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NHL talks potential expansion and relocation  

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The National Hockey League (NHL) is currently in a strong place regarding its competitiveness and balance across all 32 teams. 

Despite the parity across the league when it comes to star power on each team and the ability to generate excitement around every franchise, the NHL, under commissioner Gary Bettman, is in preliminary talks to expand to 33 teams, and soon after 34.  

The state that is the front-runner to be home to the 33rd team right now is Utah. With billionaire Ryan Smith – the owner of the NBA’s Utah Jazz – looking to bring hockey to the state of Utah, many are wondering where the team would play. The NBA team plays out of Salt Lake City and has ranked top 50 per cent in the NBA over the last number of years, showing they have a passion for professional sports.  

With the rich history of hockey in Salt Lake City – home of the 2002 Winter Olympic Games with the story of the Lucky Loonie – Ryan Smith believes that they would be able to provide “premium sports and entertainment experiences for the people of Utah and visitors from around the world.”  

The NHL may also be looking to relocate short-term to Utah with all of the talk surrounding the Arizona Coyotes. The Coyotes have been playing out of Arizona State University (ASU) for the past two seasons. This stadium is located in Tempe, Arizona which is close to downtown Phoenix and in a better location than their previous rink in Glendale. Unfortunately, the rink was made for NCAA hockey, meaning it only holds 5,000 fans. To put that into perspective, their old arena in Glendale, Arizona held 19,000 fans and the next smallest arena in the NHL currently is the Canadian Life Centre in Winnipeg, Manitoba which holds 15,321 fans.  

Edmonton Oiler Zach Hyman, has been outspoken about the Arizona Coyotes home arena. “It’s fine to play once or twice but to play a 41-game season here, it’s not ideal,” Zach Hyman told media members before their game against Arizona on Feb. 19. “LeBron James doesn’t play in front of 5,000 people. So why should Connor McDavid, you know? It’s kind of crazy, right? We want to be in the same realm as the NFL or NBA or MLB. Come on.” 

The Coyotes have been trying to find a new arena to play in for the past two years but have been able to find a piece of land that would be affordable to build on. Bettman is starting to get fed up with how long it is taking for Arizona to find an arena but is also adamant that hockey “can work in the desert”.  

“We’re in a better position to resist moving than maybe we were 20 or 30 years ago,” Bettman said. But why? When the Winnipeg Jets and Atlanta Thrashers were struggling with attendance years ago Bettmann did not give them a second chance to show that hockey could work in that market. Arizona is on its third building in the past twenty years and has been losing the NHL money for much of those two decades. Why is he so persistent that hockey will work in the desert when it has not for so many years?  

Either way, we will likely see a team in Salt Lake City in the near future. Whether that be through expansion or the relocation of the Arizona Coyotes is yet to be known. 

Men’s basketball: Badgers drop Wilson Cup in heartbreaking fashion  

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The Brock men’s basketball team continued their playoff run on Feb. 28, playing in the semi-finals against the Western Mustangs.  

Western had the home-court advantage and was coming off a blow-out win in the quarter-finals against Laurier, similar to the Badger’s 23-point win over the University of Ottawa.  

Brock started the game tying their best offensive quarter of the OUA playoffs thus far, scoring 24 points. Jordan Tcheunte and Jevon Brown led the offensive surge in the first quarter with nine and seven points respectively. Tcheunte was perfect from beyond the arc and Brown had two big steals that led to points on the transition. The Badgers led 24-19 after the first.  

The scoring slowed for both teams in the second with the Badgers scoring 17 and locking down Western, who managed just 13 points. They took a 41-32 lead into halftime with continued standout performances from Brown and Tcheunte.  

The Mustangs would not allow the Badgers to trot to the finish line. They found a second wind mid-way through the third quarter, tightening up their defence and holding the Badgers to just 13 points in the first 10 minutes out of the break. 

They stopped the offensive firing power of Tcheunte and Brown, holding them to just five points combined in the quarter. A big performance from Mustangs Tyson Dunn brought the team within five to start the fourth quarter, 57-52.  

Western outscored the Badgers 9-4 in the first four minutes of the quarter and were within just one point of the lead before Tcheunte got the Badgers back on track with a floater, to extend the lead back to three.  

The two teams traded two-point buckets over the next three minutes until Brock’s Isiah Bujdoso got one to fall from long range, extending the Badgers’ lead to two possessions – four points – with just over three minutes to play.  

On the next Badger possession, Bujdoso drove into the paint, fell hard to the floor and could not get up. Mustangs stormed down the floor with the extra man and sunk a wide-open three to bring the game back to within one point. Brock called a timeout and Isiah Bujdoso was subbed off due to the injury on the prior play, which gave freshman Xavier Fearon a chance to play in the most important minutes of the Badgers’ season.  

Western tied the game at 72 with 1:38 left in the game. The following two possessions were empty but with just 29 seconds left, Jordan Tcheunte took the game into his own hands and nailed a three-pointer over the hand of the Mustang defender, 75-72.  

Despite a late push from the Mustangs and missed free throws to ice the game by the Badgers, the game ended 75-72 and your Brock Badgers advanced to finals for a chance to at the Wilson Cup for the second time in just three seasons.  

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On March 2, the Badgers travelled to Kingston for the OUA championship game (Wilson Cup) for a rematch of the 2022 finals that was hosted and won by Brock. There were 12 players from the 2022 finals set to play in the game.  

The first quarter was an offensive frenzy with both Brock and Queens scoring at will, neither team able to contain the other. Jevon Brown and Kevaughn Ellis led the way with eight and six points, also draining two buckets from beyond the arc. Brock led after the first quarter 28-23.  

The second quarter saw the Badgers get the better of Queens once again. This time both teams had cleaned up their defensive play and as the Badgers were held to just 19 points and the Gaels 15. Badgers led at half, 47-38.  

In front of their home crowed Queens came out in the third quarter a reinivigourated team. They outscored the Badgers 20-15 and held them to just under 29 per cent shooting from the field.  

With 10 minutes left to play and the Wilson Cup on the line, the Badgers and Gaels entered the fourth quarter seperated by just four points, Brock 62, Queens 58. Cole Sylas nailed a three over two Badgers to get the Gaels back to within one to to start the quarter. From this moment on it was a back and fourth game filled with much emotion.  

The Badgers maintained the lead through most of the quarter trading points with the Gaels. That was until a Isaac Krueger nailed a three point to tie the game at 73s with 3:51 left on the clock.  

The game stayed tied for the next minute as Brock failed to convert on their next two possessions and Queens missed two free throws to take the lead. With 2:42 left on the clock, freshman Andrew McKenna let one fly from long range and got it to drop, 76-73 Badgers. But the game was not close to over.  

After a few empty possessions due to great defence and high nerves, Queens’ Michael Kelvin answered McKenna’s three tying the game at 76 with just over a minute to play.  

Brock could not convert on their last two possessions, giving Queens last possesion of the game. The rebound was grabbed with 12 seconds left and Queens rushed up the court. Brock dropped back into their defensive coverage and Queens handed the ball off to Cole Sylas – who had 26 points – and Sylas called Iso-ball.  

Sylas challenged the Brock defender, stepped back and hailed up a three over two defenders. The bank was indeed open and the Queens won the Wilson Cup in stunning fashion, 79-76.  

Despite the heart breaking loss in the finals, the Badgers season is not over yet. They will compete at the U Sports nationals in Quebec City on March 8 against Dalhousie University in a do-or-die quarterfinal game.  

For more information on the team, visit gobadgers.ca 

Women’s hockey: a season in review 

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The Brock women’s hockey team concluded their season last weekend losing in their final game to the Western Mustangs, thus missing playoffs. Although it was the first time in multiple years that the Badgers have missed playoffs, that does not mean the season was a failure.  

The Badgers started their season with back-to-back wins against the Laurier Golden Hawks and the University of Toronto Varsity Blues on the road. This theme would continue with road games throughout the rest of the season. In those first two games, it was stellar performances from Madelyn Walsh – three goals in two games – that had the Badgers off to a hot 2-0 start.  

The following six games did not fair well for the Badgers as they lost five of the next six – two at home, three on the road – and gave up four or more goals in four of those contests.  

The Badgers returned home in mid-November with a chip on their shoulder after a three-game road trip and won back-to-back games against York Lions and TMU Bold before dropping the third game to the Varsity Blues. In these games, goaltender Kenzie Harmison bounced back giving up just one goal in the first two games while stopping a total of 51 shots. These two performances added to her two stellar performances from earlier in the season where she posted two shutouts, one against Laurier and the other against York.  

Unfortunately, the Badgers’ return home did not spark a winning streak as they ended up dropping their next four games but these ones were kept much closer. Two of the losses were by one goal – a 2-1 loss to Western and a 2-1 loss to Ontario Tech in OT – while unfortunate, signalled that the Badgers were playing a more structured game defensively. But more of the same would continue as the Badgers started 2024 losing in four of their first five games, three of them being one-goal games. Goaltender Kenzie Harmison continued to have stand-out performances but the offence was struggling more and more as the season went on.  

The Badgers were in a rut and needed to finish their last nine games just over .500 if they wanted a chance to make playoffs. They won three of their next four which boosted them into the last playoff spot in their division and set them up for success in their last five games. Defender Ashley Robitaille and forward Jenna Duarte were stand-out performers in this stretch with their performance on and off the score sheet. Duarte registered three points in the three wins and Robitaille played stand-out defence and contributed on the offensive side of the puck with a primary powerplay assist in the 2-1 win over Windsor.  

But for the Badgers, hot turned to cold and they followed the great four-game stretch with three close games in a row. It all came down to the last two games against Western. Brock battled hard and Harmison had her best two performances of the season but they were only able to nab one of two games, both of which went to overtime.  

Although the Badgers missed the playoffs, they saw major growth from some of their younger players like Jenna Duarte; and seniors such as Ashley Robitaille, Madelyn Walsh and Kenzie Harmison had their best seasons as Badgers.  

With the season concluded the Badgers will have spots to fill on the roster with the potential departure of seven seniors: Teegan Dalby, Kenzie Harmison, Claudia Murphy, Madeline Nicholson, Ashley Robitaille, Camie Matteau Rushbrook and Kara Thomas.  

For all box scores, stats and more on the team, visit gobadgers.ca.  

Three Stars of the Season (selected by The Brock Press)  

3rd Star: Ashley Robitaille (28GP, 1G, 6A)  

2nd Star: Jenna Duarte (22GP, 7G, 5A, 1PPG, 1GWG) 

1st Star: Kenzie Harmison (28GP, GA/AVG 2.32, SV% .922, 4 SO) 

Critelli Cup: Carleton beats Queen’s, wins second consecutive OUA women’s basketball championship 

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Carleton Ravens, Canada’s top-ranked team, defeated OUA East Division rival Queen’s Gaels 63-55 to win the Critelli Cup for the second straight year. 

Kali Pocrnic, 2023-24 OUA first-team all-star, led the reigning U SPORTS National Champions with a game-high 20 points, scoring six in the first quarter. 

The fourth-year guard began the game on fire, draining two of her six made three-pointers in the opening three minutes, leading the Ravens to an 8-0 run to start the game. 

It wasn’t until the midway point of the first that Queen’s got on the board, but points were hard to come by for the Gaels in the opening quarter. The Ravens did a fantastic job on the defensive end, registering three steals and two blocks, forcing the Gaels to take low-percentage shots.  

As such, Queen’s shot an abysmal 14.3 per cent (2-14) in the quarter, while Carleton shot 31.3 per cent (5-16), leading to a 13-6 lead after one. 

In the second, the Gaels’ Laura Donovan – who led her team with 18 points – nailed a three a minute-and-a-half in cutting the Queen’s deficit to six, but it was the closest they’d come in the second quarter.  

Carleton’s Teresa Donato was the focal point of the Ravens offence in the second, scoring nine of her 15 points in the frame, including four field goals. 

The Ravens outscored the Gaels 23-12 in the second, taking a commanding 36-18 halftime lead. 

However, the Gaels, destined to avenge their losses to Carleton in last season’s Critelli Cup and National Championship, started the third on a 9-1 run as their stars finally showed up. 

Donovan kickstarted the comeback attempt, opening the quarter scoring one of her team-high three triples while Bella Gaudet contributed with five of her nine points in the frame. On the glass, Julia Chadwick was tenacious, securing six rebounds in the quarter, finishing the game with a double-double (14 points and 17 rebounds). 

Gaudet, the OUA leader in three-point percentage during the regular season at 43.1 per cent, nailed a crucial three in the final minute of the third, cutting the deficit to eight, before a late Ravens bucket restored their double-digit lead, 44-34, entering the fourth. 

In the fourth, the teams traded baskets through the opening five minutes until a 5-0 run by the Gaels cut the deficit to three – the closest the score was all game. 

But Pocrnic, the four-time all-star, quickly reimposed Carleton’s two-possession lead draining a pivotal three-pointer, erupting the Raven’s Nest. Yet, moments later, Chadwick nailed a pair of free throws to get Queen’s back within three, 56-53, before Pocrnic once again scored from beyond the arc, solidifying the victory. 

The Ravens held on to win 63-55 and claim their fourth OUA women’s basketball title in school history. 

Both the Carleton Ravens and Queen’s Gaels will head to Edmonton, A.B. to compete in the U SPORTS National Championship from March 7th to 10th. For more information on OUA women’s basketball, head to oua.ca. 

Badgers’ men’s volleyball lose semi-final to Queen’s, face Guelph in bronze medal match 

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The Badgers’ men’s volleyball team was defeated 3-1 by the Queen’s Gaels – the nation’s fifth-ranked team – in the OUA semi-final, setting up a pivotal third-place match on Saturday against the Guelph Gryphons with a spot in the U SPORTS Championship on the line. 

Kylar Code led the Badgers in kills with 21, tallying a game-high 23 points, while Grant Reddon led the team in both assists (42) and digs (12). 

Both Code and Reddon were influential early, leading the Badgers to an early 8-4 lead. However, the Gaels responded with three consecutive points, leading to back-and-forth action midway through the set. 

With the set level at 13, Devin Cooney smashed one of his 10 kills in the match, starting a 6-1 Brock run, giving the visitors a 19-14 lead. But the home side was relentless, storming back on an 11-5 run to take the lead, 25-24. 

Facing set point, Cooney and Code – the Badgers’ leaders in kills this season with 247 and 178, respectively – bashed back-to-back kills, Brock’s 13th and 14th kills in the set, to re-take the lead, claiming set point of their own. On set point, the Gaels committed their ninth attacking error of the set, the most by either team in any set, gifting the Badgers the 27-25 first set victory, pushing them one step closer to the Forsyth Cup final. 

Eager to avenge their opening set debacle, Queen’s started the second set with a bang, exploding to a 5-1 lead before extending their advantage to 15-9 midway through the set. 

The Badgers briefly fought back but were unable to withstand the tumultuous Gaels attack. Queen’s hit extremely well in the second, registering 13 kills and only one attacking error on 26 total attempts for a .462 hitting percentage – the highest by either team in any set – leading to the 25-17 set win. 

With the match tied at one set win apiece, the third set was critical as both teams brought their A-game. The teams combined for 31 kills in the set, 16 for Brock and 15 for Queen’s, and only seven attacking errors. 

The Gaels went up early, but the Badgers quickly responded as the teams traded points for much of the set. With the set tied at 22, two straight kills by Liam Strong and Code gave the Badgers set point, itching closer to the OUA Championship and a spot in the U SPORTS Final 8. 

However, the narrative swiftly changed after a Brock service error and a Queen’s ace – an area they dominated, tallying 13 aces compared to Brock’s five – gave the Gaels set point, nearing the third set victory. 

On set point, the Gaels committed a service error, before a Badgers’ service error on the next point gave the one-point advantage right back. With Queen’s up 26-25, the fifth Brock attacking error of the set handed them the 27-25 set win to take a commanding 2-1 lead in the match. 

The fourth set began with more back-and-forth action as neither team held larger than a two-point lead until the Gaels blew the set open. Up 11-10, Queen’s went on an 11-4 run to take a 22-14 lead, three points away from their first Forsyth Cup appearance since the 2019-20 season. 

But the Badgers were keen on not letting that happen. Brock rallied for four consecutive points to pull within four points of the Gaels.  

Yet, on match point, the Gaels registered their 52nd kill of the match to win 3-1 and eliminate Brock from Forsyth Cup contention. 

Next, the Badgers (3rd seed; 15-5 record) host the Guelph Gryphons (4th seed; 15-5 record) in the OUA Bronze Medal Match on March 9th, with the final berth in the U SPORTS Volleyball Championships up for grabs. For more information on the Brock Badgers’ men’s volleyball team, head to gobadgers.ca.  

The Brock Press awards: Badgers’ women’s basketball season in review 

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Looking back on a successful regular season for the Badgers’ women’s basketball team, it’s time to highlight The Brock Press’ award winners: Rookie of the Year, Defensive Player of the Year, Most Improved Player and Most Valuable Player recipients. 

Rookie of the Year: Vienna Vercesi 

Vienna Vercesi’s impact on the team emerged as the season progressed, playing a pivotal role in the Badgers’ 11-game win streak en route to finishing atop the OUA Central division standings. 

The Niagara Falls native led all Badger rookies in points per game (5.1), rebounds per game (2.9) and field goal percentage (46.7 per cent) during the regular season. 

Vercesi’s breakout performance came against McMaster on Feb. 10th, nearly registering a double-double, notching career highs in both points (10) and rebounds (8). The five-foot-11 forward showed tremendous growth in that game, using her size and strength to gather rebounds and be an interior scoring threat – something that she can use to exploit the opposition in the seasons ahead. 

