logo
You can touch an actual piece of the Titanic at this interactive Toronto exhibit

You can touch an actual piece of the Titanic at this interactive Toronto exhibit

Immerse yourself into the world of the Titanic with a new interactive experience in Toronto.
Titanic: The Artifact Exhibition
has made a stop at
30 Hanover Rd.
in North York, giving Ontarians a glimpse into real artifacts from the doomed cruise ship.
With more than 200 authentic artifacts recovered from the wreck of the Titanic at a depth of almost 10,000 feet, the exhibit is educational and also gives you a peek at what life was like at the turn of the 20th century.
'Visit the reconstruction of the ship's rooms, and uncover poignant accounts of the passengers present at the time of the shipwreck,' the exhibit said on its website. 'Step into the breathtaking VR experience and the cutting-edge rooms, where history comes to life like never before, allowing you to witness the Titanic's journey in a truly unforgettable way.'
The iconic stairwell of the Titanic has been recreated for an exhibition, now in Toronto.
For those unfamiliar with the tale, the Titanic was built by the White Star Line, starting in 1909. It set sail for its maiden voyage to New York on April 10, 1912, with 2,224 people on board.
On April 14, the ship approached Canada's east coast and struck an iceberg just before midnight. It sunk into the Atlantic shortly after 2 a.m. on April 15 and 1,500 people died.
Bodies were later buried in the
Fairview Lawn Cemetery
in Halifax, Nova Scotia.
People around the world have been fascinated by the ocean liner's history for decades.
Many documentaries have been shared on the famous ship's demise, including from National Geographic, with a VR recreation now on Netflix.
TITANIC: THE DIGITAL RESURRECTION provides a groundbreaking look at history's most famous maritime disaster in unprecedented detail.
But probably the most famous is James Cameron's Hollywood adaptation, a movie called '
Titanic'
released in 1997 with Kate Winslet and Leonardo DiCaprio.
It took fictional characters and dramatized the days leading up to the sinking, showing the grand opulence and struggles likely faced by many on board.
At this real-life exhibit, guests can see what a stateroom looked like, and also the more humble accommodations given to the lower-class passengers.
Titanic: The Artifact Exhibition is in Toronto until the fall and many recreations are available, including a wealthy stateroom.
Double bunk beds are seen in this recreation of a more humble bedroom.
The ship's grand stairway has also been recreated, and guests are welcome to pose in selfies in front of the replica.
The iconic stairwell of the Titanic has been recreated for an exhibition, now in Toronto.
And if you happen to be a fan of the movie, you can relive the famous Leo and Kate moment of standing at the bow, or shout 'I'm the king of the world' — but maybe use an indoor voice.
Relive your best Leo and Kate moments as 'king of the world' at the mock bow of the ship.
Titanic: The Artifact Exhibition is here until the end of September. Tickets start at $39.90 for general admission, $31.90 for kids and $36.90 for family bundles, with a minimum of eight tickets.
For more details and to purchase tickets, visit
expo-titanic.com/toronto
.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Martha Stewart takes aim at Meghan Markle and her lifestyle brand: ‘I hope she knows what she's talking about'
Martha Stewart takes aim at Meghan Markle and her lifestyle brand: ‘I hope she knows what she's talking about'

New York Post

time25 minutes ago

  • New York Post

Martha Stewart takes aim at Meghan Markle and her lifestyle brand: ‘I hope she knows what she's talking about'

