媒介的尊严与社会认同的演变
社会曾对儿童电视（Children's Television）持有极大的怀疑，甚至将其视为单纯用来让孩子安静下来的“育儿工具”，这导致其长期处于被轻视的地位。然而，随着时间的推移，社会逐渐意识到孩子在屏幕上看到的内容至关重要。与当代人对人工智能（Artificial Intelligence）的恐惧相比，电视问世之初人们将其称为“傻瓜盒子”（Idiot Box），认为它会把孩子的大脑变成浆糊，这种恐慌在当时更为剧烈。
Original English Source
As time has gone on, we've realized as a society that what children see in the old days on television is incredibly important. So, sort of understanding the stuff that was good versus the stuff that was bad is is something we should all strive to to understand. You know, you look at the way people are reacting to AI now and the fear of AI is nothing compared to how terrified a lot of people were about television. A lot of Canadian icons, John Candy, Ryan Gosling, Drake, they got their start in children's television, right? children's television was one of the few places where you could get a role and there wasn't a lot of interference, let's say, from the brass.教育电视的远见：Fred Rainsberry 的探索
在电视初期的荒野中，教育家 Fred Rainsberry 是一位绝对的远见者。他坚信只要将教育工作者与娱乐工作者结合，就能在二者之间找到平衡点，创造出孩子既想看又能学到东西的内容。作为 CBC 儿童部首任负责人，他推动的 Rainsberry 愿景（Rainsberry Vision）简单而深刻：像对待智者一样与观众交流。在《Friendly Giant》中，Bob Hominy 不再通过大声喧哗来吸引关注，而是直接注视镜头，将观众视为平等的个体而非未成年的孩子，这种Serenity（宁静感）和对话式的呈现方式在当时是革命性的。
Original English Source
Yeah, I mean, Fred Rainsberry uh was an absolute visionary for television. He was a school teacher. And, you know, the the hysteria about television when it first came out, sort of after the Second World War, um you know, you look at the way people are reacting to AI now and the fear of AI, it is nothing compared to how terrified a lot of people were about television. I mean, they called it the idiot box and they thought it would turn uh children's uh brains into mush if they watched too much of it. And so, Rainsberry was one of the early kind of champions of educational television and he really believed that if you brought together educators with entertainers, you could meet them in the middle. You could create a product that was actually, you know, a child would want to watch, uh but they would learn something. Um so, he was a lone voice in the wilderness at the time, but thankfully he was given the inaugural uh head of children's at uh CBC. And what came out of that? What were some of, I guess, his like what would be his legacy, I guess? I mean, his legacy, when you think about it, uh is I would say the the big ones. Uh The Friendly Giant was kind of the first show that he, you know, he brought Bob Hominy from America to Toronto. Uh they talked a lot about this idea that most children shows at the time were very loud and very crass, and they involved a lot of yelling. Uh and and you know, they were trying to reach, let's say, as many kids as they could through volume. Um whereas Bob Hominy in Friendly Giant, you know, he looked He looked directly into the camera and he spoke to the viewer like it was only one person, and that was you. And he spoke to the viewer as if they were a friend, not a child, and he was a grown man. And these are all ideas that are very commonplace now, but at the time it was it was quite revolutionary um to have a show like Friendly Giant that was so, let's say, serene and conversational.从多伦多辐射美洲：Mr. Rogers 与产业基石
许多人并未意识到，《Mr. Rogers' Neighborhood》的源头竟然在多伦多。Fred Rainsberry 将 Fred Rogers 带到多伦多，进而促成了他与 Ernie Coombs 的合作。在纪录片中常被忽略的事实是：在来到多伦多之前，Fred Rogers 主要在幕后担任木偶师，对面对镜头交流感到畏惧。正是通过与 Rainsberry 的合作，他们才构思出了节目中标志性的“想象世界”（World of Imagination）。随后，这些核心理念不仅构筑了《Mr. Dressup》等加拿大本土经典，更成为美国公共广播服务（PBS）的核心支柱，被误以为是纯粹的“美国产物”。
Original English Source
And then out of that, I mean, Mr. Rogers' Neighborhood, not a lot of people realize that started in Toronto. Fred Rainsberry brought Fred Rogers up here, uh and then Fred Rogers brought Ernie Coombs. And so, Mr. Dress-Up and um all all of the programs that came out of that really are are what we call the Rainsberry vision, um which again wasn't really much more complicated than, you know, talk to talk to your viewers um like they're intelligent people, and they are. I did not know that Fred Rogers there was a connection to Toronto. Uh that was not in the documentary. Well, it's a it's a terrible thing. I mean, there is a great film with Tom Hanks uh about Fred Rogers uh that just completely omits, I would say, the most important part of the story, which was that until he came to Toronto, uh Fred Rogers worked behind the scenes. Like, he was a puppeteer. And he was scared of talking to the camera, and Fred Rainsberry kind of brought him out uh in front of the camera and said, "You can do this." And the two of of workshopped the idea of the imagination uh world in in Mr. Rogers' Neighborhood. And then he went, of course, goes back to America and and Mr. Rogers' Neighborhood becomes the backbone of the Public Broadcasting Service and PBS. Um and everybody just assumes it's yeah, it's an American thing, but it really it started in in Toronto.实验、包容与真实感：Degrassi 的文化震撼
