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The NHL’s silent superstars

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It’s hard to know if—while taping his stick in preparation for the Arizona Coyotes Oct. 22nd match against the Anaheim Ducks—Travis Dermott thought he was going to receive the attention he did.  

“None of the players really saw me put it on my stick,” Dermott told The Athletic. “It was kind of just an: All right, I’m doing this, and we’re going to deal with the consequences and move forward.” 

What Dermott put on his stick was a strip of rainbow-coloured hockey tape called “Pride Tape”: an expression of solidarity with the LGBTQ+ community that was banned by the NHL earlier this month in a widely unpopular move. 

Players across the league expressed disappointment with the decision.  

Leading up to Dermott’s stand, players around the league were asked to chime in, and overwhelmingly the answers echoed that it was a “disappointing decision.” 

In defiance of the NHL’s mandate, Dermott played the whole match against the Ducks wearing the tape on his stick.  

The effects were immediate. 

When fans on social media noticed the tape on his stick, they were quick to applaud Dermott and bring attention to his stand.  

The NHL took notice too, with the league office saying on the Pride Tape issue, “We will review it in due course.” 

Conducting their review and no-doubt soaking in the avalanche of support for Dermott, the NHL reversed their decision on Oct. 25th.  

Interestingly, by far the most vocal opponents of the policy were not star players.  

“If they want to say something, they can,” said Scott Laughton of the Philadelphia Flyers on his desire to continue wearing Pride Tape. Notably, Scott Laughton has never scored more than 20 goals or 45 points in a season.  

“What is the league going to do?” scoffed John Merrill of the Minnesota Wild and well-known LGBTQ+ ally. Merrill is a 31-year-old defenceman from Oklahoma who’s played for five teams and never earned more than $1.3 million in a year.  

“The players have a voice, and it is a pretty powerful voice, no matter what the league thinks,” said Anthony Duclair of the San Jose Sharks. Duclair has been traded six times in his career, most recently to San Jose so that the Florida Panthers could avoid paying out his contract. 

“You’ll never get the answers from [the NHL]…they don’t have answers for a lot of things that they do,” said Matt Dumba, Dermott’s teammate on the Arizona Coyotes. “They just follow and try to save face.” Dumba only received a contract offer from the Coyotes late in the offseason after his contract was not renewed by the Minnesota Wild, despite being third on their team in ice time. 

And then we get to Travis Dermott. Whipping-boy of Toronto Maple Leafs fans in their 2021 playoff run. He has never played more than 64 games in a season, and has played only 28 combined games played over the past two seasons due to injuries.  

If you’re sensing a pattern here, it’s because there is one.  

 
At the time of his protest, Travis Dermott made $800,000 USD (league minimum is $775,000) and had 14 career goals.  

Travis Dermott is clearly a small-time player. He’s halfway through his career, earning barely above the league minimum on a one-year contract and is battling for one of the last two defenceman spots on one of the worst, least consequential teams in the league.  Dermott plays in one of the most tenuous situations possible for a pro athlete where every game is a fight just to prove that he can still hang. It’s a position where most players would avoid giving their coach any excuse to cut them. Despite that, Dermott opted to go behind his team’s back five games into a new contract to defy an explicit league memo.  

At this point, you might be asking yourself, “why would Dermott put himself at such high-risk?” but a better question might be “why were only the NHL’s most expendable prepared to put their livelihoods on the line?” 

Here are some of the statements from some notable star players. 

Connor McDavid, reigning MVP said, “in terms of a league standpoint, is it something that I’d like to see put back into place one day? Certainly. You know, but that’s not the way it is right now.” 

McDavid’s teammate, Zach Hyman said that “we’ll be able to support them individually, but collectively that’s out of the players’ control. Disappointing, but out of our control.” 

Cale Makar, former defenceman of the year said, “When one individual kind of goes astray, it looks bad on the whole community. For us — 99 percent of the guys in the league — it’s all about growing the game and making sure it’s inclusive for every single person. I get what the NHL is trying to do. They’re trying to eliminate individual thinking and help the league in terms of not putting any one guy in that spot.” 

Alex Ovechkin, the NHL’s pre-eminent goal-scorer on the decision to ban Pride jerseys said, “Well, what can I say here? Well done.” 

All of these players earn more than $5 million and three of them, more than $11 million.  

It’s a shame that these tepid comments were all these players come up with. 

It’s also a shame that the NHL’s superstar class, for all that money, none of them could buy the kind of backbone that these apparently expendable players like Dermott have.  

In their heads, the NHL has always prided itself on having star players who are humble class acts, but when it comes down to it, are tough to the core and stand up for their teammates.  

What it seems like we’ve got is a bunch of stars who are humbly silent and stand up for nothing except the status quo.  

In every instance where a big scandal breaks or there’s a stand to make, it’s always the role players on the front lines.  

Bill Peters coached in the NHL from 2011 until 2020, and it took Akim Aliu (three points in seven career NHL games) to break the story of his racist actions when he played for him on the Rockford IceHogs from 2008 to 2010. There were at least seven players on those teams who went on to hold long, important careers in the NHL, like Corey Crawford, Antti Niemi and Niklas Hjalmarsson. 

In 2020, in the wake of the George Floyd protests, only five players knelt for the national anthems in protest of racism and police brutality. Though three white players chose to show their solidarity, none of them can really be called superstars. The first instance of kneeling (courtesy of Matt Dumba) happened at an Oilers game, but none of their superstars participated in the protest. Compare this with the NBA at the time, where Jonathan Isaac’s refusal to kneel was seen as an extreme outlier.  

When Kyle Beach came forward with his story, detailing how he’d been serially sexually assaulted by a member of the Chicago Blackhawks staff, besides the firing of some managers involved and a minuscule $2 million fine, how were the Blackhawks held responsible? How were the on-ice leaders of the team held responsible?  

When given a chance to decry what happened, team captains Jonathan Toews and Patrick Kane took the opportunity to act as apologists for the managers who enabled the assaults.  

“Regardless of the mistakes that may have been made…I have a ton of respect for [Al MacIsaac and Stan Bowman] as people,” read Toews’ statement. 

“It’s not an excuse looking back, but the truth is a lot of us were just focused on playing hockey.” 

This statement feels even more evil when you remember that Beach alleged that not only was everyone on the team aware of it—a story corroborated by other teammates at the time—and that many Blackhawks participated in bullying Beach about the incidents in plain sight. 

During the Blackhawks’ string of championships, Toews was positioned by the hockey media as the consummate leader of a hockey team, dubbed “Captain Serious”. Coaches told their centres to emulate his game, and parents told their kids to look up to him as a model of character. It felt like a spit in the face when I learned what a spineless rat he turned out to be. 

We still don’t know what is going on or what’s going to happen with the investigation into the sexual assaults perpetrated by Hockey Canada players. How many players have called for those assaulters to be held accountable?  

Mike Babcock was welcomed back into the NHL with open arms after numerous cases of mistreatment of his players. When these issues reappeared almost immediately, the veteran corps of the team tried to cover for him. The NHLPA (who never issued a statement on Pride Tape, despite the tenuous legality and unpopularity of the mandate) even tried to cover for Babcock, forcing us to rely on the notoriously problematic Spittin’ Chiclets podcast to get the story out.    

And this is just the stuff that got out.  

The lack of any sort of stance from the NHL stars likely plays well with some people. The political stances, vocality, individuality and athlete empowerment in leagues like the NBA are seen as negatives by many who “want to keep politics out of sports.” But this isn’t politics: it’s human decency.  

“Sticking to sports” isn’t a neutral position. Any athlete with a platform to remain neutral in the face of oppression is complicit.  

People decry the “drama queens” and emotionality of the NBA and NFL, saying that the NHL’s keep-your-head-down humility is true professionalism, but I think it’s time to start calling their silence for what it is: cowardice.  

When it comes to virtue signalling, sharing isn’t caring

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In most cases, people who take part in online trends intended to fight hate are more concerned with making themselves feel righteous than making any sort of meaningful difference. 

After the murder of George Floyd in May of 2020, there were mass protests, memorials and condemnations across the world. The murder reinvigorated the Black Lives Matter movement and became a major topic of public discussion, creating widespread conversation over the inequalities faced by Black Americans on a daily basis.  

In the following days, social media users banded together, deciding to use their massive collective power to make a difference. Well, at least, that was the plan. 

On June 2, 2020, millions of Instagram users posted black squares to their accounts, flooding the average user’s feed with the hashtag #BlackoutTuesday. The online “protest” was meant to effectively shut down the platform’s regular usage for a day. Many users would post a black square, put the trending hashtag in the caption and move on with their day. 

Unfortunately, as we have since discovered, a bunch of people posting literally nothing on their social media pages before returning to normal the next day doesn’t seem to have much of an impact on racial disparities, racist police brutality and more casual forms of everyday racism. 

What was the expectation here? Was this some sort of attempt to legitimately combat racism? Was it supposed to make an impact on the treatment of Black individuals? Or, perhaps it was an effort to spread awareness or resources on the Black Lives Matter movement? 

In truth, it was none of these things, regardless of what anyone might claim. Posting a black square on Blackout Tuesday was simply an incredibly easy and thoughtless way to feel as though you’ve made some sort of impact or statement. The “protest” wasn’t concerned with making any sort of valuable difference, it was a display of self-righteousness meant to make you feel like a good person without putting in any effort. 

In fact, it can be argued that those who took part in this trend actually hurt the Black Lives Matter movement, since the #BLM and #BlackLivesMatter hashtags became clogged with empty, black squares rather than actual resources to help those searching for information. 

So, to those who blacked out their social media accounts, congratulations; do you feel like you’ve made a meaningful difference? 

This is the act of virtue signalling: the public display of good intentions to make yourself look or feel like a good person without anything of substantive value to back up your displays. 

Anyone with an Instagram account and thirty seconds of free time can partake in virtue signalling. The act is mindless, yet the belief that “I’m a good person for doing this” is real. It takes someone who actually cares about a movement to attend a physical protest, make a donation to a cause or display any level of sincerity through true action. 

It doesn’t end with black squares, though. Mindlessly reposting resources to Instagram stories is often another form of virtue signalling. While it might seem like people are trying to share valuable resources, many are just looking for an easy way to demonstrate solidarity without truly caring about the subject matter much at all. 

Those who posted a black square for Blackout Tuesday or reposted some pre-created templates on their Instagram story as the fullest extent of their effort to “show solidarity” should know that they haven’t supported the Black Lives Matter movement in any valuable way. Instead, they’ve simply contributed to one of the most lazy, arrogant and embarrassing social media trends to exist over the last decade. 

Of course, not everyone has this mentality, and some people are out there fighting for legitimate change. The same cannot be said for individuals who upload a social media post and call it a day. For many, lazy social media posts or changed profile pictures are the only support they’re willing to show. Those individuals should realize the lack of value they are bringing to these important conversations. 

Perhaps some feel that they’ve shared enough resources or have publicly conveyed a strong enough stance that this couldn’t possibly apply to them. I invite those individuals to reflect upon their own actions throughout major events and ask themselves whether they’ve really done their part to create an impact in the world.  

It is only once we end the collective will to act solely for self-benefit that we can move closer to making the world a brighter place for all. 

Nostalgia is a powerful marketing tool, but it shouldn’t be abused

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Nostalgia is a powerful marketing force but abusing it for profit is detrimental to any franchise’s legacy. 

In a world where advertising is a prominent fixture in everyday life, it’s no surprise that companies experiment with unique marketing styles to attract consumers. As millennials and older members of Gen Z become adults, many of these companies have found what is potentially the holy grail of modern marketing: nostalgia. 

Many franchises have seen the resurgence of old products or themes in an attempt to capitalise on the hypothetical consumer that longs for simpler days. This technique can be found across a variety of markets.  

For example, Pepsi revived their iconic Crystal Pepsi brand in the 2010s for those who remember its run in the ‘90s. Atari is soon launching the “Atari 2600 Plus,” a remade version of the once-popular system from nearly 50 years ago. Even McDonald’s seems to enjoy occasionally relaunching the McRib every now and again to much fanfare. 

These are all relatively inoffensive examples of nostalgia-centred products, but the problem lies in those who value nostalgia over upholding a franchise’s legacy. 

Unnecessary movie reboots and sequels are a fairly obvious example of this. Rather than creating new franchises or stories, several production companies opt to cash in on the memories of an old franchise’s fanbase.  

This gimmicky remodelling of a classic original series or film appears to be Disney’s philosophy as of late. There has been plenty of discussion over their upcoming reboot of Snow White and why a reboot of this classic is necessary. This production is made even confusing when its lead actress doesn’t even seem to like the story.  

It could be argued that the reboot is meant to serve as a modern interpretation of the original version, but if the filmmakers want to create such dramatic shifts to the source material’s story and themes, they should just create something entirely new. 

The truth is, something completely new probably wouldn’t attract as much attention as a product that relies on a pre-existing, already popular franchise. It’s easy to garner discussion when applying a modern lens over a franchise people are already familiar with. It makes people wonder what might have been changed and potentially want to revisit the franchise. 

But this isn’t what’s best for the franchise, it’s what’s best for profits. Disney doesn’t care about upholding the original themes and vibe of Snow White; they’re holding its likeness hostage while they capitalise off the original’s fame. 

Of course, Snow White is just one example of an unnecessary film reboot. There are many, many, many, many, many more

But movies aren’t the only entertainment medium suffering because of a fixed focus on nostalgia. Another victim of this is the Pokémon franchise. Despite being different from Snow White in the sense that Pokémon has remained a consistent franchise since its launch in 1996, it’s ultimately undergoing a similar problem. 

Modern Pokémon games are so concerned with adhering to older fans’ nostalgia that it stands in the way of the franchise’s betterment. Kanto, the location of the series’ very first titles, has been a visitable location in five of the series’ nine generations. The original 151 Pokémon have been marketed to death, and Charizard has come under fire for their overuse in recent titles. 