Runners-Up: Shailah Adams, Brookelyn Keltos 

Defensive Player of the Year: Madalyn Weinert 

Madalyn Weinert is not just one of the best defenders in the OUA, but countrywide too. Weinert led U SPORTS in blocks per game (2.0), while ranking fifth in Ontario in steals per game (2.5) and sixth in defensive rebounds (6.5). 

She earned a season-high six steals on Feb. 3rd against Western while picking up a season-high six blocks a few weeks later on Feb. 17th against Nipissing. 

Weinert’s defensive masterclass is a big reason why Brock ranked near the top of the OUA in every statistical category of team defence. 

The Badgers allowed the eight-fewest points per game (60.9) while limiting the opposition to the sixth-lowest field goal percentage (33 per cent) and second-lowest three-point percentage (24.3 per cent) this season. 

Weinert will be looked upon to lead the team to another defensively sound season in 2024/25. 

Runners-Up: Noor Bazzi, Madison MacInnis  

Most Improved Player: Oluwatito Akinnusi 

After starting only one game last season, Akinnusi started all 23 games this season, providing a much-needed spark for the Badgers this season. 

The sophomore forward elevated her game in 2023/24, averaging 14.2 points per game – over 10 points more than her 3.8 points per game last season – along with 8.9 rebounds and a much-improved 52.7 field goal percentage: the third highest in the OUA. 

Akinnusi gained the attention of many after her stellar performance against McMaster on Nov. 25th in the annual Paint the Meridian Red game. The Kleinburg, O.N. native notched a career-high 37 points on 15-for-26 shooting, earning her OUA Female Athlete of the Week honours. 

The Psychology major is also tenacious on the glass, grabbing a total of 278 rebounds this season – 80 offensive and 198 defensive – including a career-high 16 rebounds twice; first in the season opener against Toronto on Nov. 3rd and again on Nov. 24th versus Queen’s. 

Yet, Akinnusi’s game can still reach another level, something that coach Mike Rao will look to next season especially as she and Weinert are developing into one of the best duos in the OUA. 

Runners-Up: Madalyn Weinert, Noor Bazzi 

Most Valuable Player: Madalyn Weinert 

Weinert is not only the Badgers’ Most Valuable Player, but the province’s MVP, being named the OUA Women’s Basketball Player of the Year while being selected as a first-team all-star for the first time in her career. 

The third-year forward led the country in points per game (22.5), tallying double-digit points in all 23 games this season. Weinert’s season-high 34 points on Jan. 27th against Lakehead reached a milestone of 1,000 points in her OUA career. 

The St. Catharines native also shot the ball very efficiently, finishing the year with a 52.2 field goal percentage – the fourth-best in the province – while grabbing the fifth-most rebounds per game (9.6). 

In total, Weinert tallied career-highs in points (494), assists (98), steals (54) and blocks (44) during the regular season. 

Runners-Up: Oluwatito Akinnusi, Angeline Campbell 

Weinert and the Badgers will look to rebound after a disappointing OUA quarterfinal loss to TMU and go on a deep playoff run next season, looking to qualify for the U SPORTS Final 8 for the first time since the 2021-22 season. 

Brock women’s volleyball come back from the edge of elimination in a reverse-sweep 

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The Badgers certainly made things interesting in their semi-final victory over Toronto Metropolitan University (TMU) Bold on March 1st.  

After handing the first two sets to the visiting Bold after some lacklustre play, Brock surged back to win the next three sets, completing a reverse-sweep and moving on to the Quigley Cup, where they’ll have a chance to defend their provincial title.  

Set one started close, but after giving up six straight to go down 16-10, the score soon got away from them. TMU pushed on against a floundering Badgers side, stretching the score to 20-11.  

Brock couldn’t recover and dropped set one 25-16. It was only the second time that the Badgers had lost a set by nine or more points this season. It was also only the 14th set they’d lost all season, now playing their 24th game including the regular season and playoffs.  

Set two was different but no better. Brock was right there with the Bold in the first half but fell apart after tying the game at 12. TMU went on an 8-1 run to put the Badgers on their heels and cruised to the finish line, again winning 25-16.  

At this point in the season, the Badgers had not once been beaten this resoundingly in two straight sets. Even in their 1-3 loss to McMaster, Brock lost their three sets by a combined 15 points while TMU managed to outscore the Badgers by 18 points in only two sets.  

Brock now found themselves in uncharted territory. The Badgers had never been down 0-2 at any point this season and now had to chart these unfamiliar waters with their season hanging in the balance. This intensity took itself up a notch with Brock and TMU again tied 12-12.  

Looking destined for a repeat of set two, the Bold went on a 4-0 run to go up 16-12. Not willing to be counted out, this time the Badgers went on a 4-0 run of their own, tying the game again at 16.  

From there on, the two teams could do little to separate from the other. TMU would go up by a point or two, only to immediately be matched by Brock. The Badgers tied the game at 22 not once having secured a lead while the Bold had never gone up by more than two.  

However, for the first time since taking an 11-10 lead early in the set, Brock turned the tables on TMU, as Laurin Ainsworth punched in two straight kills to go ahead 24-22. Sadie Dick put the finishing touches on the set with a kill, winning 25-22 and staving off elimination.  

Finally shaking off whatever playoff jitters they had come into the game with, the Badgers turned up the heat in the fourth set.  

Tied 5-5, a 5-1 Brock scoring run forced a TMU timeout. The pause in play did nothing to sway the momentum out of Brock’s favour as they followed this up with another 5-1 run, now leading 15-7.  

While TMU had been dominant in the opening two sets, both times leaving with hitting percentages north of .400, they couldn’t do much of anything right in set four. Though Brock recorded their second-lowest kill total of the game in set four (seven), the Bold gave up 11 errors on 30 attempts, also with only seven kills of their own to show for it.  

As a result, nothing much changed after Brock took their eight-point lead. Closing the set with two more TMU errors, Brock took set four 25-13, tying a frenetic game 2-2.  

Now having forced the Bold into a playoff set, the Badgers took no prisoners. Three errors immediately gave Brock a 4-1 lead, a deficit TMU never recovered from. The Bold made things somewhat interesting, bringing themselves within two down 6-4, but the Badgers immediately wiped out all hope of a comeback, going on an 8-1 run to take a 14-5 lead. Brock only needed one point to win and secured it thanks to a TMU service error.  

After putting the Badgers on the ropes through three strong sets, the Bold’s collapse was total and unceremonious. In the first three sets, TMU surrendered a measly seven errors on 99 attempts while the Badgers gave up seven errors in each of the first two sets alone. In their next 46 attempts, the Bold gave up an eye-popping 17 errors while collecting only 12 combined kills.  

In an all-around effort from the Badgers’ corps, Emily Foest was the standout performer, leading the team in both kills (14) and digs (18) while also adding two aces and an assist for good measure.  

Brock will hold home-court advantage on Friday, March 8th as they play host to the McMaster Marauders in their Quigley Cup title defence. Though they were the third seed, the Marauders could pose a challenge as they are one of only two teams this season to hand the Badgers a loss.  

For more information, visit gobadgers.ca. 

Patrick Kane deserves to be forgotten 

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On Sunday, Feb. 25th, the Chicago Blackhawks honoured one of their all-time great players—and one of the best Americans to ever lace them up—defenceman Chris Chelios in a lengthy jersey retirement ceremony.  

However, you might have missed the event in light of another significant Blackhawks moment that happened the same night: the return of Patrick Kane.  

After being traded to the New York Rangers at last year’s trade deadline and signing with the Detroit Red Wings earlier this season, Sunday was Kane’s first game back at Chicago’s United Centre in almost a year.  

Kane’s return received as much, if not more fanfare than Chris Chelios’ ceremony.  

Kane took three solo laps around the ice during the game’s first TV time out, showered with a raucous ovation from the home crowd throughout. He saluted the Chicago crowd during a two-minute tribute video, showcasing his many highlights from the Blackhawks’ glory days. He even got a shoutout from Chelios himself, who said that Kane “will go down as the greatest American-born player.” 

After Kane scored the overtime winner to deliver his Red Wings the victory over his old team, it wasn’t much of a surprise to his name plastered all over the media throughout the night and into the next day – a fitting end to a storied momentperiod of his career.  

Mark Lazerus—The Athletic’s Blackhawks writer—in particular waxed poetic over Kane’s heroics, first in his piece “Patrick Kane steals Chris Chelios’ thunder as ‘Showtime’ returns to Chicago” and again in another piece two days later that illustrated how Kane had effectively “passed the torch” to Chicago’s newly-minted franchise player, Connor Bedard.  

Based on his comments, you’d never know that only three months and 19 days earlier, Lazerus had written a piece urging Blackhawks fans to not “lose sight of a painful past.” 

Considering the deeply disturbing case brought against the Blackhawks by former player Kyle Beach, Lazerus lectured his readers that it was important “to be reminded that some of your heroes from those early 2010s teams… allegedly bullied Beach and John Doe with homophobic taunts.” 

Perhaps not keen to make things too heavy on his audience, Lazerus did make sure to soften the blow of the “lawsuit [that] might seem cruel if you’re a Blackhawks fan” pointing to the “good news” of the Blackhawks’ “bright future” that “put them in danger of becoming quite likable”. 

So, what caused Lazerus—and the hockey world as a whole—to change their tune?  

Probably that Kane signed with a new team on Nov. 28th, 2023, only 22 days after Lazerus’ infantilizing, self-gratifying piece. Holding strong would’ve forced the hockey media to do something quite difficult: to admit that Kane is not a player worthy of our respect and admiration.  

As Lazerus himself so aptly put it, “the sheer number of people who failed Kyle Beach is staggering.” 

As long as the NHL media, all of these people who promised to “do better” in their coverage when the investigation came to light, refuse to make difficult choices about who they celebrate, that number will continue to grow.  

We can continue to honour Beach’s legacy by refusing to honour those of the people who sat idly by while it happened: especially Kane.  

… 

You might think that it’s unfair to rope Kane in with the Beach case. With all that Beach says he went through with the Blackhawks, it might be unfair not to.  

Beach’s case was exposed years after he had retired, partially due to the NHL’s culture of silence and how resoundingly the leadership group of the Blackhawks failed Beach. It became widely acknowledged that everyone in the dressing room knew what was going on.  

Beach alleged that he was “subjected to humiliating trash talking by his teammates during scrimmages where coaches were present” and was “repeatedly” called gay slurs. It was alleged that in one incident during a training camp, a teammate asked if he “missed his boyfriend Brad [Aldrich],” his assaulter. Kane was an established star player on the Blackhawks throughout Beach’s time in the Blackhawks organization. Though Jonathan Toews’ deflecting comments were disgusting, Kane’s opinions on the matter were just as tepid. After the fact, Kane was playing as an Alternate Captain of the Hawks and said he “knew Kyle [Beach] pretty well from a couple different training camps.” Kane followed up by saying, “I feel bad for him, if that stuff happened.”  

Kane also called Stan Bowman, the General Manager of the Blackhawks who was fired for his role in covering up the abuse, “a great man who did a lot of things for me personally.” 

Even outside of the Beach case, Kane has a track record of ending up in the tabloids for all the wrong reasons. 

On Aug. 9th 2009, Kane and his cousin were arrested and charged with felony robbery, criminal mischief and theft of services after beating up 62-year-old cab driver Jan Radecki in Buffalo, New York. Kane had provided $15 for a trip that came out to $14.80 and, after Radecki told them he didn’t have 20 cents in change, he punched the cab driver. Kane apologized to several people—his family, the Blackhawks, their fans—but not Radecki. Kane ultimately took a plea deal and had his charges reduced, avoiding jail time. Kane was also ordered to apologize to Radecki by the court.  

Almost exactly six years later, Kane was the subject of a sexual assault investigation in Hamburg, New York. The District Attorney opted not to press charges, citing insufficient evidence. The case became even more convoluted when it came to light that the complainant’s mother had tampered with the rape kit, rendering it inadmissible as evidence, discrediting the complainant and effectively ending the investigation. To this day, it is impossible to say what exactly occurred on Aug. 6th, 2015.  

At this point, let me be clear: Patrick Kane is a tremendously skilled hockey player who, by most measures, has had a fantastic career in the NHL. That said, even if you were to choose (wrongfully) to ignore his long and substantial patterns of deep-seated character issues, he still should not be considered the greatest American player of all time. Or, at least, it’s not so clear-cut. 

There are a few other players whose names I’d like to throw into the ring for consideration.  

Mike Modano is the first obvious candidate. Modano currently holds all of the career scoring records among American players. He has the most goals by an American-born player (561), the most points (1374), the most playoff points (146), the most games played (1499) and the most game-winning goals (92). With Kane coming off a hip replacement surgery in the offseason and his career drawing to a close, virtually all these milestones will be out of his reach.  

While not American-born, Brett Hull is an American and almost undoubtedly has the highest peak of any American NHL player. Hull not only has more points and goals than Modano, but he’s probably had the most ludicrous goal-scoring stretch of any player not named Gretzky or Lemieux.  

Between 1989-90 and 1991-92, Hull did in fact outscore Gretzky and Lemieux, scoring 72, 86 and 70 goals in those three seasons. Even after statistically adjusting for the high-scoring era Hull played in, those 86 goals remain the highest single-season adjusted goal total of all-time. 

There is still one current player who is on-pace to come close to Hull’s 1990-91 total: Auston Matthews. It’s too early to call Matthews the greatest American player ever, but it might not be to call him the best. He’s the best goal-scorer in the NHL since Alex Ovechkin, and if he keeps up his current pace, could reach a level even Ovechkin has never hit.  

Matthews’ scoring is even more impressive considering his high level of defensive play, an area where Ovechkin, Hull and Kane have all been unspeakably porous. All three have been regarded as some of the singularly worst defensive players in the game throughout their careers, while Matthews has received votes for the NHL’s top two-way player every year of his career save two.  

All this is to say not that Kane is a bad player. There is certainly a strong argument that he is the best American player ever. But is it enough to wipe away everything else he has done off the ice, and is this the way American hockey wants to be remembered? 

$30 million of successful grants and funding reported by St. Catharines for 2023  

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St. Catharines has reported an optimistic year-end update, with received grants and funding in 2023 totalling $30,356,614. 

The City applied for $112 million worth of funding, of which over a quarter was attained. 

“Approved funding allows the City to invest in new programs and projects, enhance existing services, and offset costs of regular programs originally funded by taxes or rates each year,” said Director of Financial Management Services Kristine Douglas. “This funding has helped us strengthen our commitment to building a diverse and strong economy in St. Catharines by being financially responsible.” 

A large portion of this funding, $25.7 million, comes from the Housing Accelerator Fund, which will assist in combatting the housing crisis by accelerating the construction of units. However, it is not the only notable approved program. 

The Streamline Development Fund is a provincial fund also concerned with the housing crisis, dedicated to helping “Ontario’s 39 largest municipalities modernize, streamline and accelerate processes for managing and approving housing applications.” St. Catharines received $966,696 from this fund. 

The city also accepted $867,150 for the Next-Generation 9-1-1 program (NG9-1-1), which aims to improve the telecommunication services at emergency call centres. Some examples of such improvements provided by the CRTC are the ability to send videos of accidents, or medical information for use by responding services. 

$445,486 came from the Combined Sewer Overflow (CSO) Control Program, a cost-share program in partnership with Niagara Region intended to “target inflow and infiltration reduction, which helps to reduce basement flooding, overflows to the environment and alleviates system capacity.” 

The St. Catharines Enterprise Centre, located downtown and helping small businesses “start and succeed,” received $413,050 in funding. 

As well as the listed funding, the city received approvals from Digital Main Street ($165,000), Seniors Active Living Centres ($128,000), the Enabling Accessibility Fund ($100,000) and others. 

“Grant funding plays a crucial role in supporting the City’s multi-year budget, allowing us to plan and execute projects that align with our strategic priorities,” said Douglas. “We remain dedicated to exploring and pursuing viable funding opportunities to further enhance St. Catharines’ growth and prosperity.” 

Still unconfirmed are another $11,592,392 of grants and funding, which “are expected to further contribute to City initiatives once finalized,” said the St. Catharines report. 

This money is projected to make significant contributions to the enhancement of the City’s infrastructure and services, as well as the well-being of its residents. 

An all-new monster truck show comes to St. Catharines, promising an “epic performance of lights, music and motorsports action” 

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Monster trucks are coming to St. Catharines in a type of show Canadians have never seen before with the Monster Trucks All Out Northern Lights Party. 

In 1983, Bob Chandler brought his souped-up Ford F-250, dubbed Bigfoot 2, in front of 68,000 people and drove it over the roof of an old car, smashing it to pieces. The crowd’s reaction, with thousands rushing onto the stadium floor to see the vehicle up close, is a testament to the popularity of monster trucks. 

Zach Helfand explained in an article from The New Yorker how Chandler enjoyed off-roading anywhere he could. As he conquered more terrain, his truck – Bigfoot the first – grew larger, gaining the tires of a fertilizer spreader. When questioned by his wife over why he had such enormous tires, his response was simply, “Because I can.” 

Perhaps the obsession with monster trucks comes from their immense size – Helfand points out how humans have always been obsessed with obscenely large things, like the pyramids or Costco – and the human-sized tires of monster trucks, required to be five feet and six inches tall, certainly fit the description. 

Perhaps this popularity instead comes from the seemingly impossible, death-defying stunts that monster trucks are able to perform, such as “launching vehicles that are about the same size and weight as an African bush elephant as high into the air as possible.” 