在 20 世纪，儿童电视是加拿大年轻演员极少数能获得角色且较少受到管理层干扰的平台之一。基于电影真实主义（Cinema Verité）的《Degrassi》系列不仅是其人才摇篮，更是加拿大最重要的流行文化出口。它摒弃了职业演员的矫揉造作，选用外貌不完美、谈吐真实的孩子作为演员，并展现出多元化面貌。这种真实性在《Degrassi》走向国际（如英、德、美）时，对习惯了类似 Sears 目录模特般完美孩童形象的当地观众产生了巨大的“文化震撼”（Culture Shock）。更重要的是，其故事扎根于普通孩子的现实困境，而非为了 30 分钟拆除炸弹之类的“高风险”（High Stakes）虚构情节。
Original English Source
There was another thing in your book that I I didn't put together until you laid it out, which is that a lot of Canadian icons, John Candy, Ryan Gosling, Drake, they got their start in children's television, right? I I Why is it children's television such a breeding ground for talent? Yeah, I mean, I think uh you know, back back in the day in the 20th century, if you were a budding actor and you were Canadian, uh it was really hard. It was really hard to get a gig. And I think children's television was one of the few places where you could get uh a role and there wasn't a lot of um interference, let's say, from the brass. Like, you know, the the the executive producers at CBC or uh you know, some of the other networks, CTV, they were very uh very focused on the adults' shows and and the grown-ups' content. And they kind of the kids, you know, they produce a certain number of hours a week that was mandated by the CRTC. So, they just let them run wild. And so, you had somebody like Trevor Evans, uh who was a producer at CBC, who was going to Second City and and watching Dan Aykroyd and and Catherine O'Hara and John Candy and, you know, he he said, "These guys are going to be huge." Uh but they couldn't get a job on television. So, he basically created the series for them. Um and then, you know, John Candy's on TVO's Cucumber as the weatherman and um I think they all loved that they could go from comedy to children's to comedy. and I think Canadian comedy is very well recognized around the world. Uh even Mike Myers, you know, started in in children's and so I think it is important to remember that we can produce children's television that is just as good as our comedy. I don't know why it gets lost in the shuffle there. What was it what was Myers on? What was show is that? Um well, he did a pilot for a show that was an an after-school series. Basically, if you remember H.R. Pufnstuf like sort of surreal surrealist color separation overlay. Um and he was on The Littlest Hobo. You might remember that. >> Oh, yeah. >> [laughter] >> Uh I'm sure he he makes a lot of hay out of that. Um but yeah, I mean I I think it gave an opportunity to people. Uh Ryan Gosling was on a bunch of them. Breaker High. And Breaker High and and he even showed up on Ready or Not. Um and then Degrassi, I mean the the Degrassi empire. I I think Degrassi is probably our greatest Canadian pop culture export around the world and was the most famous before Drake. I would say he is now. Um but he came out of it, too. So, it's it's sort of something that's always been there for people of a certain age. They don't remember a time when Degrassi wasn't happening in the background. I always think of Euphoria as like a dark Degrassi. Like >> [laughter] >> this is like Yeah, I mean >> not for my my opinion, it's not as good or as insightful or thoughtful. It's it's fun, but it's not like I think Degrassi was imparting some real wisdom. Well, the thing about Degrassi, certainly the early ones, the Kids of Degrassi Street and then Junior High and High, I mean, they were kind of shot like documentary style. And the real impetus for it all was was cinema verite. So, it was hiring people that weren't union actors and you you know, cast that looked like real kids. You know, they had bad skin and their clothes didn't fit properly and they talked funny. >> They were diverse. >> Um they were totally diverse. I mean, it was Leslieville in 1980. So, it was about as diverse as it gets. And I think when those programs were shown in in England or in Germany or or in parts of the United States, it was just a massive culture shock because first of all, other kids said, "Wow, this is actually like it's real. It's It's not like a scripted, you know, uh you know, kids that look like they just walked out of a a Sears catalog. Like they look like my friends." Um and I think as well, like you said, the the stories were relatable. They weren't high stakes. I think when you get to, you know, somebody's going to blow up the school and we have 30 minutes to figure out how to diffuse the bomb, you're out of the realms of what most kids are dealing with, which is somebody said something about them and, you know, the rumor mill is is going to destroy their rep.教育与商业的博弈：Subversive（颠覆性）的艺术