While it’s undeniable that Pokémon’s focus on nostalgia helps its sales, one has to wonder if it means the franchise can’t fully embrace a modern direction. 

There are ways to balance nostalgia with freshness to create a product worthy of carrying its predecessor’s name – it’s been done before – but most of these products seem more focused on capitalising on legacy works than using them to craft something new.  

When a team is passionate about the franchise they are developing, it often shows in their work. Nostalgia could be used as a tool to enhance new products, but it works best when this nostalgia is shared by the product’s developers. You can easily tell when this love has been forgotten. 

Abusing nostalgia for profit isn’t just demonstrative of corporate greed, it spits in the face of the legacy entries that allowed its successive products to exist in the first place.

Brock Men’s Soccer beat McMaster, advance to semi-finals for the first time since 2006

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In a thrilling game, the Brock Badgers men’s soccer team secured a 3-1 victory against the visiting McMaster Marauders in the OUA quarter-finals on Saturday, Oct. 28.  

The Badgers showcased their determination and skill, treating their fans to a quarter-final win for the first time since 2006. 

The first half of the game was an exciting display of soccer prowess. The Badgers wasted no time getting on the scoreboard, with sophomore forward Luca Danesi netting the opening goal. Danesi capitalized on a well-executed through ball from defender Connor Carroll, leaving McMaster’s goalkeeper, Ethan Cagalj, with no chance. Just minutes later, the Badgers extended their lead, with Marc Iantomasi, the team’s leading scorer, finding the back of the net. Michael Fernandez played a crucial role in setting up the goal by forcing Cagalj to leave the net in an attempt to make a play. 

The Marauders refused to back down and managed to pull one back when Amir Shirazi scored in the 29th minute. Despite this, the Badgers held a 2-1 lead going into halftime. 

The second half saw McMaster increasing the pressure in their pursuit of an equalizer. The Badgers found themselves in yellow card trouble, with Noah DeDominicis and Nicholas Esperanca both receiving bookings in the first 20 minutes of the half. However, Brock’s goalkeeper, Taylor Miskolczi, proved to be a crucial asset in preserving the team’s lead, making key saves during the late stages of the game. 

The icing on the cake for the Badgers came from striker Michael Solomon, who unleashed a powerful shot just under the crossbar, securing the third goal for Brock. This electrifying moment triggered a roar of jubilation from the Badgers’ dedicated fans. 

As the final whistle echoed across the stadium, the Badgers players celebrated a monumental victory, marking an achievement that hadn’t been accomplished by the men’s soccer program in 17 years.  

The statistics from the game tell a story of determination and perseverance. Despite McMaster’s 13 shots to Brock’s 11, the Badgers managed to outshoot their opponents in terms of shots on goal, with eight compared to McMaster’s six. The goalkeepers on both sides made three saves each, underlining their importance in the match. Brock also maintained an edge in corners, with five to McMaster’s four, and showed good discipline with only nine fouls compared to McMaster’s 13. 

In the individual player category, Luca Danesi, Marc Iantomasi and Michael Solomon were the standout performers. Danesi contributed not only the opening goal but also an assist, while Iantomasi added a goal to his name. Michael Solomon, the hero of the match, scored the all-important third goal for the Badgers. Jake Kelly provided valuable support with an assist. 

The victory over McMaster was a defining moment for the Brock Badgers men’s soccer team, showcasing their talent, resilience and determination. Their journey to the U Sports Championship promises to be an exciting one, and fans eagerly await their next match against the formidable Carleton Ravens. 

For more information on the Brock men’s soccer team, visit gobadgers.ca 

Brock men’s basketball team set for season opener

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The Brock men’s basketball regular season is just around the corner after playing in multiple pre-season tournaments. The Badgers are opening up the season with a home game against the University of Toronto Varsity Blues on Nov. 4.  

With that game just a couple of days away, let us reflect on the preseason journey of the Brock Badgers men’s basketball team, which started with an impressive display at the Brock Murray Classic. The team showcased their potential and determination, ultimately finishing with a strong 2-1 record in this early showcase. 

The Badgers opened their preseason schedule with an exciting game against the Cape Breton Capers. In this tightly contested battle, they managed to take the lead into halftime, up 45-42. However, the Capers staged a comeback in the second half, ultimately securing a 79-74 victory. Jevon Brown, Kevaughn Ellis and Georges Mfwamba Ngandu displayed balanced scoring for the Badgers in this game. 

The following game saw the Badgers making a strong comeback after their initial defeat, defeating the Lethbridge Pronghorns with a comfortable 84-71 margin. Davanté Hackett emerged as the star of the game, leading the team with an impressive 24 points. Anthony Heyes and Michael Okeke played crucial roles in this victory as well. 

The tournament concluded with a dominant performance against the Waterloo Warriors, sealing a convincing 81-59 victory. Jordan Tchuente, Jevon Brown and Anthony Heyes were among the key contributors to this win. 

Following their strong showing at the Brock Murray Classic, the Badgers continued their preseason journey with two more games. In the first, they faced the Centennial Colts—a team from the Ontario Colleges Athletic Association (OCAA)—and secured an 83-69 victory. First-year point guard Anthony Heyes led the team with an outstanding performance, posting 17 points. 

In their game against the Mercyhurst University Lakers, an NCAA Division II school from Pennsylvania, the Badgers put up a valiant effort but fell short, with a final score of 57-47. 

As of now, the Badgers hold a preseason record of 5-6, after playing in two away pre-season tournaments: one at Queen University and the other in the province of British Columbia.  

They did not fare as well in these tournaments, winning just one game at each three-game tournament. Jordan Tcheunte and Jevon Brown continued to dominate the floor leading the team in points in both pre-season tournaments.  

With the preseason now behind them, the Brock Badgers men’s basketball team is poised for an exciting journey filled with thrilling moments and unforgettable victories.  

Catch the action this season on OUA.tv and watch home games in person by securing your tickets here. For more information on the Brock men’s basketball team visit gobadgers.ca.  

Food insecurity is a threat in the wake of rising grocery prices: here are some resources to help combat it

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The cost of food may be plateauing, but it’s still high enough that many are facing food insecurity. Here are some resources for those who are food insecure. 

Food insecurity, as described on the Niagara Region website, occurs when a person or a family does not have enough money to purchase food. People facing food insecurity may “worry about running out of food, compromise quality and quantity of food, miss meals, limit their intake or go without.” It can lead to poor health as well as an increased risk of physical and mental illness. 

According to CBC News, grocery prices were up 6.9 per cent in August 2023 from the year prior, a number almost twice the rate of inflation in Canada, which recently reached four per cent. This number is not the highest it’s been in 2023, but it is still staggering, an after-effect of a variety of factors including the Canadian dollar decreasing in value, climate change, geopolitical turmoil, post-pandemic supply chain issues, increased revenue, profit and sharefholder takehomes from large grocers and more. 

With prices so high, it’s no wonder that nearly two in five students surveyed by Meal Exchange had experienced food insecurity in one way or another. Thankfully, there are local resources for Brock students who need them. Here are a few. 

Brock Food First Program 

This program, run out of the university, provides students with a gift card for a local grocery store. All they need to do is fill out the form on this website, wait for their request to be reviewed and then receive the gift card electronically. While a helpful resource, this is “not intended to be a primary source of food for any one undergraduate or graduate student.” 

Niagara Food Asset Map 

This is an interactive map that allows you to look for resources to improve food security in and around your area. There are a variety of categories you can choose from when using the map, including community gardens, community meals, farmers markets, food banks and pantries, good food boxes, home-delivered meals, school nutrition programs and senior’s meals.  

Food Fed Forward 

Organized by Small Scale Farms, the Food Fed Forward program provides those in need with local produce. Those with the resources to do so can pay produce forward, allowing Small Scale Farms to deliver free food to those in need. They also run a Pay What You Can market on Saturdays from 10 a.m to 3 p.m.    

Feed Niagara 

As members of Feed Ontario, Feed Niagara is a collection of ten regional food banks with “access to more food security programs [and] grants” that “follow[s] strict health and safety standards and protocols.” The website details all of the food banks included in this collective, but Community Care has locations in both St. Catharines and Thorold, the closest of these ten food banks to Brock.  

211 

A phone line that operates much like 911, 211 “is a helpline that easily connects people to the social services, programs and community supports they need.” It is also a website. Those in need can call or visit the website to get information regarding food, family services, health care, housing, financial assistance and more.  

The pandemic was years ago at this point, but many are still suffering as a result of it and other social issues that have shaped the world since then. Those facing food insecurity may be frightened or feel lost, but there are many local resources – even beyond those highlighted in this article – available to help. They exist to be used, and nobody should feel ashamed for needing a bit of assistance, and nobody should go hungry. 

Glen Hansard’s new album explores a darker side of the musician’s musical prowess

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Overall rating: 3/5 

Forever a busker, Glen Hansard is known for his crackly folk sound and empathetic croon. His newest album All That Was East Is West of Me Now totes a darker tone.   

All That Was East Is West of Me Now, which was released on Oct. 20th, is Glen Hansard’s fifth studio album. It is comprised of nine songs and is 42 minutes in total.  

“The Feast of St. John,” the first track on the album, swims the murky depths of Hansard’s stormy new electric folk-rock sound. Departing from what used to be his staple—raw, stripped-back acoustic guitar—Hansard tries his hand at a darker-sounding electric guitar to structure his opening track around. The rhythm, while fairly simple, is heavy on the snare. Opting for what sounds like a brush rather than a stick, Earl Harvin’s percussion sounds more like a harsh rainstorm battering against your window rather than a hard-hitting drum beat.    

In “There’s No Mountain,” the third song on the album, Hansard takes acoustic guitar in a new direction. Unlike when he plays “When Your Mind’s Made Up,” one of the singer’s most popular ballads, there is no room for breaking strings. Comprised of gentle piano, bristling snare and the deep thrum of the stand-up bass, “There’s No Mountain” is a softer take on the sound that made him so popular. Each element works together melodically to produce a song that feels like a warm hug.   

Hansard said this about the song on his Instagram account: 

“Where there’s a mountain, there’s a valley, where there is light, there is a shadow, these are natural laws, if we live dynamically, we’ll meet all weather, life is a great adventure, not always a walk in the park.”  

“There’s No Mountain” reminds the listener that when life gets hard, it’s okay to need a friend to lean on. Together, you can scale all kinds of mountains and do all kinds of hard things. That’s what friends are for.  

Hansard keeps this trajectory of sound going with “Ghost,” the sixth song on the record. Opening up with a haunting piano line, the singer leans into his lower register for the first verse. But after the first chorus, Hansard easily maneuvers into an impressive falsetto.  

Starting with the lyrics “There’s a ghost in the house / Can you feel it,” Hansard uses a metaphor to suggest that the partner he describes in the song is emotionally unavailable. Like a ghost, they are never truly seen and never fully present. The next line “It moves around when you’re asleep,” elaborates on this metaphor, showcasing that his partner is actually a ghost, becoming someone he doesn’t recognize. The person he loves is going to “sleep,” only to be replaced by someone else.  

This is only furthered by the lyrics “There’s a ghost in your mouth / I can taste it / A thing you’d rather not talk about.” Hansard suggests that the factor that is pulling them apart is also ghost-like; it is something that frightens him, ever-present, without ever being seen or discussed. Always on the tip of his partner’s tongue.  

“Ghost” is a haunting ballad that unpacks what it means to be in a relationship with someone emotionally unavailable, continuing to push on in the face of complete uncertainty about where the connection might go.  

The album wraps up with “Reprise” which, like a handful of other songs on the album, simply won’t make it past a first listen. As usual, when a Glen Hansard song is good, it’s good. But when it isn’t, it simply isn’t worth the time of day.  

All That Was East is West Of Me Now is an interesting new direction for the bright-eyed balladeer, a more mature sound for a more mature man. But unfortunately, it seems to lack the same type of bursting feeling and energy that made his past albums so memorable.  

Looking to be a part of the creation of a new fantasy world? The Creative Writing Club is looking for writers

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The Creative Writing Club (CWC) is looking for writers to come together to work on an interconnected project with the end goal of publication.  

On Nov. 4th, the CWC is running a workshop encouraging students to tap into their creativity and explore new worlds. The goal of the workshop? To create a shared fantasy world comprised of individual stories and unique characters all revolving around a common conflict.  

“I’m most excited about the coming together of different voices, genres and writing styles,” said Cameron Sauder, co-president of the club and leader of the workshop.  

The genre of the pieces can vary; short stories, flash fiction, poems and non-fiction documents written in the world are all acceptable. Most of the event will be spent working together to create the fictional world as well as brainstorming themes that reflect real-world topics in a fantasy setting.  

“I’m envisioning a story of romance in one of the city’s apartments, and one of horror down in the city’s sewers,” said Sauder. “It is difficult to know how everything is going to come together, as the workshop itself will really guide us in our writing journey.” 

The workshop is the preliminary stage in a wider writing project, there is no expectation for pieces to be completed before the end of the session.  

After some quick writing exercises, Sauder will lead participants through a series of prompts and questions that will help build their world, such as “what kind of people will inhabit our world?” and “what kind of creatures exist within it?” 

After the world is created, participants will have the month to work on their creations and by the end of November, the CWC’s goal is to have the bones of a mostly finished anthology that can be published.  

“The hope is that after all the pieces are written, and we’ve come together for another session, they will be compiled into one grand anthology,” Sauder said. The proceeds of the sale of the anthology will go towards funding other CWC events.   

This is not the first time the Creative Writing Club has created an anthology, but Sauder hopes that the workshop is successful enough that this type of project will continue to bring in inspired new writers and fund their club for years to come.  

For more information about the workshop, check out the CWC Instagram account and the ExperienceBU page for this workshop.  

Morningstar Mill: A convenient and beautiful place for Brock student to get their steps in

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A site that has both interesting history and great hiking trails, Morningstar Mill is one of many places to reconnect with nature in the Niagara Region.  