Helfand described seeing a monster truck backflip hundreds of feet in the air as “the experience of seeing something amazing and slightly ridiculous, something you’d have never thought of yourself, like a dog juggling knives.” 

Whatever the case may be, monster trucks bring thrills and entertainment wherever they go, and St. Catharines locals will get the chance to see such thrills in person when The Monster Trucks All Out Tour comes to the Meridian Centre on May 11th

All new to the motor show is the Northern Lights Party, an “epic performance of lights, music and motorsports action.” 

The event will feature three Canadian trucks: Bucking Bronco, a custom Ford F-150 owned by Ontarian Kevin Lubsen; Canadian Crusher, a Ford monster truck that only debuted in 2022, also owned by Lubsen; and Outfoxed, a truck with the likeness of a fox that was once the California-based truck, The Patriot. 

Tickets, available via Ticketmaster, range from $30 to $75 not including fees, but two add-ons can be purchased: one lets participants meet the drivers and see the trucks in the Pit Party, and the other gives them the chance to ride in the bed of a real monster truck. 

The Monster Trucks All Out Tour promises to be an exhilarating event of epic proportions, giving St. Catharines residents the chance to witness giant vehicles racing, smashing stuff and flipping in the air. 

NFL salary cap increase marks beginning of off-season 

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The NFL off-season has only just begun and we already have some league-altering news that was announced Feb. 23.  

All NFL team’s salary caps will be rising to $255.4 million dollars, an increase of $30.6 million from last season, marking a 13.6 per cent increase. The salary increase marks a historic season revenue as the NFL has not seen a salary cap increase of this magnitude since 1994, when the salary cap was first introduced.  

This news comes at a relief for a few teams in the NFL that were projected to be over the  the previously projected cap increase from $240 to $245 million. The Green Bay Packers, Seattle Seahawks and San Francisco 49ers can all breathe a sigh of relief as they no longer have to make trades/cuts to get under the cap.  

This will also benefit teams such as the Los Angeles Chargers who have a lot of “overpaid” players that they were looking to cut such as Joey Bosa.  

Many fans are excited about the cap increase as they think their team will be able to spend more this offseason. However, according to reports from many analysts and executives around the league, many teams have been operating in the red over the past two or three years.  

The salary cap increase has led to teams getting a head start on franchise-tagging players. The Cincinnati Bengals franchise tagged their WR2 Tee Higgins on Feb. 23 which allows them until July to sign him to a long term extension or renegotiate the one-year deal for the upcoming season. Some players have opted for the latter in the past two seasons, two being star running backs Saquon Barkley (NYG) and Josh Jacobs (LV).  

With the NFL draft under two months away, teams will start to get active in trade discussions and transactions leading up to the big days on Apr. 25 through 27.  

To keep up to date on all NFL news, visit NFL.com 

Badgers’ women’s basketball team lose OUA Quarter-Final to TMU 

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The Brock Badgers’ women’s basketball team fell 73-65 to the TMU Bold in the OUA quarterfinals, losing their first game at home all season, eliminating them from the OUA playoffs. 

Despite the loss, Madalyn Weinert shined for the Badgers, scoring a game-high 27 points while adding 15 rebounds for her 10th double-double of the season.  

Angeline Campbell also contributed for the Badgers, making her presence felt from the opening tip. The Toronto-native nailed three of her five made three-pointers in the opening five minutes of the game, tallying 11 of her 21 points in the first quarter. 

Campbell’s first quarter dominance kickstarted an impressive opening 10 minutes for the Badgers. The Badgers limited the Bold to only three made field goals on 14 attempts, while forcing four TMU turnovers, leading to an 18-10 lead after one. 

In the second, the Badgers continued their superiority growing their lead to 15 points midway through the quarter, 28-13, until the Bold found their shooting stroke. 

Catrina Garvey initiated the comeback with a three-pointer before teammate Jayme Foreman hit back-to-back triples in a 30-second span to cut the Brock lead to just three. Garvey nailed another triple after Campbell scored a pair of free throws, capping a 16-3 run to close the half. 

The Badgers had a slim 31-29 halftime lead, but it was quickly erased at the beginning of the third. 

Foreman and Garvey continued their immaculate shooting, each scoring a three-pointer sandwiched around a trio of free throws, opening the half on a 9-0 run to take a seven-point lead. 

The Badgers responded with a couple of mini runs of their own. Oluwatito Akinnusi scored six of her eight points in the third as Weinert added five, cutting the TMU lead to four entering the fourth quarter. 

Opening the fourth, Campbell drained a three as TMU committed a foul, resulting in the basket to stand and Brock getting another possession which Weinert capitalized on, completing a rare five-point play to take the one-point lead. 

However, it didn’t take long for TMU to retake the lead. 

Corrynn Parker went on a 5-0 run before Garvey followed suit with five consecutive points of her own – finishing the game with 21 points on 8-for-17 shooting – leading to a maintainable lead which the Badgers were unable to reclaim. 

The Bold were victorious 73-65, advancing to the OUA Semi-Finals to face the Queen’s Gaels on Wednesday, while eliminating the Badgers from the playoffs

Stay tuned to next week’s edition of The Brock Press for a year-end review of the Badgers’ women’s basketball team’s 2023/24 season, including the Rookie of the Year, Most Improved Player and Most Valuable Player awards, as determined by TBP. 

Badgers’ men’s volleyball team defeats Western, advance to semi-finals 

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The Brock Badgers’ men’s volleyball team beat the Western Mustangs 3-1 in the OUA quarterfinals, advancing to Friday’s semi-final against Queen’s. 

Kylar Code led the Badgers in kills with 22, while Sauli Lianga and Grant Reddon were the only Badgers with double-digit digs, tallying 12 and 10 digs respectively. 

Reddon was influential early, picking up three of his game-high 46 assists on the opening four points of the match. 

However, the Mustangs responded with a 5-0 run to take a three-point lead before Brock went on a 4-0 run of their own, highlighting the back-and-forth nature of the set. The seesaw battle continued for much of the set, until another 4-0 Badgers run led to a 20-13 lead, resulting in the 25-20 opening set victory. 

In the second set, the Mustangs once again were dominant early, going up 7-2 and 15-5. 

The Badgers briefly cut the Western lead to just six, 18-12, but an exhilarating Mustang attack was too dominant to overcome. The Western attack registered 10 kills in the set, including one on set point to win the second set 25-18 and tie the game at one set win apiece. 

In the third, the back-and-forth battle continued, with neither team having more than a four-point lead throughout the entire set. 

The Mustangs were up first, but back-to-back kills by Code and Devin Cooney – who finished with 18 kills in the match – gave Brock their first lead of the set with a slim 19-18 advantage. 

Western responded with a kill of their own, but Cooney’s third kill of the set reclaimed the lead. Then, with the Badgers up 21-20, Lianga registered kills on the next four Badgers’ points – for four of his seven kills in the match – to win the set 25-20 and take a massive 2-1 set lead, one set win away from advancing to the semi-finals. 

Given the importance of the fourth set, the Badgers were dominant looking to capitalize on the opportunity. Brock registered 15 kills in the set and only six attack errors leading to a .273 attacking percentage, while the Mustangs registered the worst attacking set statistically of either team, with an attacking percentage of .025. 

As such, after a steady opening to the set, the Badgers took control down two, going on a massive 16-5 run and blowing the game wide open. 

Code smashed four of Brock’s 55 kills in the set, including the game-winner, to win the set 25-18 and secure the 3-1 quarterfinal victory. 

Next, the Badgers (3rd seed; 15-5 record) head to Kingston to battle the Queen’s Gaels (2nd seed; 15-5 record) in Friday’s semi-final action. For more information on the Brock Badgers’ men’s volleyball team, head to gobadgers.ca. 

NBA All-Star Weekend is a joke in need of change 

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Another disappointing NBA All-Star Weekend recently concluded in Indiana after players lacked competitiveness during the events, leaving the league in a precarious position about the state of future all-star weekends. 

All-Star Saturday Night, the first of two marquee days of the celebratory weekend began with a forgettable Skills Competition. 

Players looked disinterested and didn’t even know the rules of the event. Many players went around the first obstacle the wrong way making the event look sloppy – and that wasn’t even the worst part. Anthony Edwards shot left-handed during the shooting component of the course, missing numerous attempts and making a mockery of the competition. 

In the Slam Dunk Contest, Jaylen Brown dunked over a five-foot-three Kai Cenat who was sitting down. Exciting? Not really. Fans in Indianapolis were booing after that dunk to the dismay that the Dunk Contest has been on a rapid decline in recent years. 

Instead of having actual all-stars like Vince Carter, Kobe Bryant and Dwight Howard compete and win the Dunk Contest, Mac McClung – a guy who plays in the G-League and has only appeared in four career NBA games – is now a back-to-back NBA Slam Dunk Contest Champion.  

Fans have a right to be angry, especially when they’re spending big bucks to watch the “all-star” events, yet three of the four Dunk Contest participants weren’t even all-stars or household names. 

But even the actual all-stars weren’t memorable during All-Star Weekend. 

Karl-Anthony Towns scored 50 points in the All-Star Game; ASG MVP Damian Lillard dropped 39, but the narrative is the lack of effort by everyone, leading to the East winning 211-186 in a game full of points and, that’s it. Just points, no excitement. 

No one is asking these players to fight and hustle like it’s Game 7 of the NBA Finals, but a bit of intrigue and excitement is necessary, especially as the league looks to events like the All-Star Weekend to bolster their fanbase and exposure across America and around the world. 

As such, the NBA could (and should) revamp Saturday and Sunday’s components to suit the evolving nature of the sport, to pique the interests of fans and players alike. 

For Saturday’s schedule, the Skills Competition must go immediately. It’s caused too many headaches and has too many moving parts. 

Instead, I’d recommend that the Steph vs. Sabrina event – the lone bright spot of the weekend – be expanded to include more stars from both the men’s and women’s games. Imagine a field where Steph Curry and Klay Thompson, two of the greatest NBA shooters of all time, battle Sabrina Ionescu and Caitlyn Clark, two of the rising stars of women’s basketball, for three-point shooting supremacy. 

Then, picture an NBA 3×3 tournament where players team up in squads of three with the winning team earning prize money. Envision future Hall of Famers LeBron James, Kevin Durant and Steph Curry up against a young trio of Victor Wembanyama, Luka Doncic and Trae Young in the 3×3 final. Exciting? You bet. 

But what about the All-Star Game itself? 

The NBA has done East vs. West and LeBron vs. Giannis – but what about USA vs. World? 

USA vs. World would settle the age-old debate of whether America could beat a team full of international players while gaining the attention of basketball fans globally. 

Fans from Serbia would be desperate to see their beloved Nikola Jokic represent the Balkan country on a quasi-international stage, as Canadians would love Shai Gilgeous-Alexander battling the Americans in hopes of a Team World victory. 

However, the NBA may opt for a different route, possibly something like Major League Soccer’s (MLS) all-star game format. 

In MLS, instead of having two teams of MLS all-stars playing head-to-head, there is only one team of MLS all-stars who play against a European team; last year it was Arsenal. 

Translating to the NBA, the NBA All-Stars could battle a EuroLeague team like Real Madrid or a squad of EuroLeague All-Stars. NBA All-Stars vs. Real Madrid – although the NBA guys would likely dominate – would be more interesting than another East vs. West because the Euro side would likely play with a lot of pride and bring their best effort. 

But regardless of the format, a change is needed fast so when the league’s best players head to San Francisco next year for the 2025 NBA All-Star Weekend, it can be the most memorable All-Star Weekend in NBA history. 

For more information on the NBA, head to nba.com. 

Men’s basketball: Badgers heating up at the right time  

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The Brock men’s basketball team hit the road to Ottawa and played their first playoff game against the Carleton Ravens on Feb. 21. The Badgers were underdogs in this matchup as they snuck into the last playoff spot with a huge win and some favourable outcomes on the last day of the regular season.  

Brock scored the first points of the game courtesy of Isiah Bujdoso’s three-pointer just over a minute in. Bujdoso’s three was followed up by a three from Carleton’s O’Connell, which set the stage for an offensive quarter. The Badgers were efficient in the first, shooting 50 per cent from the field and beyond the arc. They led 19-18 heading into the second quarter.  

Carleton kicked their defensive play into another gear in the second quarter keeping the Badgers to just 11 points, six of which came from forward Jordan Tcheunte. The Ravens ramped up their offence, scoring 21 and led at the half 39-30. The Badgers would look to take control of the game in the second half, tightening up their defence and their free throw shooting, as they missed eight in the first half.  

The third quarter was one of tight defence and missed opportunities for both Brock and Carleton. Each team had only one basket in the first three minutes of the quarter before Jevon Brown hit a long three to get the Badgers offence going, sparking a 9-0 run, giving the Badgers the lead, 42-41. Carleton took control of the game to end the third quarter and got their lead back up to nine, 55-46.  

With the season on the line, the Badgers played their grittiest quarter this season, battling on both ends of the floor. Brock took the lead in the fourth led by senior Jevon Brown, who tallied 13 points and three steals in the quarter. The last minute of the game was one of pure intensity. The Badgers were able to defend their lead as they made crucial free throws to keep the game at two scores. The game ended 70-69 as Carleton made both their free throws with 0.1 seconds left and the clock drained to zeros once the Badgers inbounded the ball.  

With Brock’s win over Carleton, they advance to the quarter-finals against the University of Ottawa on Feb. 24. They carried their momentum from the game prior into this one as they upset uOttawa – who was the two seed – 81-58.  

uOttawa led at the half 45-38 but Brock came out for the second half a new team. They scored 43 points in the second half and kept uOttawa to just 13. Isiah Bujdoso and Jevon Brown led the team in point with 21 and 19, while Jordan Tcheunte and Geores Mfwamba Ngandu both had a double-double.  

With the win on Saturday, the Badgers advance to the semifinals and will face off against the Western Mustangs on the road. The game can be streamed via OUA.tv.  

For more information on the team, visit gobadgers.ca 

Women’s Hockey: Split last two games vs Western, miss playoffs   

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Brock women’s hockey team played back-to-back games on Feb. 16 and 17 against the Western Mustangs with their season on the line. The games had serious playoff implications as the Badgers needed to win both – and have the Windsor Lancers lose both their games – to squeak into the last playoff spot in the OUA West division.  

The Badgers got off to a poor start in the first period on Feb. 16. Western was relentless on the forecheck and the Badgers were unable to get anything going in the offensive zone. Just over 10 minutes into the period,the Badgers took back-to-back penalties at 10:50 and 10:53 giving Western a long five-on-three powerplay.  

The penalty killers and goaltender Kenzie Harmison were able to weather the storm and kill off both penalties to keep the score tied at zero. It was not until the 14-minute mark that the Badgers registered their first shot on goal. The Badgers were able to sustain some pressure in the Western zone before the Mustangs took the game back over. Luckily, the first ended 0-0 with the shots favouring Western 14-2.  

The second period was a more even fight as the Badgers came out with some pep in their step. They were able to sustain pressure in the offensive zone and get some quality shots off but Western’s netminder Ella Brabook shut the door.  

Brock got a powerplay halfway through the second and was unable to convert. The shots in the second period were 11-8 Western and the score was still tied at zero.  

The third period mirrored the first but Western was not able to beat Harmison. After 60 minutes, Brock and Western needed overtime. 

The Badgers controlled the puck to start the overtime and did not take long to end it. Ashley Robitaille beat the Western defender on one to the outside and then beat Brabook’s short side to win the game 1-0. It was Robitaille’s first ever OUA goal and it kept the Badgers’ playoff hopes alive.  

Kenzie Harmison secured the 35-save shutout and was easily Brock’s best player on the night.  

The following day, the Badgers played in their last regular season game which was also senior night. The seven seniors honoured included: Teegan Dalby, Kenzie Harmison, Claudia Murphy, Madeline Nicholson, Ashley Robitaille, Camie Matteau Rushbrook and Kara Thomas. The game mirrored that of the day prior as Harmison stood on her head through three periods and led the Badgers into overtime despite being outshot 37-24.  

The overtime period only lasted 38 seconds and it was a  two-on-two rush finished off by Elizabeth Gauthier of the Western Mustangs that ended the game 1-0. The Badgers missed the playoffs for the first season since 2017-18 and finished with a 10-18 record.  

For more information on the team, visit gobadgers.ca. 

Pokémon X and Y: It’s evolving, just backwards 

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Click here to read the first part of this Pokémon retrospective, which focuses on Pokémon Black and White. 

Though Pokémon X and Y attempted to modernize the monster-catching franchise, they were actually the first sign of its eventual downfall. 

After the controversial yet revolutionary release of Pokémon Black and White, Game Freak started developing the next generation of Pokémon. The sixth generation was meant to thrust the franchise into the modern age; it would abandon the 2D sprite art that had become synonymous with the franchise’s mainline games in favour of a 3D art style. The games would do this by taking advantage of Nintendo 3DS hardware, which was a significant graphical upgrade from its predecessor, the Nintendo DS. 

Visual aesthetics were a major priority throughout Game Freak’s development of these titles, with director Junichi Masuda revealing “beauty” to be a core theme throughout the development process. This would inspire the look and feel of the game’s setting, the Kalos region, which is based on France. 

As such, many of the game’s settings and locales are based on locations in France, with a museum based on the Louvre and the game’s “Prism Tower,” which is strikingly similar to the Eiffel Tower. 

The core theme of beauty extends into the game’s plot, with the villainous organization Team Flare seeking to destroy the world using a doomsday device in hopes of creating a more beautiful one, while vanquishing anyone who refuses to accept their ambitions for a prettier existence. 

