potential. Kiawentiio asked her agents to keep an eye out, “just in case the universe is listening.”

The audition, when it came, was veiled in secrecy – fake project and character names, disguised scenes, all via Zoom. After a month-long series of “adrenalin-pumping” chemistry reads with other actors, showrunner Albert Kim delivered the news: Yes, it was Airbender; yes, they’d been searching the world for their Katara; and yes, it was her. She and her family burst into tears.

With her co-stars, Kiawentiio spent six weeks at “bending boot camp,” where each learned the martial art their movements are based on: wushu for Firebending, tai chi for Waterbending, Hung Ga for Earthbending and Bagua for Airbending. They shot on a cutting-edge mix of green screens, practical sets – Kyoshi Village was built in a working quarry in Coquitlam, B.C.; Jet’s hideout was filmed at WildPlay, a ziplining park in Maple Ridge, B.C. – and volume stages, including the world’s largest LED video wall studio, a near-circle lined with 2,500 LED wall panels and 760 LED ceiling panels, at Canadian Motion Picture Park in Burnaby, B.C.

“That stage was warm,” Kiawentiio says, laughing. “Wearing Katara’s big blue parka, pretending to be in the Arctic while being in a microwave.” Watching the animated series come to life was “surreal,” she continues. “When you see Appa in front of you” – a flying beast that combines bison, hippo and manatee – “or even small things like my necklace – I remember being almost in tears.”

Canada’s Paul Sun-Hyung Lee (Kim’s Convenience) plays Iroh, brother to Fire Lord Ozai (Daniel Dae Kim); the actors playing Katara’s parents, Rainbow Dickerson and Joel Montgrand, also played Kiawentiio’s parents in Beans. But she didn’t get to hang out much – “I was in high school at the time, just trying to get through 11th grade,” she says. “Fun fact, I’ve never been to a first day of high school with my classmates. Every year I was doing something, travelling somewhere.” Now graduated, with a five-year option for possible future seasons, “I’m saving my next few years for the show and whatever else may come from it. But I plan on going to school in the future.”

Each of the four Airbender nations has real-world roots, including Omashu, Himalayan, Indonesian and Indigenous Arctic cultures; cultural consultants advised on folklore, history and mythology, as well as costumes, calligraphy and artifacts; and the series’ four directors are of Asian descent. That mattered, Kiawentiio says: “It’s 100-per-cent important to me that I represent where I come from, my people and my language. That comes with me to every character I portray.”

Her opportunity to embody authentic Indigenous characters has never been higher, as a spate of recent series attest: Reservation Dogs, Little Bird, Echo, True Detective: Night Country, the Yellowstone franchise. Lily Gladstone could well become the first Indigenous woman to win a Best Actress Oscar, for Killers of the Flower Moon. And Deer, Kiawentiio’s Beans director was an excellent role model: “Being able to see her be the leader, be so strong, opened my eyes to other things I can explore – directing, producing.”

But she doesn’t want portraying Indigenous characters to become its own kind of limit. “Those roles will always be at my root; they are what I can see myself in and relate to. That doesn’t have to be the end of what we’re capable of, though. We don’t have to just play the Indian friend, the Native guy. We can be just that doctor or teacher or lawyer, those regular roles. The days of just getting a role, and not The Native role, are still ahead of us.”

Now that Kiawentiio’s accidental career is skyrocketing, “it’s funny how weirdly normal it gets,” she says. “I understand how people can lose their groundedness. You’re in the air so much, how do you stay grounded? It’s helpful to keep my real life separate, with my family and friends, and have my work self be almost a persona.”

She’s always had a readable face, she realizes. “I can’t hide anything; it’s all in my eyes. But to be able to be in control of that to portray someone else is so interesting. My dad told me he’s never seen me light up the way I do when I’m on a set. That’s when I knew I should stick with it.”