Located at 2714 Decew Rd., Morningstar Mill is a rural industrial heritage site as well as a hiking destination.  

Owned and operated by Wilson Morningstar from 1883 to 1933, Mountain Mills ground wheat into flour and chopped oats, corn, rye and barley in feed for the local farms. Following a fire in November of 1892, Morningstar updated his milling equipment to include a two-break, three-reduction Grey Roller Mill system that would allow him to produce the newly popular white flour. 

The Morningstar home was built around 1895 and was the home of Wilson Morningstar and his wife Emma for many years. In 1994, Morningstar’s granddaughter gave the contents of the mill and the house to the City of St. Catharines.  

Currently, Morningstar Mill is one of a few mills in Ontario that still has all its original equipment and still operates using its original water source.  

The historic mill and home recently closed its doors for tours for the rest of the season but the Bruce Trail that the mill backs onto is still open.  

The Morningstar Mill Loop is 8.28 km in length with an elevation of 150 m. It takes approximately two hours and 17 minutes to walk the entire loop. 

The Morningstar Mill Loop coincides with the beautiful Decew Falls Loop. The Decew Falls Loop is 2.3 km long with an elevation of 37 m. The estimated time it takes to walk the entire loop is about 31 minutes. It also includes Decew Falls. 

The Decew Falls Waterfall is a wild waterfall that is split up into three cascades. The first is the main waterfall at Decew Falls. The second is a smaller waterfall called “Tunnel Falls,” just beside the Decew Falls. The third is Lower Decew Falls, which can be found downstream from the main waterfall.  

You can reach the waterfall one of two ways. You can either take the long way and park in the Decew Falls parking lot, enjoying all three cascades, or the short way and park at Morningstar Mill. From there, you can simply lower yourself down into the gorge using the yellow rope provided to support you on your way down.  

Both loops are very popular for hiking and running. Dogs are welcome but must be on a leash.  

Morningstar Mill is an ideal place to learn more about the area’s local history while also being active and immersing oneself in nature.  

Brock men’s volleyball team defeated the Toronto Varsity Blues in five sets to close out their exhibition schedule

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The Badgers’ men’s volleyball team is prepared for the start of the regular season after defeating the Varsity Blues in five sets to finish the pre-season with a 3-1 record. 

Brock started off the road game exceptionally well, going up 4-0 in the first set to open the contest. Outside hitter Kylar Code had two of his game-high 15 kills in the opening two possessions of the game, as setter Grant Reddon picked up both assists on those plays, finishing with a game-high 36 assists in the match. 

The first set ended 25-23 for Brock, as the Badgers picked up 11 kills in comparison to Toronto’s five, and the Badgers continued their dominance into the second set. 

In the middle of the set, Brock got hot, going on a 5-0 run forcing consecutive timeouts by the Varsity Blues. In that run, Toronto picked up two of their five attack errors in the set, giving Brock the 25-17 win to go up 2-0.  

Statistically, the second set was the Badgers’ best set of the game. Brock finished the set with a hitting percentage of .333 per cent, with ten kills and only two attack errors on 24 total attempts.  

However, the third set was a much different story for the visitors. The Badgers struggled to convert on their attack opportunities, committing numerous unforced errors resulting in points for Toronto.  

The Varsity Blues won the third set rather easily with a score of 25-15, as Brock had an attack percentage of negative .167 given they had more errors (nine) than kills (five). 

Fortunately, the sloppiness in the third set vanished in the fourth. A back-and-forth set saw both teams go on mini runs setting up a nail-biting finish to the set. With the Varsity Blues a point away from sending the game to the fifth and final set, the Badgers nearly clawed their way back before a Toronto kill earned them the 25-23 fourth set victory. 

The Varsity Blues attacked extremely well in that set, registering a .348 attack percentage, their highest of the game, in comparison to Brock’s .240 attack percentage, setting up a fifth and deciding set. 

In the decisive set, both teams had a share of the lead as they battled for every single point. With the Badgers up 14-13 on the brink of victory, Code pounded the ball for his 15th kill of the match to give the Badgers the 3-2 win. 

The third-year business major was the star of the game for Brock, leading the team in kills (15), aces (4), blocks (4) and points (21.5). 

Defensively, libero Justin Rulli-Levere was impactful for the Badgers leading the way with a game-high 18 of Brock’s 52 digs in the match. 

The next match for the Badgers is a pair of regular season games next weekend on Saturday and Sunday at York University and can be streamed for free on oua.tv. For more information on the Brock Badgers men’s volleyball team, head to gobadgers.ca. 

Badgers’ women’s soccer team eliminated in first round of the playoffs after loss to Guelph

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The Ontario University Athletics (OUA) West division’s sixth-seeded Brock Badgers fell 4-1 to the third-seeded Guelph Gryphons in the first round of OUA women’s soccer playoff action on Oct. 25th.

The tough road loss in Guelph ended the Badgers up-and-down season with a 3-6-4 record overall (three wins, six losses and four draws). 

The Badgers were up against fierce competition, facing a Guelph side that won eight of 12 games this season including being red-hot down the stretch. 

Coming into the playoffs, the Gryphons won their final three games of the season by a combined 6-0 score, while outshooting their opponents 48-6 in that span. Guelph carried that dominant mindset right into the matchup against Brock, getting on the front foot early. 

Seven minutes into the game, Olivia Rizakos opened the scoring for Guelph, scoring her fifth goal of the season and the first of two goals for her on the night. Rizakos’ teammate Olivia Brown followed suit nine minutes later burying Guelph’s second of the night to extend the home side’s lead. 

Things got even worse for the Badgers before the half-hour mark of the game. In the 28th minute, Rizakos scored her second of the game from Haley Ward’s assist, giving the Gryphons a commanding 3-0 lead. 

However, in first half stoppage time the Badgers answered back, giving them some life heading into halftime. Brianna Bishop, Brock’s set-piece specialist, crossed the ball in from the corner kick which found centre-back Grace Tawil for her first of the season to get the Badgers on the board.  

Despite the glimmer of hope, the score remained 3-1 Guelph until the 90th minute. 

After an uneventful second half where there were only five shots total – one for Brock and four for Guelph – the Gryphons scored again to solidify their spot in the OUA quarterfinals. Tessa Ladhani netted the fourth Guelph goal which earned them the 4-1 win over Brock. 

The disappointing loss for the Badgers also signified the end of the university athletics career for four exceptionally talented Brock soccer players: Emma Hendrie, Grace Tawil, Adrianna Belfer-Marin and Luisa Argento de Almeida

Hendrie, Brock’s star goalkeeper, played a pivotal role in the success of the Badgers this season. The Sault Ste Marie-native appeared in nine games this season and registered 26 saves, many of which were high-quality saves from point-blank range. 

Centre-back Tawil started all 13 games for the Badgers this season and played a crucial role in Brock’s defence as the centrepiece of the backline. The Mathematics and Statistics major finished her OUA career with two goals in 35 appearances. 

Belfer-Marin, the Mississauga-native, appeared in 14 games for the Badgers over two seasons – 2019 and 2021 – registering five shots on goal and one goal in her OUA career. 

Almeida, the Brazilian midfielder, appeared in two games for the Badgers this season, including the decisive season finale against York that earned her team a spot in the playoffs. 

The Badgers will be looking for revenge against the Gryphons and all their OUA West rivals next season as they contend for the championship. Stay tuned to The Brock Press for all you need to know about the Brock Badgers women’s soccer team in anticipation for the 2024 season. 

Buffalo Bills mid-season analysis: The good, the bad and the ugly

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As week eight of the NFL schedule concludes, the Buffalo Bills have reached the halfway point of the 2023 season.

The Bills, with a 5-3 record after eight games, have had a rollercoaster of a season to this point. With all the highs and lows of the season thus far, here is a mid-season analysis of the good, the bad and the ugly for the Bills in 2023. 

The Good 

The good news for Buffalo is that they are back to their winning ways after picking up a much needed 24-18 win against the Tampa Bay Buccaneers on Thursday Night Football on Oct. 26th. In the win, the Bills were dominant in all three phases of the game – offence, defence and special teams – resembling the team that all football fans expect the reigning AFC East Champions to be this season. 

Josh Allen led the way looking like the MVP Finalist he was a season ago, passing for 324 yards and going 31 for 40 in pass attempts to go along with three total touchdowns. 

In the game against the Bucs, and throughout the opening eight games of the season, two Bills offensive players stood out: James Cook and Dalton Kincaid. 

Cook has emerged as the star running back in offensive coordinator Ken Dorsey’s offence. The former Georgia Bulldog is a weapon in both the rush and pass game, tallying 678 total yards so far this season, nearly surpassing his total yards from the entire season in 2022. 

On the other hand, Kincaid has slotted in as a reliable receiving option for quarterback Josh Allen. The rookie tight end has 193 yards in his young NFL career and is expected to have increased productivity after fellow tight end Dawson Knox was placed on injured reserve earlier this week. 

As a collective, the Bills offence was dominant in a three-game stretch from week two to four, which included an impressive 48-20 win over division rival Miami Dolphins. Allen threw four touchdown passes in that game, as Pro-Bowl receiver Stefon Diggs caught three of them for 120 yards. 

Sean McDermott’s defence held the Dolphins to just 20 points who came into the week four matchup undefeated, scoring 43.3 points per game in that span. Greg Rosseau picked up two of the four Bills sacks in that game, as the secondary limited Tyreek Hill to only three receptions in the game, a season low for him. 

If the Bills want to contend for the Super Bowl this February, the dominance that was on display against the Dolphins needs to be replicated down the stretch and into the playoffs. 

The Bad 

Besides the lopsided victories over the Miami Dolphins, Las Vegas Raiders and Washington Commanders, things have been far from spectacular in Western New York. 

In the season opener in the Big Apple against the New York Jets, it seemed as if the door was wide open for the Bills to take control of the game after Jets star quarterback Aaron Rodgers went down with an injury less than four minutes into the game. But instead, the contrary occurred. 

The offence was stagnant, resulting in the Bills only scoring 16 points in that contest, nine of which were from field goals. 

Allen was horrific in that game, turning the ball over four times with three interceptions and a fumble lost. He looked like his younger self throwing deep balls into double and triple coverage, lacking that decision-making that superstar quarterbacks must have to be successful in the NFL. 

After a strong three-game stretch from week two to four, the following three games against the Jacksonville Jaguars, New York Giants and New England Patriots were hard to watch for Bills Mafia. 

In the game against the Jaguars overseas in the United Kingdom, the Bills’ defence could not stop the run. Travis Etienne Jr. rushed for two touchdowns and 136 yards, which is the second-most rushing yards in a game in his NFL career. Buffalo lost that game 25-20. 

Against the Giants, who had a negative 91-point differential heading into the Sunday night game in Buffalo, the Bills’ offence was once again stagnant, shutout until the fourth quarter. Allen only threw for 169 yards in the game, his lowest this season, as the Giants clock mismanagement at the end of the first half, and a poor play call to end the fourth quarter gave the Bills the shameful 14-9 victory. 

The following week in Foxborough, the Bills were once again unlike themselves, as Buffalo’s defence was problematic. Mac Jones passed for a season-best 83.3 completion percentage for New England, while averaging a high 9.1 yards per pass. Jones led the one-win Patriots down the field from their own 25-yard line, scoring the game-winning touchdown with 12 seconds left in the game. The 29-25 loss was the low point in the Bills’ season given their far superior talent and potential compared to Bill Belichick’s team. 

Clearly, the bad has been dreadful, as the Bills have lacked success against weaker opposition. Their play against inferior teams is something that needs to change if the Bills want to compete for another division title and ultimately make a deep playoff run to the Super Bowl. 

The Ugly 

The Bills are 1-2 on the road this season, plus a “home” loss in London, England to the Jaguars. Unfortunately for Buffalo, five of their remaining nine games this season are outside of Orchard Park, which includes facing legit Super Bowl contenders on the road. 

The tough road battles begin this Sunday night as the Bills travel to Cincinnati to take on the Bengals. The Bengals have had their own issues this season, but a team led by Joe Burrow who went to the Super Bowl in 2022 shouldn’t be taken lightly. 

From there, the Bills’ next two road games are on Nov. 26th and Dec. 10th when they face last year’s Super Bowl teams, the Philadelphia Eagles and Kansas City Chiefs, in back-to-back games. The Eagles and Chiefs have a combined 13-3 record through eight games and rank in the top ten in both offensive and defensive yards per game this season. Those games will be gruesome as each team will be battling for every single yard. 

The road schedule for Buffalo concludes with another primetime game on the Saturday night before Christmas Eve in Los Angeles against the Chargers, before heading to Hard Rock Stadium to face division rival Miami Dolphins in the season finale on Jan. 7th.  

To make matters worse, the Bills will be without numerous key players for those critical matchups. 

Pro-Bowl linebacker Matt Milano suffered a fractured leg in the loss to Jacksonville and will be out indefinitely after requiring surgery, according to ESPN’s Adam Schefter. Milano has been impactful for the Bills’ defence in the five games he played, registering 30 tackles, two interceptions and a forced fumble, and is a big loss for the Bills behind their defensive line. 

Also on defence, cornerback Tre’Davious White is out for the remainder of the season after tearing his Achilles in the win against Miami. White has an interception and 10 tackles in four games this season, as his ability to defend against top-notch speedy receivers like Tyreek Hill will be missing from Buffalo’s defence. His presence will be missed especially as skilled receivers A.J. Brown, Ja’Marr Chase and others will be up against the Bills in the coming weeks. 

Other players on injured reserve for the Bills are tight end Dawson Knox, running back Damien Harris, defensive tackle DaQuan Jones, wide receiver Justin Shorter and offensive tackle Tommy Doyle. 

For more information on the Buffalo Bills, click here. 

Badgers’ women’s basketball team concluding their exhibition schedule with a tournament in Montreal

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The McGill Basketball Classic should bring tough battles and matchups, which is exactly what the Badgers need in preparation for the start of the OUA season. 