It’s an interesting concept in which the villains seek something that, when isolated as an independent vision, is quite understandable. Still, this does not justify the sacrifices they are willing to make in order to achieve their goals; namely, destroying the current world and murdering countless individuals in the process.  

Team Flare may not be quite as interesting as Pokémon Black and White’s Team Plasma, who questioned the entire ethicality of the franchise’s core monster-capturing formula, but they still serve as adequate antagonists for a game centred around the core concept of beauty. 

As with any other generation, Pokémon X and Y introduced a roster of new Pokémon to discover, with 72 species joining the monster lineup. At the time of release, this was by far the lowest number of new monsters added in a new generation, an obvious contrast to the preceding generation, which introduced a whopping 156 Pokémon species. However, unlike Pokémon Black and White, these games allow players to find pre-existing species throughout their entire adventure, so gamers aren’t limited to the small roster of new species. It’s also worth noting that many of the Pokémon designs introduced in X and Y are of higher quality than those from Black and White, making it feel like Game Freak focused on quality over quantity in their additions this time around. 

The game also introduces Mega Evolution, which allows certain pre-existing Pokémon to take on new forms through temporary evolutions designed specifically for X and Y. This mechanic was a fun way to breathe new life into old Pokémon designs, and it would be the first generational battle gimmick within the series – something that would eventually become an issue in later generations, but at the time was something fresh and exciting. 

Of course, one can’t discuss the sixth generation’s focus on visual aesthetics without acknowledging the new 3D art style, a first for the mainline series that left it looking more modern than any previous entry. The jump from Generation Five to Generation Six was the largest graphical leap the series had ever seen, and it was clear the franchise would never be the same. 

Unfortunately, that’s around where the positives end. When analysing the game on a deeper level, several cracks begin to show. 

A focus on beauty and graphical evolution is great, but it’s unreasonable to expect a franchise devoted to pumping out sprite-based games to create a 3D title of the same quality in a similar amount of development time. It’s quite clear when playing the game that Game Freak struggled to adapt to 3D development. 

For one, much of the Kalos region feels unfinished. Several points throughout the game seemingly allude to greater plot points down the road, but they’re never followed up. For example, there are several doors in the desert leading to a huge power plant, but only one of them is accessible, leaving the other ones completely useless. It’s commonly speculated that the other doors were originally meant to lead to side content, but a rushed development schedule meant this plan could never be finished. There’s a “ghost girl” who visits the player during a short interaction in Lumiose City with a cryptic message, but this is never followed up or mentioned again. Or perhaps consider the game’s abysmal excuse for a postgame, which has jarringly little for players to do compared to previous generations. 

Perhaps the most damning example is the way the player catches Zygarde, the “third legendary” Pokémon of the generation. Typically, any third member of a Legendary Trio has a large buildup of plot importance – such as Platinum’s Giratina being discovered in the Distortion World, a spooky parallel universe; or Black 2 and White 2’s Kyurem fusing with each game’s respective Legendary – but Zygarde is just found in a random cave after beating the game. It feels like Zygarde was shoved in at the last minute just to fulfil the quota of having a third Legendary, and that its existence was originally supposed to be something more impactful. 

Some players believed that these plot holes would eventually be filled by a definitive “Pokémon Z” version, but regardless of Game Freak’s original plans, this never happened – leaving the sixth generation’s flagship titles feeling like a prototype of something that was initially meant to be much greater. 

It’s similarly easy to surmise that the low number of new Pokémon species in the generation also had something to do with the quick development time. While many of the new Pokémon had great designs, there’s still a jarringly low number of new species, meaning there’s much less excitement in discovering all the new creatures. To be fair, Game Freak had to create 3D models for all 649 pre-existing Pokémon, but I’d argue the largest media franchise in the world should have taken the time and budget to craft a fully-fledged new lineup anyway, especially as they leapt into a generation that promised so much in terms of evolving the franchise. 

The games are also remembered as the first to make Pokémon games exceedingly easy, with them seemingly prioritising ease of play for new gamers over the experiences of seasoned series veterans. Now, there’s nothing wrong with including easier difficulty options – in fact, I think this practice should be encouraged in games as an accessibility feature – but the problem is that X and Y force this easy difficulty onto all players regardless of their preferences or skill level. 

It’s not hard to get through the entire game with little to no “grinding” – the act of repeatedly battling wild creatures to level up your Pokémon – and the game gives players all the tools they need to make the experience a breeze. This might be fun for those who are new to the franchise, but many people who purchased the game had already played several entries and were hoping for something a bit more difficult. It’s technically possible to make the game harder by creating self-imposed challenges and limitations, but none of these are actual options within the game, and I’d argue it shouldn’t be necessary for players to create arbitrary rules for themselves to experience even a slight challenge. 

Pokémon X and Y are interesting because their developmental emphasis on beauty might be the same thing that held them back from achieving true greatness. By prioritising 3D graphics and a more ambitious scale, Game Freak left the games feeling rushed and unfinished. The games clearly show the potential of a complete Pokémon experience in line with the previous five generations, but so many corners were cut throughout development that one can’t help but wonder what these games were originally supposed to be like. 

 
While many players were probably hopeful that this would be a one-time occurrence and Game Freak would better adjust to 3D development with subsequent entries, these games were just the beginning of the franchise’s problems. Unfortunately for Pokémon fans, the problems posed by X and Y wouldn’t end up learning experiences for Game Freak – they were simply signs of worse things to come. 

This article is part of an ongoing retrospective on the downfall of the Pokémon mainline games. The next article in this series will cover the franchise’s seventh generation’s flagship titles, Pokémon Sun and Moon. To remain updated on this series, stay tuned to The Brock Press. 

Editorial: Even students are meant to be debt peons in the neo-rentier economy 

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Financialization becoming the dominant force behind the Western economy in the last 50 years has led to a completely backwards set of incentives. The absurd logic of contemporary political economy reaches new heights when considering student debt.  

Sitting within the crosshairs of heated political discourse in the last two years in the United States is the issue of student debt relief. According to reported numbers from October of last year, the Biden administration had relieved over 120 billion USD of student debt, the highest amount relieved from any president in history. Still, the figure in terms of outstanding student debt in the US was 1.74 trillion USD as reported just a month before the Biden-relief figure came out. 

Current student debt in Canada is sitting around 23.5 billion CAD, which given Canada’s significantly smaller population size is still quite a bit.  

These staggering figures are no doubt the result of neoliberal economics, which, starting in the 1970s, saw increased tuition and fees coinciding with the cutting of grants and programs that made college affordable to middle- and low-class families. These cuts came alongside the general degradation of the tax bases of developed Western countries starting in the ‘70s, as top marginal tax rates for individuals and corporations started getting axed.  

After the neoliberal turn, it was no longer common sense that a wage — often called the Fordist wage — could afford a satisfactory pension, a mortgage, the needs of a family and a sizeable college fund. In its place, the post-war wage was replaced by a new paradigm of existing in society and the economy for the public: the individual credit-debt paradigm. This new paradigm changed the former incentives of the public and private sector — empowering the average consumer with a single wage — to one in which the shoring up of the owner-investor class’ wealth through increased financialization and monopolization of once universal or cheap services meant workers would maintain the same productivity.  

This begs the question of why workers would remain just as productive for objectively less material gains than before. 

This is because debt peonage compels one to work to avoid drowning in debt, even if all that is possible in such a position is a sub-decent life buoyed by below-modest means.  

It’s worth emphasizing that consumer credit became increasingly more accessible at the onset of the neoliberal era to ostensibly maintain the same purchasing power of ordinary people. In reality, it was the monetary system becoming complicit in the mass privatization of services in society by using credit and its sole form of deriving capital — interest, and its more pernicious form: compound interest — as a bludgeon to keep people working just as productively as before, even as they got less from society in terms of basic necessities and social services being affordable and easily attainable.  

The consequences of this dynamic are self-evident in the shocking statistics detailing the divergence of real wages over the decades in the US. Wages have essentially flatlined beginning in 1979 after decades of steady growth. Meanwhile, both before and after 1979, there’s been a continued steady growth of productivity.  

This phenomenon is not just exclusive to the US though. The same divergence can be observed in Canada as well as in the 24 countries that comprise the OECD nations when considered through averages. 

Student debt is a function of the same logic nested in late neoliberalism that sees flexible credit used as a tool to create a mass of debt peons to enrich managers, the owner-investor class and private banks, which are the institutional bastions and handmaidens of the former two groups.  

An important caveat, though, is that the government now offers loans to students for higher education instead of banks, with the rationale being that this protects students who are just beginning their adult life and have little leverage or a financial history that would permit taking out loans from banks at all. The government sees this as a good investment because a highly educated workforce makes for a more productive economy.  

Still, in a society dominated by widespread financialization, the university — like many other public and third-sector institutions — increasingly functions like a corporation with a bloated administrative bureaucracy to run efficiency tests, check boxes and ensure other forms of collaboration and coagulation with the private market.  

These administrators then pay themselves handsome salaries for this work and increasingly hire more of themselves when problems arise. As they hire more of themselves for roles with all the usual signs of fluff suggested in their job titles — “strategic coordinator,” “diversity and equity superintendent,” “strategic business and marketing advisor” — they need to pay those salaries which can often reach six-figures, and which are then felt in terms of tuition and fees on the student end of the equation.  

Altogether, the effects of neoliberalism on the university have created a slew of negative consequences for the teaching faculty in terms of precarious work — often called “adjunctification” — and on students in terms of taking on massive amounts of debt to pay for a metastasizing administration.  

Minarchists and even some classical liberals who preach a “lean government,” argue that increased tuition and fees from higher education institutions are the result of them knowing the government will foot the bill. Therefore, the argument goes, the government should get out of the loan business and banks should supply student loans instead because their profit margins are on the line in the case of a bad loan. With this, less students will be caught in a debt trap due to low fruitful employment rates based on their degrees.  

Firstly, it’s worth mentioning how this view conveniently downplays how administrative bloat, which has only correlated with a market-first neoliberal approach to the university, has ballooned costs for students. But more importantly, relegating student loans to private banks would structurally favour the wealthy as they will be more likely to get into programs due to their family’s wealth. Programs with lower ROIs such as humanities degrees and social science degrees would especially be populated with the wealthy for the same reason.  

Furthermore, students taking on debt are more likely to work while studying to get started on working off those loans which potentially means less time spent studying. This could mean less educated university graduates stemming from the simple fact that university students today don’t have the time and energy to immerse themselves in their program.  

Some data shows that graduates with student debt see major limiting effects on choices for basic needs later in life such as homes and having children. In general, it’s post-college grad age cohorts that contribute the most to GDP, but that’s because historically they’ve had more purchasing power which is diminished by encumbering debts.  

And so far we haven’t considered the roughly 10 per cent of higher-education dropouts in Canada who sit with that debt regardless of not getting a degree which theoretically helps earn the money back through the proof of an increased specialization of labour getting higher paying jobs.  

In a paper for the Levy Economic Institute, Michael Hudson characterized the current economy as a “neo-rentier” economy. The rentier class — those who could earn a satisfactory income from simply owning assets to lease to others — who emerged during the Industrial Revolution and essentially disappeared after World War I. However, the rollbacks in confiscatory taxation and universal state programs, which were constructive responses to the two world wars, leads Hudson to claim that a new kind of rentier class is emerging. This class mainly consists of the top-earning owner-investors and those underneath them, which French economist Thomas Piketty calls “super managers”; essentially the institutional henchmen of managers and administrators who receive the trickledown from the former group for keeping lower-level labourers in line. 

Hudson writes: 

“A financial class has usurped the role that landlords used to play — a class living off special privilege. Most economic rent is now paid out as interest. This rake-off interrupts the circular flow between production and consumption, causing economic shrinkage — a dynamic that is the opposite of industrial capitalism’s original impulse. The ‘miracle of compound interest,’ reinforced now by fiat credit creation, is cannibalizing industrial capital as well as the returns to labor.” 

Hudson’s point about interest’s disruption of the symbiotic relationship between production and consumption just to enrich a small few emphasizes the feudal-despotic character of 21st-century capitalism.  

Those looking to get a higher education too are treated as peasants by that fact: if it isn’t obscene enough that university students today are taking on such massive debt, it’s even more obscene that these are still interest-bearing loans, even if lower than the market average. 

But Hudson’s point about the degreasing effect of interest on the greased wheel of consumption and production cycles should be radicalized further by pointing out that student debt relief and making higher education free through tax funding would cut out the issue of interest altogether.  

The taxes to fund free college, as Bernie Sanders laid out in his 2020 campaign program, could come from small tax levies on things like investor trades and other forms of monetary repatriation from the rich.  

Moreover, a free post-secondary education would grant students more buying power pre- and post-graduation, which would likely stimulate demand and revitalize the circular flow of consumption and production in the economy writ large.  

Student debt relief and free post-secondary arguably make sense from an economic standpoint as well.  

So why doesn’t it happen if it makes sense, not just morally, but economically? 

It’s worth remembering that ideas like the divine right of kings in the Christian feudal age in Europe encumbered common sense in favour of consolidating power for the few.  

Similarly, though obviously less brutal than the European feudal power structure, the lords of today’s neo-rentier economy also must ensure common sense doesn’t make its way to real political proposals like affordable access to higher education. The sentiment behind proposals like free higher education and a student debt jubilee directly threatens their power. 

The Brock University Moving Image Society creates new beginnings for film and TV lovers on campus 

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The cameras are rolling on this new club. 

Set to be officially registered in March, the Brock University Moving Image Society (BUMIS) seeks to unite students with the common interest of moving images, which refers to film, television and various forms of visual media. 

The club was founded by third year film students Matilde Forti and Ethan Geenen, who both share a passion for film and media as well as a personal connection to the idea of BUMIS. The club’s open-ended name represents the goal of connecting students with various interests across majors. 

Forti, who previously attended Queen Margaret University in Edinburgh, noted the impact the student-led film society had on her during her time there: 

“I loved connecting and making films with other students, it allowed me to learn and nurture my passions while simultaneously form bonds that I will cherish forever. I knew that I wanted to provide others with the same opportunity. This is what I truly hope BUMIS will represent for Brock students.” 

Geenen noted the role quarantine and online schooling had on Brock’s social life and clubs: “I noticed a distinct lack of opportunities for students to commune and share their passions outside of the classroom space.” 

BUMIS is not to be confused with the already existing Brock University Film Society (BUFS), which is operated by the Department of Communication, Pop Culture and Film and the FirstOntario Performing Arts Centre Film House. For 40 years, BUFS has served as a foundation for cinephiles in the St. Catharines area.  

“With BUMIS, we are hoping to take a step further: we want students to have a space where they can make films, write about them, discuss and network with others who share the same passions as they do,” said Forti.  

 
BUMIS will seek to provide a range of opportunities for students to be proactive while engaging with film and media. Screenings will be included, but are not the only events Forti and Geenen have planned: 

“We’ve discussed publishing a semi-regular newsletter, composed entirely of student writing, as well as outings to nearby film festivals, such as HotDocs in April or TIFF in September,” said Geenen. 

Forti and Geenen are currently working to arrange BUMIS’ assistance in the 21st annual 72-hour student film festival in March, where students work to create the best film within the allotted 72 hours. 

Forti and Geenen extend their thanks to the entire film department’s support in the formation of BUMIS: 

“We chatted with most of our professors about the project, and every single one of them showed enthusiasm and offered some great advice. Dr. Anthony Kinik in particular has been incredibly helpful in looking for possible venues for our meetings.” 

With the academic year entering its tail end, BUMIS may only find time for a few planned events. However, Forti and Geenen are hoping to use this time to lay a strong foundation for next year. Between the diversity of subjects covered and the events being planned, the Brock University Moving Image Society is one of the most exciting clubs to emerge this school year with an exciting future ahead. 

Students curious to get in touch with or join BUMIS before the club’s official registration can contact @brockumovingimagesociety on Instagram to be added to a group chat. 

“Passages” is the most attractive kind of hot mess 

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Score: 3.5/5

Wanting it all comes with a price. 

Ira Sachs’ Passages tells the story of Paris-based German filmmaker Tomas (Franz Rogowski) who begins an affair with Agathe (Adélé Exarchopoulos), damaging the marriage with his husband, Martin (Ben Whishaw). As Tomas’ relationship with Agathe grows, he soon becomes jealous when Martin begins seeing other people himself, leading him down a path of self-destruction.  

Passages establishes an important precedent for queer cinema. Tomas’ sexuality is never questioned or presented in a manner that seeks to lecture a heteronormative crowd. Its queer relationships don’t exist in the vacuum of heteronormativity and are simply presented naturally as they are, without exhibiting any signs of pressure to provide exposition.  

Tomas is never presented in a sympathetic light, or rather the film never succeeds in doing so. His monstrous ego is always at the centre of the frame, spilling over into his sidelined relationships. Rogowski’s performance is successful in giving life to a profoundly unlikable protagonist with nearly zero redeeming qualities.  

In the first scene, Tomas’ character is revealed through his approach to directing. He is seen repeatedly fussing over actors’ small movements, even those as benign as walking down steps. In the throne of a director’s chair behind the shield of a script, Tomas has control over both his emotions and intentions. He can manipulate how actors respond to suit a desired outcome, something absent in his chaotic personal life. 

 
Tomas’ need for control and emotional influence on set provides insight into his relationships, both with people considerably more likable experiencing the collateral of Tomas’ damaging behaviour.  

Martin appears entirely opposite to Tomas, almost always completing some form of stable work or chore. He’s patient, dedicated and used to enduring the difficult work, all tendencies Tomas seeks to exploit and earn redemption from.  