在制作儿童节目时，普遍存在着“道德教化”与“商业需求”之间的拉扯。正如《It's Alive》的创作者 Josh Morris 所言，这两个力量往往处于相互抵触的状态。成功的作品往往是在两者之间采取了一种巧妙的 Subversive（颠覆性）策略：不直接进行讲座式的教育，而是将教育内涵巧妙融入娱乐之中。无论情感学习还是知识 rote（机械记忆），最好的作品都让孩子在不经意间领悟，而非感受到被“说教”。此外，由于缺乏早期的版权协议 provisions（规定），许多加拿大儿童电视档案面临着严重的“记忆消失”（Memory Holing）危机，这导致了该类文化记忆的断层。
Original English Source
I want to pluck out a quote that you include in the beginning of the book. Uh this is from Josh Morris and he was the creator of a YTV children's show called It's Alive. And it says, "One thing I've learned is that there's a push and pull by two forces. There's the force of so-called good, of people that want to teach kids things through television and don't want kids' brains to rot if they watch TV. And then there's the commercial forces. And those two forces tend to be at cross purposes." Why did you include that? Um because I think when I had finished researching the last five decades of children's television, I realized that that conflict was inherent in almost every single series that behind the scenes. And I think even something like Mr. Dress-Up or Sesame Street, you know, the big ones, um came out of that conflict where you had the people pushing the commercial inter- interest, which is we need merchandise, we need books, we need to be, uh, you know, as accessible to everyone as possible, versus the educators who said, "Look, I mean, there's a limit to this, right? I mean, the the fear of television when it started was that it was just going to be one long toy commercial or one long commercial for junk food." And that stuff's important, but if you're trying to communicate that to a young audience, you can't lecture them, right? You've got to be a little bit subversive. And I think the best examples, uh, that that we talk about in the book were shows that understood that, and they were both entertaining and educating. They were kind of sneaked in the educational stuff so that the kid didn't realize they're learning, whether it's emotional learning or rote learning, um, and they came away feeling feeling, uh, different about it. The merchandising that I think some children's programs have done, that that doesn't really exist here, right? I mean, like, I think you talked about just some of the legal hurdles that even prevent like shows that TVO has done from being, uh, available. Is that like, can you talk a bit about that? Like, why why do these hurdles exist? I mean, it's a very unfortunate situation in Canada that the contra- contractual obligations, let's say, um, are very different now, uh, than they were back in the day. And there were not provisions given for things like home entertainment or streaming. I mean, nobody really thought beyond a couple of years anybody would be interested in watching these shows again. So, there's an archival problem. A lot of things weren't retain- I mean, TVO was was good, but some of the other networks not so good. Um, and then you you get into into the current times and there's just no easy or cheap way to release these shows or make them available, you know, even on YouTube. Um and it's sad because you look at you say the Americans or the British who have a whole kind of cottage industry based around their beloved children shows. I mean, Sesame Street is you can't move but for Sesame Street merchandise or episodes or uh you know, toys. Um And there's really nothing like that here. And I think that's led to this kind of um memory holing of things where I think some people actually are not sure if these shows existed or if they were a figment of a you know, a bad flu that they had and they stayed home from school and they imagined some of these things. Um so, that was again the impetus to set set the record straight with the book.从垄断到碎片：千禧年后的媒介景观
自 2000 年起，由于 CRTC（加拿大广播电视及电信委员会）广播许可证发放政策的放宽及数字电视的普及，媒介景观经历了巨大的变化。曾经以 locality（本土感）为核心的制作模式——那种让你感觉节目是特定地区（如多伦多或彼得伯勒）产出的独特性——在 niche（利基）铸造和联合制作的冲击下逐渐消解。随着互联网、社交媒体及智能手机的兴起，电视不再是 20 世纪那个至高无上的“Monoculture”（单向文化）通讯工具，而沦为一种“支持性媒介”（Support Organ）。儿童电视不再 Relevance（相关性）下降，而是因为内容的分散性使得观众难以再在统一时间、统一媒介上共同分享内容，这为未来的历史学家梳理这一时期带来了巨大的挑战。
Original English Source
