The Most Powerful Women in Canadian Entertainment

Promoted to the top job in February, Adam calls it “a total pinch-me moment.” The longtime radio and media executive joined Universal Music Canada in 2023 and quickly made her mark, boosting ecommerce and direct-to-consumer revenue while pushing innovative strategies to elevate artists. Her advice to her younger self — and to her kids: “Stay true to your values, don’t put up with bullies … and don’t let people talk you out of your hopes and dreams. In short: Bet on yourself.”

The Toronto-based Ali has steered Spin VFX for more than three decades, growing it into a global force with offices in Los Angeles and Atlanta and such credits as The Umbrella Academy and School Spirits. Her proudest moment in 2024? Rehiring laid-off staff after an industry-wide slowdown — a first in the company’s history. “That’s when I started to feel like a decent human being again,” she explains. A champion for tech-powered storytelling, Ali warns that AI and virtual tools must serve artistry — not sideline it: “The soul of our creation lies in how we bring compelling stories to life.”

No longer Canada’s best-kept rock secret, this Juno-winning Toronto quartet is hitting new heights. Together since they were teenagers in 2013, sisters Jordan and Kylie Miller (lead vocals/bass and guitar), Eliza Enman-McDaniel (drums) and Leandra Earl (keyboards/guitar) sold out their hometown’s 16,000-seat Budweiser Stage last summer, then hit another milestone with a 2025 Coachella set. “Something we’ve always dreamed of and we’re so happy to check off our bucket list,” says Enman-McDaniel. Her advice to her younger self? “We faced a lot of bullying because we were girls in a band, but we persevered — we all had this common vision and goal.”

Canada’s queen of R&B took control of her career this past year, self-funding her first national headlining tour in 17 years. “I got myself back onstage and proved that Black music not only deserves a place but belongs on every stage in this country,” says Black, whose powerhouse vocals and unapologetic presence continue to break ground. The tour, she says, helped dismantle the myth that age limits ambition: “I’m not ‘aged out’ — I’m just getting started.” Her mantra to her younger self? “Silence the inner negotiator … feelings aren’t facts.”

As head of the country’s largest performing rights organization, Brown has kept SOCAN steady through a shifting music economy. “We’ve prioritized transparency, strengthened our services and amplified our advocacy efforts,” she says. Her suggestion to women climbing the music business ladder? Get loud, get seen: “Your accomplishments can only open doors if the right people are aware of them.”

Burke made waves this year by extending a partnership with Punjabi-Canadian phenom Karan Aujla, a joint venture between WMC and Warner Music India. “It highlights the power of cross-cultural collaboration and our commitment to amplifying his voice on the world stage,” she says. Burke also champions women across the business, not just with slogans but in real rooms where real decisions are made. “I try to mentor, advocate and create space for new leadership, creativity and perspectives.”

As executive producer of Mary Kills People and Law & Order Toronto: Criminal Intent, Cameron knows how to shape a hit. The warm audience embrace of L&O Toronto was her highest high this year. “We could have messed up the tone, but we didn’t,” she says. A self-confessed “edit nerd,” she loves watching pacing, structure and surprise come together onscreen. Her top recommendation to newcomers: “Don’t wait until your career is ‘established’ to also build a personal life. Chase joy — it’ll keep you sane.”

At the helm of content strategy for Paramount’s Canadian streamers, Case knows how to chase bold bets — from American Gladiators to the just-announced Canada Shore — a reality show in the style of aughts U.S. hit Jersey Shore — which is still casting but already sparked a flood of local support. “It was a significant highlight,” she says. A former exec at Vice and Blue Ant, Case believes the industry’s biggest challenge is a slow response to change. “We need to adapt faster to both tech and politics,” she notes. Her mantra for newcomers? “Lean in, trust your instincts and take risks.”

Few have shaped Canadian TV as deeply as Creighton. As CMF head, she’s funded international hits from Rookie Blue to Orphan Black. Her proudest recent moment came at the Banff World Media Festival when she announced the CMF’s Indigenous Program would be fully administered by the Indigenous Screen Office — and was honored with a Siksika Nation blanket ceremony. “It moved me beyond words,” she says. Creighton sees storytelling as an act of sovereignty: “Canadians are drawing a line in the sand. This ‘elbows up’ moment comes from pride — and necessity.”