The queen of shade is back, and she's taking no prisoners. Martha Stewart has made a not-so-subtle dig at aspiring lifestyle guru Meghan Markle following the launch of her As Ever brand. The original lifestyle extraordinaire, 83, didn't mince words when asked about the Duchess of Sussex's foray into the world of hosting — saying she truly hopes the 'Suits' alum 'knows what she's talking about.' Advertisement 6 Martha Stewart has made a not-so-subtle dig at aspiring lifestyle guru Meghan Markle following the launch of her As Ever brand. Instagram/@marthastewart48 'Meghan, I don't really know very well. I hope she knows what she's talking about,' Stewart told Yahoo Lifestyle earlier this week. 'Authenticity, to me, is everything, and to be authentic and knowledgeable about your subject matter is extremely important.' Advertisement And while the Martha Stewart Living Omnimedia founder appeared to reserve praise for Markle, she had a totally different thing to say about fellow lifestyle guru Gwyneth Paltrow. 'Gwyneth has been very successful; she created quite an interesting body of businesses,' she said of the Goop founder. 'She's admired. She won an Oscar for heaven's sake as an actress. She's pretty powerful,' she said, adding that her career as an entrepreneur is 'very successful.' 6 Markle's apparent rebrand as a domestic goddess was earlier this year branded 'inauthentic' by several royal experts. aseverofficial/Instagram Advertisement 6 The Duchess of Sussex, 43, launched her lifestyle brand, As Ever, in March. As ever Still, Stewart is not stopping anyone from venturing into the world of home and hospitality, saying she wishes them all 'good luck.' Markle's apparent rebrand as a domestic goddess was earlier this year branded 'inauthentic' by several royal experts, who compared come-up to that of Stewart. Following the release of her Netflix series, 'With Love, Meghan,' the former actress was weighed up against the likes of Stewart and Nigella Lawson, 65, both of whom have built strong brands from their lifestyle-focused business ventures. Advertisement 6 The original lifestyle extraordinaire, 83, didn't mince words when asked about the Duchess of Sussex's foray into the world of hosting. marthastewart48/Instagram 6 Also in March, the former actress released a Netflix series titled 'With Love, Meghan.' Netflix In a New York Times article in January, the outlet noted that Markle's lifestyle-guru plan is reminiscent to that of the pair, both of whom overcame public scrutiny and achieved 'profitable' results. When asked if she's seen the former working royal's project, Stewart said in April that he hadn't gotten round to watching the show yet. 'Has it started?' Stewart asked in the 'Access Hollywood' sit-down, while promoting NBC's cooking competition show 'Yes, Chef.' Follow The Post's royal family live blog for the latest pics, news, exclusive details and more 'I'll watch an episode and see how she does,' she concluded, before noting that she 'is curious.' Earlier this month, official figures showed that project failed to rank among Netflix's top 300 most-watched titles between January and June 2025. Advertisement The Post confirmed that Markle's eight-part series ranked 383rd with just 5.3 million views since its March 4 debut — unprecedented numbers for a Netflix original that has been renewed. 6 And while Stewart appeared to reserve praise for Markle, she had only complimentary to say about fellow lifestyle guru Gwyneth Paltrow. Getty Images for goop The series has since been bashed by critics and earned lower viewership numbers than her and her husband's 2022 series 'Harry & Meghan' — with IMDB giving it just 3.2 out of 10. While Netflix still plans to release the second season of the cooking show, it will be the last — given that Markle and Prince Harry's $100 million deal with the streamer has reached a dead end.

'The Thursday Murder Club,' 'My Oxford Year' and More New Netflix Movies You Shouldn't Miss in August
'The Thursday Murder Club,' 'My Oxford Year' and More New Netflix Movies You Shouldn't Miss in August

CNET

timean hour ago

  • CNET

'The Thursday Murder Club,' 'My Oxford Year' and More New Netflix Movies You Shouldn't Miss in August

Time for a family reunion! This August you can tune in to several films from the Fast and Furious franchise, about the group of street racers evading the law who are led by Vin Diesel's Dominic Toretto. If you haven't seen any of this series, start with The Fast and the Furious, the first film of the series co-starring Paul Walker, which is more focused on street racing than anything. But if you want the really juicy, ridiculous stunts the franchise is now known for, like cars jumping from one skyscraper to another (Fast & Furious 6), or one car towing a ten-ton bank safe through the streets of Rio (Fast Five), those are included, too. See below for the complete list of the Fast and Furious movies dropping on Netflix this month. The Fast and the Furious 2 Fast 2 Furious The Fast and the Furious: Tokyo Drift Fast Five Fast & Furious 6 Furious 7 Fast & Furious Presents: Hobbs & Shaw

If the BBC bows to YouTube, everyone loses
If the BBC bows to YouTube, everyone loses

