The Most Powerful Women in Canadian Entertainment, 2026

There was a time, not long ago, when Canada was known mostly for its Mounties, maple syrup and moose. These days, though, what’s grabbing attention is its screen industry: TV shows, films, actors, producers, financiers and filmmakers with a growing grip on the global business. Any country that can turn gay hockey players, Indigenous Arctic comedy and a genial police procedural about a St. John’s detective and his German shepherd into global streaming hits is clearly doing something right.

Behind all that success is a network of women making the money move, the cameras roll and the deals travel: studio executives, public funders, union negotiators, festival chiefs, producers, directors, actors and below-the-line power players who help decide what gets made, who gets backed and how far Canadian stories can go.

The Hollywood Reporter‘s 2026 Women in Entertainment Canada Power List spotlights the executives and creatives shaping the industry north of the border — and, increasingly, everywhere else.

Francesca Accinelli

Chief Program Officer, Telefilm Canada

Accinelli has spent nearly two decades helping Canadian stories travel. A Telefilm veteran since 2006, she has worked across indie film, television, interactive digital media, promotions and communications in both English- and French-language markets. As chief program officer, Accinelli is one of the people shaping how Telefilm finances and promotes Canadian creators — from backing talent at home to promoting their work at festivals and markets abroad. Her remit covers much of the machinery that gets Canadian film from development to the marketplace.

Neishaw Ali

President and executive producer, SPINVFX

Hollywood comes to Canada for the tax credits. Ali helps keep them there through postproduction. The Toronto-based president and executive producer has led SPINVFX for more than three decades, building the company into a cross-border visual effects player with offices in Los Angeles and Atlanta. Its credits include The Umbrella Academy and School Spirits, the kind of genre-heavy series where visual effects aren’t a polish pass — they’re part of the storytelling.

Michele Austin

President and managing director, MPA Canada

Austin took over MPA Canada in January, just as Hollywood’s relationship with Ottawa was getting more complicated. As the Canadian representative for the major U.S. studios, she leads government relations, policy and advocacy north of the border — work that now includes pushing back on Canadian legislation aimed at making foreign streamers and digital platforms contribute more production cash, as a percentage of their Canadian revenue, into local indie production. Austin arrived with deep policy credentials: Before joining the MPA, she was vp public affairs at BCE, Canada’s telecom and media giant, and served as director of public policy for the U.S. and Canada at X, formerly Twitter.

Maxine Bailey

Executive director, Canadian Film Centre

Bailey runs the Toronto film school Norman Jewison built — and has been expanding its reach beyond film. Since joining the Canadian Film Centre as executive director in 2021, Bailey has overseen training and promotion for emerging Canadian storytellers working across film, television, digital media and newer platforms. Before the CFC, Bailey was vp advancement at TIFF, where she helped fundraise to support year-round programs, giving her a rare résumé that runs through two of Canada’s most important talent-building institutions.

Nicole Bell

Head of Canada, YouTube

Bell is suddenly hard to ignore. In January, YouTube promoted the 10-year company veteran to head of Canada, putting her in charge of the Google-owned platform’s content and creator operations north of the border. That is no small perch at a moment when YouTube has become a dominant force in Canadian media (like everywhere else!), shaping what gets watched, shared and monetized. Bell was part of the team that launched Toronto’s YouTube Space, the company’s former Canadian creator studio, in 2016, and has led Canadian creator programs, including YouTube FanFests and UpNext.

Marie-Philippe Bouchard

President and CEO, CBC/Radio-Canada

Bouchard took over CBC/Radio-Canada in January 2025, stepping into one of the trickiest jobs in Canadian media: running the country’s public broadcaster as linear television shrinks, budgets tighten and the politics around national identity get louder. The CBC might no longer have the footprint it once did, but it remains one of the country’s biggest backers of homegrown television and a rare media institution with a coast-to-coast mandate. Bouchard came to the job from TV5 Québec Canada, the French-language broadcaster, where she served as president and CEO.

Sally Catto

General manager of entertainment, factual and sports, CBC

Catto is one of CBC’s key tastemakers, with a track record that includes helping shepherd Canadian series from local public-broadcast fare to global conversation pieces. As GM of entertainment, factual and sports, she oversees a wide slate at the country’s public broadcaster, from scripted hits like Schitt’s Creek, Sort Of and Workin’ Moms to Bones of Crows, The Porter, The Great Canadian Baking Show, Canada’s Ultimate Challenge and Push. Her job is not just greenlighting Canadian TV but finding shows that can travel — sometimes with help from partners like Netflix, which is working with CBC on North of North.