The Brock Badgers women’s basketball team will be competing in the McGill Basketball Classic in Montreal, Quebec from Oct. 20th to 22nd as they conclude their exhibition schedule before the regular season begins at home on Nov. 3rd

The Badgers are coming off a 1-1 weekend at home where they lost to Laval University 80-65 on Friday but defeated St. John Fisher University 91-62 on Sunday afternoon.  

In their first game of the tournament, the Badgers will be up against the 2023 Reseau du Sport Etudiant du Quebec (RSEQ) Runner-up Bishop’s Gaiters. The Gaiters dominated the regular season a year ago, winning 14 of 16 matches en route to the top spot in the league. Their only two losses of the regular season were by one point and three points, putting up a hard-fought effort in every game. 

Bishop’s will be without last season’s graduating star Amaiquen Siciliano, but the Gaiters still have many quality pieces which should test the Badgers as they prepare for the start of the OUA season. 

One of the key pieces for Bishop’s, who should have a bigger role in Siciliano’s absence, is forward Victoria Gauna. The Argentinian averaged 12.2 points per game and 6.5 rebounds per game last season in 15 games played. Gauna’s versatility as a big, scoring from in the paint but also stretching the floor shooting 34 per cent from three last season, will test Brock’s Madison MacInnis and Olivia Fiorucci. Guarding Gauna will serve as beneficial preparation for forwards MacInnis and Fiorucci as they’ll likely be matched up with similar players all season long. 

In Brock’s second game of the tournament, the Badgers are up against the University of New Brunswick Reds.  

The Reds finished last season in fourth place in the Atlantic University Sport (AUS) Conference amassing a 12-8 record. UNB squeaked past Memorial University by one-point in the quarterfinals before falling to Acadia in the semis. 

Leading the Reds is senior wing Jayda Veinot. The six-footer had a remarkable season a year ago showcasing her capabilities on both sides of the ball. Offensively, the Nova Scotia-native scored 17.5 points per game last season which was fifth-most in the AUS, along with the fourth-highest three-point percentage at 41.6, and the third-highest field goal percentage at 50.6 percent. On the defensive end, Veinot ranked third in steals with 37 and secured the fifth-most rebounds on the defensive glass with 98. 

Veinot’s athleticism will test the Badgers’ defence that had a solid statistical season last year. Brock’s defence allowed the fourth-lowest field goal percentage, fifth-lowest points against per game and sixth-lowest three-point percentage against in the OUA in 2022-23. Head coach Mike Rao will be looking for defenders Theresa Brown and Noor Bazi to step up against Veinot in anticipation of similar statured and styled players that OUA rivals – McMaster, Carleton and Ottawa – have to offer. 

To conclude the tournament, McGill – the hosts – will be Brock’s final opponent of the 2023 exhibition schedule. 

While McGill had a poor season a year ago, finishing in last place in RSEQ with a 3-13 record, there are many intangibles from that game that can prepare the Badgers for the upcoming season. 

The hostile McGill crowd at Love Competition Hall in Montreal is one of them and will serve as an electrifyingly devious atmosphere against the Badgers. The experience of playing in an atmosphere like that is important for when those similar environments arise come playoff time and at the U Sports National Championship in Alberta that Brock hopes to be a part of. 

The McGill game will also be the final in-game opportunity for fringe players to show Coach Rao why they deserve to be in the rotation to start the season. Expect that the Badgers will play hard from start to finish, with bench players getting the bulk of the minutes hoping to seize the opportunity. 

The Badgers open the regular season at home on Nov. 3rd against the Toronto Varsity Blues. For more information on the Brock Badgers women’s basketball team click here. 

Fort Erie Healthcare SOS— advocating for better healthcare, fighting against urgent care closures

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Fort Erie Healthcare SOS strives to fight against the permanent closure of urgent care centres across the Niagara Region. 

At its inception, Fort Erie Healthcare SOS was founded in response to growing concerns regarding planned closures of urgent care centres (UCCs) in Fort Erie and Port Colborne to address understaffing in Emergency Departments. 

Its founder, Heather Kelley, began advocating for Fort Erie’s urgent care centre by writing letters to local representatives and engaging with members of the community to express their concerns. Since then, Fort Erie Healthcare SOS was established, giving rural Niagara residents a platform to oppose healthcare cuts and closures in their communities.  

This past May, Fort Erie Healthcare SOS partnered with the Ontario Health Coalition for an Ontario-wide referendum on healthcare privatization. Notably, Fort Erie Healthcare SOS was granted a spot in the ballot, which pertained to maintaining the operations of the Fort Erie, Port Colborne and Welland UCCs. Once ballots were counted, the results showed that over 98 per cent of the 400,000 Ontarians participating in the referendum opposed privatization and UCC closures. 

On the same day that the Ontario Health Coalition’s referendum votes were presented in front of the Ontario Legislature, Niagara Health simultaneously announced a permanent overnight closure of UCCs in Fort Erie and Port Colborne, starting July 5th

“We came home [from the Legislature] to find out that we are now looking at these part time hours. They were going to close the urgent care at 10 p.m, and open at 10 a.m. It’s just been a nightmare for a lot of people. I mean, I don’t know how you decide when to get sick or when you don’t,” said Kelley. 

Despite Niagara Health’s decision to stop overnight operations in Fort Erie and Port Colborne’s UCCs, Fort Erie Healthcare SOS is continuing to work across the region to ensure better healthcare access across Niagara. At the moment, Fort Erie Healthcare SOS is focusing on spreading a petition to maintain the urgent care systems in Port Colborne and Fort Erie, as well as ensuring the Welland overnight surgical unit remains open. 

Likewise, Fort Erie Healthcare SOS seeks to engage youth in the Niagara region to advocate for UCCs to remain open. 

“I am really hopeful that our young people, who are far more tech-savvy, will be able to get the message out,” said Kelley. 

For Fort Erie Healthcare SOS to continue fighting for better healthcare across the Niagara region, volunteers are needed in different areas of support. Some volunteering options available with the organization include administrative support, tech and social media support, distributing petitions and supporting upcoming press releases. 

For more information on Fort Erie Healthcare SOS, visit their Facebook page. To get involved, email heatherkel@hotmail.com. 

The Security Council is in dire need of voting reform, as seen by the U.S veto on Brazil’s humanitarian aid draft resolution

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At a time in history when geopolitical issues are proliferating, the global community desperately needs an unbiased decision-making body concerned with security, not with strengthening the interests of individual states. 

On Oct. 18th, the United States vetoed a UN Security Council draft resolution introduced by the Brazilian delegation, which called for a “humanitarian pause” amidst the Israel-Palestine conflict. 

The U.S veto on Brazil’s humanitarian-focused draft resolution follows a previous attempt made by the Russian Federation to introduce a cease-fire focused draft-resolution, which was rejected by several permanent security council members.  

While the UN Security Council in theory serves as the international community’s primary organism for responding to global security threats, its dated structure counters the council’s objectives. The prevalence of veto-power usage by the five permanent members (P5) and unwillingness to appoint new permanent members puts international security in jeopardy.  

The most recent veto usage by the United States in the Security Council inherently delays humanitarian aid and room for peacekeeping between Israel and Palestine. In doing so, international security is diminished, while the need for Security Council reform only increases. 

UN Security Council Structure: 

Established during the WW2 post-war period, the United Nations Security Council welcomed the United States, the USSR (current-day Russian Federation), the United Kingdom, China and France as permanent members of the council. These five permanent members (P5) all hold veto power, as established in Article 27(3) of the UN Charter. The article details that all Security Council decisions are approved by the affirmative vote of nine members, as well as by the approval of the five permanent members. In other words, if a permanent member votes “no” in light of a draft resolution, it will be rejected regardless of other council member’s affirmative votes. 

In addition to the five permanent members of the council, ten non-permanent members are elected by the UN General Assembly on a yearly basis to serve for two-year terms. Non-permanent membership gives voting power to elected member states but does not grant veto power. Originally, Security Council membership was increased from 11 total members to 15 members through a General Assembly recommendation to amend the Charter. Despite calls for reform and expansion of permanent membership having gained relevancy, the Security Council’s structure has not been revised since. 

Explaining the U.S veto: 

The U.S’ most recent cast of the veto vote on Brazil’s draft resolution shows a relentless support for the Israeli state on behalf of the United States. According to UN data, the United States has vetoed over fifty Security Council draft resolutions that critique the Israeli state between 1972 and 2004.  

In a speech delivered on Oct. 18th by the U.S. Representative to the United Nations, Linda Thomas-Greenfield, she explains the veto vote on Brazil’s draft resolution. 

“The United States is disappointed this resolution made no mention of Israel’s right of self-defence. Like every nation in the world, Israel has the inherent right of self-defence, as reflected in Article 51 of the UN Charter. Following previous terrorist attacks by groups such as al-Qaida and ISIS, this Council reaffirmed that right. This text should have done the same,” said Thomas-Greenfield. 

At its core, the proposed draft-resolution stressed humanitarian aid in response to the Israel-Gaza conflict through temporary humanitarian pauses to allow UN agencies and aid to assist civilians. Notably, the draft resolution outlined condemnation for Hamas’ attacks in Israel, as well as all hostilities harming civilians.  

Although the draft resolution did not outright spell out Israel’s right to self-defence, it is because the necessity for such a statement did not exist. For instance, the voting structure of the Security Council is outlined in Article 23 of the UN Charter, but that does not mean that every draft resolution must outright reference said article for it to apply within the workings of the resolution.  

Likewise, the reasoning given for the U.S.’ veto to Brazil’s resolution follows the same logic. The resolution focused on extending humanitarian aid for civilians and condemning terrorist attacks on Hamas’ behalf, not particularly on issues of defence or complete cease-fire like earlier draft resolutions proposed by the Russian Federation. Seeing as a state’s self-defence rights were out of the scope of the draft resolution, and because these rights are already outlined in the UN Charter, the need to reaffirm Article 51 is minimal to none. 

This seemingly arbitrary requirement put forward by the U.S appears as a calculated yet biased move. As a longtime ally of the Israeli state, it is expected for the U.S to shift the Security Council away from binding resolutions that could open a door for condemnation of the Israeli state for the ongoing conflict. Although reflective of long-standing stances on the Israeli state, the U.S’ veto vote on Brazil’s draft resolution is unfortunate. 

Considering the overwhelming support for the draft resolution expressed by twelve Security Council members, it is concerning that a veto vote on behalf of the U.S could entirely stall the resolution from being implemented.  

Moving forward, the international community must take a deeper look into the voting structure of the Security Council and embrace reform. Failure to do so will sustain a system that bends at will to the interests of permanent members with veto power, instead of serving as a collaborative body for enhancing security. 

A last-minute guide to The Film House of Horrors

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Halloween festivities are alive at The Film House this month, and there is still time to take part. 

Each October, the FirstOntario Performing Arts Centre hosts The Film House of Horrors. The event is hosted in celebration of Halloween and features horror films old and new. Beginning in mid-October and ending on Halloween, the Film House showcases a variety of festive flicks, with certain showings being marked as interactive for audiences to partake in. 

By popular demand, The Rocky Horror Picture Show returns to do the time-warp again at the Film House from Oct. 27 to 29. Audiences are encouraged to dress up and partake in events throughout the film, from throwing toast at the screen to collectively yelling “Janet” whenever her name is mentioned. 

In partnership with Pride Niagara, drag performer Darryl Dyball will be hosting the event, providing comedic commentary during the screenings and engaging the audience throughout the experience. 

Tickets may be purchased online at the Film House website. With tickets selling quickly, this event is not to be missed as a last-minute addition to Halloween plans. In previous years, tickets for The Rocky Horror Picture Show have typically gone on sale online two months before the screenings due to extreme popularity. 

Continuing the series of themed screenings, the 1993 comedy Hocus Pocus will be playing on Saturday, Oct. 28 at 7:00 p.m. The iconic Halloween classic has a loyal cult following for its lighthearted campiness. 

On the day of Halloween, the Film House will be hosting two themed screenings for the Film House of Horrors event. At 3:00 p.m, the classic 1973 slasher film Halloween will be playing. Following it, the second interactive screening for Robert Rodriguez and Quentin Tarantino’s Grindhouse: Death Proof + Planet Terror, a horror comedy double feature that will keep audiences on their toes with the breakneck speed of these films. 

With the now properly established tradition of The Film House of Horrors, the FirstOntario Performing Arts Centre continues to be a beacon for enjoyers of cinema, art and culture in the St. Catharines area. Students curious about exploring local arts, performances and independent cinema will find the PAC to be helpful gateway. 

Further information regarding ticket sales, memberships and future film screenings at the Film House can be found on the FirstOntario Performing Arts Centre’s website. 

The bittersweet brilliance of “Over the Garden Wall”

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Score: 5/5 

For a miniseries as fleeting as the amber autumn leaves, Over the Garden Wall is a masterwork of worldbuilding. 

In 2014, Patrick McHale, animator and screenwriter known for Adventure Time, crafted Over the Garden Wall, a unique and sentimental miniseries with the feeling of a memory we cannot remember in detail. The first episode presents the two protagonists: Wirt, an anxious teenager, voiced by Elijah Wood; and his younger brother Greg, voiced by Collin Dean. The two find themselves lost in a mysterious woodland they come to name “the Unknown.” As they progress, they encounter various supernatural creatures, ranging from talking frogs and birds to a strange village of sentient livestock. 

The way the two approach the entities they encounter is greatly juxtaposed, with Wirt being overly cautious and skeptical while Greg doesn’t bat an eye at the unfamiliarity of the strange world. 

What’s particularly brilliant about the Unknown is, ironically, its uncanny familiarity. The premise of being lost in the woods is not a particularly unknown trope, dating back to William Shakespeare’s A Midsummer Night’s Dream. Being lost in the woods has also frequently been a source of horror as well. From the classic folktale of “Hansel and Gretel” to the modern horror of The Blair Witch Project, the woods have served as a canvas for storytellers. As such, we’ve grown to be conditioned to stories of being lost in the woods, aiding Over the Garden Wall’s uncanny familiarity. 

