It’s become a running joke – wander into any small town in British Columbia and you’re likely to stumble onto a Christmas movie set. But the sheer volume of Hallmark productions filming in the province isn’t just a quirky geographical phenomenon; it’s a masterclass in efficient industry infrastructure and a quietly brilliant branding exercise. More than 50 Hallmark productions were shot in B.C. in 2024, representing 40 per cent of the company’s output for the year. This isn’t a fleeting trend; it’s a decades-long relationship that’s mutually beneficial, and speaks volumes about how Hollywood (and its offshoots) operate.
- Hallmark shot more than 50 productions in British Columbia in 2024, accounting for 40% of their total output.
- B.C.’s skilled crews, diverse talent pool, and attractive tax incentives are key factors.
- Hallmark is actively working to address criticisms regarding diversity and inclusivity in its films.
The reasons are, predictably, multi-faceted. Randy Pope, senior vice-president of programming and development for the Hallmark Channel, cites “incredibly talented crews, actors…the talent pool is really deep and the locations are beautiful.” He also acknowledges the financial incentives – a tax credit and a favourable exchange rate. But the key takeaway here isn’t just cost-effectiveness; it’s *reliability*. Hallmark knows what it’s getting in B.C. They’ve built relationships, fostered local talent, and established a streamlined production pipeline. This is a strategic advantage in a landscape where content needs to be churned out at an astonishing rate.
The “Hollywood North” moniker isn’t just marketing fluff. B.C. has deliberately cultivated a film industry, and Hallmark has been a cornerstone of that development for over two decades, since at least 2000. Film commissioner Marnie Gee rightly points out that Hallmark’s presence has “showcased communities throughout the province” and helped build a sustainable industry. This isn’t simply a company choosing a convenient filming location; it’s a symbiotic relationship where Hallmark benefits from established infrastructure, and B.C. benefits from consistent production revenue and job creation.
However, the shadow of inclusivity looms large. The genre of holiday movies, and Hallmark specifically, has faced criticism for its lack of diversity. The fact that B.C. boasts a significantly more diverse population than the typical Hallmark narrative – 11 per cent Chinese, 9.6 per cent South Asian, 3.5 per cent Filipino, and one of the highest proportions of transgender and non-binary people in the country – is not lost on those within the industry. Actor Omari Newton’s experience highlights this disconnect, and his hesitancy to pursue more Hallmark roles speaks to a broader issue. Pope acknowledges the need for improvement, stating that diversifying storylines, casting, and crews is “a work in progress.” This is a crucial PR pivot; acknowledging the criticism and demonstrating a commitment to change is essential for maintaining relevance in a more socially conscious media landscape.
Ultimately, Hallmark’s continued reliance on B.C. isn’t just about picturesque landscapes and tax breaks. It’s about a trusted partnership, a reliable workforce, and a strategic alignment of interests. As Gemma Martini notes, it’s about “communication back and forth.” And with the company actively attempting to address inclusivity concerns, and leveraging B.C.’s diverse population, it seems this relationship is poised to endure – and potentially evolve – for years to come. Expect to see more attempts to broaden the scope of these films, not just geographically, but also in terms of representation, as Hallmark navigates the increasingly complex demands of modern audiences.
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