Aisling Chin-Yee

Director

Chin-Yee is building a résumé to get her beyond the Canadian festival circuit. Her 2019 feature debut, The Rest of Us, starred Heather Graham, Sophie Nélisse and Jodi Balfour; a year later, she co-directed No Ordinary Man, a documentary about trans jazz musician Billy Tipton. Her latest documentary, The Pink Pill: Sex, Drugs & Who Has Control, premiered at DOC NYC in 2025 and landed on Paramount+ in 2026. The film follows Cindy Eckert’s fight to get a female libido drug approved by the FDA and onto the market.

Erin Creasey

Industry development director, Ontario Creates

Creasey works the funding side of Ontario’s production boom. At Ontario Creates, she oversees investment programs for film, television, publishing and interactive digital media, including the IP Fund, Futures Forward and the Enterprise Fund — all aimed at helping local creators and companies develop projects, grow their businesses and work internationally. Before Ontario Creates, Creasey was director of sales and marketing at ECW Press and president of the Association of CanadianPublishers.

Valerie Creighton

President and CEO, Canada Media Fund

When she’s not running a horse ranch in rural Saskatchewan, Creighton runs the Canada Media Fund, the country’s biggest investment fund for Canadian television. That puts her near the front of the line for producers trying to turn homegrown series into international business. The CMF backed Heated Rivalry, one of the biggest Canadian television breakouts since Schitt’s Creek, along with earlier exports including Rookie Blue and OrphanBlack.

Samantha De France

Head of production and post-production, international originals, Canada, Amazon MGM Studios

De France has a very tangible piece of Amazon MGM’s Canadian business: 160,000 square feet of soundstages, workshops and office space at Pinewood Toronto Studios, which the studio uses as its Canadian production hub. From Toronto, she oversees production and postproduction for Prime Video’s Canadian originals as well as other Amazon shows that shoot in the province, including Reacher and The Boys. Other projects under her watch include Federer: Twelve Final Days, FACEOFF: Inside the NHL and The Tragically Hip: No DressRehearsal.

Tamara Deverell

Production designer

Deverell has become one of Guillermo del Toro’s essential world-builders. After earning an Oscar nomination for Nightmare Alley, she spent two years designing Frankenstein, including the film’s elaborate laboratory sets — the sort of detail-heavy, handmade environments that have become her signature. The work earned her the Oscar for best production design at the 98th Academy Awards, capping a long creative partnership with del Toro that stretches back more than two decades. In a Canadian industry often defined by financing and infrastructure, Deverell’s power is right there onscreen: She builds the worlds filmmakers dream up.

Michela Di Mondo

Executive vp international, Fremantle Canada

Di Mondo started as an MGM intern sorting through old press kits for classics like Dr. No. Now she runs Fremantle’s Canadian operations, where broadcasters come looking for proven shows they can remake for Canadian audiences. Her slate includes Canada’s Got Talent and Family Feud Canada, along with scripted fare like Little Bird. She also is behind the Canadian adaptation of Deadliest Catch for Discovery Canada — proof that even crab boats can be franchised.

Sarah Fowlie

Head of Production, Original Programming, Bell Media

Fowlie began her career at the Comedy Network, the Canadian specialty channel now known as CTV Comedy Channel, in 1997, and since has moved through acquisitions, original development and in-house production on her way to overseeing original production across Bell Media’s English-language platforms, including CTV, CTV Specialty and Crave. Recent Bell originals include Shoresy, Little Bird, The Traitors Canada and a little hockey-themed dramedy you may have heard of called Heated Rivalry. She has also helped push Bell into more international business, from Hollywood partnerships to the company’s stake in U.K.-based distributor Sphere Abacus.

Rachel Goldstein-Couto

Head of Development, Bell Media

Goldstein-Couto is one of Bell Media’s key gatekeepers for original series. As head of development, she helps decide what gets built for CTV and Crave, Bell’s Canadian streaming service, before projects move into production. The best current example is Heated Rivalry, the Rachel Reid adaptation that broke out on HBO Max and internationally. Goldstein-Couto and her team have also developed Bell originals including Sullivan’s Crossing, Mafia: Most Wanted and The Billionaire Murders — the type of homegrown shows that give Canada’s biggest private broadcaster something to sell beyond acquired U.S. hits.