 
The Unknown serves as a liminal purgatory between phases: life and death, childhood and adulthood, sleeping and dreaming. It homogenizes the familiar with the unfamiliar, making viewers and the protagonists themselves feel that the world is familiar, yet something is off.  

The enthusiastic Greg leaps from episode to episode with the same excitable and innocent attitude, unafraid of interacting with the world’s familiarity. Wirt, on the other hand, feels a deep unease for the Unknown’s familiarity, unwilling to trust the world the two venture into. 

The soundtrack itself is worthy of immense praise. Recorded by the American folk band The Blasting Company, the songs have enough theatrical charm to fit into the story and advance the plot but are pleasant enough to enjoy separately from the series entirely. Lyrically, many of the songs touch on the yearning and possibility of what lies ahead in this life or the next. The melancholy of the lyrics is contrasted by the warm melodies and instrumentation. From a sentimental piano to a fearless-sounding bassoon, it’s an essential soundtrack for easy autumn listening. 

A recurring theme that the series explores is things not always being what they seem to be, or missing details but not entirely being incorrect. This dichotomy prompts a relatable growth in character for Wirt, encouraging him to learn that uncovering the truth requires diving into the fear of the unknown. Perhaps what may be discovered is closer to our lives than we expect, or perhaps the truth conceals horrors, tying into the theme song’s line: “the loveliest lies of all.” The series conceals this idea in details like the moon, which always appears in a perfect half. 

Brock’s studio art program under the first-year lens

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Located in the downtown core of St. Catharines, the Marilyn I. Walker Complex serves as the hub for Brock University’s fine arts programs. The campus is situated near the First Ontario Performing Arts Centre, making the school a cultural staple in local arts. 

Lauren Robertson, a first-year student studying studio art at Brock noted the willingness of professors to “listen to [her] ideas and take the time to understand art styles of students.” Robertson noted how her experience in high school felt limited, but She continued to share her thoughts on the program and her experience with it so far: 

“What sets Brock’s studio art program apart from other programs is the accessibility and connection students have with professors. For example, my professor Amanda Burk goes out of her way to connect with students. She’s willing to take the extra steps to understand the individual goals of students which feels very humanizing, which isn’t something that is easy to find in a lecture class of 500 students.” 

The smaller class sizes for Brock’s art classes are no mere coincidence. An additional layer of connection with students is essential for studio arts: “Everyone sort of mentors one another, bouncing off ideas during work sessions and critiques,” Robertson said. “It’s refreshing to have compared to high school, where arts were largely overlooked.” 

This last point is a call for alarm, particularly in the context of recent years, when arts education in secondary schools has fallen victim to underfunding. Many secondary school students with an interest in fine arts may find their goals and curiosities unrealized due to a lack of department resources. Students looking to further their expertise in visual art will find an array of opportunities that may not have been available in high school. Robertson’s experience with the program so far has simultaneously “met and exceeded [her] expectations, with more resources than [she] anticipated.” 

Robertson also commented on student interactions within the classroom: 

“Well, I mostly do my work alone, but sharing ideas in the classroom environment is a major part of the creative learning process. People always come in with new ideas, keeping things fresh. It creates this feeling of shared mentorship.” 

The studio art program offers several studio-style courses, covering topics such as sculpting, drawing and digital art foundations, allowing students to explore their individual interests. 

 
“The program is also very diverse age-wise. One of my classmates was an art teacher for years and has returned to Brock for the studio art program. I value her input and feel a strong sense of mutual respect for our ideas. It’s important for my creative process to get opinions from different kinds of people of all ages; what connects us is our drive to create art.” 

Students within the studio art program are also required to take courses in art history and cultural studies, which Robertson said “changed [her] manner of approaching and critiquing art.” 

 
“I used to despise contemporary modern art, but my experience in this program so far has changed my approach to it. I find I’m looking at art from different angles, ways I may not have if I had not delved into this program,” Robertson said. 

Embarking on a career in the arts is an adventure on its own, with artists continuously refining the path that lies before them and finding their niche. Brock’s studio art program lays the tiles for artists young and old to further their understanding in a creatively lush environment, where the artistic process is as equally rewarding as the results. 

Brock women’s hockey loses home opener to Nipissing

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The Brock Badgers faced off against the Nipissing Lakers in a one-sided showdown that left the home team disappointed.

The matchup took place on Sunday, Oct. 22 at Canada Games Park. Unfortunately for the Badgers, the No. 7 ranked Nipissing Lakers emerged victorious with a dominant 5-0 win, handing the Badgers their first loss of the season. 

The Badgers had entered the game with high spirits, coming off a stunning victory against the No. 3 Toronto Varsity Blues the night before. However, Nipissing’s offensive prowess and stellar goaltending proved to be a formidable challenge. 

The scoring began in the first period when Nipissing’s Tessa Kosec found the back of the net, setting the tone for the Lakers’ offensive onslaught. The second period saw Katie Chomiak extending Nipissing’s lead to 2-0 with a power-play goal, showcasing the Lakers’ effectiveness with the man advantage. Emma Neff furthered Nipissing’s lead with another goal, pushing the score to 3-0. 

Nipissing continued to assert their dominance in the third period. Malory Dominico scored on the power play, emphasizing the Lakers’ special team’s proficiency. The game’s final goal was netted by Madison Laberge, sealing Nipissing’s 5-0 victory. 
 

A standout performance for the Lakers came from Maggie McKee, who notched three assists during the game. Nipissing’s netminder, Chantelle Sandquist, was in exceptional form, securing a shutout by stopping all of Brock’s 13 shots on goal. The Lakers also outshot the Badgers significantly, with a final shot tally of 36-13 in favour of Nipissing. 

 
The game featured several penalties, demonstrating the frustration of the matchup. Nipissing capitalized on two of their three power plays, while the Badgers couldn’t convert any of their opportunities. 

 
With this loss, the Badgers moved to a 2-1 record early in the season. Their next challenge will be hosting the Windsor Lancers at Canada Games Park on Friday, Oct. 27, at 6 p.m. Fans can purchase tickets online here, and the game will also be livestreamed on OUA.tv

NFL Week 7 Power Rankings

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The NFL season is almost at the halfway point with the conclusion of Week 7 on Monday, Oct. 23. 

With that, teams, players and fans have a pretty good look at how competitive their teams will be for the remainder of the season. Teams such as the Miami Dolphins are looking forward to continuing their success into the second half of the season while the winless Carolina Panthers probably can’t wait for the season to be over. Let’s take a look at the three best and worst teams in the NFL thus far:  

Top Three:  

#1 Kansas City Chiefs (6-1)  

The Kansas City Chiefs have been “Fearless” in the first seven weeks of the season, led by the “Enchanting” Patrick Mahomes and Travis Kelce. Much like Taylor Swift’s hit, their synergy and “Love Story” on the field has left Chiefs fans in a state of “Happiness.” Mahomes ability to find the “Blank Space” on the field, leaves the opposing team’s defences “Breathless,” while Kelce’s performances continue to get “Crazier” by the week. In his week 7 matchup, Kelce not only scored a touchdown but also registered 179 yards receiving by the “End (of) Game.” It’s safe to say the Chiefs will never, ever, slow down with Mahomes and Kelce at the helm.  

#2 San Francisco 49ers (5-2):  

The 49ers have dropped their second game of the season and second game in a row to the Minnesota Vikings after starting 5-0. The 49ers played a great game but were unable to limit Kirk Cousins on defence and had two costly INT’s, one coming at the end of the game. McCaffrey scored two TD’s for the 49ers and looked 100% after sustaining an oblique injury in week 6, which is good news for 49ers fans. Despite the loss the 49ers are still one of the top teams in the league and will still contend for the top of the NFC conference.  

#3 Miami Dolphins (5-2): 

The Miami Dolphins are a must-watch team for any football fan. Tua Taigovailoa, Tyreek Hill, Raheem Mostert and DeVon Achane have been absolutely electric this season. Tyreek Hill is on pace for 2,000 receiving yards this regular season – a milestone that has never been reached in the NFL (Calvin Johnson had 1964 regular season receiving yards in 2012). But this week, Miami was handed their second loss by the Philadelphia Eagles. Taigovailoa had a rare off-week, but no one expects that to carry on to next week against the New England Patriots. Expect the Dolphins to bounce back with a big offensive performance. 

Bottom Three:  

30. New England Patriots (2-5) 

The New England Patriots won their second game of the season beating the highly praised Buffalo Bills. It was the first time all year that the Patriots scored more than 20 points, beating the Bills 29-24. However, this does not take away from the fact that the team has been one of the worst in the league for the first seven weeks. Mac Jones is not the QB everyone thought he would be and it is hurting the offence. He is currently averaging just over 200 yards in the air per game, and for every touchdown he’s thrown, he has also thrown an interception. Bill Bellichek is running out of ideas and it is starting to show that even he does not believe in this team.  

31. Arizona Cardinals (1-6) 

The Cardinals were expected to be at the bottom of the league this season and they have lived up to expectations. Arizona lost their 3rd straight game on Sunday to the Seattle Seahawks 20-10. Their offence, which does not have many weapons, is struggling to get anything going this season with QB2 Joshua Dobbs at the helm. It is honestly a miracle that this team is not 0-7 and managed to beat the Dallas Cowboys in week 3 as their offence ranks 31st in the league and defence ranks 28th. The Cardinals can look forward to Kyler Murray making his return in the next couple of weeks along with a few of their defensive players.  

32. Carolina Panthers (0-6)  

Carolina Panther fans should be celebrating in the streets after a glorious week 7. This marks the first week where they did not record a loss, but they also did not play. The Panthers had a bye week this week, keeping them as the only winless team left in the NFL. Panthers fans have a bright future ahead of them with Bryce Young at QB, but you might as well throw in the towel on the 2023 season. Injuries to four key defensive players have plagued what could have been a very promising year for the Panthers. On the bright side, they do have a weak schedule coming up as they will play the Texans, Colts and Bears. If they were to win a game this season, it would be one of those three.  

Doxing is always dangerous and must be dealt with accordingly, even if YouTube doesn’t think so

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Doxing is never an appropriate solution to a conflict, regardless of the circumstances. 

Doxing is a term commonly used in the digital landscape that refers to sharing personal information about an individual (typically an influencer or celebrity) without their consent. Doxing can come in many forms, including sharing an influencer’s personal phone number, email, photos or – in more extreme cases – home address or place of employment. 

This kind of behaviour can be irreparably dangerous to any individual, especially when the offender has an audience of their own. When a creator doxes another person, they put that individual at risk of an attack by their fanbase. 

This is a fear that Jack Douglass, better known by his YouTube handle jacksfilms, knows all too well after Alia “SSSniperWolf” Shelesh publicly posted a video of his home. 

Douglass, whose channel has amassed nearly five million subscribers, has spent the last few months posting a series of videos criticising Shelesh, who has upwards of 34 million subscribers, for her obnoxious content theft. Shelesh’s YouTube portfolio primarily consists of her “reactions” to TikToks created by others – many of whom go uncredited and receive no personal recognition for their efforts – with Shelesh often simply giving a mindless summary of the clips without providing any commentary of value.  

Douglass began his content crusade against Shelesh in an effort to “credit the creators,” having been a victim of content theft in the past. He launched a parody channel called “JJacksfilms” in which he ironically reacts to SSSniperWolf’s reactions, providing transformative commentary about Shelesh’s content-based missteps and crediting the original creators she stole from when possible. It’s a noble effort to stand in the way of Shelesh’s money-making machine, which earns her millions of dollars built upon the uncredited foundation of smaller creators’ work. 

Unfortunately, SSSniperWolf did not respond well. 

Shelesh initially responded with a series of posts on X (then Twitter) in which she mocked Douglass’ hairline, said he was “stuck in 2013” and disingenuously claimed that the attacks were a result of her being a woman. 

Despite Shelesh’s childish remarks, Douglass persisted in his mission by continuing to criticise her through videos on JJJacksfilms and streams on Twitch. His content began to make an actual difference, with original creators beginning to reach out to Shelesh, forcing her to remove their segments from her reaction videos. 

SSSniperwolf was backed into a corner, but what she did next was inexcusable. 

On Oct. 13, one of Douglass’ streams was interrupted when Shelesh posted a video to Instagram of the outside of his house, taunting him to come out with the caption, “let’s talk like adults.”  

“Alright, right in front of your house. Come out. Come out and talk to me,” Shelesh said in the video. “He has food outside, so he should be out any minute now to pick it up. It’s ice cream. I just want to talk.” 

The video was posted to Shelesh’s 5.6 million Instagram followers with a full display of Douglass’ home. Douglass quickly ended his stream and did not leave his house, a decision that was likely wise given Shelesh’s sister publicly asking if “[Douglass doesn’t] know how to fight or something?” 

Douglass has said that he and his wife no longer feel safe in their home. While some have called his fears unfounded, they make a lot more sense given her massive fanbase, who now have access to a photo of his personal residence. 

Content theft aside, what Shelesh did was utterly inexcusable. Her actions are a disgusting violation of Douglass’ personal life and could have quickly led to a physical altercation between the creators or an attack by her fanbase. Attacking another creator online is one thing, but taking virtual drama into the real world puts people at risk and violates their right to privacy. 

It’s worth mentioning that doxing is illegal in California, where the incident occurred. Shelesh didn’t just violate Douglass’ privacy, she broke the law. 

Unfortunately, YouTube doesn’t plan on doing anything meaningful to support Douglass. After a week of silence on the situation, they’ve temporarily demonetized the SSSniperWolf channel, effectively putting a monetary band-aid over the situation to quell the online fires until people inevitably forget about Shelesh’s misconduct. 

