logo
Should the Hudson's Bay Company be allowed to sell its Indigenous art?

Should the Hudson's Bay Company be allowed to sell its Indigenous art?

CBC16-05-2025

Social Sharing
The Hudson Bay Company has made a controversial decision to sell off its collection of Indigenous art and artifacts as part of its liquidation efforts.
Today on Commotion, host Elamin Abdelmahmoud speaks with Indigenous Studies professor and Winnipeg Press columnist Niigaan James Sinclair about this decision and how it could impact Indigenous cultural preservation efforts.
WATCH | Today's episode on YouTube:

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Sly Stone, of the legendary band Sly and the Family Stone, dead at age 82
Sly Stone, of the legendary band Sly and the Family Stone, dead at age 82

CBC

timean hour ago

  • CBC

Sly Stone, of the legendary band Sly and the Family Stone, dead at age 82

Sly Stone, the iconic frontman of the band Sly and the Family Stone and an influential figure in funk, soul and rock, has died at the age of 82. Stone's family confirmed the musician's death in a statement shared with CBC News. "It is with profound sadness that we announce the passing of our beloved dad, Sly Stone of Sly and the Family Stone. After a prolonged battle with [Chronic Obstructive Pulmonary Disease] and other underlying health issues, Sly passed away peacefully, surrounded by his three children, his closest friend, and his extended family," the statement reads. "While we mourn his absence, we take solace in knowing that his extraordinary musical legacy will continue to resonate and inspire for generations to come." Stone, born Sylvester Stewart, was a revolutionary musician and dynamic showman. Sly and the Family Stone transformed popular music in the 1960s and '70s and beyond with such hits as Everyday People, Stand! and Family Affair.

A small Vancouver video game studio just won a Peabody Award
A small Vancouver video game studio just won a Peabody Award

CBC

time2 hours ago

  • CBC

A small Vancouver video game studio just won a Peabody Award

First-time successes are always a joy to behold. And in the rollercoaster world of video game development, 1000xResist, the debut title from Vancouver-based indie studio Sunset Visitor, is a prime example. Paste Magazine calls the game"a dazzling testament to the stories this medium has yet to tell" and "an exemplification of the best that small yet ambitious teams can create." 1000xResist has been out for just over a year. In that time, it has accrued a Steam rating of 97 per cent — an outstanding score in the review measurement that works something like Rotten Tomatoes' Tomatometer. It has also been recognized with numerous award nominations including Nebula and Hugo awards. And last month, it became just the fourth game to take home a Peabody Award, the oldest major honour for electronic and broadcast media in the U.S., since the Immersive and Interactive category was introduced in 2022. The game's story focuses on a society of clones that worships their original source clone, referred to as "Allmother." Players take the role of Watcher, one of the principal clones, traversing a future world infected by a fatal disease brought to Earth by aliens known as the Occupants. Watcher uncovers key elements of the story as she goes, so there's a strong connection between the player's actions and those of the protagonist, who unravel the mysteries together. There are elements of exploration games, like Mobius Digital's Outer Wilds. But 1000xResist is undeniably a narrative game, which is to say that its story is the most important element. CBC Arts spoke with Sunset Visitor's founder and creative director, Remy Siu, about Canadian games and the increasing presence of narrative titles in the industry. "Canada has so many indie game studios and developers, and in my opinion it's one of our cultural exports," says Siu. "In terms of the nature of indie games and how they can pierce through and become a part of the discussion, I think that there's an outsized Canadian presence in that." He mentions exemplary, award-winning titles like Venba by Toronto's Visai Games, Inscryption by Daniel Mullins and Celeste by Maddy Makes Games (both based in Vancouver) as well as Montreal developer KO_OP's rhythm-oriented visual novel, Goodbye Volcano High. With the precarious state of the video game industry — where reduced funding and a post-pandemic dip in sales have resulted in mass layoffs, especially for the companies producing blockbuster games — Siu reflected on the future of indie and narrative-focused projects. "There is a space for narrative games to flourish," he says, especially with developers from larger studios departing to work for indies or starting out for themselves. "Often in an indie context, people get to work on things they really want to work on." Narrative games are sometimes maligned as niche and risky. But nobody leaves a film complaining there was too much story, says Siu. So why do narrative games carry that stigma? He points out that trend analyses actually indicate an upswing in narrative games receiving more than 1,000 reviews on Steam — a common metric for success in games. In an interview with GoNintendo from June 2024, Siu highlighted another concern: that narrative games can lack gameplay. He even said it could be a criticism of 1000xResist. The game is a descendent of 90s point-and-click adventures like The Dig and The Secret of Monkey Island, he says, but also more recent examples such as Kentucky Route Zero. One of the biggest challenges Siu's team encountered was determining how quickly to dole out information to players — too much and it's overwhelming, too little and it's boring. Reflecting on their writing process, Pinki Li, one of the game's two narrative designers, says : "The intricacies of the timelines, the layers of plot and the characters were definitely of a scope and scale I have never experienced in my career." The team's approach to dialogue was simple and clean. It should tell the player something about the world, something about the character and it should sound interesting, says Siu. That may seem easy, but crafting 15,000 lines of dialogue, each abiding by those core rules, is a tough task. "As a writer, my tendencies are toward poetry," Li says. "I love 'less is more,' and really appreciate being succinct and economical with language. Trying to convey a lot in a few words is a challenge I am very nerdy about." Additionally, Sunset Visitor focused on bringing the lived experiences of the Asian diaspora to a speculative fiction universe, something Siu says is not often done. "We don't see … the level of specificity we would desire, so that was one of our missions with the game — to be able to couple the telling of [these] experiences with experimental explorations of camera, storytelling and gameplay." Given the quality of the storytelling, the artistic style in which it is delivered and the ease with which players are immersed in the game's world, it is no wonder that Sunset Visitor has been honoured with a Peabody Award. Created in 1940 to honour exceptional storytelling in radio broadcasting, the award now recognizes storytelling achievement in television, journalism, podcasts, interactive media and more. Honourees must have wide appeal and truly excel in order to earn the requisite unanimous vote from the 16 judges. Siu attended the award ceremony on June 1 in Los Angeles. He was proud to be there, supporting his team's game and vision, he says, but the thing that made him happiest was representing Vancouver's experimental arts scene on such a significant stage. "There's so much more that indie games can achieve in how they approach narrative and art form," Siu says. "I think the strength of indie games in general is that we don't know how to make them, it's a beginner's thing, and we're all experimenting and trying something new. The desire is to keep pushing, but not to lose that as we go."