The artist manager helped steer Blue Rodeo’s 40th anniversary celebrations this year, culminating in a CBC documentary and commemorative postage stamp. “The true joy came in sharing it with fans,” she says. She brought the country-rock legends to theaters, broadcast and digital screens nationwide. Her advice to her younger self — and, by extension, everyone else: “Don’t be afraid of anything. It’s all going to happen anyway, and rarely where or when you expect it.”

Academy Award-nominated for Nightmare Alley, Deverell just wrapped a massive two-year journey designing Guillermo del Toro’s Frankenstein. “It was one of the most challenging productions I’ve been a part of,” she says, recalling the final champagne toast on the lawn at Wilton House in the U.K. Her philosophy? Resist the erosion of creative freedom in an AI-driven era. “We need raw, honest films that speak openly about the human condition,” she says. For newcomers, her advice is clear: “Come at it honestly as a storyteller — no matter what role you play.”

Di Mondo launched her career knee-deep in film history, interning at MGM and sorting through archives containing vintage press kits for classics like Dr. No — complete with scribbled napkin notes from decades past. Now she’s leading Fremantle’s charge in Canada, overseeing such hits as Canada’s Got Talent, Family Feud Canada and Little Bird. Her recommendation to the next generation? “Never underestimate good preparation. Whether it’s a boardroom or a dinner, respect your time and everyone else’s.”

Twenty-five years ago, “I’m Like a Bird” catapulted her to global fame. Today, Furtado is back in flight. After stepping away from the spotlight to focus on family — and self-releasing a 2017 album — she reemerged following a surprise 2022 duet with Drake at his All Canadian North Stars concert. The response was enough to lure her back into the studio, where she penned more than 400 songs across four years before dropping her seventh album, 7, in September. Now 46, she’s touring again and defiantly embracing authenticity, telling fans, “We are all cute little humans just bouncing around the Earth looking for hugs.”

At the helm of British Columbia’s creative industries, Gill advocates for local talent, greener sets and more inclusive hiring. A standout career moment came early on when she produced a documentary series about Sikh women in British Columbia — a personal milestone. This year, she cheered as locally filmed shows like Shogun earned tons of awards. Her goal? Making sure B.C. isn’t just a destination for Hollywood crews but a source of storytelling itself. “We’ve worked hard to be seen as more than just a service hub,” she says.

With breakout roles in Orphan Black and Ginny & Georgia, González is now making her mark stateside with her first U.S. series regular role in Kevin Williamson’s The Waterfront. “As a Canadian artist, I always dreamt of using my work visa — this project was perfectly aligned,” she says. Filmed in Wilmington, North Carolina, the show matched her ambitions and her values. Her suggestion to women: “Don’t shrink your voice. Back stories you believe in and create your own work.”

Hamilton has guided such Canadian TV hits as Cardinal, Mary Kills People and Burden of Truth, but her proudest moments happen off set. “When cast and crew tell us it was one of their best experiences — that’s what sticks,” she says. Starting in animation at Nelvana, she’s now at the top of Lionsgate’s Canadian television division. Her best advice for young women entering the business: “Stay true to who you are. Don’t let the industry box you in.”

As head of Ontario’s biggest film and TV union, Harding has weathered downturns and led major labor negotiations. Her proudest moment this year? Watching her team and membership excel despite tough times. “Their performance was extraordinary,” she says. Harding began her career working on an unfinished feature — a fitting entry into a business built on uncertainty. Her advice: “Build relationships and follow the Golden Rule. You never know who might help you down the line.”

This year’s Juno Humanitarian Award honoree, Harmer has long balanced music with activism. In 2010, she helped block a major quarry project threatening Ontario’s Mount Nemo Conservation Area. Today, she co-chairs the Reform Gravel Mining Coalition, mobilizing citizens to protect the province from what she calls “risky and unnecessary” mining expansion. But her most meaningful role lately? Caregiver. “I’m most grateful that I could work a lot less over the past year and be there for my parents as they navigate their 90s,” she says. Her business philosophy is simple: “Hiring [women] — techs, management, musicians, accounting, finance …”

After a decades-long career across MTV, Fremantle, MGM and Nickelodeon, Hummel now leads Lionsgate’s Canadian distribution efforts, where she recently oversaw the integration of eOne into the studio’s local business. Her proudest achievement? “Successfully rebranding the business to Lionsgate Canada,” she says. A believer in career flexibility, she advises women starting out to stay adaptable: “Be open to every turn of your career — there’s a growth opportunity around each corner.”

