In Vancouver, the Pattullo Bridge has been renamed the “stal̕əw̓asəm Bridge” and Trutch Street is now “šxʷməθkʷəy̓əmasəm Street.” On Vancouver Island, Mount Douglas is now “PKOLS.” On Prince Edward Island, there is a push to rename Confederation Bridge “Epekwitk Crossing.” In Ottawa, the Sir John A. Macdonald Parkway is now “Kichi Zībī Mīkan.” And in Saskatoon, John A. Macdonald Road has been replaced with “miyo-wâhkôhtowin Road.”
Woke white women have been melting down over Pantone revealing its annual Color of the Year is a shade of white — with some raging that the choice is tone-deaf and is proof that the “whitewashing of America has gone too far.”
The company announced last week that its color choice for 2026 was “Cloud Dancer” — a bland off-white shade that Pantone insisted served as a symbol of calm in a hectic society.
From Hollywood to the newsroom, the hegemony of the ‘progressives’ is finally faltering.
The purchase of Paramount and CBS by David Ellison – scion of Larry Ellison, the world’s third-richest man, with a $250 billion tech fortune – marks a shift away from one-party domination of the media and culture. It follows Elon Musk’s takeover of Twitter, now X, and the Trumpian capture of Washington DC’s Kennedy Center.
Where diversity data collection goes, quotas often follow. That’s why it’s concerning that the Canadian Radio-television and Telecommunications Commission (CRTC) ordered Netflix, Amazon and every other major online streamer to collect diversity data as a condition of operating here.
At the very end of the telecom regulator’s new policy on Canadian content is buried a new requirement for broadcasters to keep diversity statistics on key creative personnel, namely whether they are “racialized people, people with disabilities, individuals who identify as 2SLGBTQI+ and women.” This was released earlier in November. It doesn’t seem radical because the CRTC has been incrementally formalizing diversity requirements for so many years.
When BLM and Big Tranny were at their scammiest peak many streaming series were injected with nonsensical Black or Tranny story lines.
The end result? People stopped watching.
Cancon is typically bad. Racialized Cancon is worse.
h/t MP
When Stranger Things creators Matt and Ross Duffer were recently asked to name their favourite scene in their Spielbergian series, they rewound to the very first episode, when the Hawkins kids get to grips with the pen-and-paper fantasy game Dungeons & Dragons (D&D). “The kids playing Dungeons and Dragons in the basement…” Matt reminisced with Variety. “That’s the first time we had them in a room, in a set, performing a scene from the show with cameras running.”
Although the Duffers’ affection for D&D is genuine – talking to The Telegraph in 2016, they cited their teenage nerddom as an inspiration for the series – there are question marks over whether D&D players feel the same way about Stranger Things.
I have never played but do admire the game’s enduring popularity.
The Waterloo Region District School Board is facing a constitutional fight after a local parent and school council member launched a court challenge over the board’s decision to require land acknowledgements at every meeting and block any discussion about them.
The Justice Centre for Constitutional Freedoms has filed the application on behalf of Geoffrey Horsman, a biochemistry professor, father of three, and member of the Kitchener Waterloo Collegiate and Vocational School Council.
The Canadian Museum of History promises an excruciatingly woke experience, including the website accosting you with bright red “traditional, unceded territory of the Algonquin Anishinabeg. This land has held, and continues to hold, great historical, spiritual and sacred significance.” Instead, as with MAID generally, Canadian history is anaesthetized and sedated before being dispatched.
A brief walk from the relatively new Pioneer Village subway station in northern Toronto lies the Village at Black Creek, a living history museum showcasing life in Victorian Ontario. The two landmarks used to share the same name, until the museum announced last year that it was dropping the word “pioneer,” because it was believed to be a “barrier to efforts related to reconciliation and engagement.”
BRITAIN is not ready to defend itself from attack, says the Commons Defence Committee. Their report details the lack of missile defence, a Royal Navy depleted of ships and available submarines, an Army shrunk to its smallest since the Napoleonic Wars with only slightly more than 70,000 fully trained soldiers, not enough even to protect some of the UK’s most sensitive military bases.
The question that needs answering is why? Why has the armed forces ability to defend our country crumbled? Why are more personnel leaving than joining, and why do those left behind over-represent the lowest-capacity personnel?
Museums are Canada’s greatest stewards of public history. But in the past decade, increasingly overbearing cultural policies have rewritten their mandates. Once dedicated to simply telling the truth, they now have an agenda to push.
It’s subtle, but a lot of museums are open about it nevertheless. The federal Canadian Museum of History’s diversity, equity and inclusion plan states that it will “allocate resources strategically to bridge gaps” to “ensure better representation of equity-deserving groups.” Calgary’s Glenbow Museum announced its new land acknowledgement in September: “Blackfoot land, your territory.”
Alberta lawyer Roger Song moved to Canada 25 years ago from China to distance himself from a regime he says he could no longer live under.
Having witnessed the 1989 Tiananmen Square massacre–when government forces opened fire on unarmed students demanding democratic reform–he says he saw Canada as a place of freedom where he and his family could start over. He was a law professor at Peking University at the time, and says he witnessed how the regime used its authority to suppress students’ “legitimate demands” for democracy.
Have you noticed how nowadays, whenever you visit a museum, you get hit by a clunking giant ideological hammer? Once upon a time, we went to museums to feed our curiosity and sense of wonder. Today, the people in charge of them seem to believe their job is to make us feel as guilt-ridden and tormented as possible.
With a spring in his step, senior lecturer Jeroen Ensink left his home in Holloway, London, to send cards to his friends and family, announcing the arrival of his baby daughter. Seconds later his life was over. A young black male (the relevance of which will soon be clear) suddenly pounced on him, and in a state of frenzy savagely stabbed his random victim. Femi Nandap, a psychiatric patient, was arrested and sent to a high-security institution.
Tuesday’s budget wasn’t like those of the high Trudeau years, encrusted with identity politics at every turn. But the spirit of the old regime lives on under Prime Minister Mark Carney, who has opted for a deficit of $78.3 billion along with the continuation of social justice programs and diversity mandates.
This year, one-time “investments” are numerous. The federal anti-racism secretariat — the entity that spurred a government-wide clampdown on forced diversity and hiring quotas in Ottawa in 2021, in response to the Black Lives Matter movement — is getting $2 million in 2025-26, and nothing else after that. The Canadian Heritage program for DEI in sport is getting $8 million in 2025-26, and, again, nothing afterwards.
Woke is fading here, but alive and well in Canada. The latest example comes from an apology, yes, another apology for whatever someone dead and buried did too many years ago.
Here is the story …