[multinanichi]

Happy Birthday to one of my book faves. 🥺

@charmingsmolbear

[o-druida-ebrio]

Série: Anne With An E

Criadora: Moira Walley-Beckett

Emissora original: CBC/Netflix

Ano: 2017 - 2019

[biographygen]

Amybeth McNulty Biography, Height, Age, Family, Boyfriend, Net Worth and Career

Amybeth McNulty is an extremely talented and versatile Irish Canadian actress. She gained a lot of notoriety for her performance as Anne Shirley in the Canadian drama "Anne with an E." She has experience in theater, therefore it was easy for her to play the lead in many plays that received a lot of attention from the Irish Times. Her mesmerizing portrayal of Anne Shirley in the popular drama series Anne with an E, which is based on the well-loved novel Anne of Green Gables, has won over viewers' hearts. Additionally, McNulty has demonstrated her versatility as a performer by playing the gregarious and enigmatic Vickie in the well-liked Netflix series Stranger Things. She has become a rising celebrity in the entertainment world thanks to her remarkable acting abilities and capacity to give characters life.

Who is Amybeth McNulty?

Amybeth McNulty is an Irish-Canadian actress who was born on November 7, 2001. Her most well-known role is that of Anne Shirley in the Netflix drama series. Amybeth is a model, sound tracker, YouTuber, and actress of Irish Canadian descent. After starring as Anne Shirley in the historical drama series Anne with an E on CBC and Netflix from 2017 to 2019, she became well-known. Additionally, she starred as Sputnik in the 2015 British sci-fi thriller The Sparticle Mystery and in four episodes of the BBC drama Clean Break in 2014.

McNulty's life story and profile/Wiki

Amybeth McNulty was born on November 7, 2001, and as of 2023, she is 21 years old. She grew up in Ireland's Letterkenny, Donegal. The individual in question is Irish-Canadian and identifies as Christian. She finished her early education at home. She had a strong interest in acting and dance since she was a little girl, therefore she began performing early to pursue her ambition. She received acting and ballet instruction at The Grianan Theatre. Scorpio is the sign of her zodiac. NameAmybeth McNultyNet Worth$1 MillionDate of Birth7 November 2001Age23 Years OldBirth PlaceLetterkenny, Donegal, IrelandCurrently Live InLondonProfessionActress, Model, YouTuber and Sound TrackerDebutTV Series: Agatha Raisin (2014) Film: A Risky Undertaking (2014)Years Active2014 – PresentFamous RoleAnne Shirley in the CBC/Netflix Drama Series Anne with an E (2017 – 2019)NationalityIrish – CanadianReligionChristianEthnicityScottishHometownLetterkenny, DonegalZodiac SignScorpioSchool/High SchoolHome School Amybeth McNulty Age and Birthday

Amybeth McNulty age 23 years old. She was born on November 7, 2001. Wednesday was the day of her birth. Amybeth Birthplace and Hometown The birthplace of Amybeth McNulty is Letterkenny, Donegal, Ireland. Letterkenny, Donegal, is where she was born. Amybeth McNulty Height & Weight, Body Measurements Amybeth McNulty is a very beautiful girl with a nice and appealing attitude. She has a gorgeous, curvy figure, great body proportions, and a thin, well-defined body type. Her measures are roughly 34, 26, and 36 inches. She weighs about 55 kg and stands about 5 feet 4 inches tall. She has stunning, captivating eyes, long, glossy golden blond hair, and a fiery ebony complexion. Height, Weight & Body MeasurementsHeight in Centimeters162 cmHeight in meters1.62 mHeight in Inches5 feet 4 inchesWeight in Kilograms55 kgWeight in Pounds121 lbsBody Measurements33-26-35Bra Size33Waist Size26Hip Size35Eye ColorBlueHair ColorBrownBodytypeSlim

Amybeth McNulty Early Life and Education

Amybeth McNulty the gifted young actress was born in Milford, Ireland, on November 7, 2001. Her parents, Mr. McNulty, a businessman, and Siobhan McNulty, a homemaker, reared her. She also has siblings, albeit the media doesn't know their names. Amybeth is of mixed ancestry, having a Canadian mother and an Irish father. She is a Christian and considers herself to be Scottish. She was homeschooled as a child and had ballet and acting instruction from An Grianán's "Youth Theatre." Education and School, CollegeEducational QualificationGraduateSchoolLocal High SchoolCollege/ University Amybeth McNulty Personal Life Amybeth McNulty the gifted and inspirational actress is well-known for her advocacy and moral convictions. McNulty came out as bisexual in public in 2020 and used her position to encourage and uplift young people. In addition to being an ardent vegetarian, she supports animal rights and leads a cruelty-free life. She appreciates spending time with her loved ones, even if her job has taken up a lot of her time. She is currently unmarried after dating fellow actor Louis Hynes. https://youtu.be/IdL4BYhHsrQ?si=iza2wzeui9_6Chf3