Agathe is presented as a companion to Tomas, being younger and full of just the right amount of hedonism to satisfy him, for a little while of course. When Tomas feels he has too much of one, he orients to the other, a way of finding balance between two extremes.  

There’s a child-like innocence in Tomas’ pursuit to have it all. Passages oozes eroticism and vibrancy tainted by Tomas’ narcissism. It never holds back in depicting lustful actions. 

Where Passages risks losing its audience is its loose narrative ends, which make climatic moments feel less impactful than they intended to be. It’s an ambitious work of queer cinema, but often gets caught in the mess Tomas creates. His motivations are interpretive and highly suggested several times, but ultimately feel hollower than they’re aiming to be.  

The weakness of Tomas’ motives is exposed when the supporting roles begin to feel more gripping and engaging, between Martin’s gradual accumulation of strength to end their masochistic relationship and Agathe’s melancholy realization of her own powerlessness in the situation. This exposes another flaw in the story however, as the supporting roles appear more interesting on account of their stellar performances but ultimately lack the narrative influence to feel memorable after the credits roll. 

In its highest points, Passages is an ambitious, welcomed addition to queer cinema that embraces its messy characters. It commits to several lofty goals, notably its depictions of sex, which are refreshingly natural and carry narrative weight. The performances are also full of chemistry, keeping the dialogue interesting. Unfortunately, Passages spreads itself thin on its third act, which unfortunately may leave some viewers feeling as isolated from the story as the motivations are from characters.  

“Anatomy of a Fall” is more than just a courtroom drama 

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Score: 5/5 

Unwavering and razor-sharp, Anatomy of a Fall’s intricacies beg for a rewatch. 

French filmmaker Justine Triet has surged into award season with her latest film Anatomy of a Fall, earning the Cannes Film Festival’s highest prize, the Palme D’Or. The film follows the trial of novelist Sandra Voyter (Sandra Hüller) after she is suspected of murdering her husband and fellow writer, Samuel (Samuel Theis), through a fall from their chalet’s third floor. Amid this, their blind son Daniel (Milo Machado-Graner) is faced with a moral conflict as the sole witness. 

Upon initial viewing, Anatomy of a Fall holds its own as both a courtroom drama that never breaks tempo and one of the most visceral marriage dramas since Noah Baumbach’s Marriage Story. This is aided by the performances, notably Hüller’s who brings a realistic intensity that makes the viewer feel like a voyeur to the conflict at hand. 

Triet’s script is a sharp unfurling of its characters and their relationships from several perspectives. In the first act, the incident is presented through the vague account of Sandra’s relationship with her husband. She stands by her innocence, but this alone is not presented as convincing enough to believe her, urging the audience to lean in further in hopes of uncovering more. 

 
What we are later presented with is a continuous subversion of expectations. Further information is presented in audio recordings of fights, photographs and seemingly unrelated connections made by the prosecution to intentionally withhold information used to create an encompassing portrait of its characters.  

The direction of technical aspects is used to continuously establish new perspectives. This is especially discernable in the way the camerawork changes to frame characters from new angles, as if to test viewers’ assumptions about who the characters are by presenting them from unfamiliar perspectives or distances. 

Being able to rewatch films gives the opportunity to examine details scattered throughout their screenplays from a different light. Anatomy of a Fall is probably the best example of this practice within every film released last year.  

After rewatching the first scene on another viewing, the film’s effectiveness in this regard is noticeable as we are presented with a new context of who these characters are. We know about the complicated dynamics of Sandra and Samuel’s marriage and their individual relationships with Daniel along with the aspects of the scene that are being questioned in court. 

The rhythmic flow of the film’s events makes it natural to assume the trial is an examination of Samuel’s death and Sandra’s potential involvement, but Anatomy of a Fall moves intelligently to elicit entirely new questions that keep viewers guessing. 

As the trial progresses, it becomes more apparent that the cards are stacked against Sandra. The case stretches further into ambiguity as it appears she is prosecuted for more than suspected murder. 

Sandra garnered acclaim for her numerous novels, building a successful career of her own compared to her husband, who at the time of his death behaved as a stay-at-home parent. Her independent career success over her husband’s is seen as a weapon against him and the assumed dynamics of how their relationship must operate.  

Samuel’s resentment for Sandra’s success is manipulated to place him in the role of an emasculated victim. With every new strategy to reframe Sandra as a malicious monster of a wife, we’re left wondering if the real crime she is being accused of is stepping out of line with unspoken standards of how she is to conduct herself as a woman in a marriage: standards that protect Samuel’s ego. He expected her to make him feel important in ways that he was not, simply because of his assumed right to a certain role. 

And still, without missing a note, Anatomy of a Fall leaves quietly with as many questions as it arrives with. After dragging viewers through scrutiny of its characters and their relationships it provokes inquiry into what can even be considered trustworthy information.  

The film places our own expectations under a microscope as much as it does its characters. Its twists are never climatic resolutions, but only further obstructions used to paint over the truth. When isolated moments in our lives are taken out of context and examined, could we appear guilty of something untrue? 

Noah Kahan finally releases TikTok hit “Forever” 

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Overall rating: 4.5/5 

Noah Kahan wraps up his album Stick Season with its final song “Forever.” 

“Forever,” released on Feb. 9, debuted on the final iteration of singer/songwriter Noah Kahan’s third album Stick Season. While the original record has already been updated once since its initial release, Stick Season (Forever) contains the contents of the original album, the bonus tracks from Stick Season (We’ll All Be Here Forever), all eight of Kahan’s recent collaborations and the heavily anticipated “Forever.”  

First teased on the artist’s TikTok on Oct. 10 of last year, “Forever” was immediately a hit. In fact, upon its release, the song quickly became Kahan’s most-streamed track. There is a good reason for it too.  

“Forever,” a foot-stomping folk song, is one of Kahan’s happier tracks. While the singer is known for his heart-wrenching ballads about love, loss and the trials and tribulations of family life, “Forever” is a nice change of pace.  

Although the song starts slowly, the opening lines, comprised of just quiet acoustic guitar and Kahan’s warm vocals, the track starts to grow. After the first verse, the track builds with the addition of a three-part vocal harmony made up of Kahan’s main vocal line, a deeper harmonizing line and a higher, falsetto-sounding line. This vocal harmony continues for much of the rest of the song, filling in any sonic gaps and making the track sound fuller.  

Kahan does all of this without the use of any grandiose riffs or over-the-top vocalization, allowing the song to feel authentic.  

The song does an expert job of building, adding layer upon layer of instrumentation before finally taking off exactly halfway through the song. With the inclusion of the mandolin and the constant thump of the kick drum, “Forever” moves from a slow, simple ballad to an upbeat, folk-style song that rivals those of Mumford and Sons.  

Lyrically, the song tells the age-old story of young love. The lyrics “I won’t be alone for the rest of my life / I’ll build a boat for when the river gets high / And I’ll meet a girl in the heat of July” repeat throughout the song, highlighting Kahan’s hopeful outlook on the future of the relationship. He goes on to sing “When I hold her close, I might loosen my grip / But I won’t ever let her go,” furthering this belief. The connection between him and his partner will go on until the end of time.  

“Forever,” said Kahan, “is a long time… the word ‘forever’ used to terrify me… I hate finality, there is too much uncertainty and boredom affiliated with ‘the rest of time’.” This theme is more than prevalent in the musician’s body of work, constantly poking at the fear like a bump you aren’t sure is going to bruise. But in this conclusion to the Stick Season saga, Kahan has “found forever to mean there is limitless possibility. There is so much joy in the world, waiting to be found.”  

“Forever” highlights this positive change in Kahan’s outlook expertly. Hopefully, we can expect more songs like this from the singer going forward into the new year.  

The Olde Angel Inn: One of Canada’s oldest music venues 

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Showcasing a variety of local bands, The Olde Angel Inn is a great place to grab a pint and learn more about Niagara’s music scene.  

Cigarette smoke wafts through the air, caught up in the flushes of bone-chilling wind that bristles past the swinging front door of The Olde Angel Inn. Music seeps out of frosted windows and the hearty strum of a banjo whistles down the street. A crowd of people spills onto the sidewalk outside, swaying back and forth, still singing along to the band inside.  

A man in a long coat lounges against the yellow chipping exterior of the inn with a drink in hand, his back covering a bronze plaque detailing the pub’s history. It’s easy to miss in the darkness of the cold February night. It reads: 

The Angel Inn was built circa 1816 on the foundations of a previous inn destroyed during the War of 1812. The June 19, 1826, edition of the Gleaner Newspaper advertised the Angel as “That excellent tavern and stand known by the sign of The Angel Inn… At the corner of the Market Square.” The Angel is believed to be the oldest inn in Upper Canada still in operation. 

Most evenings, shouldering my way into a packed bar is my worst nightmare. Tonight, it feels like the perfect way to end my day.  

Perhaps it has something to do with the shocking lack of DJ-produced EDM “music”. Or maybe the pub’s resident ghostly presence, Captain Colin Swayze, is using his otherworldly powers to compel new victims to come in. Either way, the 208-year-old inn, equipped with the low ceilings and brick walls characteristic of post-1812 architecture, is a welcome reprieve from the local drinking scene. 

Inside, wooden tables line the walls and people crowd in front of a three-piece band named The Postmen. What they lack in keys and percussion, they make up in an overabundance of string instruments. For the count, we’ve got two acoustic guitars, a banjo and a selection of other strings waiting in the metaphorical wings. The band plays a few classic pub songs like Steve Earle’s “Galway Girl” before branching out to more recent hits by artists like Mumford and Sons and Noah Kahan. The inn’s historic walls shake with the sound. 

After The Postmen’s set, patrons mill around with pints of beer in hand, others going outside for a smoke. While the pub clears out quickly, everyone makes their way back in the moment the music starts up again. It’s hard not to be drawn in by the inviting atmosphere of The Olde Angel Inn.  

Not entirely known for its capability to be a thriving music venue, The Olde Angel Inn is the oldest of its kind in Canada. Located at 224 Regent Street in Niagara-on-the-Lake, the pub holds live entertainment on Thursday, Friday and Saturday nights starting at 9:30 p.m. Showcasing local bands like The Postmen, it’s a great place to experience what music the Niagara region has to offer.  

If you can get past the possibility of a spooky ghost sighting, The Olde Angel Inn is one of the finest locales to spend a Friday night.  

Badgers women’s volleyball does away with Western in quarter-final sweep 

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Holding strong as the second-ranked women’s program in the country, Brock’s women’s volleyball team punched their ticket to the OUA semi-finals after a convincing 3-0 sweep of the Western Mustangs on Feb. 24th.  

After beating the Waterloo Warriors on the 21st in the first round to advance to the quarter-finals, the province’s ninth-ranked Mustangs had little go their way against the Badgers.  

Western managed to tread water in the early stages of the first set, keeping the score within two. However, up 9-7, Brock soon managed to pull away.  

Setter Sara Rohr took control of the set at that point, landing three straight service aces to extend Brock’s lead to 13-7. 

Rohr’s streak set the table for the rest of the Badgers’ attack and contributed to a 13-3 run, putting them ahead 21-10. Brock then scored four points to Western’s two, winning the set by a convincing 25-12, leaving most of the Mustangs’ points being scored before either side hit double-digit points.  

After faltering in the back half of the first set, Western came back with a determined effort to open set two.  

After several Badger errors and three kills by Mustang Lael Harrison, Western managed to take eight of the set’s first 11 points for a five-point lead. Nevertheless, Brock, thanks to five combined kills from Madison Chimienti, Emily Foest and Gigi Markotic, the Badgers were able to tie the game at eight before taking a 9-8 lead.  

In what proved to be the evening’s most competitive set—and the only one where the Mustangs hit above .100 per cent—Western was able to stay with the Badgers long enough to keep things threatening.  

After the Mustangs tied the game back up at nine, Brock went on a 10-2 run to put some distance between themselves and their challengers. Though Western outscored the Badgers 7-6 from that point forward, it was a futile effort as they still lost the set 25-19.  

In set three, with their backs against the wall, the Mustangs were again able to admirably keep stride in the first half before crumbling in the second half. Western led with a 1-4 margin before Brock closed the gap and went ahead 6-5. Though Western was able to even the score twice following the lead change, once the Badgers scored two straight to go up 9-7, there was no turning back.  

The Mustangs got within one down 10-9, but that was the extent of their comeback. Committing five errors and surrendering two aces, Western gave up seven straight points, falling behind 17-9.  

That run spelled the end for the Mustangs and for their season. Brock would outscore Western 8-4 the rest of the way, taking the set 25-13 and advancing to the OUA semi-finals.  

Markotic and Chimienti—who was named Player of the Game—were the standout performers for the Badgers. Markotic led both teams with 11 kills, while also adding two aces and three blocks. Chimienti had an incredibly efficient night on the attack, putting down nine kills on 13 attempts, all while committing only a lone error. In addition to her three aces in the first set, Rohr added two more down the stretch to complement her game-high 31 assists.  

Brock plays their semi-final game next Friday, March 1st facing off against the TMU Bold who, in their win over the University of Toronto, won their first playoff match in five years. On a seven-game win streak, it will be up to the Badgers to halt their momentum.  

For more information and Brock’s full playoff schedule, visit gobadgers.ca. 

Contemporary poets Julia Fiedorczuk and Lisa Robertson featured at Marilyn Rose Lecture 

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Students had the opportunity to hear from poets at the forefront of contemporary literature at this year’s Marilyn Rose Lecture.   

“Archived Rivers and Political Forests: Literary Interventions in the Anthropocene” was the 2024 Marilyn Rose Lecture, an annual series launched in 2017 in memory of the late Marilyn Rose, who passed away in 2015. 

This lecture featured Julia Fiedorczuk and Lisa Robertson, two esteemed authors whose work explores interventions in the “nature of stories and storytelling in the Anthropocene / Capitalocene.” These terms are used in the humanities to describe the current period, in which human activities – specifically those incentivized by capital-fuelled extraction of resources – are significantly affecting the ecology of the planet. 

Joanne Jones describes textual intervention as “a way of challenging existing texts to create original work,” regarding texts as “dynamic and able to change, rather than fixed and concrete” and “open-ended, rather than finished.” 

For Fiedorczuk and Robertson, this means responding to political and environmental issues in the Anthropocene.  

Fiedorczuk’s presentation was concerned with the Białowieża Forest and the Podlasie region in eastern Poland, the site of a current humanitarian crisis. 

She described how beautiful the forest is, with old-growth trees and a bountiful ecosystem characterized by wetlands, before explaining how asylum seekers from the Middle East, Afghanistan and Africa are caught in this forest – a no-man’s-land between Poland and Belarus – travelling back and forth across difficult terrain and sleeping in the cold, sometimes resulting in death when they are rejected from both borders. Fierdorczuk’s interventions came in the form of recited poems from some of those involved: countless stories focused on people, not circumstance. 

Robertson was the next presenter. A Canadian writer, her lecture was interested in creating an “unfaithful” description of the Bièvre, a polluted and buried river in Paris – which is a “dirty textual and archival intrusion in the Capitalocene” – by analyzing literary documentation of the river throughout history. 

One of the most interesting discussion points of Robertson’s presentation was the laundresses in Paris. These women were subjected to terrible working conditions – cleaning the city’s linens in the red dye and waste-polluted river and working for hours on end with low wages – and largely blamed for the water’s pollution instead of the rampantly wasteful industries upstream. However, they fought back, becoming some of the earliest workers to unionize and strike for better working conditions. 

Before the event, in a post on X (formerly Twitter), English Department professor Gregory Betts said “this year’s Marilyn Rose Lecture is a doozy.” 

Together, these writers painted a picture of literary protest and intervention in the Anthropocene, which can so often feel unfathomably impossible to change for the betterment of the world. 

They honoured the memory of Marilyn Rose, who was a Brock University professor in the English Department and the Dean of the Faculty of Graduate Studies from 2004 to 2012. Her passions included detective fiction; national and literary iconography; modern and contemporary poetry; and Canadian short fiction, topics that the Marilyn Rose Lectures have explored for the past seven years.  

In a 2017 article from The Brock News, Brock professor Ann Howey illustrated just how big of an impact Rose had:  

“Marilyn was vital to the development of programs like Canadian Studies, as well the development of Graduate Studies at Brock. She was a highly regarded teacher and a researcher with an amazing breadth of expertise.  

“What was most impressive about Marilyn, though, was the ethics of care with which she approached everything: administration, teaching, research, participation in a community of scholars. It made her an important mentor to many here at Brock, and she is still deeply missed,” said Howey.  

“Archived Rivers and Political Forests: Literary Interventions in the Anthropocene” was a provocative and illuminating lecture series, honouring Marilyn Rose’s legacy at Brock and in the academic community. 

Four NHL players charged in connection to the 2018 Canadian World Junior team 

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Content warning: violence, sexual assault 

In a case that has now dragged on for close to six years, one former and four current NHL hockey players have been formally charged with sexual assault in connection to a crime perpetrated by members of Canada’s 2018 World Junior team.  

On Jan. 24th, five unnamed players were told to surrender to the London, Ontario Police Department to face charges. Former Ottawa Senator Alex Formenton was the first player to volunteer himself to the police on Jan. 28th and was followed by the four current NHL players—Dillon Dube, Michael McLeod, Carter Hart and Cal Foote—two days later on Jan. 30th.  

The allegations against the five players first came to light in May 2022 when it was reported that Hockey Canada had settled a lawsuit launched by a woman known only as “E.M” who stated she had been assaulted by eight men, some of whom were, at the time, on Canada’s 2018 World Junior Team. In July of 2022, the London Police Department, which had previously closed its investigation into E.M’s allegations in 2019, reopened its investigation.  

