Toronto video journalist Taylor Patterson is the mind behind the concept for a new Toronto-based TV series, a half-hour satirical comedy about problematic tabloid journalists, featuring an all-Black cast and edited by seasoned TV writer Brandon Hackett. With celebrity cameos, a cast of TikTok-viral Toronto comedians and a storyline that exposes the exploitation and hypocrisy of digital media, this new series is sure to shake up Canada’s comedy scene.

Patterson, who was born and raised in Toronto, got the initial inspiration for ICONS in 2018 when he spent a year working in Los Angeles and experienced his first encounters with aggressive celebrity culture and paparazzi. He was curious to explore the relationship between those with viral fame and those who exploit it, but his idea didn’t take real form until he moved back to Toronto and began a career in digital journalism in 2021. It was then that he realized that the landscape of digital media was increasingly moving in a similarly exploitative direction. 

Pulling from his own career experience in an industry where clicks and views are the going currency, and clickbait headlines are the way to achieve it, Patterson uses ICONS to hold a magnifying glass up to the absurdity of the digital newsroom — inspired by provocative outlets like TMZ, WorldStarHipHop and The Shade Room. Through his portrayal of a fictional Toronto-based tabloid called The Buzz Room, he explores a narrative of digital culture that is increasingly defined by moral and ethical compromises.

Imbued with contemporary pop-culture references, Patterson compares the show to popular series like Brooklyn Nine-Nine and Atlanta, noting that he expects it to be particularly resonant with millennial and gen Z audiences. There’s been many viral stories that have become source material for the episodes, he says, listing internet phenomenons like “Toronto chair girl,” “Toronto’s Pee Pee Poo Poo Man” or “hawk tuah girl” as examples.

“I just realized that I didn’t have to come up with farfetched ideas; all these phenomenons or concepts live in the world around us, and you just have to be aware of them,” he says.

The show also draws on Patterson’s personal journey as a biracial content creator, examining how Black culture is perceived in viral media. His own character — an exaggerated version of himself — is a biracial character who uses the publication to feel more connected to the Black community.

Aiming to be one of the first Canadian comedy series to feature an all-Black ensemble cast, the series also highlights the importance of representation in a media landscape that often marginalizes Black voices. Cast members include viral comedian Tresor Gray, Made for TV’s Eden Graham, actors Jewell Bowry and Jacqueline Ashton, with guest appearances and cameos by internet sensation Jesse Jaurji, MuchMusic’s Kwesi Kwarko-Fosu and Toronto’s very own Shawn Desman.

“[The series] talks about what it means to be Black, not only in Canada, but online, including trends and stories that pertain to Black communities that haven’t been heavily discussed on TV,” says Patterson. “It also talks about how that intersects with the media, the hypocrisy and the double standards there.” 

As for casting, the show is based in Toronto and the characters are very rooted in Toronto culture. “Through my career I’ve met a lot of people creating amazing art in the city,” says Patterson, before rattling off an anecdote about each of his cast members. “It’s always easier to write a character with someone in mind.” 

“Even to have Shawn Desman cameo, I’d interviewed him a couple of times and we had stayed in contact. He’s a really nice guy and when I told him about the project, he was super on board,” he adds.  

Hackett was another person that Patterson already had in mind after spending his university days seeing the writer do sketch comedy at Second City. Having attended Toronto Metropolitan University’s RTA school of media partially to realize his aspiration of joining the program’s sketch comedy troupe, Riot, Patterson spent much of his free time at the comedy venue and noticed then that Hackett was the only Black comedian in all the shows he went to see. 

Years later as Patterson sought a collaborator to lend legitimacy to ICONS, someone whose name holds weight in the Canadian media landscape, Hackett immediately came to mind. And to Patterson’s joy, the acclaimed writer (known for shows like Run the Burbs and This Hour Has 22 Minutes) joined ICONS as the story editor, and a pseudo mentor to the project.

