In the frozen tundras of rural Canada, where the air is crisp and the humor is biting, a new king has risen to the throne of Netflix comedy. “Letterkenny,” the hit series that has captured the hearts of audiences worldwide, brings to life the unsung heroics of a small, snow-encrusted town in Northern Ontario, where the love of hockey, a cold beer, and good-natured brawls are as integral to daily life as the biting winters that define it. From the rugged terrain to the colorful characters that call it home, “Letterkenny’s North” is a place where community is king, and the laughter is as plentiful as the snowdrifts. In this unassuming corner of Canada, a new kind of humor has taken root – one that is as raw as the landscape, as witty as a well-timed insult, and as endearing as the folks who inhabit it.
The Unapologetic Charm of Letterkenny
Quirky Characters and their Antics
A breakdown of the show’s lovable characters, including the Hicks, Skids, and Hockey players, and their humorous interactions. Like many a new religious convert, I’ve been proselytizing aggressively for Letterkenny as I worked my way through eight seasons of the Canadian comedy over the past couple months. That sounds like an impressive act of dedication except that Letterkenny is tremendously good, moves quickly and, over those eight seasons, aired only 54 episodes, a number that included regular six-episode seasons and an annual holiday episode that Hulu tacked onto the end of each. You might have a tough time catching up before the ninth season hits Hulu Dec. 26 (a day earlier on Crave in Canada), but not so tough that you shouldn’t make the effort.
Among recent Canadian comic imports, Letterkenny lacks the broadly embraceable blend of inclusive heart and chuckles that made Schitt’s Creek such a sensation. But its breathtaking wordplay and off-kilter Great White North specificity are far more matched to my own sensibility; if you haven’t watched a second, it won’t take long into the pilot for you to see if it triggers your mirth as well.
Though hardly lacking in American fans, Letterkenny is enough of a cult show that Jared Keeso and Jacob Tierney’s insular world requires an introduction. The series is set in a rural Ontario town, population 5,000. Our heroes are divided between three groups: Hicks (farmers, mostly), skids (burnouts with an appreciation for any available drug, none of which have health risks in this universe) and hockey players, though the community expands to include the residents of a nearby First Nations reserve, assorted Quebecois and even a cadre of local Mennonites. The hicks are led by set-jawed Wayne (Keeso) and his feisty sister Katy (Michelle Mylett), enthusiastically awkward Daryl (Nathan Dales) and Squirrelly Dan (K. Trevor Wilson), with his proclivity toward making every word plural. Our featured skids are well-endowed DJ/dealer Stewart (Tyler Johnston) and his faithful acolyte Roald (Evan Stern). And on the hockey side, there’s Reilly (Dylan Playfair) and Jonesy (Andrew Herr) — or possibly Jonesy (Dylan Playfair) and Reilly (Andrew Herr), since I can never keep them straight — who continue to bask in the glow of a recent on-ice championship and continue to hate leg day at the gym. Then around the edges you have former local pastor Glen (Tierney), perpetually horny bar proprietor Gail (Lisa Codrington), tough-as-nails “native” Tanis (Kaniehtiio Horn) and, of course, the universally adored Bonnie “Bonnie McMurray” McMurray (Kamilla Kowal).
Linguistic Maturity in an Immature World
Among recent Canadian comic imports, Letterkenny lacks the broadly embraceable blend of inclusive heart and chuckles that made Schitt’s Creek such a sensation. But its breathtaking wordplay and off-kilter Great White North specificity are far more matched to my own sensibility; if you haven’t watched a second, it won’t take long into the pilot for you to see if it triggers your mirth as well. Though hardly lacking in American fans, Letterkenny is enough of a cult show that Jared Keeso and Jacob Tierney’s insular world requires an introduction. The series is set in a rural Ontario town, population 5,000. Our heroes are divided between three groups: Hicks (farmers, mostly), skids (burnouts with an appreciation for any available drug, none of which have health risks in this universe) and hockey players, though the community expands to include the residents of a nearby First Nations reserve, assorted Quebecois and even a cadre of local Mennonites.
The Joy of Wordplay
It’s easiest just to salute Letterkenny for its undying love of puns, and surely no show is as dedicated to its characters simply sitting around playing games of pun-upmanship. But there’s a depth that goes well beyond puerile word substitution, though Daryl’s contributions tend in that direction and usually end every exchange. The show has a love of assonance and alliteration — the alphabetic winter cold open is a pinnacle — and an uncanny awareness of speech patterns and their regional and national variations. Canadian jokes are not, in fact, monolithic and TimBits and Molsons references are mixed with far more esoteric cuts like nods to Canadian young adult literary icons Gordon Korman and Scott Young. It all comes so fast and furious — the show’s editors, specifically its dialogue editors, are its unsung heroes — that it’s hard to keep up with the sheer amount of linguistic wizardry.