Prem Gill

CEO, Creative BC

Gill’s job is to make sure Hollywood keeps crossing the border. As CEO of Creative BC, she promotes the province as a production destination for foreign — mostly American — film and TV shoots while also supporting local filmmakers and homegrown talent. Vancouver’s proximity to Los Angeles long has made it one of Canada’s busiest production hubs, and the province recently made the pitch easier by raising its foreign film tax credit to keep U.S. producers coming north.

Suzanne Guèvremont

Government film commissioner and chairperson, National Film Board of Canada

Guèvremont runs one of Canada’s most storied film institutions: the National Film Board, the publicly funded producer behind generations of Canadian documentaries, animation and shorts. The NFB has earned 78 Oscar nominations and 12 wins, plus an honorary Academy Award in 1988 for overall excellence in cinema. Its latest Oscar came in 2026, when Montreal filmmakers Chris Lavis and Maciek Szczerbowski won best animated short for the stop-motion fable The Girl Who Cried Pearls, extending a relationship with the NFB that dates back to their 2008 nominated short, Madame Tutli-Putli.

Emily Harris

Executive vp business and legal affairs and operations, Lionsgate Canada

Harris is the legal and operations muscle behind Lionsgate Canada. Over the course of the past year, she helped plan the company’s new Toronto headquarters, secured acquisitions and rights extensions for its content library and orchestrated a nearly $30 million lending facility to support growth. She also oversaw the 2024 integration of eOne Canada after Lionsgate’s acquisition of the company — folding its personnel, content library and Canadian operations into Lionsgate — and helped lead the eOne Canada rebrand under the Lionsgate banner.

Jocelyn Hamilton

President of television, Lionsgate Canada

Hamilton oversees Lionsgate Canada’s television slate, with a strong recent run that includes Mistletoe Murders, the Hallmark series recently renewed for a third season, and Private Eyes West Coast, picked up by Global for season two. She also is working with Lionsgate’s U.S. team on The Inheritance Games, a television adaptation of Jennifer Lynn Barnes’ best-selling YA book series from Twilight producer Temple Hill. Newer titles include Ripple for Netflix and the unscripted Amazon series Trailer Trash. Under Hamilton, Lionsgate Canada’s TV division has earned 180 Canadian Screen Award nominations and nearly 50 wins.

Victoria Harding

Executive director, DGC Ontario

Harding represents the behind-the-camera talent that keeps Ontario’s production sector running. As executive director of DGC Ontario, she oversees the guild’s operations and business affairs and will serve as lead negotiator on its next standard agreement with Canadian independent producers. She first joined the Directors Guild of Canada’s Ontario branch in 1989 while working as a location manager and production manager, giving her deep roots in the exact workforce she now represents. That includes editors, production designers, location managers and other key crew working on Canadian productions and U.S. shoots in Ontario.

Joan Jenkinson

CEO, Black Screen Office

Jenkinson’s job is to turn industry promises about inclusion into actual access. As head of the Black Screen Office, she advocates for Black Canadian filmmakers and pushes for equity in a funding system where government support has historically been denied to producers from underrepresented communities. Her mandate is especially urgent as parts of the U.S. industry retreat from DEI efforts. Before leading the BSO, Jenkinson worked at Women in Film & Television Toronto, where she focused on moving BIPOC creators beyond short-term job hunts and into longer-term career development through mentorship and training programs.

Christina Jennings

Chairman and president, Shaftesbury

Jennings has built in Shaftesbury her own Canadian TV institution. Since 1987, she has run the indie producer behind export hits including Murdoch Mysteries and Hudson & Rex, with titles sold in more than 120 countries. She also helped open a door to U.S. primetime in 2008, when NBC picked up Shaftesbury’s The Listener during the writers strike, showing American networks that Canadian series could help fill the schedule. More recent titles include Departure on Netflix, Irish Blood, with Alicia Silverstone, and The Borderline, starring Stephen Amell and Minnie Driver.

Naomi Johnson

Executive director, imagineNATIVE Film Festival

Johnson took over imagineNATIVE in 2020, just as Indigenous storytelling was gaining long-overdue institutional support in Canada’s screen sector. The Toronto event is billed as the world’s largest Indigenous film and media arts festival, giving Johnson a rare platform: part festival chief, part industry advocate, part gate-opener for filmmakers and media artists who have historically been pushed to the margins.