Known for Reservation Dogs and Marvel’s Echo, Jacobs has become one of Canada’s most prominent Indigenous performers. She’s also a producer, proudly buying a ticket to her own debut feature, Backspot, this year: “Just the act of walking in and buying a seat to my own movie felt like a tick off my bucket list.” She sees burnout — for creators and audiences alike — as the industry’s biggest threat: “We’ve got to lean on each other. A rising tide raises all boats.”

The Iran-born, Canada-raised founder of Reservoir Media made headlines this past year by signing Snoop Dogg, k.d. lang and The Lion King composer Lebo M — a trifecta that reinforced her company’s status as the largest publicly traded indie music firm. “It speaks to the caliber of talent we attract and the strength of our creative and value enhancement teams,” she says. Her recommendation to young women? “Be the most prepared person in the room. Preparedness arms you with the confidence to show your expertise — no matter the audience.”

Leaders of one of the country’s only Indigenous- and women-owned record labels, Kish and Rheaume are also acclaimed artists in their own right — Kish is one half of the Juno-winning duo Digging Roots, and Rheaume just dropped her latest solo album, The Truth We Hold. This past year, Ishkodé signed four new acts, including rising voices Siibii and Logan Staats and Native American icon Keith Secola, “an honor,” she says of the man who wrote the 1992 anthem “NDN Kars.” Rheaume picked up two community-nominated awards — the Spirit of Folk and King Charles III Coronation Medal — and the duo is hosting their biggest International Indigenous Music Summit yet in Toronto in June. Says Rheaume: “At Ishkodé Records, 90 percent of our team are women! Our team of aunties brings so much care and love to all our work.”

Klebuc oversees hit Canadian shows Shoresy, Transplant and Children Ruin Everything. But she never forgets her start — as an underpaid, overwhelmed PA. “I was a terrible PA,” she says with a laugh. “Completely broke. So I pivoted to law school.” She believes the industry contraction may be a catalyst for change. “It could lead to growth in Canada if we build smart global partnerships,” she says. Her advice for women entering the business: “Take more risks. Develop your entrepreneurial side. Ditch the imposter syndrome.”

After 20 years at Bell Media, Kowalski leads the international content strategy for Pluto TV at Paramount. Her biggest realization this year? “I was so busy hiking up the hill, I hadn’t stopped to enjoy the view,” she says, reflecting on a year of collaboration and team growth. In a crowded free ad-supported streaming world, she believes excellence still cuts through. Her suggestion to young women: “Know the value you bring, and be yourself.”

Lee helped secure $23 million in federal funding for TIFF’s upcoming content market, but her roots are in indie film. As a producer at the National Film Board, she worked on landmark documentaries like Stories We Tell. “The biggest challenge is also our biggest opportunity: change,” she says. “It disrupts, but it opens doors to new voices, formats and audiences.” Her guiding philosophy? “Sometimes you need a seat at the table — and sometimes you need to make your own table.”

At the helm of Canada’s leading indie distributor, May helped bring Anora, The Brutalist and Conclave to Canadian audiences — all three went on to score best picture nominations at the 2025 Oscars. “Having a hand in distributing three films recognized at that level? That was a career high,” she says. A former Lionsgate exec, May has long championed theatrical windows, specialty collector editions and now AVOD. Her recommendation to women in the business? “Learn financial literacy — whatever your role. Understanding the numbers opens doors.”

At the helm of Thunderbird since 2018, McCarron oversees a diverse portfolio of kids and factual content, from Molly of Denali to Highway Thru Hell. She’s most proud of the company’s culture. “We create an environment where nobody feels like a number,” McCarron explains. “When people feel safe, they do their best work.” Her recommendation for women entering the field? “A great attitude will open more doors than anything,” she says. “And you get out of something what you put into it.”

Fresh off a Juno Awards sweep — with four wins, including best album and best artist — the Calgary-born pop phenom hit a new high this year when So Close to What debuted at No. 1 on the Billboard 200. Her emotionally raw lyrics and moody dance-floor anthems have struck a deep chord with Gen Z. They’ve also made her a top “sync” prospect — industry speak for artists whose songs are prime for soundtracking TV shows, movies and commercials. For music supervisors looking to score a scene with heartbreak, swagger or both, McRae’s catalog is fast becoming a go-to.