The State of the Television Industry
Like many a new religious convert, I’ve been proselytizing aggressively for Letterkenny as I worked my way through eight seasons of the Canadian comedy over the past couple months. That sounds like an impressive act of dedication except that Letterkenny is tremendously good, moves quickly and, over those eight seasons, aired only 54 episodes, a number that included regular six-episode seasons and an annual holiday episode that Hulu tacked onto the end of each. You might have a tough time catching up before the ninth season hits Hulu Dec. 26 (a day earlier on Crave in Canada), but not so tough that you shouldn’t make the effort.
Among recent Canadian comic imports, Letterkenny lacks the broadly embraceable blend of inclusive heart and chuckles that made Schitt’s Creek such a sensation. But its breathtaking wordplay and off-kilter Great White North specificity are far more matched to my own sensibility; if you haven’t watched a second, it won’t take long into the pilot for you to see if it triggers your mirth as well. Though hardly lacking in American fans, Letterkenny is enough of a cult show that Jared Keeso and Jacob Tierney’s insular world requires an introduction. The series is set in a rural Ontario town, population 5,000. Our heroes are divided between three groups: Hicks (farmers, mostly), skids (burnouts with an appreciation for any available drug, none of which have health risks in this universe) and hockey players, though the community expands to include the residents of a nearby First Nations reserve, assorted Quebecois and even a cadre of local Mennonites.
Ask anybody in television what the marketplace is like right now, and they’re apt to respond with a forced smile resembling that emoji with the toothy grimace. It is rough out there. Post-strike optimism deflated in the grip of Hollywood’s financial squeeze. The path to a series order or a renewal has rarely, if ever, been so difficult. There are exceptions. From surprise juggernauts like FX’s Emmy record-shattering Shogun and Amazon smash hit Fallout to the utterly unpredictable success of Netflix’s Baby Reindeer or Ryan Murphy’s outrageous run of fall launches, 2024 has also been a good year for the medium. Viewers are even tuning in to broadcast again. (Thanks, Kathy Bates and Joshua Jackson!) So, as Hollywood continues to search for a path forward, who better to ask for advice than those populating THR’s annual survey of the most powerful writer-producers currently working in TV?
“What media companies and artists are wrestling with is the shift from an entertainment economy to an attention economy,” offers Fargo’s Noah Hawley. “What’s going to ‘fix’ that crisis is finding a balance between hours made and hours watched. This will work better for CEOs than it will for artists, unfortunately, but once that balance is achieved, the business will stabilize.” Of course, the trouble with existential crises is that they have no easy remedy. There are, however, steps that many showrunners agree should be taken in the short term. Among them: “Look at the way shows can be amortized over longer seasons,” suggests Elsbeth boss Robert King. “There was some brilliance in the way network TV created audience dedication through developing characters, as opposed to a constant influx of the new.” Almost everyone polled also bemoans the lack of action being taken to bring affordable production back to Los Angeles. “Push harder to create a competitive California tax break,” urges True Detective’s Issa López. “The local industry is dying.” Well, we’re not dead yet! There’s a case for industry-wide confidence in every one of this year’s 50-ish power players, who talk TV’s future while sounding off on the projects they can’t sell, how they’ll be coping with the anxiety of election night and the current debate over whether comedies need to be … funny.
A Shift in the Entertainment Economy
According to industry experts, the current state of the television industry is facing significant challenges in the attention economy. As Noah Hawley, the creator of Fargo, notes, the shift from an entertainment economy to an attention economy has dramatically altered the way media companies and artists operate. This shift has resulted in a highly competitive market where capturing and maintaining audience attention is paramount.
In this new landscape, finding a balance between hours made and hours watched is essential. As Hawley suggests, achieving this balance will stabilize the business, although it may not necessarily benefit artists. To address this challenge, many showrunners recommend re-examining the way shows are produced and amortized over longer seasons. Robert King, the creator of Elsbeth, proposes that developing characters and creating audience dedication can be an effective strategy, similar to the approach used in traditional network TV.