Judge dismisses Justin Baldoni's lawsuits against Blake Lively, Ryan Reynolds and New York Times
Judge dismisses Justin Baldoni's lawsuits against Blake Lively, Ryan Reynolds and New York Times

CBC

time2 hours ago

  • CBC

Judge dismisses Justin Baldoni's lawsuits against Blake Lively, Ryan Reynolds and New York Times

Social Sharing A New York judge has tossed out Justin Baldoni's $400-million US defamation lawsuit against Blake Lively, her husband Ryan Reynolds and their publicist, while also dismissing a $250-million US defamation suit against the New York Times for reporting on Lively's claims of sexual harassment during the filming of the 2024 movie It Ends With Us. Judge Lewis J. Liman granted the motions to dismiss the suits from Baldoni and his production company Wayfarer Studios on Monday, saying Lively was not liable for sexual misconduct claims against the 41-year-old because they were made in a civil rights complaint and are legally protected. In his written opinion, Liman noted Baldoni and Wayfarer had not alleged Lively was liable for any other claims than the ones made in her civil suit. In her own lawsuit, Lively, 37, has accused Baldoni of harassment, alleging that he and Wayfarer conducted a co-ordinated smear campaign to attack her reputation for coming forward about her treatment on the set. Baldoni, too, has accused the actor of trying to destroy his reputation. Liman wrote that Reynolds, publicist Leslie Sloan and the New York Times also did not make statements beyond what Lively had alleged about Baldoni. "The Wayfarer parties have alleged that Reynolds and Sloane made additional statements accusing Baldoni of sexual misconduct, and that the Times made additional statements accusing the Wayfarer parties of engaging in a smear campaign. But the Wayfarer parties have not alleged that Reynolds, Sloane or the Times would have seriously doubted these statements were true based on the information available to them, as is required for them to be liable for defamation under applicable law," the opinion reads. Liman is allowing Baldoni to amend some of his claims and refile by June 23. WATCH | Blake Lively accuses It Ends With Us director, co-star of trying to 'destroy' her reputation: Lively's legal team celebrated Monday's decision. "Today's opinion is a total victory and a complete vindication for Blake Lively, along with those that Justin Baldoni and the Wayfarer parties dragged into their retaliatory lawsuit, including Ryan Reynolds, Leslie Sloane and The New York Times," Lively's lawyers said in a statement published by Variety. "As we have said from Day 1, this $400-million lawsuit was a sham, and the court saw right through it. We look forward to the next round, which is seeking attorneys' fees, treble damages and punitive damages against Baldoni, [Steve] Sarowitz, [Melissa] Nathan, and the other Wayfarer parties who perpetrated this abusive litigation." Baldoni's suit, filed in December, sought at least $400 million in damages that include lost future income. Lively filed her own federal lawsuit against Baldoni and several others tied to It Ends With Us, alleging harassment and a co-ordinated campaign to attack her reputation for coming forward about her treatment on the set of the romantic drama. That suit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a co-ordinated smear campaign. Justin Baldoni, Blake Lively launch lawsuits over It Ends With Us claims 5 months ago Duration 2:08 Justin Baldoni has launched a $250-million US libel lawsuit against the New York Times related to Blake Lively's claims that he sexually harassed her on the set of the movie It Ends With Us. Lively has sued Baldoni and others, alleging harassment and a co-ordinated effort to attack her reputation.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store