Well, the book takes us from the 1950s all the way up to the '90s, but then after the '90s, what happens? What happens to kids TV in the like 2000s and later on? I mean, I think it's more what happens to TV in general. You get to to the year 2000. Um and you suddenly have the CRTC who previously had been very um stringent about giving out broadcast licenses. And they're suddenly giving them out like candy. And you have digital cable. So, you 264, I think, new channels launched in 2000. Um and suddenly everything's very niche. And I think part of what made television very special in the early days was it was there was a real sense of locality. So, like we say, it was you felt these shows were very Canadian or this show was very Toronto. Um and you get into co-productions and and and niche casting and you lose that, right? I mean, it's it's not economically viable anymore to look like a show that's made in Peterborough or or you know, wherever. Um, and then on top of that you have the internet starting and and and I would say balkanizing content, right? The start of that is is the internet and then you get into social media and you couple years later you get into smartphones and television is no longer the most important telecommunications tool, which it was in the 20th century. Um, it's just a support organ now. And so children's television, uh, it's not that it's uh, not as good or not as relevant uh, now. There's just so much of it and everybody's looking at it at a different time on a different device. We don't uh, enjoy the shows as we did when it was a monoculture and we saw them all at the same time. Um, so I mean, good luck to future historians trying to make any sense of what has been going on, you know, since the year 2000. For sure.经典案例：Serenity（宁静感）与存在主义的勇气
在儿童电视经典案例中，《Mr. Dressup》的成功归功于 Ernie Coombs 与木偶师 Judith Lawrence 之间近乎“心灵感应”的默契合作。Coombs 以一种 Pied Piper（捕鼠人）般平易近人的品质，鼓励孩子发挥想象力。而《Sesame Street》作为该题材历史上最具影响力的系列，通过将 Madison Avenue（麦迪逊大道）的广告技术应用于教育，开启了快速切换、多元表现形式的新纪元。CBC 随后迅速对其进行“加拿大化”（Canadianized），植入本土历史与法语教育，最终演变为《Sesame Park》。
更具“异质性”的案例莫过于《Polka Dot Door》，其Serenity（宁静感）和梦境般的逻辑，不仅让人联想到 Play School，更因 Polkaroo 这个怪异而神秘的角色的加入，成为加拿大电视史上难以磨灭的文化符号。此外，《Today's Special》展现了惊人的存在主义勇气，通过讨论死亡（如君主斑蝶事件）和酒精滥用等议题，在当时按钮化（Buttoned Down）且过度保护的电视生态中，为观众带来了强烈的存在性忧虑（Existential Dread），这证明了如果处理得当，儿童节目完全可以触及深层的社会议题。
Original English Source
Well, I picked a few shows uh, from your book that I wanted to talk about with you and I'm going to start with Mr. Dressup. Uh, what ingredients made that show work? I mean, I think obviously the relationship of Ernie Coombs and his puppeteer Judith Lawrence uh, to the point that they they were almost like telepathic. They didn't need scripts. They just needed a basic idea and they would riff, you know, Mr. Dressup and Casey and Finnegan. And the idea that they did this for like three decades every single day and they didn't change the format of the show speaks to the strength of that. Um, but I think more importantly Ernie Coombs just being a very unassuming regular guy who spoke about using your imagination, play-acting, crafting, um, all of these things that sort of as a youngster you you know, you would hear that stuff from your teacher, but he had a quality of almost a pied piper, I'd say, quality about him um that was just unmatched, really. Uh and I think anybody in the arts, to a degree, is going to say in that group in Canada is going to acknowledge the role that Mr. Dress-Up played in that. Mhm. Uh Sesame Street. Not a Canadian show, but it's kind of got a Canadian connection or there were I guess they had to Canadianize it in some way. Do you want to tell us just why you included that in the book? Well, I mean, Sesame Street is, without a doubt, the most important children's television series in the history of the genre, because it basically hits like an atom bomb in 1969 and everybody starts to think, well, children's television has to look like that. It has to be fast, it has to be a mix of animation and puppetry and um it was brilliant. I mean, it was it was literally the the concept of taking Madison Avenue advertising and applying it to education as opposed to selling beer. Um and it worked. And I think what happened was in the CBC in Canada recognized it was very important, it was going to be watched by every kid across Canada, but you had these segments in it where they were learning uh Spanish or they were learning about, you know, the American Revolution. And so, they quickly you know, got um adept at taking those segments out, creating their own segments that featured indigenous history and and learning how to speak French instead of Spanish. And they were seamlessly