Marie Kelly

National executive director and chief negotiator, ACTRA

Kelly represents more than 30,000 Canadian performers at a moment when labor talks increasingly include not just wages and working conditions but digital doubles, voice replication and AI-generated actors. As ACTRA’s national executive director and chief negotiator, she helped secure AI protections in the union’s 2025-27 Independent Production Agreement, including guardrails around performance-capture and synthetic performers. Those fights are not theoretical: “There is no place in our industry — or humanity of art — for replacing performers with synthetics,” Kelly told THR in 2025. Next up: another round of bargaining with Canadian producers and the Hollywood studios shooting in Canada.

Carlyn Klebuc

General manager, original programming, Bell Media

Klebuc has helped turn Bell Media’s original programming slate into a magnet for Canadian talent with Hollywood reach. As GM of original programming, she oversees development and production of commissioned English-language originals across Bell’s platforms, including CTV, CTV Specialty and Crave. Under her watch, Bell has struck production deals with Seth Rogen and Point Grey Pictures, Elliot Page’s Pageboy Productions and Will Arnett — Canadians who made it big elsewhere, now feeding projects back into the system.

Katrina Kowalski

Senior vp content strategy and acquisitions, Pluto TV

After 20 years at Bell Media, Kowalski now leads international content strategy and acquisitions for Pluto TV, Paramount’s free, ad-supported streaming service that launched in Canada in 2022. Her job includes programming Pluto’s channels in the increasingly crowded FAST business — free streaming channels supported by commercials — where the challenge is getting viewers to stop scrolling and actually watch. The role could get more complicated as David Ellison’s Paramount makes changes to Pluto while its Warner Bros. Discovery merger moves forward. “I was so busy hiking up the hill, I hadn’t stopped to enjoy the view,” Kowalski says of a year spent building teams and collaborations.

Anita Lee

Chief programming officer, Toronto International Film Festival

Lee is helping TIFF move beyond red carpets and premiere slots. The former National Film Board producer, whose credits include Sarah Polley’s Stories We Tell, now oversees programming for the September festival and TIFF Lightbox, the organization’s year-round Toronto headquarters. She also helped secure CAD $23 million (about $17 million) in federal funding for TIFF’s new content market, a buying, selling and financing hub for film, television and other screen projects launching alongside the festival in 2026.

Laurie May

Co-president, Elevation Pictures

May and longtime business partner Noah Segal run Elevation Pictures, one of Canada’s top independent film distributors. The Toronto company has built a strong business releasing a mix of art house titles, awards contenders and more commercial fare, including films from A24 and Neon. Its releases include Moonlight and The Imitation Game, while Elevation’s production arm backed Jude Law’s The Nest and Michelle Pfeiffer’s French Exit. Black Bear topper Teddy Schwarzman is a major investor.

Christina Miller

CEO, Spin Master

Miller took over Spin Master after Jennifer Dodge left for Paramount Animation, putting a former WarnerMedia kids TV executive in charge of a toy company that also is a serious screen content player. Spin Master is best known in entertainment for Paw Patrol, the preschool juggernaut that has grown from toys and television into films and a global merchandising machine. Miller joined the company’s board as an independent director in 2020 after serving as president of WarnerMedia’s kids, young adults and classics division, where she oversaw Cartoon Network, Adult Swim, Boomerang and TCM.

Robin Mirsky

Executive director, Rogers Group of Funds

Mirsky has helped finance Canadian independent production for more than three decades. She joined Rogers Communications in 1989 and now runs the Rogers Group of Funds, the cable and telecom giant’s funding arm for Canadian film, television and documentary work. That includes the Rogers Telefund, which provides interim financing; the Rogers Cable Network Fund, an equity investment fund for Canadian TV; and the Rogers Documentary Fund, which Mirsky launched in 1996 to support independent documentary filmmakers. Together, the funds have provided more than $500 million to Canadian independent productions.

Nimisha Mukerji

Director

Mukerji has become one of Canada’s busiest TV directors, with a résumé that runs from prestige streaming drama to network procedurals to Sesame Street. She has helmed episodes of Hulu’s Emmy-nominated Under the Bridge, starring Lily Gladstone and Riley Keough, Ryan Murphy’s 9-1-1, CBS’ Tracker, Apple TV’s Life by Ella and David E. Kelley’s Big Sky. In 2025, she earned a Canadian Screen Award nomination for directing Allegiance, the CBC/NBCUniversal police drama where she also served as executive producer and producing director. Her documentary work includes Jacinta, a Hulu original, and 65_RedRoses, selected by Oprah Winfrey for her OWN Documentary Club.