For more than three decades, Mirsky has helped Canadian filmmakers get their stories made — launching the Rogers Documentary Fund in 1996 and, more recently, the Rogers Series Fund. Her mission: Ensure Canadian content stands out globally. “We must continue to set ourselves apart through quality documentaries and scripted content,” she says. “Be confident in every room,” she adds of her piece of advice to young women. “Push your projects. Don’t take no for an answer.”

Myers is building movements not moments. She led the deployment of the first-of-its-kind study on the value of Black music in Canada — a benchmark that’s now influencing research globally. Her leadership at ADVANCE continues to push for systems-level change. “Know your worth — and don’t shrink it for anyone,” she tells young women. “Walk into every room like you belong, because you do.”

As ACTRA’s leader, Noble represents more than 30,000 Canadian performers. Her proudest moment this year? Negotiating a landmark film and television agreement. “It was historic,” she says. Her first gig came just before graduation — a lead role on Are You Afraid of the Dark? Her message to newcomers: “Focus on what you’re passionate about and surround yourself with people who treat you with dignity and respect.”

A stalwart of Canada’s indie scene, Piovesan has backed acclaimed films like The Whistleblower and Infinity Pool. In 2016, Elevation Pictures, a distributor, launched a Canadian film and TV production arm and tapped Piovesan to run it, looking to shoot in Canada and tap tax credits, local talent and currency savings. This year, she’s proudest of building out Elevation’s production team. “Seeing folks step up and make things happen for filmmakers — that’s been incredibly rewarding,” she says. She credits her early boss, agent Ann Blanchard, for teaching her what advocacy looks like: “She reminded me I could do anything I set my mind to.” When asked to share words of wisdom, she says: “Ask where the industry’s going, not just where it’s been.”

Rathwell capped off a decade-long triumph in July with the final show of Billy Joel’s record-shattering Madison Square Garden residency — 150 performances over 10 years — which she calls “the honor and privilege of a lifetime.” By fall, she was back at it with another icon: Stevie Wonder. “He is so loving and talented,” she says. “It was a truly magical and uplifting experience.” A veteran mentor within AEG, Rathwell runs what colleagues affectionately call “Debra’s Finishing School,” guiding the next generation of talent buyers with her signature mix of know-how and generosity.

Roy began in the editing suite at the National Film Board, where she once crossed paths with a young Denis Villeneuve. Now leading Telefilm, she recently launched a bold three-year plan to elevate Canadian cinema on the global stage. “It affirms the power of our stories and our place in the world,” she says. Her suggestion for newcomers: “Immerse yourself in the community. Be bold. Trust and mentorship are everything.”

When Shinkoda landed her first industry job at PolyGram Filmed Entertainment, she had no business wardrobe and no idea how to work a fax machine. “I was fresh out of film school,” she recalls. “Totally clueless.” These days, she co-runs Sony Pictures’ Canadian operation, overseeing distribution across film, TV and library content. Her advice for the next generation? “Be curious. Ask questions beyond your job. And find mentors — no one’s going to hand them to you.”

From a temp job cleaning up a client’s database to running strategy for the CMPA, Shorten has spent her career strengthening Canada’s indie production sector. This year, she helped secure an increase to British Columbia’s film tax incentive. “Canadians have rediscovered their love for this country,” she says. “Telling our stories is foundational to our identity.” She urges young women to seek mentorship early — and pay it forward later.

Simard’s film career began rolling posters for TIFF. Now, she leads workforce programs that place diverse trainees on shows like Frankenstein and Law & Order Toronto. “We have the infrastructure, the talent and the pride,” she says. “Excellence is rewarded — and we’re just getting started.” Her recommendation? “Understand the full industry landscape. Get out of your niche and learn the 360-degree view.”

Symsyk, who oversees the nonprofit that administers millions in funding to Canadian artists and music companies, has had a Goliath-tackling year, including taking Scotiabank to court over a one-time cybertheft of nearly $10 million (CAD). “Given the facts revealed to date, it’s incredulous FACTOR doesn’t have the stolen funds back yet,” she says. “It was amazing to see so many female owners in the entertainment sector show up at the court hearing to support us. What the bank has tried to do is unforgivable, and women took particular notice first. Thanks to the men who also had our back.” She adds, “It’s critical to support the culture you love, and sometimes that includes standing up to liars, bullies and thieves, which has never been more important.”

