John Doyle's favourite Canadian performances of 2017

Well, you can't please everyone. Heaven knows that truism hits us like a mallet to the head at this time of the year.

The other day I was asserting " Ten things about television that must be stopped." The reaction was a sterling reminder that some people in the Canadian TV racket are terrifically thin-skinned. The column was one of those items that readers really appreciate, but, of course, certain persons in the racket think it's done for them, not the readers.

In this particular bulletin, mind you, there's an appreciation of fine performances this year on Canadian TV. Grumbling will ensue, of course. But by all means, let me know of your favourites, whether you're in the TV racket or not. That is, if you have time and you're not stuck at Canadian Tire surrounded by Christmas lights arrayed like thick brambles to ensnare you. At Canadian Tire, we are all just Canadian, doesn't matter if we're big shots in the TV racket. So, here's a (short) list of fave performances from this year.

Ensemble

The cast of Kim's Convenience (CBC). What a pleasure to see a team so attuned to the material and each other. The recent season finale was beautifully done, an ensemble on all cylinders savouring the writing and intricacy of the now well-established sinuosity of the relationships.

Ultra-outstanding lead performance

Sarah Gadon as Grace Marks in CBC/Netflx's Alias Grace. Gadon is one of those uncommonly thoughtful actors who transcends the visual impact of her presence in front of the camera to evoke a resolute self-awareness. In Alias Grace, she had the accent of Northern Ireland down, and through every scene the imaginative vigour and steeliness of the character was there, on display.

Scene stealer

In Alias Grace, CBC's Frankie Drake Mysteries and Slasher, Liddiard sort of takes over when she's in a scene. An actor of great natural charisma, there's authentic force in her wide-eyed optimism and a steeliness in those moments when she's resentful of the second-string importance given to women. Always a joy to watch.

Outstanding work in a much-performed role

R.H. Thomson as Matthew Cuthbert in the CBC/Netflix reboot Anne. Numerous actors have tacked Matthew in various iterations of Anne of Green Gables but Thomson seemed particularly acclimatized to the tone that writer/adapter Moira Walley-Beckett was bringing to her reworking of the much-loved story. His stillness as Anne (Amybeth McNulty) and Marilla (Geraldine James) bantered and bickered, was powerful.

Outstanding work carrying a series while surrounded by big-presence males

Kim Coates in Bad Blood. The mob series really belongs to Coates as the fixer and right-hand man, Declan, to the main mob boss. He's the son-like figure but with threat and cunning emanating from him and then seething vulnerability when he is demoted to mere soldier and servant. Coates had an excellent turn, too, in Netflix's sublime western Godless.

Scene stealer, part two

Michelle Mylett, who had a small role in Bad Blood, the kind of role that younger female actors are obliged to all too often, as a tough, attractive young mistress. But it was memorable and, as the only female lead in Letterkenny, as Katy, she's magnetic, utterly believable and hilarious in the cracked comedy universe of the series.

Ensemble, part two

Mohawk Girls – Holy-moly, they are gutsy – Brittany LeBorgne as Zoe, Jennifer Pudavick as Bailey, Maika Harper as Anna and Heather White as Caitlin. The raw female carnality, the boozy fighting and sarcasm. It's a character-driven show from start to finish but these women are often obliged to enter into a world of very lewd revelry. In a show about the occupation by women of a traditionally male space, these four own it fully.

Outrageously standing out in a strong ensemble

Meredith MacNeill in Baroness Von Sketch Show. In the formidable and deservedly lauded posse that is the Sketchers – Aurora Browne, Carolyn Taylor, and Jennifer Whalen – MacNeill is breathtakingly fearless, carrying entire sketches with the twisted intensity of the type of character she plays with aplomb. The long salad sketch, in which she attempts to eat an enormous healthy salad, she does almost alone, with every fibre of her gift for physical comedy. The moment when she takes her first bite and mutters, "Mother of God!" is priceless.

This has been a short list. Argue among yourselves, in the TV racket and outside of it. No hurt feelings memos, please.