Yet things get even worse. YouTube has actively victim-blamed Douglass for his “behaviour” throughout the conflict, when all he’s done is rightfully criticize Shelesh and credit the creators she’s stolen from.  

“Confirming SSSniperWolf has received a temporary monetization suspension per Creator Responsibility policies,” the official @TeamYouTube account posted on X. “Off-platform actions that put others’ personal safety at risk harm our community and the behaviour on both sides isn’t what we want on [YouTube]. Hoping everyone helps move this convo to a better place.” 

YouTube’s real message couldn’t be more clear: if you make their company enough money, they’ll do everything they can to protect you from the consequences of your actions – and they’ll even throw your victim under the bus in the process. 

The truth is that Shelesh’s channel is a cash cow for YouTube and advertisers through her high subscriber count and viewership. YouTube has proven that it doesn’t care about the well-being of its creators; it will simply defend the influencer they deem more financially beneficial. 

In fact, YouTube is even willing to undermine their own rules to do so. Their harassment and cyberbullying policy clearly states that the platform does not permit “harmful behaviours, like threats or doxing,” adding that they will not tolerate “posting an individual’s non-public personally identifiable information, like a phone number, home address or email address, to direct abusive attention or traffic toward them.” 

Of course, they seem to have forgotten to add that this doesn’t apply to those with massive YouTube channels. 

YouTube’s response to this situation has set an incredibly dangerous precedent and shows large creators that their actions will not have meaningful consequences. Violating their terms of service is now fair game for massive creators if they’re willing to be demonetized for a short period of time. 

Those with any sort of ethical code should understand, however, that doxing is never acceptable regardless of an individual’s status or fame. Bringing online drama into the real world is not responsible nor safe no matter how many subscribers you have. 

The Legend of Zelda: Tears of the Kingdom retrospective

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I’ve never looked forward to a video game more than The Legend of Zelda: Tears of the Kingdom

When the game was initially revealed as “The Sequel to The Legend of Zelda: Breath of the Wild” during Nintendo’s E3 2019 virtual conference, I physically jumped off the couch with excitement. Breath of the Wild was not only widely considered to be a revolutionary masterclass in game design, but it was also my favourite game of all time. 

After years of largely mediocre Nintendo releases during the Wii U’s less-than-ideal run, Breath of the Wild, released alongside the Nintendo Switch, was the company’s moment to show that they hadn’t lost their magic. The game redefined the open-world genre, tearing down any restrictions or roadblocks that players might expect from a traditional video game. The game’s emphasis on exploration and freedom skyrocketed it to universal acclaim, and even today it is considered amongst the greatest games of all time. 

When series producer Eiji Aonuma said that the sequel was born of the team having an overabundance of ideas for the original game’s downloadable content, it could only be a good sign. Breath of the Wild was already bursting with creativity, and a sequel expanding upon its ideas would surely revolutionize the genre all over again.  

But that’s all fans had to go off, and it would stay that way for a long time.  

With a story-based teaser clocking in at less than 90 seconds, Zelda players were left with far more questions than answers. 

The announcement was followed by an endless amount of speculation and hype. While the teaser showed that the sequel would likely have darker themes than its predecessor, its gameplay – the biggest draw of Breath of the Wild – was a complete mystery. 

Fans began looking into the smallest of details for clues about their next adventure in the world of Zelda. Some viewers wondered if Princess Zelda herself might be playable for the first time in a mainline Zelda game because she and Link were seen “hanging out a lot together” in the teaser.  

Other fans took this theory a step further. Because Zelda appeared to have shorter hair in the teaser than she did in Breath of the Wild, fans speculated that it was perhaps in order to make it easier to equip armour and customise her character model. 

In hindsight, this theory might seem ridiculous, but it’s a testament to the undying excitement alongside an exhausting wait that fans like me were facing three years ago. 

It’s reasonable to assume that the COVID-19 pandemic had a significant impact on the sequel’s development. While not too much is known regarding the title’s development timeline, it’s no secret that Nintendo had a bit of a quieter year in 2020. Their announcements slowed down and, for the first time in several years, the company did not hold a general Nintendo Direct video presentation. The company would find amazing success in the cosy Animal Crossing: New Horizons throughout the pandemic, but this didn’t make a lack of information on Breath of the Wild’s sequel any easier. 

2020 would see the release of Hyrule Warriors: Age of Calamity, a prequel to Breath of the Wild played like a quasi-crossover with the Dynasty Warriors franchise. The release was surprising but welcome. In no way would it scratch the itch left by the promise of a Breath of the Wild sequel due to its vastly different gameplay, but it was still a nice opportunity to revisit the land of Hyrule in a new way. 

Speaking in the announcement video for Age of Calamity, Aonuma would address the mysterious sequel, saying that fans would have to “wait a bit longer” before they could know more about the game. 

Aonuma’s next video appearance would be in the February 2021 Nintendo Direct, where he announced an HD remaster of The Legend of Zelda: Skyward Sword. Yet, when he appeared on the livestream, his very first statement would address the Breath of the Wild sequel. 

“I’m sure a lot of you saw me and thought there might be news about the sequel to The Legend of Zelda: Breath of the Wild game,” said Aonuma. “Unfortunately, we don’t have anything to share right now. We apologise. Development is proceeding smoothly and we should be able to bring you some new information this year. For now, we’ll have to ask you to wait just a bit longer.” 

The reason for this opening isn’t because Aonuma felt some sort of undying guilt about the wait; rather, Nintendo was well aware of the massive excitement surrounding the sequel. Opening a shot with Aonuma’s presence undeniably shot fan hopes high into the air, so failing to address the absence of news on the sequel – only to then discuss a remaster of a 2011 Wii title – would be a death wish. 

Every time Nintendo wanted to show off a new Zelda project, they’d need to first mention the sequel. The side projects were nice distractions, but Nintendo knew they couldn’t reference anything related to the franchise without first addressing the titanic elephant in the room. 

Finally, after two years of waiting, fans were treated to their second real look at the title at the end of Nintendo’s E3 2021 Direct presentation. The game looked triumphant, showing Link barrelling through the air as he descended through a series of floating islands. The video showed off some of the long-awaited gameplay that fans had been yearning for, with Link reversing the flow of time, seemingly spewing fire from his hand and ascending through floors. It was undeniable that the game looked incredible, but after two years of waiting, it still didn’t feel like it showed quite enough. 

The game was given a release date – well, release year – of 2022, and interestingly, it still didn’t provide an official title. Unfortunately, we’d have to continue referring to it by the awkward, cumbersome working title of “The Sequel to The Legend of Zelda: Breath of the Wild” (or simply “Breath of the Wild 2” to the vast majority of the fan base) for a while longer. 

In March 2022, though, tragedy struck for Zelda fans.  

Out of nowhere, Nintendo uploaded a YouTube video revealing that the game had been delayed to Spring 2023. As much as it would have been nice to simply appreciate the development team’s clear dedication to the game’s quality, it’d be a lie to say that this wasn’t a bit of a blow. Fans had already waited over two-and-a-half years with very little footage to digest, and no one knew how the game would handle its core themes and identity. We had been promised a sequel to one of the greatest games of all time, so a difficult wait was to be expected – but even still, it was becoming ridiculous. If Nintendo was (presumably) so early in development when they revealed the original teaser, why didn’t they wait a bit longer to show it off? 

Finally, in September 2022, fans would get the game’s final title: The Legend of Zelda: Tears of the Kingdom. The first official trailer for the game was shown off as the closer for a Nintendo Direct, and it seemed to build on the themes set by the two preceding teasers. The game would also get a release date of May 12, 2023. 

But in the grand scheme of things, it still felt like they showed next to nothing. 

Breath of the Wild had full-blown marketing far earlier in its marketing cycle than Tears of the Kingdom. For Tears to show yet another 90-second trailer with little gameplay substance was starting to get frustrating. It was obvious that Nintendo had changed their approach since Breath by choosing to keep some secrets about the game’s final build, but their cycle of releasing occasional short, light trailers over the course of three years had become stale. Fans wanted to see more. It was time. 

Nintendo apparently disagreed and showed another “nothing-trailer” at the end of their February 2023 Direct. We were now three months away from release, and the trailer focused primarily on out-of-context gameplay clips that felt they had no cohesion with any central theme. Link driving around the open-world on an ATV was clearly supposed to be a huge moment, but without context, it just felt disconnected. Furthermore, the game was looking more and more like a copy-and-paste of its predecessor. It looked like the same world map that fans knew from Breath, with some random new features and contraptions tacked on. The trailer was unimpressive and still provided no justification for the sequel’s existence. 

At this point, when hype should have been at an all-time high, it was arguably at its very lowest. Many started to wonder if Nintendo was still hiding more about the game, or if this really was all they had to show for themselves. The release date was nearing and fans still had very little footage to define their expectations. 

This negative reaction was so powerful that Nintendo took notice, and they knew they’d have to do something quick if they were going to bring back hype before Tears’ looming release. Apparently, the team hadn’t expected this response from fans, so Aonuma’s next appearance was likely put together fairly quickly.

On March 28, Nintendo would post a video that turned reception around in the way they were hoping for. The video wasn’t some flashy trailer with orchestral music trying to show clips out of context; instead, it was Aonuma sitting down, simply playing the game for 13 minutes. It didn’t try to do anything spectacular – it let the majesty of the game speak for itself. 

And finally, after nearly four years of waiting for any substantial info, fans saw the justification for the title’s existence, and most of this was thanks to Link’s new abilities. 

The Fuse mechanic would allow the player to combine two objects so they interact with each other in novel ways. The first example Aonuma showed was a boulder attached to the end of a wooden branch, which then became more powerful and durable. Attaching a spear to another spear (as ridiculous as that sounds) would logically create an extra-long spear with an extended reach, and playing with more items to test out their capabilities suggested a wide range of gameplay possibilities. 

Arrows worked in a similar fashion. While Breath had basic arrow types like the “Fire Arrow” and “Bomb Arrow,” Tears would allow a player to stick any object to an arrowhead. Attaching an eyeball to an arrow would give it homing capabilities, and an ice jelly would give it the ability to freeze faraway enemies. 

What made this so exciting is the knowledge that the game would have a vast array of items to play with, so what Aonuma showed was clearly only a fraction of the full capabilities the final game would offer. 

This sense of creativity and exploration of ideas only grew with Link’s next ability, “Ultrahand.” With Ultrahand, players could assemble machines using parts found in the world, and each part was developed to function seamlessly with all the other parts. In other words, the game would not provide blueprints or mandatory solutions for the machines players would build – they just needed to imagine it and bring it to life. There would, without a doubt, be an endless array of machines that the developers themselves never thought of. 

This was the hook that fans had been waiting for. Finally, the ATV from February’s trailer made complete sense: it wasn’t some random vehicle found out in the wild, it was constructed through the player’s imagination. 

In fact, it was clear that imagination was the game’s core identity. In Breath of the Wild, players would “break the game” by manipulating its physics and skipping puzzles, but in Tears of the Kingdom, players were actively and intentionally given the tools to do so. Players would no longer need a deep understanding of the game’s glitches and physics to skip puzzles and “cheese” solutions – this time, the developers encouraged it. 

The game would have a set of previews and one final trailer. Each bit of footage gave fans more to be excited about, with additional parts meaning new combinations to dream up. Fans were seeing rockets attached to shields and large anti-gravity blocks flying through vast skies with fans glued on. The Ultrahand system had proven easy to understand, but difficult to master. Players didn’t need to be concerned that they wouldn’t figure it out. You just need to know what you want to accomplish, and then it’s up to you how you get there. 

When the game finally released on May 12, it was everything it promised to be and more. 

Ultrahand and Fuse allowed the world to interact with itself in ways that players could have only dreamed of in its predecessor and encouraged players to solve problems (or skip them entirely) in their own way. There’s no better feeling than solving a puzzle in a completely absurd way, leading you to wonder if you’re the only person who’s thought of that particular solution. The laughter that ensues after a seemingly ridiculous idea actually works is unrivalled by any other video game. 

Add in Link’s other primary abilities and things only get better from there. 

“Ascend” allows players to rise through a floor above them and pop out on top, working beautifully in tandem with the map’s new caves and wells to explore underground. It also opens up a variety of new puzzles, such as ascending into a locked-off room on the mainland from a cave below. 

“Recall” allows Link to reverse the flow of time on an object. At first, it may seem like Recall is quite limited, but mastery of this technique opens up many new solutions and ways of traversing the world. If an enemy throws a projectile at Link, he can Recall it to send it right back. If he accidentally drops an item off a cliff, Recall will send it flying back up. If he’s flying a machine through the sky and makes a navigational error, Recall will put him back on track. The game’s abilities build on top of one another, making the experience feel seamless and rewarding. 

As if all this weren’t enough, the developers hid the addition of the Depths in their marketing right up until the game’s release. Link can dive through the gaping chasms that have opened across the mainland to explore the Depths, a massive underground area parallel to the overworld. The Depths are much more dangerous than the mainland because of its ability to reduce the player’s maximum health, meaning players have to be a bit more prepared before venturing into the lands below. 

Of course, Tears of the Kingdom offers a new story set after the events of its predecessor, and players can revisit familiar locations from Breath of the Wild to see what’s happened to their favourite characters. From its very first teaser, the game was marketed as a sequel, and it maintains that promise. 

Tears of the Kingdom might not be as revolutionary as its predecessor was when it launched, but it’s still such a massively expanded experience that fans of Breath are sure to have the times of their lives anyway. The wait for the game was exhausting for many, but ultimately, it was worth every second. 

The buildup to The Legend of Zelda: Tears of the Kingdom’s launch wasn’t perfect. It had its ups and downs along the way. But as you’re flying through the open air on a contraption you designed, proud of what you’ve built and how you dreamt it up – none of that matters. The only things on your mind quickly become the wind in your hair, your undying imagination and the fact that you’ve finally got your hands on The Sequel to The Legend of Zelda: Breath of the Wild

The Legend of Zelda: Tears of the Kingdom is available now, exclusively on Nintendo Switch. 