Yahoo

timean hour ago

  • Yahoo

If the BBC bows to YouTube, everyone loses

YouTube is the biggest beast in the attentional infrastructure of modern media,' Amol Rajan, presenter of Radio 4's flagship Today programme, announced this week. Listeners around the country – the older ones, at least – must have been left perplexed. What is the 'attentional infrastructure'? And isn't YouTube just a website for sharing videos of kittens mewing or post-operative children high on trace sedatives? No. According to the media regulator Ofcom, YouTube is now the second-most watched service in the UK, ahead of ITV and behind only the BBC. Linear TV – the old tradition of live broadcast – has been staving off doom-mongers for the past decade but now stands on a precipice. Generations Z and Alpha (the youngest set of pre-teen media consumers) have already migrated overwhelmingly to streaming, whether via video sharing platforms (such as YouTube) or subscription video-on-demand services (such as Netflix). The former is now the premier TV destination among the fresh-faced four-to-15 demographic. As the Today programme showed, there will undoubtedly be some at New Broadcasting House and ITV HQ who are getting antsy about this digital coup d'état. But Ofcom's latest report is only the latest glance at a gradual, longstanding shift in the way that people view television. There have always been inflection points: the launches of ITV in 1955 and Channel 4 in 1982; the introduction of Sky in 1989 and digital terrestrial in 1998; Netflix's arrival in the UK in 2012. Since John Logie Baird's first TV broadcast in 1926, the technology has been (somewhat ironically) charting a linear trajectory away from linearity. And the diversifying of content providers has increasingly coincided with the arrival of more flexible viewing options. Ofcom has, however, stumbled upon something of a classification error. Comparing BBC One to YouTube is like comparing Penguin Classics to the British Library. YouTube has an estimated 2.7 billion active users, of whom a reported 65.3 million are 'creators', people who upload content to the site. The BBC, meanwhile, provides thousands of hours of content each year. Its 2025-26 Annual Plan announced 1,000 hours of drama programming on its linear TV channels, alongside 1,200 hours of comedy and 1,800 of documentary and factual programming – an amazing return for a single television station, but pales in comparison to the 20 million videos uploaded to YouTube every day. BBC One is a single point of light; YouTube is the full spectrum. The latest data will be read by some as a sign that traditional, longer-form broadcasting is dead: now, 60-second micro-videos are king. But outdated clichés – perpetuated in earlier paragraphs – belie YouTube's evolution. Videos up to 15 minutes (excluding their popular TikTok dupe, Shorts) remain the most popular length, but shorter-form content is declining in popularity. For adult watchers, YouTube's most popular areas were 'music' and 'how to' content, such as recipes and DIY. Just throw in a documentary about canal boats, and that's sounding a lot like BBC Four. The tricky thing for the BBC is working out which concessions are worth making as it seeks to maintain its place at the head of the industry. There might be fears that the Beeb will employ Amelia Dimoldenberg to host Newsnight from a Morley's, or bring in the musician and influencer KSI as a roving Autumnwatch correspondent. The reality is that there's a (slightly less terrifying) happy medium to be achieved here. YouTube launched in 2005 and it was only a couple of years later that Netflix – at the time a mail-order DVD service – announced that it would pivot to streaming video. Shortly after that, the BBC opened its proprietary streaming service, iPlayer, to beta testing. It might make you feel old, but iPlayer has been live now for 18 years and has become an essential part of the BBC's strategy. Streaming offers real accessibility gains – subtitling, audio description, dubbing – that had proven tricky before, and the uptake among older licence fee payers has been slow but steady. In 2024, iPlayer accounted for 22 per cent of BBC content views, in line with the 4 per cent year-on-year growth experienced since 2022. With audiences acclimatising to streaming, YouTube should be seen not only as a threat to the BBC but also as an opportunity. The BBC already has a huge presence on the platform: the main BBC YouTube channel has 15 million subscribers, while there are also much-followed subsidiary accounts, such as BBC News (18 million subscribers) and BBC Earth (14 million). The BBC is a major player on the platform internationally, with 21 million subscribers to BBC News Hindi and 12.5 million to BBC News Arabic. BBC Persian, BBC Uzbek and BBC Mundo (in Spanish) all have over a million subscribers. While core TV brands such as Doctor Who (2 million subscribers), Strictly Come Dancing (835,000) and Top Gear (9.36 million) maintain healthy communities. So, when YouTube does well, the BBC does well. For many broadcasters, this presents a tricky paradox. Success on YouTube can provide huge audiences and new commercial pathways (such as brand deals via digital agencies), but risks forsaking traditional advertisers and opportunities to sell subscriptions. For a publicly funded broadcaster like the BBC, the question is less vexed. ITV and Channel 4 have entered into a licensing agreement where YouTube publishes full programmes while they retain control over the advertising inventory. But all these traditional broadcasters have an obligation to meet their audience at the most likely point of contact: for younger people, that is now YouTube, just as it is still by switching on the gogglebox for anyone over the age of 35. And yet, the BBC and ITV should not get lost in the pursuit of younger viewers. Ofcom's report contained another piece of telling data: no demographic spends more cumulative time watching video at home than the over-75s. On average, over-75s spend 386 minutes per day watching video, compared to just 184 minutes among ages four to 15. And these screen-addled retirees are only spending a microscopic amount of time on YouTube; the most reliable fix to their addiction is live telly, which accounts for the biggest block of watched minutes (compared to video sharing, streaming or playback) for every age group over 45. British terrestrial TV is constantly being pushed towards modernity. The core question it faces is whether to pursue the demographics who are departing or ignoring its services, or to consolidate its position among devoted user groups. Increasing media plurality inevitably means increasing competition from the private sector. Where the BBC has fought that tide (such as the ill-fated BBC Sounds experiment, which attempted to create a closed ecosystem for audio content), its success has been limited. Just as the creation of YouTube catalysed the building of iPlayer – which is now an essential part of the BBC's multi-generational offering – so too will the natural changes to the landscape shape the corporation's future direction. With the BBC's charter up for renewal at the end of 2027, there will be enormous pressure to cut costs. The organisation's critics will be bolstered by headlines about the challenge from YouTube. But for long-term stability, terrestrial broadcasters shouldn't pick a losing battle with Big Tech. They need to instead focus on the continued delivery of elite programming, allowing the methods by which audiences find that content to evolve naturally. Adaptation is fine. But if what we're left with no longer resembles the BBC, we'll all be poorer for it.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store