woven in to the point you get to the '90s and we had Sesame Park, which was 100% uh Canadianized Sesame Street. Um but I think there's no denying the impact that program had on everybody. Mhm. Speaking of impact, can't talk about kids television without talking about Polka Dot Door. The door. It's uh yeah, I mean again, there was a you know, a magic about the serenity of that set, right? If you look at it now, it's almost like you're walking around in somebody's dream. Uh and it kind of had that dream logic. And it was based on a British show called Play School, which was similar idea, male female host, couple of plush dolls, and they looked at educational films. They looked through the window instead of the Polka Dot Door. But the genius of the TV Ontario version, of course, was the addition of the Polkaroo character, who remains, I think, just as mysterious in 2026 as as it was in 1970. Um no one's quite sure who it is. There's theories that it might have been the male host when he went off to get a glass of lemonade, but that was never definitively proved. I was at a Halloween costume party last year, and people dressed up as the Terminator, alien. Someone dressed as Polkaroo, and it got the biggest applause, and it won the night's award. >> [cheering] [screaming] [cheering] >> Yeah, it was very ahead of its time in terms of just being a very strange image, and I love that there was just no attempt uh to explain what it was. Right? It was just this is a this is a bizarre character. He's going to show up on Imagination Day, and then he's going to go away. And and they didn't saturate it. Uh they they kind of knew what they were doing, and I think that's the credit to to all of those wonderful uh people at TV Ontario um back then. They really didn't have a lot of resources. There was really not a lot of money. There was no studio space. Like CBC had these enormous studios. Um and the TV Ontario folks always had that, you know, post-production alchemy going on where they made these things look way more expensive, you know, than they actually were. Mhm. Well, another TVO show, Today's Special, another one close to my heart. And I thought, you know, they weren't the only ones to do this, but that show and others really were able to manage this delicate balance of teaching kids about things like death and I think alcohol abuse. Do you know how they managed to to do that? That example you just gave, the death of the monarch butterfly episode, um is credited traumatizing Generation X >> [laughter] >> because really that was not a subject matter that was discussed in children's television. Now, I think nowadays it is, and I think there's a certain expectation in children's television that you're going to address all of these kinds of issues. But back then it was very buttoned down, and it was very protected against what was perceived as, you know, we can't go there. Um and Today's Special went there uh with those two you mentioned, and you know, a few others. And I think it was the the genius of the creator, Clive uh Vanderburgh, to fight for that because there was a lot of people saying this isn't suitable. But I think out of it came an understanding that if handled correctly, um certainly that alcohol episode would have, you know, set off a few alarms for people watching that maybe whether it was their uncle or their neighbor or you know, bless maybe not their parents, but if somebody was behaving like that, it wasn't normal. Um so again, I think it's important you've got to look at all these things in the context of their time. And Sesame Street had a very powerful episode about death when one of the actors died, Mr. Hooper. >> Hooper. Um, but it's kind of remembered as being this big thing and in fact it really is just very sad that Big Bird, you know, gets told Mr. Hooper's not going to be coming back. But if you compare that with the today's special butterflies, I mean that was 60 minutes of existential dread. Um, so we we definitely, you know, the Canadians uh did it did it a lot better, I think.档案的艺术与文化保护：为了不让文化消失
最后，我们谈到了在 1970 年代 TVOntario 节目《Read All About It》中饰演反派的 Duneden。该剧不仅是加拿大省级课程的一部分，更因其高质量的叙事（含机器人、外星人、穿越等科幻元素）和在 Fort York 的拍摄，让当时的观众误以为这是一部高预算的科幻大剧，实则是通过此类题材巧妙 smuggled（偷运）了枯燥的语法知识。
我们重温这些节目不仅仅是为了怀旧，更是为了认识到其背后的巨大心血与创造性。这种艺术价值往往因为档案记录的缺失而 Dissipate（消散）。相较于好莱坞影视，加拿大流行文化正面临迅速消失的风险。无论是 nostalgia（怀旧）还是真正的艺术成就，这些作品都应被纳入“公共领域”（Public Domain）并被视为 Art（艺术）予以尊重。面对当前的国际政治心理趋势，支持加拿大本土文化显得尤为重要，这不仅是为了延续优秀传统，更是为了向年轻一代证明，成为加拿大影视创作者是一条充满尊严与成就感的道路。
Original English Source