Hockey Canada resultingly found itself in a media firestorm, leading to revelations that the national sports body had faced charges of this nature before in separate cases. It was also uncovered that they maintained a “slush fund” funded through minor hockey registration fees. This “slush fund” was used to pay out sexual assault lawsuits against member players. Subsequently, Hockey Canada’s Board, Chair and CEO all stepped down and had their national funding suspended, though this was reinstated on Apr. 16th, 2023.  

On Feb. 5th of this year, after lawyers for all the accused had to appear in court, London Police Chief Thai Truong hosted a press conference to offer an apology for his department taking almost six years to levy charges against the accused. However, many felt that Truong’s statement was severely lacking. Truong offered little explanation why the initial investigation was concluded in 2019 without any charges laid. Truong also tried to say that the “sexualization” of women in society contributed to these crimes, further deflecting blame by saying that there is a “widespread prevalence of violence against women” in society.  

A spokesperson for the Office of Independent Police Review, the watchdog for Ontario police services, told TSN’s Rick Westhead that they would decline to comment on whether the London Police will be investigated for its handling of the 2019 investigation.  

There seems to be a lot of deflection and avoidance across the hockey sphere regarding this investigation.  

Cale Makar, star player for the Colorado Avalanche and member of the 2018 World Juniors team had this to say about the charges: “It was a very fortunate bounce to not obviously be a part of something like that. I’m just going to leave it to the people who are handling the work right now. I can’t stress enough that I wasn’t part of that.” (My emphasis) 

NHL Commissioner Gary Bettman was also pressed for comment on the charges laid against the five current and former NHL players. 

“99.9 per cent of players, certainly in our league, conduct themselves appropriately,” said Bettman. “To take a handful of players in this or in other situations and use those allegations and condemn a particular sport, I don’t think is reflective of what we are.” 

Bettman’s comments are certainly an interesting position to take, especially considering other incidents that have come to light just in the last two weeks. 

On Feb. 2nd, though he was found not guilty, former NHLer Mike Ribeiro faced two charges of sexual assault in Texas. However, as the jury deadlocked on a count of attempted sexual assault, it’s possible that the Canadian who played 1074 games in the NHL could be retried on this charge.  

On Feb. 7th, Oshawa General’s forward Connor Lockhart—who was also drafted two years ago by the Vancouver Canucks—was suspended indefinitely due to a Durham Regional Police investigation against him.  

Two days later on Feb. 9th, former QMJHL player Noah Corson was found guilty of sexually assaulting an underage girl while he was playing for the Drummondville Voltigeurs. Two other junior hockey players, one of them Corson’s teammate in Drummondville, had previously pleaded guilty to playing a role in the assault.  

There is something deeply diseased in the sport of hockey and how this case unfolds, and how the NHL and other major hockey leagues respond, may very well dictate how—or if—the sport moves forward.  

The five accused hockey players are set to appear in court on Apr. 30th, 2024.  

Brock women’s volleyball lose second game of the season to McMaster before blanking them the following day 

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After entering striking distance of the top spot in all of U Sports, Brock’s women’s volleyball team dropped a match on Feb. 2nd against the McMaster Marauders, who are currently third in the OUA. Following a convincing three-set victory over the Marauders on Feb. 3rd, the Badgers maintained their top position in the OUA with a 16-2 record.  

Though close from the outset, the Badgers opened with a strong first set.  

For the first half of the set, the Marauders gave Brock some issues. Due to some quick scoring bursts, McMaster held a three-point lead for much of the early parts of the game, holding on to it as they went up 9-12.  

From then on, Brock was able to turn the tide in their favour with some scoring bursts of their own, establishing a three-point 17-14 lead after tying the game at 13. 

The Badgers nursed that lead into the final stretch, winning set one 25-20 off an Emily Foest kill, her seventh of the set, contributing to an eventual game-high 13 kills in the match. 

Brock started set two up 4-1, but immediately surrendered a 5-0 run to the Marauders, putting the Badgers on their heels down 6-4. Though McMaster was able to parlay that into a more commanding 10-14 lead, another 5-0 run—this time for the Badgers—seemed to put them right back in the game, now up 15-14.  

Nevertheless, after a Marauder time-out, they got right back to work reclaiming their lead and did so, going up 16-19, prompting a time-out from the Badgers.  

The Badger timeout unfortunately had little effect as McMaster outscored Brock 6-4 following the call, leading to a 20-25 Marauder second-set victory.  

Set three was significantly more in McMaster’s favour off the hop. Tied through the set’s first 10 points, the Marauders pulled away with a six-point run, taking a hefty 5-11 lead over Brock.  

Brock didn’t have much of an answer to McMaster’s third-set explosion, which was the Marauder’s most prolific of the night, both in terms of kills (13) and attack percentage (0.226). McMasters’ 5-11 lead quickly became a more daunting 9-18 advantage that the Badgers simply could not recover from. They put in a valiant effort, scoring nine of the final 16 points, but still lost 18-25. 

Now in a position that they’d never been in thus far this season—down two sets and looking to force a fifth—the Badgers again came out flat.  

Tied 6-6, Brock fell victim to an 8-1 run by the Marauders who, now up 14-7, forced the Badgers to play from behind. To their credit, the Badgers did manage to pull out all the stops for a remarkable run of scoring, closing the gap to 20-21. For all their hard work, it still would not be enough, losing the set 22-25, only their second loss of the season.  

The next day, the Badgers came out with a vengeance, sweeping the Marauders 3-0, though sets one and two were both tightly contested.  

Tied 8-8 in set one, Brock was able to give themselves a four-point cushion going up 14-10, though struggled to build upon that. They maintained that lead as far as 17-13, but a 6-1 run by the Marauders put them up 18-19 and again on the front foot. However, thanks in part to four errors by McMaster, Brock secured set one 25-22.  

McMaster came out swinging in set two and held the lead for most of the frame. Tied 11-11, McMaster was able to establish a three-point lead of 12-15 that became a 15-18 lead and then a 17-20 advantage.  

Brock was able to score the next four points to take a 21-20 lead, duked it out with the Marauders for a while, and eventually were able to come away with a nail-biting 25-23 set win. 

Initially, set three also promised to be just as tightly fought, with the Badgers clinging to a slim two-point lead, but up 16-14, Brock turned on the jets, outscoring McMaster 9-3 down the stretch and won the final set 25-17 in convincing fashion.  

With two more games under their belt, Brock has their final two still in store. Though both are against the Waterloo Warriors in Bob Davis Gymnasium, only one is this upcoming week, landing on Feb. 10th.  

For more information, visit gobadgers.ca. 

The rise and fall of American gods: When will Taylor Swift be dethroned?

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As the American public skyrockets Taylor Swift to record-breaking heights of popularity, it’s time to start wondering when they will turn their back on her again. 

The world-famous singer achieved a new level of success at the Grammys on Feb. 4 when she became the first person to win Album of the Year four times. This is a great honour for Swift, who has come a long way since her 2009 MTV Video Music Awards encounter with Kanye West – an encounter that West claims “made that b**** famous.” 

While I would argue that the success of Swift – who happened to be accepting an award at the time of the rapper’s interruption – has little to do with West, the aftermath of this interaction did lead to scandal. 

In 2016, West released his song “Famous,” accompanied by a music video that depicted Kanye in bed surrounded by incredibly lifelike nude figures of various celebrities, one of which was Taylor Swift. As far as we know, this sexualized depiction of Swift was used in the video without her permission, but this was far from the main controversy associated with “Famous.” 

Upon the song’s release, West clarified that he had called Swift before it was dropped to ask for her permission regarding the verse that references her. The verse in question states “I feel like me and Taylor might still have sex / Why? I made that b**** famous / God damn / I made that b**** famous.” 

While Swift’s team maintained that she hadn’t cleared the verse, an audio clip released by West’s then-wife Kim Kardashian-West later toppled this claim. 

The clip showcased West calling Taylor to ask for permission, during which he read her the lyric “I feel like me and Taylor might still have sex.” Swift audibly gives her permission, telling West she appreciates him telling her about it and noting that the line is “all very tongue-in-cheek either way.” While this may seem all very cut and dry, the video is edited together awkwardly. It is never made clear whether Swift heard the line “I made that b**** famous,” something that her team stated she hadn’t been made aware of. Either way, the fallout was explosive. 

This led to the first deposing of America’s sweetheart Taylor Swift. 

While this may seem like ancient pop culture history for many, history is known to repeat itself, and Taylor Swift’s upward trajectory in 2024 is reminiscent of a period in her recent past. 

Prior to the singer’s fall from grace, Swift found herself breaking a different record when she accepted her second Album of the Year award at the Grammys for 1989. 

The original version of 1989, released in late 2014, sold 1.29 million units in its first week, a record Swift only broke with the release of 1989 (Taylor’s Version). On top of that, the album hit number one on Billboard and stayed in the top 10 for an entire year. While 1989 was the singer’s first foray into pop music, it is still widely considered to be her best album. 

During her acceptance speech at the Grammys in 2016, Swift touched on this, emotionally remarking, “As the first woman to win Album of the Year at the Grammys twice, I want to say to all young women out there, there will be people along the way who will try to undercut your success, or take credit for your accomplishments or your fame.” 

This comment, which seemed to reference West’s line “I made that b**** famous,” was a pretty solid PR win for Swift. She was at the top of her game, breaking records and staying true to herself and her work in the face of adversity. 

When this later turned out to be untrue, the public ripped Swift to shreds. The scrutiny was so intense that the singer disappeared from the public gaze for an entire year. She only emerged in 2017 with the release of her sixth studio Reputation, a clap back at West’s behaviour and a reinvention of Taylor Swift as the world knew her. 

In 2024, Taylor has once again found herself at a career peak. Breaking another record in the Album of the Year category, Swift seems to have nowhere to go but up. With her widely successful Eras Tour, a brand-new album on the horizon and her incredibly public relationship with football player Travis Kelce, people can’t help but talk about her. 

But ten years after the massive success of 1989, one must question when the American public will become fed up with Swift once again. 

It seems to already be happening. 

Upon winning the Album of the Year Grammy for Midnights, viewers of the broadcast began to call Swift out for apparently snubbing Celine Dion, who had presented the award to her. 

Overwhelmed with excitement, Swift accepted her award from Dion but did not acknowledge her, instead turning around to share her joy with some of her collaborators. While the singer had been dancing and singing along to Dion’s “The Power of Love” minutes earlier, many people found Swift’s lack of eye contact to be disrespectful. 

Dion and Swift would go on to pose together backstage to prove that the lack of interaction had more to do with Swift’s all-encompassing excitement than it did any tension between the singers. 

There is also the matter of the highly controversial pornographic AI images of Swift which appeared on X (formerly Twitter). The sharing of these images got so out of hand that X temporarily disabled the ability to search the singer’s name on their platform in an attempt to stop the spread. 

These images come after Swift’s appearances at her partner Travis Kelce’s football games, which many have claimed is ruining the sport. One of the biggest complaints lodged by football fans is Swift’s screen time on the broadcasts. One viewer wrote online, “the wall-to-wall coverage of Taylor Swift at this game is annoying AF. I don’t even like football, and I agree it is destroying football. Just enough.” 

A breakdown from the New York Times revealed that the longest the singer has been shown in one of the typically three-hour-long broadcasts is one minute and 16 seconds. This was during the Jan. 13 game that the Chiefs played against the Dolphins. I would argue that a minute and 16 seconds is not wall-to-wall screen time, but it’s worth noting I don’t watch football. 

While being in the public eye comes with both praise and scrutiny, no one is as big or as talked about as Taylor Swift is right now. Is Taylor, like Icarus, flying too close to the sun? Or will she continue to soar into further success in 2024? It is impossible to know for sure, but if history repeats itself (as it often seems to do), Taylor Swift should watch her back.

Women “step up” at the 2024 Grammy award ceremony

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This year, women dominated the Grammys. But that hasn’t always been the case. 

In 2018, the only woman presented with a solo Grammy during the broadcasted ceremony was Alessia Cara, who won best new artist. When asked about this, Neil Portnow, Academy president at the time, suggested that women had to “step up” if they wanted to be represented. 

“It has to begin with … women who have the creativity in their hearts and souls,” Portnow told Variety. He went on to say that more women needed to “want to be musicians… want to be engineers, producers and want to be a part of the industry on the executive level.”

While this line seems just as out of touch now as it did in 2018, it seems women really did step up to the plate, winning a majority of the awards at this year’s Grammys. 

Here is a look at some of the women who won in top categories in 2024. 

Song of the Year: “What Was I Made For?” – Billie Eilish 

With her track “What Was I Made For?,” written for the motion picture Barbie, Billie Eilish won Song of the Year. This accolade is awarded to a single or one track from an album, given specifically to the songwriter for the lyrics and/or the melodies they composed. In the past five years, Song of the Year has been given to a man only once, being awarded to Bonnie Raitt in 2022, Taylor Swift in 2020 and Billie Eilish in 2019. Even then, Song of the Year is one of the ceremonies’ major categories, making this win even more special for Eilish as well as other female musicians around the world. 

Best New Artist: Victoria Monét

Singer Victoria Monét won Best New Artist. This accolade is awarded to a rising star who has released at least five tracks or a complete album. This award has been given to women each year across the past five years, suggesting that women have taken Portnow’s advice and “stepped up” to the plate. This was a special award for Monét as she supported her independent career in music for over a decade, writing songs for Ariana Grande, Fifth Harmony, Blackpink and more. 

Record of the Year: “Flowers” – Miley Cyrus

With her track “Flowers,” Miley Cyrus won Record of the Year. “Flowers” also won Best Pop Solo Performance earlier in the night. This accolade is awarded to the best sounding recording of the year, focusing more on the production of the song rather than the lyrics or melody. In the past five years, Record of the Year has been given to a man only once, being awarded to Lizzo in 2022 and Billie Eilish in 2020 and 2019. This was a special award for Cyrus as it was her second Grammy, winning the first one earlier in the night. 

Album of the Year: “Midnights” – Taylor Swift 

With her album Midnights, Taylor Swift won Album of the Year. Midnights also won Best Pop Vocal Album earlier in the night. This accolade is awarded to a whole album, presented to the musician, producer, mastering engineer and recording engineer who worked on the record. Swift also won this award in 2020 for her album folklore. This is a big award for the singer as it is her fourth time winning Album of the Year, breaking a new record and surpassing artists such as Frank Sinatra and Stevie Wonder.

Students can learn to create video and board games at The Mother of All Game Jams 

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Aspiring or experienced game designers at Brock can come together at The Mother of All Game Jams. 

On Feb. 24 and Feb. 25, from 9 a.m to 5 p.m., Brock University is hosting the Mother of All Game Jams, a beginner-friendly game-making session, in the Rankin Family Pavilion. 

Traditionally, a game jam entails an event in which individuals or teams try to create a video game in a limited time frame, which typically lasts a few days but sometimes only a few hours. These events can be both cooperative and competitive. Sometimes there is a theme, like “ten seconds” or “alternate universes.” 

This may not seem like much time or direction to create a fully functional game, yet some of the most popular indie games have come out of game jams, including Hollow Knight, Celeste, Surgeon Simulator, SUPERHOT and Inscryption. 

While game jams typically focus on video games, The Mother of All Game Jams will provide participants the opportunity to create board games if they choose. 

The event’s theme is motherhood – mothering, mothers’ experiences, maternal identity and more. Both experienced and beginner designers are welcome, teamwork is encouraged, and knowledgeable facilitators will be present to assist participants with any questions they have about game creation. 

Provided at the event will be breakfast, lunch and refreshments. Childcare is also available to anyone who requires it; a student in Brock’s Education program will be looking after children in full sight of their parents. 

The Mother of All Game Jams is being held in collaboration with Dames Making Games (DMG) and Pixelles, two Canadian grassroots non-profits from Toronto and Montreal, respectively, working to support gender diversity in the gaming industry. 

This is a two-day event, but participants are not expected to attend the entirety of one or both days nor do they need to be Brock students or faculty. Everyone is welcome. 

“Anything that engages your creative mind – the ability to make connections between unrelated things and imagine new ways to communicate – is good for you,” said Girija Kaimal, a professor at Drexel University and a researcher in art therapy, in an NPR article by Malaka Gharib. 

In the article, Kaimal explains how making art can help people imagine brighter futures and process their emotions, it activates the reward centre of the brain, lowers stress and promotes deep focus – what scientists call the flow, “that sense of losing yourself, losing all awareness… [forgetting] all sense of time and space.” 

While game design can seem intimidating, it’s important to remember that making games is a form of art and creative expression. Not only is it fun, but it’s healthy. 

The Mother of All Game Jams is a place where people can learn the basics of game design or hone their craft in a stress-free, low-stakes environment. Two days may not be enough time to create a fully-fledged game, but it’s ultimately about the process of creation and learning – and who knows, you might surprise yourself. 

Ukraine alleges Russian use of chemical attacks in southeastern Ukrainian frontlines 

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Accusations of chemical weapon warfare and violation of jus in bello during the Russia-Ukraine war permeate both sides of the battlefield. 

On Feb. 9, Ukraine put forward an accusation against Russia, claiming that in January alone, 200 toxic chemical attacks were conducted by Russian forces. Particularly, Colonel Oleksandr Shtupun from the Tavria military group in the southeastern Ukrainian front line claimed that Russian forces have been employing K-51 grenades with chloropicrin in their attacks. 