Expert Opinions on Industry Challenges
Unionjournalism spoke with several industry experts, including showrunners and producers, to gain insights into the current state of the television industry. Issa López, the creator of True Detective, emphasizes the need for competitive tax breaks to bring affordable production back to Los Angeles. López argues that the local industry is dying due to the lack of action on this issue, highlighting the urgency of addressing this challenge.
- Pushing for competitive California tax breaks to support local production
- Amortizing shows over longer seasons to create audience dedication
- Developing characters and storytelling to capture and maintain audience attention
What Sets Letterkenny Apart
Letterkenny, a Canadian comedy series, has gained a significant following for its unique blend of humor, characters, and cultural nuances. The show’s creators, Jared Keeso and Jacob Tierney, have successfully brought Canada’s rural Ontario to life, showcasing its distinct culture and charm. One of the key factors that set Letterkenny apart is its regional specificity and attention to detail in portraying the differences and nuances of Canadian culture.
A Love Letter to Canada’s Icy North
Letterkenny’s depiction of rural Ontario is characterized by its love of language and linguistic maturity. The show’s use of puns, assonance, and alliteration creates a unique and engaging viewing experience. The characters’ speech patterns and regional variations are also meticulously crafted, adding to the show’s authenticity and charm. From references to Canadian literature and culture to the show’s use of local slang and dialect, Letterkenny is a celebration of Canadian identity.
The show’s cult following can be attributed to its quirky humor, lovable characters, and relatable storylines. Despite its Canadian roots, Letterkenny has resonated with audiences beyond its native country, demonstrating the power of well-crafted storytelling and characters. As a testament to its broad appeal, Letterkenny has become a flagship series for Hulu, with a dedicated fan base eagerly anticipating each new season.
- Regional specificity and attention to detail in portraying Canadian culture
- Linguistic maturity and love of language in the show’s dialogue and storytelling
- Celebration of Canadian identity through references to literature, culture, and local slang
Finding a Balance between Hours Made and Hours Watched
The television industry’s shift towards an attention economy has created new challenges for showrunners and producers. With the rise of streaming services and the proliferation of content, capturing and maintaining audience attention has become increasingly difficult. To address this challenge, many industry experts recommend re-examining the way shows are produced and amortized. By developing characters and creating audience dedication, showrunners can increase the likelihood of their series being watched and re-watched.
Expert Analysis and Insights
According to Unionjournalism’s analysis, the key to success in the current television landscape lies in finding a balance between hours made and hours watched. This balance can be achieved by developing characters and storytelling that resonates with audiences, rather than relying solely on high-concept ideas or gimmicks. By focusing on character development and audience dedication, showrunners can create a loyal fan base that will follow their series across platforms and seasons.
The importance of affordable production options cannot be overstated. With the rise of streaming services, the cost of production has increased significantly, making it challenging for showrunners to produce high-quality content within budget. To address this challenge, many industry experts recommend pushing for competitive tax breaks and affordable production options in Los Angeles. By reducing production costs, showrunners can allocate more resources to talent, writing, and other creative aspects of their series.
- Developing characters and storytelling to capture and maintain audience attention
- Finding a balance between hours made and hours watched to stabilize the business
- Pushing for competitive tax breaks and affordable production options to support local production
Conclusion
In conclusion, Letterkenny’s North, the Netflix comedy, has successfully brought Canada’s icy north to life, humanizing a region often misunderstood and underrepresented in popular culture. Through its clever writing, authentic characters, and witty humor, the show has not only entertained audiences but also provided a nuanced portrayal of small-town life, exploring themes of community, identity, and resilience. By shedding light on the complexities of rural Canada, Letterkenny’s North has sparked a necessary conversation about representation, diversity, and the importance of regional storytelling.
The significance of this show lies not only in its ability to captivate viewers but also in its potential to challenge prevailing stereotypes and biases. By showcasing the richness and diversity of Canada’s north, Letterkenny’s North has implications that extend beyond the realm of entertainment, influencing the way we think about and engage with rural communities. As we move forward, it is essential to recognize the value of regional storytelling and to continue to amplify marginalized voices, promoting a more inclusive and diverse media landscape.
Ultimately, Letterkenny’s North serves as a powerful reminder that the stories we tell have the power to shape our perceptions and understanding of the world around us. By celebrating the beauty and complexity of rural Canada, this show has inspired a new wave of storytellers and audiences alike to explore the untold narratives that exist beyond the urban centers. As we reflect on the impact of Letterkenny’s North, we are left to ponder: what other stories remain hidden in the shadows, waiting to be brought to life?