Well, I know that you have a little pin on your lapel there. Can you tell us a little bit about who that is and what it means? Um, so that's Duneden, named after the the town in Florida where the Blue Jays uh practice. He was the villain in a 1970s TVOntario program called Read All About It. And Read All About It, another generational trauma, uh was baked into the curriculum at the time, the provincial curriculum. So, if you were in grade five in the '70s or the early '80s, you basically were forced to watch it. Um, but it was brilliant and it was written as a serial, so each episode was uh 15 minutes long and ended on a cliffhanger. But it had robots and spaceships and aliens and time travel and shooting on film at Fort York. And it looked you know, at the time it looked like something you'd see, you know, from the like it looked like Doctor Who. Right? It looked like something that was a big budget um science fiction show. But no, it was this very sort of uh small-scale TVOntario program that understood we're teaching grammar, like possibly one of the boringest subjects you you have to teach a grade five. So, how do we make it interesting? So, they you know, smuggled it in uh through the science fiction program. We're going to wrap up our conversation, but I just wonder, you know, we've been having fun, you know, going through memory lane and talking about all these great shows that we grew up watching, but is there more to this than just nostalgia for you? Absolutely. Uh, I think nostalgia is incredibly important, especially times like, uh, now when things maybe aren't great and certainly older people look for comfort in things that happened when they were young because they weren't thinking about a mortgage or a war or how they're going to pay, uh, you know, for their gas. Um, but I think what's more important is the amount of work and the amount of thought, I think, that went into a lot of these productions. It dissipates. It gets lost because it's not properly recorded. And I think you walk in any bookstore, there are numerous books about Hollywood films and about American bands and American TV shows. And I think Canadian popular culture is disappearing very quickly and if there if there aren't more, uh, let's say, projects that try to preserve it, um, it will disappear. And so, it's very important to me to keep that stuff in the in the public domain cuz I think, yes, the nostalgia piece is nice, but it's also great work and it is art and maybe it should be recognized as art. It isn't It's It's a very snobby thing to think of television as a lesser art, but it's not. Do you think that that is changing at all? We're talking before we started recording just about how, um, given the sentiments towards our southern neighbor right now, there that there might be more interest in supporting Canadian arts and Canadian culture. Do you You know, there's this elbows up mentality that we are supposed to be having right now. Is Is any of that sort of, uh, do you see any of that manifesting? Well, it's funny because I think you look at you know these aren't children's television shows but things like heated rivalry or Nirvana the band the show the movie these are real you know cultural moments that are happening that aren't propped up by you know this idea of CANCON which is government funded content that nobody wants to see but ticks a bunch of boxes for the regulators. So it is happening but I think it happens when the subject is actually good which sounds sort of like an obvious thing to say but unfortunately there is a lot of content that that isn't that interesting right now. So you know the best we can do is celebrate our successes and hope that you know the younger generations are aware that there's nothing you know wrong with that being Canadian filmmaker or Canadian television maker because there's a great lineage of people that have done it before you. That's a good place to leave it. Ed thank you so much for this. Thank you for your book as well it was really good to read and really appreciate you spending so much time with us on TV tonight. [music] Thank you. >> Thank you so much it's an honor to be at the house of TV on the air.📌 文中提及的人物和组织
人物: John Candy, Ryan Gosling, Drake, Fred Rainsberry, Fred Rogers, Ernie Coombs, Clive Vanderburgh
公司/组织: CBC, TVOntario, PBS, Second City, CRTC
产品/模型: Friendly Giant, Mr. Dressup, Mr. Rogers' Neighborhood, Degrassi, Polka Dot Door, Today's Special, Read All About It, Cucumber, H.R. Pufnstuf, The Littlest Hobo, Breaker High, Ready or Not, It's Alive, Euphoria, Sesame Street, Sesame Park, Play School