Supporting the SAG-AFTRA strike involves strict costume guidelines this Halloween, according to recent statement

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SAG-AFTRA has released some rules for striking actors regarding acceptable and unacceptable costumes this Halloween season, and responses are divided. 

After nearly 100 days on strike, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) released a set of guidelines on Oct. 18 detailing what sorts of costumes actors are advised to wear this Halloween, as well as anyone who wishes to support the strike. 

Included in the guidelines are costumes “inspired by generalized characters and figures (ghost, zombie, spider, etc.)” or “characters from non-struck content, like an animated TV show.” This means actors could dress up as a vampire, or Dracula from the Castlevania Netflix show, or Dracula from Hotel Transylvania, but not any live-action portrayal of Dracula created under a SAG-AFTRA contract

The other guideline is not to “post photos of costumes inspired by struck content to social media.” Dressing up as a character from any struck content may unintentionally advertise content from a struck studio, but some are concerned that this eliminates the majority of popular Halloween costumes – not just from new media but old media as well. 

Some actors were quick to criticize the guidelines. Ryan Reynolds took to X, formerly Twitter, saying, “I look forward to screaming ‘scab’ at my eight-year-old all night. She’s not in the union but she needs to learn.” A ‘scab’ is a union member who breaks strike rules or continues to work regardless of a strike. 

Melissa Gilbert, a former SAG-AFTRA president, also had some words for the union in an Instagram post: “This is the kind of silly b******t that keeps us on strike.” Actor Mandy Moore used the platform to say, “We’re asking you to negotiate in good faith on our behalf… So many folks across every aspect of this industry have been sacrificing mightily for months. Get back to the table and get a fair deal so everyone can get back to work.” 

In response to this negative backlash, SAG-AFTRA doubled down, clarifying the restrictions in a statement released on Oct. 20 according to The Hollywood Reporter

“SAG-AFTRA issued Halloween guidance in response to questions from content creators and members about how to support the strike during this festive season. This was meant to help them avoid promoting struck work, and it is the latest in a series of guidelines we have issued. It does not apply to anyone’s kids. 

“We are on strike for important reasons and have been for nearly 100 days. Our number one priority remains getting the studios back to the negotiating table so we can get a fair deal for our members, and finally put our industry back to work.” 

Following a week of silence, official negotiations continue on Oct. 24 with major executives: Disney’s Bob Iger, Warner Bros Discovery’s David Zaslav, Netflix’s Ted Sarandos and NBCUniversal’s Donna Langley. Contract terms still being discussed include “general wage increases, protections against the use of actor images through artificial intelligence, boosts in compensation for successful streaming programs and improvements in health and retirement benefits.” 

Agreement between Parks Canada, Stoney and Simpcw First Nations speaks to longevity in Jasper National Park

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An agreement was recently signed between Parks Canada and the Stoney and Simpcw First Nations, renewing an age-old treaty regarding the land which Jasper National Park occupies. 

This agreement involves mutual harvesting privileges of food and medicine for both nations in the park, privileges that were in place until Jasper Park was founded in 1907. It was at this time, over 100 years ago, that the Indigenous peoples who occupied the land were forcibly removed and landmarks within the site were given settler colonial names.  

The creation of a national park may be for preservation purposes, but in an article by The Canadian Press, published in the Chicago Herald, Chief George Lampreau of the Simpcw First Nation noted that caribou levels are near zero: “[Parks] is building up to 2.4 million [visitors] now and you’ve [got] animals going extinct. You’re not managing properly. Maybe we as First Nations decide what the carrying capacity is for that park.” 

First Nations people lived in reciprocity with this land for hundreds of generations before settlers imposed borders around it and named it ‘Jasper.’ Barry Wesley, a Stoney spokesperson, said, “us doing harvesting doesn’t mean we’re going to be minimizing the animals. They’re spirit, too. They’re going to be invited to the ceremony.” 

This ceremony is one planned for the end of this month and into the next, in which a small number of elk, deer and mountain sheep will be hunted for a community feast. According to CFJC Today Kamloops, the area east of Snaring River, north of Highway 16 and the Athabasca River will be closed from Oct. 23 to Nov. 13 “to ensure public safety and respect to the ceremony.” 

St. Catharines residents may be reminded of the ongoing Short Hills controversy, during which the park is closed for several weekends at the end of the year so members of the Haudenosaunee Confederacy can hunt white-tailed deer as per a centuries-old treaty called the Albany Deed.  

This month has two scheduled harvests, one having already passed on Oct. 21, with the other taking place on Oct. 28. There are four other dates scheduled in November and December. These harvests have seen protests from local residents and animal rights activists for many years, despite Indigenous explanations that these are controlled harvests, not mindless hunts.  

The Simpw-Stoney-Parks Canada agreement in Jasper Park will encourage prosperity and longevity in the environment, although whether it will meet the same resistance as the Short Hills harvests is yet to be seen.  

Councillors vote to remove colonial statue from City Hall

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After ten years of debate, the statue of Private Alexander Watson on the lawn of the St. Catharines City Hall is being removed. 

The decision came after a motion put forward by Mayor Mat Siscoe at a council meeting on Oct. 16, wherein he discussed the city’s signed Memorandum of Understanding (MOU) with the Niagara Regional Native Centre (NRNC). The MOU promises “increasing awareness and education around Indigenous history and culture, supporting the Indigenous community and fostering diversity and inclusion.” 

Alexander Watson was a Canadian soldier raised in St. Catharines who fought and died in the 1885 North-West Resistance, formerly called the North-West Rebellion. This conflict was brought on by the Canadian government expanding into the West and involved resistance from the Métis and their First Nations in the lands now known as Saskatchewan and Alberta. 

The result of this struggle, in which hundreds were killed, was colonial expansion into Western Canada and the conquering of the Plains Indigenous Peoples in Canada—including but not limited to the Cree, Siksika, Ojibwe, Dakota and Assiniboine nations. Métis leader Louis Riel, a man with apparent mental illness, was also tried and hanged. 

Also memorialized in this monument are the names of several local soldiers who fought in another conflict defined by colonial violence: the South African War, or the Boer War. 

Watson died in the Battle of Batoche, a battle that Siscoe, as quoted in a Global News article, says “represents a government subjugating a race of people who were standing up for their rights.”  

Some are against the removal of this monument, like delegate Dan McKnight, who says that this is the first memorial to a Canadian soldier ever built. “It’s not just significant locally or provincially, but nationally significant.” 

However, NRNC president director Sean Vanderklis pointed out that “the removal of the statue is not an erasure of history. It’s a step toward reconciling with history. It’s a way to acknowledge the suffering and injustices faced by Indigenous Peoples.” 

Seemingly reflective of Vanderklis’ point is that the plan is not to destroy the statue, but rather to remove it in a respectful way. Siscoe suggested moving it to the site of Watson’s grave at Victoria Lawn Cemetary, the originally suggested site before its construction in 1886. Considering the statue’s age, and the work that’s been done to keep it intact for so long, the process of its removal is expected to cost around $60,000, which will come from the City’s reserve fund.   

Canada’s Veteran Affairs website describes Private Watson as “a generous, kind-hearted young man and a great favourite with everyone.” The monument, as well, represents many young soldiers who died in war. However, many are concerned that a memorial such as this one fails to represent the hundreds of Indigenous people who died standing up for their rights.  

Ward 5 Council Dawn Dodge suggested an alternative in its place:  

“I’m just wondering if there’s a way that both sides could come together somehow and make something together at that site that would be amenable to both sides where they’re both represented.” 

As the city is still finding a way to safely transport the statue, there is no definitive date yet as to when the memorial will be removed. However, Siscoe has promised that it will be gone before Indigenous Peoples’ Day on June 21, 2024. 

Are you ready to expand your vinyl collection? Here are the best stores in the area

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The Niagara Region has taken the vinyl resurgence in stride, offering several record stores with new and used products. 

While Thomas Edison’s invention of the phonograph in 1877 catapulted him to international fame, by the late 1980s and into the 1990s, the record player had fallen out of popularity. Replaced by the CD and then eventually digital downloads and streaming services, it appeared the end of vinyl was near. That was until the record made its resurgence in the late 2000s during the era of the flannel-wearing, beanie-toting hipster.  

Following this renaissance of the record industry, a multitude of record stores came back to life in the Niagara Region.  

Niagara Records: 

 
Established in October of 2007, Niagara Records is a used record store in downtown St. Catharines that claims to have the “largest and best selection of second-hand records and CDs in the Niagara area.”  

Located at 377 St. Paul Street, Niagara Records has hours of operation typically ranging between 11 a.m and 7 p.m, all week long.  

The business has a vast collection of records. As their Facebook page states, they have over 2,000 records and 700 CDs in their collection. Upon visiting the establishment, this claim is not hard to believe. Despite being a relatively small space, the entire store is covered wall to wall with a variety of vintage records, ranging from Glenn Miller, Crosby, Stills, Nash & Young and Led Zeppelin. There is very likely to be something for everyone. 

Mindbomb Records:  

Located in downtown St. Catharines, Mindbomb Records is an independent store that claims to be Niagara’s best non-corporate vinyl store for new release and reissued vinyl.  

Located at 27 James Street, Mindbomb Records is open from 11 a.m to 6 p.m every day of the week and is known for its collection of both popular and niche sounds. Any group of friends could walk through the door, and each person could walk out with something they enjoy. 

Mindbomb Records’ website allows local customers to browse the store’s catalogue before their visit, providing out-of-town customers the opportunity to purchase and ship a particular vinyl to their home.  

Our Favourite Shop Records: 

Located in downtown Thorold, Our Favourite Shop Records is a used record store that buys and sells used vinyl LPs.  

Found at 53 Front Street South, Our Favourite Shop Records is open from 10 a.m to 4 p.m Tuesday to Friday and 11 a.m to 4 p.m on Saturday. While Niagara Records provides older sounds and styles, Our Favourite Shop Records carries vinyl from a multitude of periods. They are frequently active on Facebook and Instagram, showcasing their content and providing daily features to spark customer interest.  

Sunrise Records:  

Rocking in Canada since 1977, Sunrise Records is one of the few Canadian-owned, independently operated record stores left in Canada.  

Located near the food court in the Pen Centre, Sunrise Records is open all week long. Their hours range from 10 a.m to 9 p.m during the week to 11 a.m to 5 p.m on Saturday and Sunday. While they sell more than just vinyl records, Sunrise plays home to a wide variety of popular music, especially the newest, hottest hits.  

With a vast online catalogue, Sunrise Records is a convenient and accessible location for Brock students looking to pick up a new vinyl for their collection.  

With vinyl’s resurgence making it one of the most popular audio mediums again, there is no doubt that the demand for records has grown substantially since the early 2000s. Outselling CDs for the first time in three decades, the record selling industry in Niagara can only be expected to grow. 

Revisit your childhood with these nostalgic Halloween movies

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As Halloween gets closer, you’re sure to become inundated with a variety of horror movie suggestions. But for the many horror-film haters out there, there are lots of fun Halloween movies that don’t rely on cheap horror conventions and tropes to enjoy too.  

Halloweentown 

A 1998 Disney Channel Original movie directed by Duwayne Dunham, Halloweentown encompasses what it was like to be a kid experiencing Halloween in the early 2000s.  

When Marnie Piper, a young girl living with her secret witch mother finds out she is a witch too, the world finally starts to make a little bit of sense. However, when things start to go wrong in her grandmother’s magical hometown, Marnie must help her save Halloweentown from the evil forces that threaten to destroy it.   

A classic Disney Channel Halloween movie, Halloweentown explores what it means to be a young person who feels out of place all while giving the viewer a warm hug that reminds them of their childhood.  

Hocus Pocus 

A 1993 American fantasy comedy directed by Kenny Ortega, Hocus Pocus is THE Halloween movie for ’90s and 2000s babies.  

Max, a teenage boy, has trouble fitting in when he and his little sister move to Salem, Massachusetts. When he accidentally awakens a trio of fiendish witches that were executed in the 17th century, he finds himself in way more trouble than he can handle on his own.  

A classic, Hocus Pocus is a great way to put yourself in the Halloween mood without having to give yourself a scare.  

Practical Magic 

A 1998 American fantasy romantic drama based on a novel of the same name; Practical Magic is peak witch Halloween content.  

Two sisters, Sally and Gillian, are witches facing a curse that might keep them from finding ever-lasting love. When their powers get them into some supernatural trouble, the girls must learn to embrace their magical roots to save the day. 

A great movie for a bit of an older audience, Practical Magic explores what it means to be “normal” in a perfect, warm ‘90s package.  

Monster House  

A 2006 animated movie directed by Gil Kenan, Monster House scared a lot of kids at the time of its release. 

When the cranky neighbour of three teens unexpectedly dies of a heart attack, DJ, Chowder and Jenny think that their nightmare is over. When the house comes to life with nefarious plans, the three kids have to save the day before it’s too late. 

Monster House is a great way to kick back and relive the spooks of your childhood without getting yourself too scared.  

It’s the Great Pumpkin, Charlie Brown 

A 1966 American animated classic directed by Bill Melendez, It’s the Great Pumpkin, Charlie Brown is a cozy, fun and super nostalgic television special.  

When Charlie Brown is invited to his first-ever party, he couldn’t be more excited. But when Linus tells them all about the rise of the Great Pumpkin, Charlie Brown and the Peanuts gang are torn between going trick-or-treating and attending Violet’s awesome party or waiting for the arrival of the Great Pumpkin.  

While a lot older than the other movies on this list, It’s the Great Pumpkin, Charlie Brown is a classic that simply cannot be missed.  

Everybody has their take on what makes a Halloween movie good but sometimes the horror genre just isn’t for everyone. That’s why these nostalgic movies could be the perfect choice for your cozy, spooky Halloween movie night. 