Amybeth McNulty Family, Relationships, and Boyfriends

Amybeth McNulty's mother is a homemaker named Soibhan McNulty, and her father is Mr. McNulty, a businessman by trade. Amybeth does not currently have a spouse. She has a romantic relationship with an actor named Louis Hynes. At the moment, she is not dating. The pair is frequently seen together, enjoying some quality time together. Father NameMr. McNultyMother NameSoibhan McNultyBoyfriendLouis Hynes (Ex)Marital StatusUnmarried Amybeth McNulty Facts - For the past two years, she has had a brief relationship with Louis Hynes. - Vicky was portrayed by Amybeth in Stranger Things S4E1–8. - Above all, her acting career has earned her nominations and honors. - Amybeth phone number is available for fan-related calls, texts, and business questions. - There are 10 million Instagram fans overall. - She her father is located in Ireland and her mother is Canadian, she is an Irish-Canadian actress. - Additionally, McNulty trained in acting and ballet while a member of An Grianán's "Youth Theatre." Zodiac / Sun Sign:ScorpioCompatible Sign:Taurus, Virgo, CapricornElement:WaterOpposite sign:TaurusSign Duality:PassiveSign Modality:FixedZodiac Sign Gemstones:Beryl  Birth Flower:Chrysanthemum/PeonyBirth Stone:Citrine & Topaz Amybeth Favorite Things and Like Favorite Things and Like & DislikeFavorite ActorBoyd HolbrookFavorite ActressAnya Taylor-JoyFavorite ColorBlueFavorite FoodVegetarianFavorite MovieMorgan 2016HobbiesSinging

Amybeth McNulty Career/Profession

Amybeth McNulty Irish-Canadian actress has become well-known for her strong performances. She may be relatively new to the industry, but there is no denying her brilliance. Her breakout performance as Anne Shirley in the highly regarded television series Anne with an E demonstrated her extraordinary acting skills and enthralled viewers all over the world. With its devoted fan following and three seasons, the show cemented McNulty's place in the industry. Since then, she has starred in more noteworthy productions, further confirming her position as a rising star in the entertainment business. Beyond her breakthrough performance as Anne Shirley, McNulty has shown herself to be a gifted and adaptable actress. By participating in a variety of initiatives, she has broadened her skill set and demonstrated her versatility. From acting in movies like She Came Back, Black Medicine, and All My Puny Sorrows to portraying a “cool, fast-talking band nerd” in Stranger Things, McNulty never fails to enthrall and impress viewers. She has a bright future in the entertainment business thanks to her ability and drive, and we're excited to watch her take on new roles and challenges. Career FactsYears Active:2014 – PresentDebut:TV Series: Agatha Raisin (2014), Film: A Risky Undertaking (2014)Famous Role:Anne Shirley in the CBC/Netflix Drama Series Anne with an E (2017 – 2019) Filmography YearTitleRole2014A Risky UndertakingAriadne Pleasant2016MorganMorgan (age 10)2021Black MedicineÁineAll My Puny SorrowsNora Von Riesen2024She Came BackCharlie McLeodTBABallisticDiana Television YearTitleRole2014Agatha RaisinYoung Agatha2015Clean BreakJenny RaneThe Sparticle MysterySputnik2017-2019Anne with an EAnne Shirley-Cuthbert2022Stranger ThingsVickie Amybeth McNulty Awards and Nominations Amybeth McNulty has received numerous accolades for her exceptional work. For the Canadian television series "Anne with an E," she won the Best Lead Actress drama series category at the 2019 Canadian Screen Awards. Her performance in the television series "The Determining Acts of Her Life" earned her the 2019 "Actro Toronto Award" for Outstanding Performance-Female. The Canadian Screen Awards:

- Winner: Anne with an E for Best Lead Actress, Drama Series (2019). - Anne with an E is the nominee for Best Lead Actress, Drama Series (2018, 2020). - Winner: Anne received an E in the 2019 Cogeco Fund Audience Choice Award. - Winner: Anne, who received an EACTRA Award for Best Performance by an Actress in a Continuing Leading Dramatic Role from the Shaw. Media Award in 2019: - Winner: Female (2019) for Outstanding Performance: Anne with an E. - Anne with an E is the 2019 Ensemble Nominee for Outstanding Performance.