After years climbing the ranks at Ticketmaster Global, Tarlton returned to her roots in 2024, stepping into a new role at Live Nation Concerts Canada — the same industry she first entered at age 15 as a summer receptionist for a concert promoter. She helped usher in Canada’s first Economic Impact Assessment of the live music industry, quantifying what fans and promoters have long known: Concerts matter. Her recommendation for women climbing the ladder? “Relentlessly build and broaden your connections. … See your network as your evolving personal board of directors.”

Once Toronto’s first film commissioner, Thorne-Stone now heads the province’s lead media agency, investing in everything from feature films to XR content. Her proudest moment? Launching Ontario’s new IP Development Fund after two years of strategic planning. “It’s designed to support innovation, scale and global competitiveness,” she says. Her advice: “Be clear about your goals. Say yes to opportunities that challenge you — even if they feel out of your league.”

Newly appointed CEO of Salxco — the powerhouse management company behind The Weeknd, Metro Boomin and Brandy — Unwin is entering 2025 with what she calls “a defining moment” in her career. The Los Angeles-based Canadian is channeling her hard-won influence into building a more inclusive music industry. “Whether it’s hiring, mentoring or giving women a seat at the table where decisions are made, I’ve made it a priority to build a culture that empowers and reflects the next generation of leadership,” she says. Her suggestion: “Learn the business. Knowing the numbers, contracts and strategy is what turns talent into leadership.”

Watson oversees Rogers’ sprawling TV and sports empire, including Sportsnet and Citytv. This year, she helped land a 12-year NHL rights renewal and inked a landmark content deal with Warner Bros. Discovery and NBCUniversal. Watson has worked in the TV industry for over 30 years. Her advice for young women is “to be confident that your voice matters and don’t be shy to speak up.”

Williams helped transform the CBC from a local broadcaster into a global exporter of Canadian hits. Her first job? Tape librarian at CFMT. This year, she helmed CBC’s ambitious coverage of the Paris Olympics. Asked for advice, she doesn’t sugarcoat: “Be brave. It won’t be easy.” But the payoff, she insists, is helping reshape the narrative of what Canadian television can be.

Woodbury helped steer Wayward with Mae Martin and a buzzy Montreal Expos baseball doc, but her proudest moment this year happened offscreen: watching her son learn to swim. “It reminded me how important patience and persistence are,” she says. A former indie producer turned Netflix exec, she urges young women to “figure out where to add value — and stay anchored in what matters.”

As co-lead of Netflix Canada, Woodrow helped launch the sitcom North of North, a collaboration with CBC and APTN she calls “full of beautiful, messy, hilarious heart.” She began as a paid intern at Fox Searchlight and now helps drive Netflix’s Canadian slate. Her advice? “Follow your curiosity — and consume everything. Every show, every film, every story helps you build the instincts you’ll need.”

With The Handmaid’s Tale still echoing on Hulu, her Booker Prize-winning sequel The Testaments headed for television and a memoir (K of Lives) due in November, Margaret Atwood, 85, is proving that cultural relevance can thrive at any age. Canada’s reigning literary powerhouse will be honored with the ICON Award at The Hollywood Reporter’s second annual Women in Entertainment Canada summit, taking place May 29 at the Ritz-Carlton Toronto.

Also being celebrated: Indigenous activist and actress Tantoo Cardinal (Dances With Wolves, Killers of the Flower Moon), recipient of the Equity in Entertainment Award; longtime TV host and fashion authority Jeanne Beker, taking home the Impact Award; The Sex Lives of College Girls breakout Amrit Kaur, honored with the Breakthrough Award; and Christina Jennings, CEO of Shaftesbury, who’s getting the Glass Ceiling Award. Her long-running procedural Murdoch Mysteries is now in season 18 — and distributed in more than 120 countries, which makes it one of Canada’s most far-traveling exports not named Ryan Reynolds.

The WIE Canada event — an offshoot of THR’s long-running Power 100 breakfast in L.A. — launched last year to wide acclaim, drawing top names from across film, TV and music, including Kim Cattrall, Devery Jacobs, Lilly Singh and Nia Vardalos. This year’s edition promises more star wattage, more serious industry shop talk … and, yes, more red cloaks.

This story appeared in the May 21 issue of The Hollywood Reporter magazine. Click here to subscribe.