Paige Murray

Director of development, Disney+ Canada

Murray is Disney+’s Canadian development filter, overseeing the streamer’s scripted and unscripted slate for local programming. The job puts her at the point where Canadian pitches meet one of Hollywood’s biggest global platforms, with Murray also working alongside Disney’s licensing and acquisitions teams. Before joining Disney, she spent more than a decade at CBC, including as executive in charge of drama development.

Sophie Nélisse

Actor

Nélisse was still a kid when she broke out in Philippe Falardeau’s Monsieur Lazhar, the 2011 Oscar-nominated Quebec drama that won her a Genie Award for best supporting actress. Since then, she has made the tricky child star-to-grown-up-actor jump better than most, with a starring role as young Shauna on Showtime’s Yellowjackets and a key turn as Rose Landry on HBO Max/Crave’s Heated Rivalry. Her film work includes The Book Thief, opposite Geoffrey Rush and Emily Watson, and the Holocaust drama Irena’s Vow.

Rachel Nelson

VP original programming and head of Corus Studios, Corus Entertainment

Nelson helps decide what Canadian-made shows get onto Corus, the company behind Global TV, W Network, History, Showcase and other Canadian channels. As vp original programming and head of Corus Studios, she works across drama, lifestyle, factual and reality programming, a tougher job as linear audiences shrink and Corus chases viewers across cable and streaming. Recent titles under her watch include Global’s Private Eyes West Coast, Family Law, Departure, Love Club and Robyn Hood. She also runs Corus Studios, the company’s in-house production arm.

Roma Roth

Creator, showrunner

Roth has built a cross-border TV business out of comfort drama. She is the creator, showrunner and executive producer of Sullivan’s Crossing, the CTV/Fremantle series now heading into its fifth season after expanding across streaming, broadcast and international markets. She also is behind Netflix’s Virgin River, another Canadian-shot series that became a global streaming hit. Through Reel World Management, her production and distribution company, Roth develops, finances and packages film and TV projects, giving her a role that stretches well beyond the writers room.

Julie Roy

CEO and executive director, Telefilm Canada

In Canada’s indie film ecosystem, Roy controls one of the most powerful levers: the money. Since taking over Telefilm Canada in 2023, the former National Film Board executive has run the federal agency that invests roughly $150 million a year in homegrown cinema — the kind of backing that can help move a project from pitch deck to Cannes premiere to local multiplex. Telefilm also sells Canadian film abroad, complete with its flag-waving Canada Pavilion at festivals and markets. Recent proof of Roy’s reach: Matthew Rankin’s Universal Language, a Telefilm-backed surreal comedy that won Cannes’ inaugural Directors’ Fortnight audience award and represented Canada in the Oscar race for best international feature.

Ann Shin

Documentary director/producer

Shin has built a documentary career around difficult subjects: war, divided families, technology and physical endurance. She is a director, producer and principal of Fathom Film Group, the company behind My Enemy, My Brother, The Defector: Escape From North Korea, The Loneliest Race and Artificial Immortality. Her work has aired on major platforms and networks including HBO, ABC, PBS, Discovery Channel, HGTV and History Channel.

Stephanie Shinkoda

VP of Distribution, Co-Country Manager, Sony Pictures Entertainment Canada

After a career bouncing between Hollywood studios and Canadian sports, Shinkoda landed at Sony, where she now oversees Canadian distribution for the studio’s film, television and library content. Before Sony, she handled content distribution at Maple Leaf Sports + Entertainment, overseeing digital strategy and rights for the Toronto Maple Leafs, Raptors, Toronto FC and Argonauts. She also ran television distribution for Paramount Pictures in Canada, with earlier stops in programming and acquisitions at Shaw Media and television sales at Warner Bros.

Liz Shorten

COO, Canadian Media Producers Association

Shorten helps run the trade group that represents Canada’s independent film, television and digital media producers — the companies fighting for financing, regulatory support and a seat at the table with broadcasters, streamers and government. She oversees CMPA operations across Ottawa, Toronto and Vancouver, bringing 25 years of experience in Canada’s screen sector, including senior roles at Ontario Creates, Creative BC and CBC Television. Her industry reach extends to REEL CANADA, the Pacific Screenwriting Program, Women in View and Story Money Impact.