Amybeth McNulty the phone number and WhatsApp Information

McNulty's new iPhone 13 Pro max is in use. She has activated WhatsApp, Facetime, and her cell phone by adding her just registered SIM card. - McNulty, Amybeth Phone Number: 4G Activated iPhone13 Tennessee Registered SIM +353 1-McNulty (Ireland-number). - Canadian-Irish Celebrity McNulty, Amybeth Setting up a Whatsapp account on an iPhone 13 with the Irish number +353 1 (McNulty) and adding. - McNulty, an actress from Stranger Things Contact Information: Friends Circle-2022, Irish Registered Line. McNulty Email address In order to develop effective communication, McNulty has made her email address available to her fans and business requests. Emails are still a viable way to send business communications online. - The email address of Amybeth is amybethmcnulty@gmail.com. McNulty Home Address and Location - Amybeth home is located in Letterkenny, Donegal, Ireland. - Amybeth McNulty, an actress McNulty resides in Letterkenny, Donegal, Ireland.

Amybeth McNulty Net Worth

Amybeth McNulty has a net worth of $1 million and is currently enjoying great success. Her acting work provides her with all of her money, and for her age, she is an achiever. Amybeth money is entirely derived from her acting career, and she works very hard at it. There is no information available concerning her other sources of income, and we will notify you if we learn of them in the future. Therefore, it would be beneficial if you continued to follow us in order to learn more about Amybeth and other celebrities. Social Media InstagramInstagram.comFacebookFacebook.comTwitterTwitter.comWikipediaWikipedia.orgIMDBImdb.comYoutube ChannelYoutube.com

FAQ

Q1. What has made Amybeth McNulty well-known?Ans. She is well-known as a sound tracker, model, YouTuber, and actress.Q2. When is the birthday of Amybeth McNulty?Ans. She was born on 7 November, 2001. Q3. How old is Amybeth McNulty now?Ans. She is currently 23 years old.Q4. What is the nationality of Amybeth McNulty?Ans. She her nationality is Irish-Canadian. Q5. What is the actual height of Amybeth McNulty?Ans. She is actually height 5 feet 4 inches.Q6. Does Amybeth McNulty have a spouse?Ans. She doesn't have a spouse.Q7. What is the net worth of Amybeth McNulty?Ans. Amybeth McNulty estimated net worth $1 million.Q8. Is Amybeth McNulty's natural hair color?Ans. Her natural hair color is blondeQ9. Will Anne receive an E when they return?Ans. Return 'Anne with an E', the Forest Scout. The cancellation of Anne with an E's fourth season was revealed in late 2019. Fans (or "kindred spirits") around the world were grieved, as were the actors and creators. Read the full article

[unnamednarrator]

ask game: 🎬 One of your fics gets turned into a TV series. Which one is it and what network is it on?

the cast too if you can.......

from this ask game! thanks for sending this in @bbrooklynbabe ilysm 🫶🫶

🎬 one of ur fics gets turned into a tv series. which one is it & what network is it on?

well i mean, in my delusional maladaptive daydreams i love to imagine i love you, i’m sorry as a tv show. i have no concept of tv networks bc i cosplay as jack sparrow when i watch most shows so idk which one would do a good job at adapting it. i will say however that my fav book to tv show adaptation is anne with an e and that was made by cbc so maybe them? (they also cancelled it tho so what do they know about taste)

i don’t have a particular cast in mind but my parameters would be this: katniss would have to be played by an indigenous actress with a goddamn set of pipes and her chemistry with peeta’s actor would have to be enough to carry the show. beyond the defining physical characteristics that are integral to the recognition of their characters (like stature and hair colour), i would say it’s much more important that they understand the inner machinations of the characters. since a lot of the story is driven by katniss’ inner monologue, the actress would have to be able to non-verbally emote that quite well

well that was a fun exercise for something that will never exist! (non-sarcastic, i really enjoyed thinking about it!)