“As a matter of fact, you can wrinkle up and lose all your hair and gain a bunch of weight and you will still get to retire on air. Women? Not so much.”
Media
Tamara Taggart blasts ‘boys’ club’ media industry
Longtime Vancouver media personality Tamara Taggart is not holding back on sexism in the media industry in a new podcast appearance.
Longtime Vancouver media personality Tamara Taggart is not holding back on sexism in the media industry in a new podcast appearance.
In the latest episode of Mo Amir’s This Is Vancolour podcast, the former CTV anchor and one-time Liberal MP hopeful reflects on her time in media, nearly two years after being ousted from CTV alongside her former co-anchor Mike Killeen.
“I needed that space. That two years has provided me with a new perspective on what that was like outside of the bubble. And let me tell you, it’s really difficult to think about all the things I’ve experienced,” she said, noting that she now feels “positive for the first time in a long, long time.”
Without naming specifics, Taggart goes on to discuss toxic work environments: “When you are in the middle of that hurricane, you don’t know. So it’s not until you get out of it, and spend time away from it, and then talk to other people that were in there with you and you can together go, ‘Oh my gosh.’
“There was a lot of trauma in there for a lot of people in this hurricane,” she tells Amir.
Taggart also called out the media industry for being “a boys’ club” where “all the big decisions are being made by men,” and highlighted the double standard for men and women in broadcast.
Tamara Taggart on the set of CTV’s flagship news show with co-anchor Mike Killeen in 2014. The pair were fired two years ago.
Mark van Manen /
Vancouver Sun
“The white male broadcaster has a very long life. Very long life,” she said, adding that men don’t deal with the same level of public criticism as women do about physical appearance, clothing and hair.
“As a matter of fact, you can wrinkle up and lose all your hair and gain a bunch of weight and you will still get to retire on air. Women? Not so much.”
Taggart argues that it’s been ingrained into our culture “that women have to look pretty and attractive and well put together” whereas, “there have been plenty of dishevelled men on air.”
“It makes him, you know, eccentric,” she said.
“It’s definitely a tougher road for women in media still, and I’d like to think that if women had been in charge this entire time, newsrooms would not be shrinking.”
Other topics covered in the hour-plus-long podcast touch on Taggart’s 2012 cancer scare and her experience running for Prime Minister Justin Trudeau’s Liberal Party during the most recent federal election.
PM Justin Trudeau introduces Tamara Taggart as the Vancouver Kingsway Liberal candidate at a rally on Sept. 11, 2019. Taggart would fail to unseat Don Davies in the NDP stronghold in the October election.
Jennifer Gauthier /
REUTERS
“That experience of nearly dying was truly what changed it for me, because there was a moment when the surgeon was talking to me in pre-op and I remember thinking to myself, there’s a very good chance I’m not going to wake up from this. There’s a very good chance this is it,” she said, adding that her last CT scan is scheduled for June 2020, after which she hopes to “break up” with her oncologist.
“Gosh, I don’t want to get emotional here but, you know what, that doesn’t leave you. I don’t think about cancer every day or nearly dying every day. I don’t have to because I have this — something in me changed in that moment.”
Taggart first landed at CTV, then known as Vancouver Television, in 1997. She later spent time on CTV’s weather desk before being named a CTV News at Six co-anchor with Killeen in 2011. The pair were fired from CTV in 2018.
This is Vancolour’s Episode 64 featuring Taggart can be found on Apple Podcasts, Spotify, Google Play, Stitcher or on the official website.
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Bayo Onanuga battles yet another media Punch Newspapers
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Sometimes, you just have to return to the classics.
That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.
We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?
“Rear Window” (1954)
“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.
James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.
— Bob Thomas
“Halloween” (1978)
At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”
Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.
The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.
— Bob Thomas
“The Silence of the Lambs” (1991)
“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”
Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.
Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.
— Bob Thomas
“Scream” (1996)
In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.
If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.
By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.
— Ned Kilkelly
“The Blair Witch Project” (1999)
Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”
“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.
The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.
But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.
— Christy Lemire
“Saw” (2004)
The fright flick “Saw” is consistent, if nothing else.
This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.
You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.
But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.
— David Germain
Germain gave “Saw” one star out of four.
“Paranormal Activity” (2009)
The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.
The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.
The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.
— Glenn Whipp
Whipp gave “Paranormal Activity” three stars out of four.
“The Conjuring” (2013)
As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.
“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.
But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.
— Jake Coyle
Coyle gave “The Conjuring” two and half stars out of four.
“Get Out” (2017)
Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”
In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”
It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.
— Jake Coyle
Coyle gave “Get Out” three stars out of four.
“Hereditary” (2018)
In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”
A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.
Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.
The hype is mostly justified.
— Jake Coyle
Coyle gave “Hereditary” three stars out of four.
Read the full review here. ___
Researcher Rhonda Shafner contributed from New York.
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