Matthew Almeida
Matthew Almeida works in entertainment communications at CTV, focusing on music-led television events, reality franchises, and original series for the network's English-language services. His work centres on detailed launch and lineup announcements that position CTV programming within broader pop-culture and performance cycles, with a particular emphasis on televised music and artist-driven formats.
Music awards and artist programming
Music-focused television is a consistent thread in Almeida’s work, especially major award shows and artist showcases carried by CTV. He is the communications contact on announcements around CTV’s broadcast of the 2022 Billboard Music Awards, a release that ties the global music event to the network’s schedule and platforms. His remit also extends to programming built around international music talent, including a Shania Twain project promoted through CTV as “Canada’s premier multimedia company,” where he is listed as a key contact for further information.
Almeida’s portfolio includes a series highlighting aspiring artists, reflected in a release where CTV unveils the final group of performers selected for a new six-part, hour-long series. That announcement focuses on the progression from a wider field of 30 artists to the final 10, underscoring his role in communications that introduce emerging talent and frame music performance as event television. Across these projects, his coverage consistently connects artists and award brands to specific broadcast windows, reinforcing CTV’s position as a destination for live and formatted music programming.
Reality and competition franchises
Beyond pure music properties, Almeida works extensively on unscripted reality and competition formats that draw on performance, personality, and cross-country storytelling. He is the contact on Season 12 of THE AMAZING RACE CANADA, in a release that bills the show as a “cross-country adventure of a lifetime” and introduces 10 new teams taking part. The announcement emphasises the diversity of contestants and the scale of the race across Canada, signalling his role in communications that spotlight character-driven casting and episodic stakes for returning franchises.
This reality coverage complements his work on other high-profile event broadcasts, including the 91st Oscars telecast on CTV, where he is listed as publicist on a release highlighting a 9% audience increase and an average of five million viewers. Together, these pieces show him working at the point where competition, awards, and performance meet, framing reality races and film ceremonies as marquee events within CTV’s entertainment slate.
Daytime and scripted entertainment
Almeida is also closely associated with daytime talk and scripted series, supporting communications for long-running shows and new acquisitions. He is the contact on multiple releases for THE MARILYN DENIS SHOW, including a season kickoff detailing a “stellar lineup of viewer favourites” and a promotional “10 Days of Giveaways” event, both of which highlight segments, gifts, and viewer engagement across CTV and CTV Two. His work on daytime talk extends to the acquisition of BETHENNY for CTV’s fall lineup, where the release introduces the show as a new daytime talk addition and aligns it with the network’s broader schedule.
On the scripted side, Almeida is repeatedly tied to communications for the original comedy JANN, including an announcement of its third-season premiere on CTV and a separate release confirming exclusive streaming of the series in the U.S. on Hulu. He is also the contact for programming news about the event series ZOO, and for a midseason lineup that brings in dramas such as THE FIX and THE ENEMY WITHIN, situating CTV’s acquisitions within a cohesive schedule of imported and original content. These releases show him working across genres, from lifestyle and talk to comedy and drama, while maintaining a through-line of clear scheduling, platform information, and series positioning.
Format, platforms, and style
Across music, reality, and daytime programming, Almeida’s coverage is distinguished by its attention to broadcast logistics and multi-platform distribution. Releases he works on routinely specify airtimes, regional schedules, and availability on digital platforms such as CTV.ca, the CTV app, and streaming services like Crave and Hulu, underscoring a communications style that treats access details as core editorial content. Ratings performance and network positioning also feature prominently, as seen in the Oscars audience-growth release, where viewership metrics and CTV’s role in national event television are foregrounded.
Beyond formal press releases, Almeida has described writing an edition of a newsletter titled The Guide, noting that it was his first time working in newsletter format and suggesting an interest in this more conversational style of entertainment writing. Taken together, his work presents a consistent picture: he shapes the narrative around CTV’s entertainment and music programming by combining talent, format, and performance details with precise information on when and where audiences can watch.
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