An allegation of chloropicrin usage against Russia is particularly bleak, seeing as the chemical is a choking agent that was regularly employed by Moscow during World War I. This chemical component disperses as a gas, and when inhaled, creates air sacs inside the lungs, creating a choking or drowning effect in victims.  

These allegations also follow recent accusations from Ukraine’s General Staff pointing to the use of CS gas, otherwise known as tear gas, by Russian forces on the battlefield. CS gas is categorized as a riot control agent chemical, causing temporary irritation in the eyes, mouth, skin and lungs.  

Though the chemical is widely used by police forces, it is prohibited for wartime use under the International Chemical Weapons Convention. According to the Organization for the Prohibition of Chemical Weapons, states have autonomy to stock CS gas and use it domestically, but as soon as the gas is used as a weapon of war, a distinction is drawn and the gas is then regarded as a chemical weapon. 

Remarkably, Ukrainian officials are not the only ones that have alleged the use of chemical warfare throughout the war. Last February, Russia put forward similar accusations against Ukrainian forces, noting the alleged usage of chemical weapons by Ukrainian drones.  

At large, Russia has routinely denied accusations of chemical weapon usage in the conflict, instead diverting attention to alleged biological weapon attacks coming from Ukraine, which have yet to materialize. Such allegations have been regarded by Ukrainian allies and field experts as Russia creating a narrative of Ukrainian aggression to justify a false flag attack using the tactics they say to condemn in their allegations.  

Moreover, other experts believe that Russia is attempting to provoke a violent response by using CS gas in their attacks, hoping that Ukraine will respond with stronger chemical agents. Though the use of CS gas goes against Section 1 of the International Chemical Weapons Convention, a Ukrainian counterattack with stronger chemical gasses would result in serious war crimes

As allegations of chemical weapon usage proliferate across Ukrainian and Russian frontlines, gaining consciousness of international law and the nuances of war crimes is increasingly relevant in understanding the favoured methods of Ukrainian counterattacks at depth. 

Discover the power of kindness during Random Acts of Kindness Week at Brock 

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Sometimes all that’s needed to spread joy across campus during the gloomy winter season are small acts of kindness.  

Throughout the week of Feb. 12 to 16, Brock students are invited to take part in Random Acts of Kindness Week (RAK) to foster goodwill across campus and gain volunteer experience in the process. 

The celebration of Random Acts of Kindness Week, also known as Kindness Week in Canada, seeks to empower collective mental well-being across the community to reduce stress and foster happiness and kindness. The initiative also supports the Random Acts of Kindness Foundation, which offers kindness resources such as activity ideas and kindness quotes for implementation in schools and workplaces. 

Brock researchers such as Professor Sandra Bosacki from the Faculty of Education are keen on encouraging students to participate in RAK. According to Bosacki’s research, kind gestures have a ripple effect that contributes to fostering collective well-being and improved mood, especially during winter.  

Students are encouraged to engage in the following events planned for Random Acts of Kindness Week, either as participants or volunteers. 

Monday, Feb. 12: Kindness Challenge 

To begin Random Acts of Kindness Week on a good footing, Student Life and Success will host a Dungeons and Dragons-inspired Kindness Challenge. Hosted at the Rankin Pavilion from 9 a.m to 5 p.m., students can drop in to challenge themselves and learn new ways of spreading kindness in their communities.  
 

For this event, the Student Life and Success team is looking for volunteers to assist in the morning with their Roll for Kindness table and in the evening with the Kindness Rocks activity. To volunteer, fill out this form

Tuesday, Feb. 13: Compliment Giveaway 

In celebration of Random Acts of Kindness Day, the Student Life and Success team will set up a Compliment Giveaway. Students walking through the hallway in Mackenzie Chown Complex A Block will be able to receive a written compliment and take another one along to pass to other students and spread joy.  

Taking place from 9 a.m to 5 p.m., the compliment table will need volunteers to facilitate the Compliment Giveaway. Those interested can sign up to volunteer with this form

Wednesday, Feb. 14 

In line with Valentine’s Day, two events will be hosted for Random Acts of Kindness Week to spread love and happiness at Brock. 

First, the Student Life and Success Team will sit by the Computer Commons to offer students a chance to write kind phrases on sticky notes, which will then be displayed at the Student Life Involvement Commons in MCA204.  

Students will also be able to get a free flower to keep or give to a loved one. A table will be set up at the Thistle Eye for students to receive their flower from 9 a.m to 4 p.m. 

Thursday, Feb. 15 

To encourage individual self-care and kindness, free 10-minute meditation sessions will be offered throughout the day from 9 a.m to 5 p.m in MCA241. The Student Life and Success Team will also offer free coffee and tea at the Welcome Desk of the Rankin Family Pavilion from 10 a.m to 2 p.m. 

Interested students are welcome to volunteer for either the mindfulness sessions or the drink and snack pass out. 

Friday, Feb. 16 

To wrap up a week filled with kindness, students will be able to partake in a kindness card station, which they can write for themselves or other loved ones. The card station will take place from 9 a.m to 4 p.m in the Thistle Complex in front of the BU4U Student Service Hub. 

To close off Random Acts of Kindness Week, volunteer students will be needed to facilitate the card station. To volunteer, fill out this form.  

As the winter semester settles into a time of stress and chaos, students are encouraged to engage in Random Acts of Kindness Week to spread and receive much-needed joy and fulfillment by fostering kindness. 

The international student cap spells uncertainty for the future of Canadian students 

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Canada has placed a cap on the number of international student visas provided annually, and interested parties are divided on whether or not this is the right move. 

For months now, the Canadian government has been limiting the number of international students who can come to Canada, with Immigration Minister Marc Miller heading the initiative. 

In December, the amount of money prospective students were required to prove before entry doubled from $10,000 to $20,635 in addition to paying travel and tuition. He floated the idea of a cap for months before it was instated: only 360,000 study permits are expected to be approved in 2024 with the cap, a 35 per cent decrease from last year. 

This cap will be split amongst the provinces and territories, “which will result in much more significant decreases in provinces where the international student population has seen the most unsustainable growth,” said Immigration, Refugees and Citizenship Canada in a news release on Jan. 22. In Ontario, that means a 50 per cent cut.  

A CBC article discusses how Minister Miller calls some Canadian private colleges “the diploma equivalent of puppy mills that are just churning out diplomas,” or “fake” degrees, to turn a profit. According to a report by Higher Education Strategy Associates, around 76 per cent of Ontario colleges’ operating fees come from international students. 

Miller also said that the increase in international students contributes to the housing crisis, along with short supply, affordability challenges and rising interest rates. He noted that capping students was not a “one-size-fits-all” solution, and “it isn’t immigrants that raised interest rates, but volume is volume and it’s something that we need to look at.” 

Contributing to the problem are the “bad actors… taking advantage of these students with false promises of guaranteed employment, residency and Canadian citizenship,” said Jill Dunlop, Ontario’s minister of colleges and universities in a statement. Examples of these “bad actors” are education recruiters in India that CBC exposed in 2022. 

With these false promises, many international students find hardship in the country that was supposed to bring prosperity. 

Khalsa Aid Canada, for example, has seen a rapid increase in international students in Brampton struggling to access food, clothes and shelter. Jindi Singh, the national director of Khalsa Aid pointed to the nearly 500,000 international students in the GTA “who are left to fend for themselves” and straining the resources of local charities while post-secondary institutions make billions of dollars in profit. 

Singh said he welcomes the cap on international students but feels it equally important for the government to support those who are currently struggling. 

Not everyone agrees that the cap is a good thing, though. 

With such a severe decrease in funding from international students and a tuition freeze already in effect for domestic students, many Canadian universities are anxious about what the future holds. 

In an interview with CBC, the University of Waterloo’s president Vivek Goel said that the biggest challenge is uncertainty: “We haven’t heard yet from the province on how it will make decisions around allocating between colleges and universities, first of all, between private and public institutions, for individual institutions.” 

A somewhat grimmer prediction came from Isaac Garcia-Sitton, executive director of international student enrolment, education and inclusion at Toronto Metropolitan University in an interview with Global News.  

“This cap will bring financial risks for institutions, which may translate into layoffs, program closures and fewer services for students,” said Garcia-Sitton. 

Ontario Premier Doug Ford has already said in a January media conference that he does not wish to remove the domestic tuition freeze: “I just don’t believe this is the time to go into these students’ pockets, especially the ones that are really struggling, and ask for a tuition increase.” 

With this general decrease in funding, some have suggested that the federal government should put more money into post-secondary institutions, like Manpreet, the chairperson of the Alliance of BC Students. Overall, the situation remains unresolved. 

All of this comes in the wake of the change Brock University made in 2022 to make international students’ tuition more affordable: introducing a structure that fixed their undergraduate yearly tuition at whatever they paid in their first year. 

Austin Hurley, BUSU’s Vice-President of External Affairs at the time, called the decision a “huge win for international students at Brock.”  

Now, the university faces the same uncertainty as other post-secondary institutions across the country. When asked about the recent cap, Brock provided the following statement to The Brock Press: 

“Brock remains concerned about the impact the recently announced cap on international study permits may have on the University and is awaiting further details from the province regarding its allocation.” 

Canada currently sits in a state of flux regarding this cap. With hazy details surrounding the logistics of the decision and competing perspectives on who benefits, only time will reveal the impact of the international student cap and what it means for Canadian students. 

The University of Niagara Falls will be Canada’s newest university opening this spring

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A third post-secondary institution has been established in the Niagara Region, based in downtown area of the Falls. 

Recently, the Canadian federal government announced a two-year cap on international student visas which has affected higher education in the Niagara Region. 

The cap has resulted in chaos and confusion for students at Niagara College because of the sudden and uncertain terms around international students’ continued studies in Canada. Brock University has been experiencing a $37 million operating deficit this year and receives nearly 40 per cent of its tuition revenue from international students. 

Despite the current uncertainty for Ontario post-secondary institutions, the University of Niagara Falls is not worried about the two-year cap. 

“I think it’ll be minimal,” said Vice President of Academics, Dr. David Gray. 

The University of Niagara Falls has already opened applications for graduate programs beginning in the spring semester of 2024 and additional undergraduate programs in the fall. “Master’s programs are exempt from the cap, so we have 3 master’s programs and our two undergraduate programs. Both have a significant domestic market,” said Dr. Gray at the University of Niagara Falls’ first open house hosted on Jan. 26.

The University of Niagara Falls resides in the recently renovated Hatch building, a staple of Niagara Falls downtown for decades. The entrance is adorned with glass walls and doors, giving the freshly designed space a very light, open feeling. The open house was hosted in the student lounge, a relatively small community area furnished with several tables and booths as well as an island counter for serving food and coffee. 

Dr. Gray stated that the University of Niagara Falls expects up to 100 graduate students this spring and 1000 total students by the fall. 

Global University Systems Canada (GUS) first announced the establishment of a university in downtown Niagara Falls in the fall of 2022. GUS Chief Executive Officer, Cyndi McLeod, said she expects 10,000 students plus faculty and staff over the next five to seven years. 

The University has recently partnered with SpacesShared, an innovative online home-sharing platform, to ensure that the students can live in safe, affordable housing in the area without significant damage to Nagara Falls’ inflating housing market. “We are all well aware of the housing situation right now, so we want to grow, but we want to grow in a responsible way,” said Dr. Gray. 

“We have a full-time housing coordinator for our students who will work with every student to ensure that they’ve got accommodation that is of the quality that we are happy with.” The University of Niagara Falls is still renovating the upper floors of the building, but Dr. Gray assured that they will be complete by fall 2024 and will have more than enough space to host the expected student population. 

“We’ve got space on various floors. We have classroom space, we have the Student Experience Centre, we have the student lounge, we have classroom lecture theatres, we will have the faculty offices and so forth,” said Dr. Gray. 

The university’s library will be entirely digital, and all student resources will be accessible online. Dr. Gray said that a digital library streamlines the renovation process because the university doesn’t require a large space for a physical archive and library. 

“Everything is going to be brand new and it’s going to be state-of-the-art,” said Dr. Gray.

The University of Niagara Falls has also partnered with several community institutions such as the Niagara Falls Innovation Hub also located downtown. The Innovation Hub is a “business incubator” meant to help grow small- to medium-sized businesses with a focus on technology. The partnership will allow students to access opportunities such as internships, field placements, applied research programs, pitch competitions, the Hub’s podcast studio and the Makerspace lab. 

After decades of private disinvestment, the City has been exceptionally interested in revitalizing Niagara Falls’ declining downtown area. 

“You couldn’t have a more superlative mayor. Mayor Jim Diodati has been very, very supportive and helpful,” said Dr. Gray. 

With close access to the city’s bus terminal and several small businesses, the University of Niagara Falls provides an intriguing addition to the Falls’ downtown area which will soon see an influx of students this spring.

Brock women’s volleyball lose second game of the season to McMaster before blanking them the following day

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After entering striking distance of the top spot in all of U Sports, Brock’s women’s volleyball team dropped a match on Feb. 2nd against the McMaster Marauders, who are currently third in the OUA. Following a convincing three-set victory over the Marauders on Feb. 3rd, the Badgers maintained their top position in the OUA with a 16-2 record. 

Though close from the outset, the Badgers opened with a strong first set. 

For the first half of the set, the Marauders gave Brock some issues. Due to some quick scoring bursts, McMaster held a three-point lead for much of the early parts of the game, holding on to it as they went up 9-12. 

From then on, Brock was able to turn the tide in their favour with some scoring bursts of their own, establishing a three-point 17-14 lead after tying the game at 13. 

The Badgers nursed that lead into the final stretch, winning set one 25-20 off an Emily Foest kill, her seventh of the set, contributing to an eventual game-high 13 kills in the match. 

Brock started set two up 4-1, but immediately surrendered a 5-0 run to the Marauders, putting the Badgers on their heels down 6-4. Though McMaster was able to parlay that into a more commanding 10-14 lead, another 5-0 run—this time for the Badgers—seemed to put them right back in the game, now up 15-14. 

Nevertheless, after a Marauder time-out, they got right back to work reclaiming their lead and did so, going up 16-19, prompting a time-out from the Badgers.

The Badger timeout unfortunately had little effect as McMaster outscored Brock 6-4 following the call, leading to a 20-25 Marauder second-set victory. 

Set three was significantly more in McMaster’s favour off the hop. Tied through the set’s first 10 points, the Marauders pulled away with a six-point run, taking a hefty 5-11 lead over Brock. 

Brock didn’t have much of an answer to McMaster’s third-set explosion, which was the Marauder’s most prolific of the night, both in terms of kills (13) and attack percentage (0.226). McMasters’ 5-11 lead quickly became a more daunting 9-18 advantage that the Badgers simply could not recover from. They put in a valiant effort, scoring nine of the final 16 points, but still lost 18-25. 

Now in a position that they’d never been in thus far this season—down two sets and looking to force a fifth—the Badgers again came out flat. 

Tied 6-6, Brock fell victim to an 8-1 run by the Marauders who, now up 14-7, forced the Badgers to play from behind. To their credit, the Badgers did manage to pull out all the stops for a remarkable run of scoring, closing the gap to 20-21. For all their hard work, it still would not be enough, losing the set 22-25, only their second loss of the season. 

The next day, the Badgers came out with a vengeance, sweeping the Marauders 3-0, though sets one and two were both tightly contested. 

Tied 8-8 in set one, Brock was able to give themselves a four-point cushion going up 14-10, though struggled to build upon that. They maintained that lead as far as 17-13, but a 6-1 run by the Marauders put them up 18-19 and again on the front foot. However, thanks in part to four errors by McMaster, Brock secured set one 25-22.

McMaster came out swinging in set two and held the lead for most of the frame. Tied 11-11, McMaster was able to establish a three-point lead of 12-15 that became a 15-18 lead and then a 17-20 advantage.

Brock was able to score the next four points to take a 21-20 lead, duked it out with the Marauders for a while, and eventually were able to come away with a nail-biting 25-23 set win. 

Initially, set three also promised to be just as tightly fought, with the Badgers clinging to a slim two-point lead, but up 16-14, Brock turned on the jets, outscoring McMaster 9-3 down the stretch and won the final set 25-17 in convincing fashion. 

With two more games under their belt, Brock has their final two still in store. Though both are against the Waterloo Warriors in Bob Davis Gymnasium, only one is this upcoming week, landing on Feb. 10th. 

For more information, visit gobadgers.ca.

Brock men’s hockey hold top spot in OUA and breaks program records with back-to-back wins

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It was a banner weekend for Brock Badgers hockey as the men’s squad took down the Nipissing Lakers twice on Feb. 2nd and 3rd. The wins propelled the Badgers to their highest win total in program history (21) and—based on the OUA’s standing tie-breaker rule—sit in first place in the OUA, tied with McGill. 

In addition to the team records, goaltender Connor Ungar, who came over to the Badgers this year after four seasons in the Western Hockey League (WHL), also broke Brock’s single-season win record with his 20th win of the season. The old record of 19 was previously held by Logan Thompson, who currently plays for the NHL’s Vegas Golden Knights. 

The Badgers would make Ungar work for the record though. 

Nipissing was locked in early and pushed the Badgers back on their heels in their defensive zone. Brock’s Matthew Duarte took a roughing penalty less than three minutes into the first, further compounding the pressure. 

Thankfully, Ungar and the Badgers stood tall, denying all of the Lakers’ opportunities and turned what could have been an early blow into a rallying point. 

Brock owned possession for the back-half of the period but was unable to find the match’s opening marker. 

In what has been a hallmark of the Badgers’ play this season, Brock’s special teams units spent a lot of time on the ice in the second period, without any goals going either way. Brock has spent the sixth-most time in the OUA on the powerplay and penalty kill combined. 

