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The letter, addressed to “my friends and family,” would inflame his progressive audience, despite the many telltale red flags—the retrograde “jilted girlfriend” trope, summoning , the “freelance writer” with an axe to grind, and the claim that CBC had seen proof that all the sexual acts he was accused of were consensual, as if that were even possible.
Passionately and reassuringly, Ghomeshi addressed a country in shock from shootings on Parliament Hill the day before: “This is not what we do, who we are,” he said. This is ” Just five days later, his status as a man who could speak for Canada was shattered.
The trauma and unhappiness within the unit was known within CBC, says a longtime CBC employee not associated with the show. A producer who has alleged that Ghomeshi fondled her and told her he wanted to “hate-f–k” her reported she was told by the executive producer to try to work around it; Ghomeshi wasn’t going to change.
This week, according to CBC News, two more women—one a former staffer, another a current CBC employee—alleged Ghomeshi was abusive and sexually aggressive. The other says she told a supervisor but nothing happened.
studio that had seen performances by Arcade Fire and visits from Margaret Atwood, Ghomeshi began as he always did: with the trademark cheesy pick-up line addressed to a nation: “Well, hi there,” he intoned in his velvet baritone.
What followed was another ’s tongue-in-cheek protest against Kraft Dinner removing the artificial dye that made its noodles neon-orange prompted Kraft to create and tweet a mocked-up KD package with Ghomeshi’s face and the message: “Well, hi there, Jian Ghomeshi, you smooth-talking, early-rising, exquisitely coiffed national treasure.” The essay he read on Oct.
This week, Jim Hounslow, an employee at the Canadian Museum for Human Rights in Winnipeg, alleged Ghomeshi “grabbed my genitals and fondled them” when they were both students at York University in the 1990s.
Toronto police launched an investigation, with three women, including actress Lucy De Coutere (), coming forward to lay complaints, and the nation had been introduced to “Big Ears Teddy,” Winnie the Pooh’s dark doppelgänger.
No one saw that disconnect more clearly than the dozen or so people who worked on .
Although Ghomeshi was not the boss at the show, he was the “talent”—and the place operated as his fiefdom of sorts, a workplace with exacting standards and often cruel punishment for those who didn’t live up to them.
By then, Canada’s most overt public shaming was in full swing.
Its target: Ghomeshi, the unoffical ambassador of Canada’s “creative class,” a ubiquitous presence at galas, opening nights, concerts, screenings, awards ceremonies, panels, debates.
Anger percolated over the seeming disconnect between the allegations and Ghomeshi’s public persona as an enlightened, sensitive progressive who called Jack Layton his “mentor,” who has interviewed political dissidents such as Ai Weiwei, and who tweets out support for white-ribbon campaigns.