“I knew I had something good when he told me not only that he wanted to be a part of it, but that he liked the idea,” says Patterson.

ICONS is backed by support from the Toronto Arts Council Black Arts Projects and Ontario Creates. While still in development, Patterson is confident that the show will soon be picked up. “Between the buzz that we’ve been getting so far and the meetings I’ve been having, I’d like to think that we’re the closest we’ve ever been,” he says.

While many countries are still grappling with the legalization of gambling, such is not the case with Ontario. The process of legalizing gambling started way back in 2003, which explains why this region is miles ahead of others in the iGaming industry. After all, players know that they can easily find a trustworthy site like online casino Ontario and start playing without breaking the law. Moreover, operators know that offering their services does not expose them to legal issues.

However, legalization is not the only factor behind the recent iGaming boom in the region. We look at factors that have shaped this growth from the players’ and operators’ perspectives.

What’s Pushing iGaming in Ontario?

Environments affect how industries operate. If the internal and external environmental factors are favorable, an industry grows. But if the factors are not favourable, the industry can plateau or even fail. So, what environmental factors have been aiding the growth of iGaming?

The Operator-Government Partnerships.

In most regions, the government oversees what casinos do, determining the standards that they must meet and penalizing those that do not toe the line. Ontario follows a different approach. Rather than just offering licenses and monitoring operators, the government partners with the operators, terming them as independent contractors. As such, both parties can play a part in shaping the gaming industry, which ensures that the industry continues growing and players remain protected.

So, why does the government support the iGaming industry?

a. Economic growth. It’s no secret that this industry contributes to fiscal development, be it through winnings, taxes, or investments in supporting businesses. When more money flows into an economy, everyone benefits.
b. Job creation. In a world where unemployment remains a problem, the government understands that the iGaming industry offers a solution. Some people get to work directly with the operators, while others gain employment in supporting industries.

By promoting this growing industry, the government supports regional growth that prepares it for the future.

The Favorable Tax Laws.

iGaming is a lucrative industry. However, taxes can often undermine what operators take home after expenses. Ontario has found a way to ensure that everyone wins. Operators pay an annual tax rate of just 20%. Compared to what other regions charge, this is quite the bargain. It allows operators to focus on innovations that grow their platforms while offering competitive wagers to their audience. Moreover, this also benefits the government as it can enjoy an influx of operators, which translates into more taxes that boost infrastructural development. It is a win for everyone!

The Strict Regulations.

While the government partners with operators, it also sets out strict policies that they must follow to ensure that the industry remains competitive and does not have gaps that can be exploited. One of these has been through the use of KYC requirements. Usually, regulators ask operators to verify customer data through addresses, government documents, and dates of birth. But in Ontario, operators must go a step further to actually verify identity through recent photos and live videos. These measures weed out any people who may not qualify to use the online casinos, e.g., minors. It also prevents the use of the sites for criminal activities such as money laundering.

The Emphasis on Player Protections.

On one hand, the government protects players by ensuring they play with licensed operators who comply with the industry standards. On the other hand, operators protect players by offering them several tools to monitor their playing patterns, as follows:

a. Self-exclusion: Operators allow players to carve out the time and money they can afford to use on games. For example, a player may decide they only want to play for half an hour each day. It helps players have control over their playing so they can focus on other aspects of their lives.

b. Responsible gaming: Operators provide players with numerous resources on how best to enjoy gaming without letting it control their lives. These resources also include how players can tell if they have problem patterns and where they can get help.

As such, the focus is not just on getting people to play. Instead, it extends to protecting them while they are in the gaming environment.

The Increased Marketing Efforts.

You can have the best product in the world. But if nobody knows it exists, you won’t get customers. Operators understand this all too well and, therefore, focus their efforts on attracting and retaining customers. Many of them do this by showcasing their unique games while offering incentives such as bonuses to their target audiences. The use of artificial intelligence has also enabled marketers to segment their customers and deliver more tailored marketing campaigns that bear more results.