Kerry Swanson

CEO, Indigenous Screen Office

A member of the Michipicoten First Nation, Swanson works to get Indigenous-led projects financed in a system that historically has underfunded First Nations, Inuit and Métis creators. Her job includes building partnerships with Netflix, Prime Video, Telefilm Canada, the Canada Media Fund and other players that can help move Indigenous screen stories from development into production.

Meg Symsyk

President and CEO, FACTOR

After years in the music marketing trenches — working on campaigns for Beck, Nelly Furtado, Rufus Wainwright and Gwen Stefani at Universal Music, handling artist and tour marketing for Rush and Brody Dalle at SRO/Anthem, and later overseeing artist and brand marketing at Entertainment One — Symsyk now helps support the next generation of Canadian artists. At FACTOR, one of Canada’s major music funding organizations, she helps decide which musicians and music companies receive public funding to make records, release them and find an audience.

Elle-Máijá Tailfeathers

Actor/filmmaker

Tailfeathers is one of Canada’s most prominent Indigenous screen artists, with major credits as an actor, director, producer and documentarian. She won a 2025 Canadian Screen Award for Sweet Angel Baby, then made headlines after returning her Toronto Film Critics Association acting prize when the group allegedly censored a video acceptance speech that included remarks in support of Palestine. Her 2019 debut feature, The Body Remembers When the World Broke Open, premiered at the Berlinale, won top Canadian feature honors at Toronto and Vancouver and streamed on Netflix. She also won directing honors for Little Bird, the 2023 limited series about a woman taken from her family during Canada’s Sixties Scoop, and Hot Docs jury and audience prizes for Kimmapiiyipitssini: The Meaning of Empathy, her 2021 documentary about the opioid crisis in the Kainai First Nation.

Christa Tazzeo

VP global partnerships/executive VFX producer, Rocket Science VFX

Tazzeo helps bring major film and TV work into Ontario’s VFX sector. At Rocket Science VFX, the Toronto visual effects studio, that means contributing to projects including The Boys, Wednesday, Poker Face and The Fall of the House of Usher. Tazzeo also worked on major productions including Spotlight, Game of Thrones, The Handmaid’s Tale, The Umbrella Academy, Ready or Not and Suicide Squad.

Karen Thorne-Stone

President and CEO, Ontario Creates

Thorne-Stone’s job is to make Ontario hard for Hollywood to quit. A former Toronto film commissioner, she now runs Ontario Creates, the province’s lead media agency, where the mandate runs from backing local feature films to promoting extended reality content. But her biggest power play is selling Ontario to budget-conscious U.S. producers weighing tax credits, currency savings, crews and stages against rival production hubs. That also means making sure Ontario has enough of the crews and stages those productions need once they arrive.

Tonya Williams

Founder, Reelworld

After 19 years as Dr. Olivia Winters on The Young & the Restless, Williams left Genoa City and turned her attention back to Canada. In 2000, she founded the Reelworld Film Festival, which has since grown into the Reelworld Screen Institute and Reelworld Foundation, supporting career development for Black, Indigenous, Asian, South Asian and other people of color in Canada’s screen industries. In 2020, Williams also launched Access Reelworld, a research platform focused on BIPOC creatives.

Tara Woodbury

Director – Content, Netflix Canada

At Netflix Canada, Woodbury develops and commissions English- and French-language projects with local talent and indie producers, including North of North, the Indigenous comedy-drama made with CBC and APTN, and Wayward, the thriller starring Toni Collette and Mae Martin. Before Netflix, she was vp development at Sphere Media, where she executive produced Transplant, the Canadian medical drama that crossed over to NBC, and produced Danis Goulet’s Night Raiders, with Taika Waititi among its executive producers.

Danielle Woodrow

Director – Content, Netflix Canada

Woodrow moved from Los Angeles to Toronto in 2021 to help build Netflix’s Canadian content team from scratch. Since then, she has worked on North of North, the Arctic-set comedy that became Netflix’s first original scripted Canadian commission, and Wayward. Before Netflix, Woodrow built Perfect Storm Entertainment’s television arm, developing CBS’ Scorpion and S.W.A.T. and HBO Max’s Warrior. She earlier worked at FX on Justified, Damages, Sons of Anarchy and Archer.

This story appeared in the May 20 issue of The Hollywood Reporter magazine. Click here to subscribe.