Can journalism be objective in a complex world—and should it? Objectivity, as it’s commonly understood in newsrooms, is often considered a cornerstone […]
Have you ever nominated yourself for a journalism award and started second-guessing whether you made a typo? What exactly goes into picking a winner, anyway? Who decides? What does the competition look like? When will I receive my cash prize?
The Review of Journalism strives to create a workplace and publication that reflects the diversity of both our readers and the stories we tell. Every year, our masthead publishes an anonymous breakdown of the race, gender, sexuality, and disability representation of our staff. This annual summary allows us to track progress over time and compare our newsroom’s diversity with other Canadian journalism organizations, as tracked by the Canadian Association of Journalists (CAJ).
In Canadian newsrooms, a silent force is shaping which stories get published and which ones don’t. It’s not editorial standards, audience metrics, or a lack of reporting skill—it’s fear. “The legal risk in journalism has always been a cost of doing business,” says Josh Lynn, a public relations manager at Animal Justice and a former journalist.
Ginella Massa’s push into journalism began with her mother’s advice: “Just because it hasn’t been done before, doesn’t mean you can’t be the first to do it.”
“When we talk about generative AI,” says Cody Gault, “there is fear that it’s going to take newsroom jobs.” Gault, product manager at the Toronto Star, saying what was on everyone’s mind on a panel on the future of AI in newsrooms to an audience of working journalists, retired professionals, students, and professors.
A longtime music journalist, Michael Barclay began writing on Substack during what he calls a “mid-career crisis.” After working for Exclaim!, Maclean’s, CBC, and other outlets, he launched That Night in Toronto, a newsletter focused on music and culture.