While the penalty kill has been stellar, ranked second in penalty kill percentage (87.7) and third in goals allowed (14); the powerplay has been mediocre, ranked 13th in efficiency (17.6) and eleventh in goals scored (19). 

After two failed Badgers’ powerplays and three successful Badger penalty kills, Brock finally broke through at even strength with only 30 seconds remaining. Cristophe Cote sprung Riley Gannon to break down the wing, who made a feed to Tyler Burnie in front that deflected in, though Gannon was credited with the goal. 

After leading by a healthy margin in shots in the second period, the Badgers fell behind in the third, surrendering nearly double the number of shots they took. Nevertheless, Ungar dialled in and not ready to let the record out of his grasp, stopped everything that came his way, including several dangerous looks from the Lakers. 

Only feeling like scoring last-second goals that night, the Badgers got their first insurance marker on a Cole Tymkin empty-netter. 18 seconds later, Riley Gannon scored again, adding insult to injury for a 3-0 Badger victory. 

The next day, the Badgers again found themselves in a tightly fought match, though a higher-scoring one this time around. 

It was Nipissing’s turn to strike first on Feb. 3rd as Laker Elvis Gorontzy-Slack scored the game’s opening goal and his second of the season. Barely over a minute later, the Badgers responded with the tying goal when Justin Brack dropped the puck to a trailing Zach Taylor, who scored his seventh of the season off the rush. 

The Lakers found the lead again midway through the second period when Connor Ungar was beaten by a long shot through heavy traffic. However, again the Badgers got right back into the game minutes after thanks to a rush tally, this time coming off Brack’s stick. Brack’s goal was the last of the period before the Badgers began their obligatory parade to the penalty box, though earning two powerplays of their own in the process. 

Still tied 2-2, it was Burnie’s time to put his stamp on this game four minutes into the third. Tymkin wrapped the puck around the back of the Lakers’ net, finding Burnie alone in front to bury his 15th of the season. 

Despite a couple of close calls for both sides—including another ill-timed penalty for the Badgers with two minutes left—Burnie’s would stand as the game-winning goal as the Badgers clung to a 3-2 victory. Brock’s next—and final—game of the regular season comes at home on Feb. 9th against the University of Toronto Varsity Blues. For more information, visit gobadgers.ca.

Badgers’ women’s basketball team lose overtime thriller to McMaster, ending 11-game win streak

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The Brock Badgers’ women’s basketball team fell 84-80 in overtime to the McMaster Marauders, losing their first game in 2024 and ending an 11-game win streak. 

Angeline Campbell, fourth-year guard from Toronto, had a breakout performance, playing a pivotal role in keeping the Badgers within striking distance. The Women & Gender Studies major finished one rebound shy of her first double-double of the season, with a stat line of 18 points, nine rebounds, five assists and a game-high four made three-pointers.

Madalyn Weinert, a likely MVP candidate, also contributed to the Badgers late-game push for victory, tallying 19 points, 15 rebounds – seven of which were on the offensive glass – and seven assists. 

However, it was Oluwatito Akinnusi and Vienna Vercesi who factored in for the Badgers in the first quarter. 

The two bigs combined for 12 of Brock’s 17 points in the frame, eight for Akinnusi and four for Vercesi, who used their size and strength to control the paint by securing rebounds and drawing fouls. 

Yet, McMaster countered by dominating the perimeter by draining a trio of threes at opportune times. Marauder guards Amy Stinson and Jenna Button each nailed a three in the period, as the duo finished with a combined six made three-pointers – two less than the entire Brock team – and 33 points. 

McMaster had a slight 18-17 lead after one. 

In the second, it was the Badgers turn to dominate from beyond the arc. Campbell, the Badgers’ leader in threes made this season, sunk a pair of threes including one in the dying seconds of the half to cut the deficit to three, 38-35, entering halftime, as she continued her dominance in the third. 

The junior guard tallied seven points, five rebounds, three assists and 50 per cent shooting (3-for-6) in the quarter, but quality bench production by McMaster quickly negated Campbell’s contributions. 

The Marauder duo of Sophia Urosevic and Ashley Guerriero led their team with six points each in just four and three minutes respectively, draining a pair of three-pointers, leading to a 58-55 McMaster lead through three which was extended in the fourth. 

The Marauders jumped out to a seven-point lead midway through the quarter before the Badgers stormed back, showing their resilience. 

Vercesi initiated the comeback with a jumper cutting the deficit to five, which also added to her career-high 10 points, as the rookie continues to improve down the stretch. 

Noor Bazzi followed suit with one of her two made three-pointers in game, before Weinert tied the game at 71 with under a minute remaining. 

McMaster reclaimed the lead with half a minute left but Olivia Fiorucci tied the game with eight seconds on the clock, forcing overtime.

In the extra frame, both teams traded baskets trying to avoid squandering a winnable game. Weinert led all scorers with five points in overtime while Button led the home side with four, including a crucial three-pointer leading to the 84-80 McMaster victory. 

Next up for the Badgers (16-5) is the season finale on Feb.17th at the Bob Davis Gymnasium against the Nipissing Lakers (3-17). For more information about the Brock Badgers’ women’s basketball team, head to gobadgers.ca.

Badgers’ men’s volleyball team gets back into win column after sweeping Waterloo

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The Badgers’ men’s volleyball team beat the Waterloo Warriors 3-0 for their 14th win of the season to remain in third place in the OUA standings. 

Devin Cooney led all players with 13 kills in the match, as KJ Robinson and Sauli Lianga contributed with eight and six kills, respectively. 

Cooney and Robinson began their kill tally early, smashing a combined five kills on the opening eight points, beginning the set on a 7-1 run. 

However, Waterloo did manage to claw back cutting the Brock lead to one, but the Badgers regained control when back-to-back Adam Shapcott aces forced set point leading to the 25-16 opening set victory. 

In the second set, the Warriors tightened up defensively, limiting the number of miscues that were their kryptonite in the first set. Waterloo held the lead for much of the second set, with their largest lead spanning four points, 14-10.

However, on the ensuing possession, Robinson recorded one of his two kills in the set, drastically shifting momentum into Brock’s favour as the Badgers ended up going on a 4-0 and 9-1 run to take a 19-15 lead. 

But the Warriors showed resilience by fighting back making it a one-point set, 23-22, before the Badgers regained control. 

Grant Reddon recorded one of his game-high 30 assists as Cooney perfected the kill forcing set point. On set point, the Warriors committed their fifth attacking error of the set, gifting the Badgers the 25-22 win as they were nearing their 14th victory of the season. 

In keeping the momentum they had at the end of set two, the Badgers got a quick 3-0 lead, courtesy of another Waterloo attacking error – their first of eight in the set – and a pair of kills by Liam Strong

But, as was the theme of the match, the Warriors responded with three consecutive points of their own before the Badgers reconquered the lead with the two subsequent points. 

The Warriors once again responded though jumping to a 7-6 lead before the teams traded points resulting in a 14-14 tie midway through the set – which was once again when the pendulum swung in the Badgers’ favour. 

The Badgers jumped to the 21-18 and 24-23 lead, pushing the Warriors to the brink of defeat. 

On match point, Waterloo registered their 18th attacking error of the match, handing Brock the 25-23 set three win as the Badgers sweep the Warriors at home. 

Next up the Badgers (14-5) will face the Waterloo Warriors (10-9) in a rematch on Feb. 16th in the season finale. For more information on the Brock Badgers’ men’s volleyball team, head to gobadgers.ca.

FIFA 2026: 13 games in Canada, Mexico hosts opener and final in New York

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FIFA recently announced the logistics for the 2026 World Cup, including the allocation of games across the three host countries – Canada, the U.S. and Mexico – and the important dates of the tournament. 

The soccer spectacle begins on June 11th, 2026, at Estadio Azteca in Mexico City as Mexico will face a yet-to-be-determined opponent, which will be the only match on day one of the tournament. 

Day two, June 12th, 2026, will feature the opening matches for both the United States and Canada. 

United States’ first group stage game will be held at SoFi Stadium in Inglewood, California while Canada opens their schedule at BMO Field in Toronto – which will be renamed to Toronto Stadium during the tournament due to FIFA sponsorship rules. 

The Americans will then fly north to Lumen Field in Seattle for their second game on June 19th followed by a return to the Los Angeles outskirt on June 25th to round out their group stage schedule. 

For Canada, they will also take a trip to the Pacific Northwest as their final two group games will be held at BC Place, the home of the Vancouver Whitecaps of Major League Soccer, on June 18th and 24th. 

If the Canadians qualify for the knockout stage, their round of 32 and round of 16 game will also be in Vancouver, on July 2nd and 7th, respectively. 

Subsequently, the other games in Canada include three additional group stage games in Vancouver on June 13th, 21st and 26th, and four additional group stage matches in Toronto on June 17th, 20th, 23rd and 26th along with a round of 32 game on July 2nd. 

Following the round of 32 and round of 16, the United States will host all matches from the quarterfinals onwards, with quarterfinal matches occurring between July 9th and 11th, in Boston, Los Angeles, Miami and Kansas City. 

Then, Dallas will host the first semifinal on July 14th while Atlanta will host the second semifinal on July 15th. The third-place match will be in Miami on July 18th before MetLife Stadium in New York/New Jersey hosts the World Cup Final on July 19th. 

In total, the 48-team tournament – the largest in World Cup history – will feature 104 matches: 13 in Canada, 13 in Mexico and 78 scattered across the U.S. 

The top two teams from each group along with the eight best third-place teams will qualify for the knockout rounds as the groups will be determined during the draw in December 2025 once teams are qualified. 

The qualifying window has already begun in the AFC (Asia), CAF (Africa) and CONMEBOL (South America) regions with the OFC (Oceania) and CONCACAF (North America) starting qualifying later this year and UEFA (Europe) beginning their process in March of 2025. 

As hosts, Canada, the United States and Mexico have already qualified. 

For more information on the 2026 FIFA World Cup, head to fifa.com.

Rovio, the company behind Angry Birds, is entirely responsible for its own downfall

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Rovio, the company behind the once-beloved Angry Birds series, is wholly responsible for the franchise’s decline in popularity and their current negative reputation. 

When the original Angry Birds was released for the iPhone in 2009, it didn’t take long for the game to become a sensation. Its repetitive yet addictive gameplay, in which the player fires flightless birds from a slingshot into buildings constructed by egg-snatching piggies, was a perfect fit for smartphones. 

Unlike console games, which often require sit-down sessions of dedicated gaming, Angry Birds’ massive variety of short levels meant smartphone users could play a level or two on their commute to work or between meetings in the office, and then resume their gaming later. There was no need to dedicate hours at a time; the game was designed in a manner that made it easy to pick up and play for short bursts at any time of the day.

The game became a smash hit and continued to grow as it became playable on Android products in 2010. The game spawned several sequels, some of which were tie-ins with major franchises, most notably two games that were crossovers with Star Wars. The original game received consistent content updates throughout its lifetime that added sets of new levels, and in 2016, the franchise got its first theatrically released movie

Despite Rovio’s quick rise to popularity, it wasn’t always smooth sailing for the company. Prior to the release of Angry Birds, Rovio had created 51 games, but none of them took off like the company had hoped. 

By 2009, the Finnish company was in a state of bankruptcy, and they continued to search for new concepts for games. Senior game developer Jaakko Iisalo presented the team with a screenshot featuring some angry-looking wingless birds, and the company decided to make a game based on the characters. Physics games such as Crush the Castle were popular at the time, so the company decided to try their hand at the genre. 

Despite the game’s imminent success, Rovio was certainly not a big game company by any stretch. It was founded in 2003 by students who had won a video game-making competition, and when they were on the verge of bankruptcy in 2009, they only had 12 employees. Angry Birds was seemingly just another attempt at keeping the company afloat, and its monumental success was truly unprecedented within the fledgling mobile game industry. The game struggled to make waves at first, but after becoming a featured app on the UK App Store in early 2010, its popularity rapidly accelerated. 

Besides the game’s pick-up-and-play nature and addictive gameplay, the developers’ passion for their work contributed greatly to the title’s success. The birds’ hand-drawn art style is unique and memorable, and the game’s consistent stream of updates showed care and maintained interest in the series. 

This wasn’t a game developed by some gigantic soulless corporation like much of the garbage that pollutes App Stores today. This was a game developed by a small and passionate team, and their love for game development was made clear through the game’s experience. 

Unfortunately, once large sums of money came into the picture, the same corporate trash that spits out dreadful mobile game ads today would eventually infect Rovio. 

The first few years of the Angry Birds franchise were incredible with new games and consistent updates across the series’ lineup, but by 2014, cracks were starting to show. 

Two of the three Angry Birds games released in 2014 strangely deviated from the series’ slingshot gameplay. Angry Birds Epic was a role-playing game (RPG) featuring the series’ characters, and Angry Birds Transformers was another franchise tie-in, but this time, the gameplay loop was completely different from the series’ roots. 

Both of these games focused on Angry Birds characters, but neither of them upheld the gameplay that flung the series into popularity. Some of these concepts could have been good for Rovio and diversified the game series’ lineup, but unfortunately these new ideas became the main focus and essentially replaced the slingshot games altogether. 

In the following years, Rovio – a company that was growing in size and had moved away from its independent-feeling roots – seemed more interested in developing short-term games at a fast pace, experimenting with new genres but always coating it with Angry Birds-coloured paint. 

While the original game received a direct sequel in 2015, that would be one of the company’s final ventures into the original slingshot-slinging gameplay. Over the next few years, Rovio pumped out Angry Birds-branded match-3 games, a pinball game, another RPG, balloon-popping titles and a VR (virtual reality) game. Some might call this innovation, but really it felt more like the company was throwing every idea they had at the wall, slapping an Angry Birds logo on it, and shoving it full of ads and microtransactions. 

Even the original game, which was originally on the App Store at a one-time price of $0.99 with no ads or microtransactions, was changed to a free game with all of the problems plaguing the mobile game industry today. 

It doesn’t help that many of the company’s new Angry Birds titles were continually delisted from App Stores, further making it feel like Rovio was pumping out low-quality shovelware in a desperate attempt to see what was most profitable. 

The Angry Birds Movie and its 2019 sequel were perhaps the most glaringly obvious examples of the franchise’s commercialization, with the original iconic 2D bird designs being replaced with bland, lifeless 3D models that were now humanoid with wings and legs. 

It was clear the series had lost its identity due to Rovio’s newfound corporate money-making mindset, but things only got worse from there. 

Soon, the original Angry Birds games – all the ones that made the series popular in the first place, and the only ones that most fans still cared about – no longer received content updates and were eventually removed from App Stores entirely. Rovio’s removal of the original titles is a strange erasure of the series’ history and spits on the legacy of the franchise responsible for their financial success. 

Adding insult to injury, Rovio started producing the same mindless ads to promote their dreadful new titles that we see from the mobile game companies that are often meme-d online. 

This once soulful, joyous company had become yet another bland corporation as they focused on growth and money and forgot about the passion that gave them a name in the first place. By this point, many of the original team members behind Angry Birds were gone from the company and were seemingly replaced with a bunch of greedy corporate businessmen who thought they could slap an Angry Birds logo on anything and make it sell. 

Fans of the franchise’s earlier games who were upset about the series’ downfall began rallying online in an attempt to persuade Rovio to return to the series’ roots. 

Through the hashtag #BringBack2012, fans expressed their discontent with Rovio’s new strategy and demanded a return to the Angry Birds they had grown up with. 

Against all odds, Rovio actually listened. In June 2021, the company announced that they had heard the players’ concerns and would be building a complete recreation of the original Angry Birds game, and it would feature all of the levels that were released up until 2012. Sure enough, on March 31, 2022, Rovio released Rovio Classics: Angry Birds onto App Stores. 

Like the original game, the app was $0.99 USD and featured no ads or microtransactions. It stayed true to its mission and was a nearly exact recreation of the original game that featured identical assets and sound design. It was exactly what fans had hoped for, and it quickly shot to the top of store charts and consistently sold well – something that new Angry Birds titles hadn’t experienced for years. Angry Birds was back. 

Yet, as they say: if it sounds too good to be true, it probably is. 

Fans were shocked by an announcement from Rovio in February 2023, which announced that the remake would be delisted from the Google Play Store and renamed to “Red’s First Flight” on the Apple App Store. 

In the announcement, Rovio cited the game’s “impact on [their] wider games portfolio” and asked fans to “continue to bring that passion” to their new original Angry Birds titles. 

It’s not hard to see what this really means: the game sold so well that it cannibalised Rovio’s microtransaction-riddled garbage, and they needed to make it unplayable on Android (and purposefully make it harder to find on iOS) so that players would go back to their new games. 

This was the straw that broke the camel’s back. Rovio wasn’t just disinterested in the original games; they were now actively trying to eliminate their classic content’s presence so they could continue to line their pockets. Many companies might have seen this clear demand for original-style content as an opportunity to continue returning to the series’ roots, but Rovio is more interested in distancing themselves from their fans’ desires. 

Rovio has made it abundantly clear that their fans do not matter to them in the slightest. What’s important here is financial gain and nothing else. Any semblance of soul the company once had has been destroyed in the name of capitalistic greed. What was once a company led by innovative and passionate game designers is now another profit-driven, soulless and societally worthless entity. 

There’s a reason why Rovio has such an abysmal reputation online in modern day, and they deserve every bit of negative attention that they receive. Rovio is a prime example of the effects of greed and is the perfect representation of the way consumerism can destroy things that were once cherished.