Public art can be for anyone in the same way their meanings can differ for everyone: a counter to oppression, a contour of possibility, or simply an object to lean on.
“Similar to my work with the Toronto sign, what I often try to do is a form of alchemy,” says Danilo Deluxo, the artist behind the first vinyl wrap on the very leaned-on 3D Toronto sign at Nathan Phillips Square. “I take all that negativity and lift it. I always want to make sure we’re presented in a bold, brilliant, and beauti...
Avan Jogia speaks like a man with range. Over the last few decades, the 29-year-old actor, writer, and newly minted director has appeared on TV as a shaggy-haired, much thirsted-after heartthrob (Nickelodeon’s tween sitcom Victorious), a cool-tempered 14th-century king (Spike TV’s Tut), and a sexually fluid actor turned stoner (Starz’s Now Apocalypse), among other parts.
But what seems to unify these dissimilar roles, as Jogia makes sure to mention, comes from the career brand being “boring a...
It should go without saying that knowing thyself ain’t easy. In other words, soul-searching demands action, movement, and even then, there’s the whole mess around finding it. Looking at your reflection, without pause, without shame—traumas and battles incorporated—can be a challenge that many may never have to take on in a lifetime. But if you do, it might help you reason through some things.
Spike Lee has been called many things — activist, historian, filmmaker, artisan, American interrogator, and general examiner of the Black condition. However, fighter may be the most familiar of them. Consider fighting as a shorthand for Lee's artistry, but also as a deceptive quality when his battles — on a script, in a Lee joint, in the news, and at a film festival — are just the byproducts of his truth; a Lee don't-give-a-damn sort of truth.
Next Stop—the CBC Gem anthology comedy series from Toronto creators Jabbari Weekes, Tichaona Tapambwa, and Phil Witmer—asserts an identity before a single frame is shown. It’s right there in the subway reference, “next” and “stop,” that promises two things if you caught the hint: That you’ve heard a TTC stop announcement to the point of hearing it in your dreams; and that this series is as much about a place as it is about a specific group of Torontonians.
Tony Soprano feels about the same we remember him, but his presence in "The Many Saints of Newark" cuts differently. His looming presence is gone, replaced with a younger and more unsure Tony.
When I think about loneliness as a mood, I refer to “the jump”.
The scene, self-explanatory: two people, designated as outcasts, racing along an extending bridge hand in hand. You first notice the eeriness of the stony castle at their backs in contrast to what's ahead.
It goes without saying that Denzel Washington is a living legend — a man so inherent to our perception of cinematic talent that his mere presence is considered an improvement to any film. Washington-starring movies become, in their own inevitable way, Washington-esque movies.
Andre D. Wagner — a photographer pursued by the likes of The New York Times, Vogue, and Time magazine — doesn’t use a digital camera.
“I know that it turns people off,” says Wagner, the Brooklyn-based photographer known for distilling beauty from the ordinary. “But doing something my way with a manual camera and my own hands feels like ownership. When I have something real to say, there’s a specific way that I feel I need to say it.”
A Korean mother is lecturing—no, she’s confessing—on-screen during a pivotal scene in the film Happy Cleaners. The backdrop is ordinary: a dim bedroom and a parent facing the back of a child who flaunts indifference.
The name Joi McMillon appears, credited and bold-faced, for a total of five seconds during Barry Jenkins’ acclaimed The Underground Railroad, but her touch lingers throughout the series’ 10-episode run.
The question of how to best represent what Black heroism is and — most importantly — how it reflects the era we live in, is one that the comic book world has been answering for decades.
Marvel’s Luke Cage, for example, was a 1970s Blaxploitation riff, DC’s Static felt grounded in a 1990s hip-hop cool, and 2018’s Black Panther personified Black excellence and possibility.
My mom says she’ll refuse the COVID-19 vaccine. Why? She was once neglected by Canada’s health system when she almost lost her life. How can she trust them now?
Two years ago, while on a hospital gurney, my mother told me that she had to be cynical to be Black and survive in this country.
Like Americans, Canadians have been fed “the great equalizer” branding in spades from mansions to tubs about the virus known as COVID-19 that quarantines all and harms without discrimination. But Anthony Morgan, one of Canada’s leading racial justice lawyers spots different writings on the wall.
“If you support those who are the most vulnerable, you stand a greater chance of addressing everyone’s needs,” says Morgan. “Canada has too often spoken to multiculturalism and diversity with marketab...
The truth is that I don’t remember when I first felt this unnaturally natural feeling, but I remember the police vehicle cutting in front of me as I headed home one late Saturday night after a party years ago. I remember the gun in my 25-year-old face in that leafy Toronto neighbourhood. And I remember the officer feeling for my wallet as I stood somewhere between pissing myself and wanting to disappear. It took him five minutes to tell me I fit the description of a robber in the area, and a ...