The newest addition to the Vegas skyline turns heads with its game-changing new technology

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The Sphere, a brand-new entertainment venue on the Las Vegas Strip, claims to be a “next-generation entertainment medium that is redefining the future of live entertainment” – but is that true? 

Standing at over 366 ft. tall, the Sphere is the world’s largest spherical structure. It has a 580,000 sq. ft. fully programmable LED exterior and a 160,000 sq. ft. LED display canvas. It is the world’s largest beamforming audio system, a technology that allows for the mapping and measuring of sound intensity and pressure. Considering the number of times the expression “world’s largest” is thrown around in conversation about the venue, it is hard to dispute the fact that it is sailing uncharted waters. 

I’d say that the Sphere happens to be braving this new world of entertainment all by itself. 

Seeing just one of the countless clips going viral of the performance that U2, the world-famous Irish rock band, is putting on in Las Vegas tells you everything you need to know about how vastly important this venue could be to the future of live entertainment. 

Dante from Barstool Sports went to see U2 play a show at the venue on Oct. 19th. After the fact, when tasked with writing about it, Dante said “I woke up this morning and sat down trying to attempt to write this blog, but my brain was still spattered on the walls of my hotel room.” The show, he said, blew his mind. 

While U2 didn’t garner its fame by putting on bad shows for over 40 years, the Sphere itself is what makes this performance so stellar. Each song the band plays is accompanied by incredible visuals, made possible by the thousands of LEDs that make up the interior of the venue. While the band has always leaned on visuals to aid their performance, this is a whole new world. 

Comparable to the Disney ride “Soarin’,” the Sphere fully immerses the audience in the world that has been crafted by the band. During “Where the Streets Have No Name”, a deserted wasteland spans out behind the stage, appearing as if it goes on for miles. As the sun rises on the world on screen, the whole concert hall glows with orange light. When daylight finally floods the desert plain, it appears as if the audience has somehow exited the venue and come back out into the real world. That is truly how believable these LED projections are. 

“The future of live entertainment, or at least a portion of it, will be more and more immersive,” Andrew Luft, vice president of partnerships at Vibee, said in an interview with BIV. “Fans are looking for more backstory, more engagement and beyond just sitting in the seat and attending the show.” 

And the technology that makes the Sphere so special certainly does this. People want a spectacle these days, something more than just hockey arenas and tiny clubs that line downtown streets. And U2 is certainly doing all of that and more at the Sphere. 

While the Sphere might not be everybody’s cup of tea, it is certainly a game changer in the world of live entertainment. Upgrading from the typical big screen, the Sphere has taken the norm and turned it on its head. The world of entertainment may not ever be the same. 

Badgers’ women’s soccer team secures playoff berth after nail-biting draw at York in season finale

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The Brock Badgers women’s soccer team qualified for the playoffs as the sixth seed in the OUA West, after surviving the late York Lions comeback to draw 2-2 on Sunday afternoon in Toronto. Both teams came into the season finale neck-and-neck in the standings, vying for the final playoff spot. 

Given the game’s importance, the match started pedestrianly as both teams were cautious with the ball, afraid to make any mistakes in the early going. After both teams got more involved in the game, Brock stepped on the gas pedal, showing promise with strong build-up play and quality possession in York’s half. 

The Badgers’ high press and tenacity for the ball earned them a free kick in the 24th minute. Brianna Bishop, Brock’s set piece specialist, beautifully delivered the ball on target from approximately 25 yards out, which forced a diving save by Lions’ keeper Charlotte Phillips. The ball then bounced to an unmarked Makenna Williamson in the box who buried the game’s opening goal. 

Brock quickly added to their lead eight minutes later from outside the 18-yard box. Cerrina Toromoreno casually crossed the ball on net which surprised Phillips, resulting in the ball trickling across the goal line putting the Badgers up 2-0, capping off a dominant first half for the visitors. 

However, the second half was a different story. 

York, needing three goals in the second half to beat Brock and leapfrog them in the standings for the final playoff spot, came out of the halftime break inspired in front of their home crowd.  

Four minutes into the second half, York’s Maia Torelli scored her fourth goal of the season, rejuvenating confidence within her squad. The Lions’ resurgence in the second half led to seven shots on goal, many of which were high-quality scoring chances. 

Brock senior keeper Emma Hendrie was forced to make numerous enormous saves in her final OUA regular season game to keep the Badgers’ playoff hopes alive. The Sault Ste Marie-native recorded five saves in the match, including a huge leaping save to her right to keep the Badgers in the lead. 

However, in the 86th minute, Torelli scored her second of the game to tie it at two, setting up a nail-biting finish to the regular season. 

The Lions pushed all outfield players forward in the dying seconds, with hopes of scoring their third unanswered goal and qualifying for the playoffs. But Hendrie and the Badgers had other ideas, spoiling the York comeback and securing a spot in Wednesday’s playoff game. 

In the first round of the playoffs on Oct. 25th, the Badgers are headed to Guelph to take on the third seed in the OUA West. The Gryphons (8-2-2) won eight of 12 games this season including a 2-0 win over Brock at Alumni Field. The Badgers will be looking to avenge that loss and earn a spot in the OUA Quarterfinals on Oct. 28th.  

Kickoff for the playoff game against Guelph is scheduled for 6 p.m at Gryphon Soccer Complex. For more information on the Brock Badgers women’s soccer team, click here. 

Las Vegas Aces defeat the New York Liberty to claim second straight WNBA title

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The Las Vegas Aces came back from multiple double-digit deficits in game four of the WNBA Finals to defeat the New York Liberty 70-69 and win the best-of-five series 3-1.

This marks Las Vegas’ second consecutive WNBA Commissioner’s Cup championship, which makes the Aces the first team to accomplish such a feat since the Los Angeles Sparks won back-to-back titles in 2001-02. 

A’ja Wilson, the 2023 WNBA Finals MVP, led the way for the Aces with 24 points and 16 rebounds for her third double-double of these finals. 

Wilson’s dominance was needed on both ends of the floor, as Las Vegas was without two starters from game three, Kiah Stokes and Chelsea Gray. Gray’s absence was especially worrisome to the Aces given that the point guard has been outstanding throughout these playoffs, averaging 15.6 points and 6.8 assists per game. 

The veteran guard’s inability to be on the court was evident early as Las Vegas found themselves down 23-13 after the first quarter and 42-30 under a minute into the third quarter. 

However, the third quarter, which has been Las Vegas’ most dominant quarter this season, was the turning point in the game. The Aces outscored the Liberty 23-12 in the third, including two separate runs of 12-4 and 9-0 to take the lead after three quarters of play. 

Centre Cayla George drained two three-pointers in a 1:01 span in the third, filling the void left by Stokes’ absence. Wilson was also stellar in that quarter, scoring eight of her game-high 24 points, all of which were in consecutive baskets for the Aces down the stretch. 

The sudden pendulum swing entering the fourth silenced the roaring New York crowd at the Barclays Center, leaving them stunned at what transpired. The Liberty supporters were also shellshocked that the offence, which was free-flowing and flashy in the first half, was stone cold in the second half. 

From the end of the third quarter to the beginning of the fourth quarter, the Liberty offence went on a dry spell that included missing 13 of 15 field goal attempts, many of which were wide open and high percentage chances. 

But the crowd in Brooklyn came back to life when Sabrina Ionescu nailed a three-pointer three-and-a-half minutes into the fourth, cutting the Las Vegas lead to two. Ionescu finished the game shooting three of seven from deep for 13 points. 

From there, it was back-and-forth as both teams traded baskets and defensive stops setting up a nail-biting finish to the 27th WNBA season, one of the most successful seasons in league history. 

With the New York faithful on their feet down one, the Liberty had a chance to write a storybook ending and send the game to a decisive game five. 

With eight seconds left in the game, Brianna Stewart – who shot a disappointing 17.6 per cent from the field – received the in-bounds pass before being forced to swing the ball cross-court eventually finding Courtney Vandersloot in the dying seconds. Vandersloot, who led the Liberty in points with 19, shot up a prayer that rimmed out, giving the Aces the one-point win. 

In the win, four of the Aces’ starters – A’ja Wilson, Alysha Clark, Cayla George and Jackie Young – finished in double figures in scoring, showing their well-balanced attack beyond just Wilson’s tenacity and strong physicality in the paint. The group also showed their hustle and relentlessness, fighting back from numerous deficits on the road to claim the second WNBA title in Las Vegas Aces franchise history.  

Five bold predictions for the Raptors heading into the 2023-24 season

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The Raptors are about to begin regular season action on Oct. 25th against the Minnesota Timberwolves after a 4-0 preseason which included wins against the Sacramento Kings, Cairns Taipans (Australian basketball team), Chicago Bulls and Washington Wizards.

With a perfect preseason behind them and the many positives that came from it, here are five bold predictions for the Raptors heading into the 2023-24 season. 

Gradey Dick is a Rookie of the Year finalist 

Expectations are high for the Raptors’ coveted first round pick from this year’s NBA Draft. 

Gradey Dick, the former Kansas Jayhawks’ sharpshooter, is anticipated to fill a massive void in the Raptors offence from last season: three-point shooting. The 19-year-old shot 40.6 per cent from three last season in college, leading the Jayhawks in three-pointers made. 

His shooting touch is crucial for the Raptors’ success and has the capabilities of earning him Rookie of the Year votes. 

Obviously, the field is daunting, as highly anticipated superstar Victor Wembanyama towers over the competition, but lights out shooting goes a long way in the modern NBA and could surprise many basketball fans, especially those down south. 

Dennis Schröder looks like his prime Hawks self 

Dennis Schröder is coming off an impressive summer leading the German national team to the 2023 FIBA World Cup Championship with 19.1 points and 6.1 assists per game in the tournament.  

The Raptors are hoping that Schröder’s dominance on the international stage this past summer can rejuvenate him to the player he once was in Atlanta. As a member of the Hawks, Schröder racked up a career-high 19.4 points per game in the 2017-18 season and a career-high 6.3 assists the season prior.  

Since leaving the Hawks, the 30-year-old has seen a decline in his statistics. Last season with the Lakers, the point guard only averaged 12.6 points, 4.5 assists, 2.5 rebounds and only shot 41.6 per cent from the field a year ago.  

Stepping out of the shadow of LeBron James and Anthony Davis may be what Schröder needs as he’s anticipated to have an increased role on offense this season. 

Schröder is expected to handle the ball more than he did with the Lakers, which should allow him to showcase his playmaking abilities and rack up his assist totals. In the absence of former Raptors point guard Fred VanVleet, expect Schröder to be involved in the pick-and-roll with centre Jakob Poetl, reminiscence of his days in Atlanta with Dwight Howard. 

From a scoring perspective, Schröder is one of the fastest players in the league and should blow past defenders en route to attacking the glass. With the threat of attacking the rim at any second, expect off-ball defenders to be shaded closer towards the net which will open passing lanes to Toronto’s three-point shooters, providing another element in the German’s repertoire. 

Malachi Flynn becomes a consistent option off the bench 

Malachi Flynn has had a slow start to his NBA career. Since getting drafted by the Raptors in 2020, the Washington State-native has only averaged 5.5 points and 1.9 assists per game in 144 games played in Nick Nurse’s system over three seasons. The inconsistent playing time under Nurse has attributed to a career-low field goal percentage of 36 per cent last season. 

Good news for Flynn, the hire of new head coach Darko Rajakovic means that the first-round pick once again has the opportunity to prove his value to the team and earn consistent minutes. 

When playing consistently, the 25-year-old has shown his potential. In the last five games of his rookie season where he earned quality minutes, Flynn averaged 19 points per game, including a career-high 27-point performance against the Indiana Pacers. 

Clearly the skill and potential are there, and with both Nick Nurse and all-star point guard Fred VanVleet gone, it will be up to Flynn to jump on the opportunity to become a reliable and preferred option for Rajakovic off the bench. 

O.G. Anunoby is named an All-Star 

O.G. Anunoby has never been an NBA All-Star but is probably deserving of it. 

The 26-year-old was named to the NBA All-Defensive Team in 2022-23 showcasing his defensive capabilities tallying a league-leading 1.9 steals among qualified players. 

Offensively, the former Indiana Hoosier scored 16.8 points per game and five rebounds per game last season showing his grit on both sides of the ball. 

This season, expect no different as the London, U.K.-native’s numbers are likely to increase as the Raptors’ look for a more balanced attack especially as all-star VanVleet is no longer in Toronto. Especially if Dick can knock down key shots, his shooting threat will space the floor and give Anunoby and others more space to operate, especially in isolation. 

Anunoby’s isolation frequency of 6.2 per cent was among the lowest in the NBA last season. If he can get into more one-on-one situations and use his power and size to dominate defenders, Anunoby will surely be in the conversation of being among the league’s best at the 2024 All-Star Game in Indianapolis. 

The Raptors finish top five in the Eastern Conference 

Last season, the Raptors finished in ninth place in the East with an even 41-41 record. 

Despite their positioning, they only finished six games back of the fifth-place New York Knicks and it wouldn’t be surprising if the Raptors elevated into the top five this time around. 

Among the contenders in the East, it is clear that the Milwaukee Bucks and Boston Celtics got better – but then that’s it. 

The Philadelphia 76ers – third place in the East last year – are going through their own circus with the fiasco that surrounds James Harden and his desires to leave Philly. 

Similarly, the Brooklyn Nets went through their own rollercoaster last season as many of their wins a year ago came with a disgruntled Kevin Durant and Kyrie Irving on their roster – two players that have since been traded. The Nets’ win total is expected to decline with the two future Hall of Famers no longer in Brooklyn. 

In Cleveland, the Cavaliers are a good but young team and could go through ups and downs this year leaving the door open for Toronto to sneak into the top third of the East standings. 

Obviously, the Raptors will need to play well to earn a top five spot in the East but given the weaker conference that the Raptors find themselves in, it is not out of the realm of possibility that they propel up the standings. 

For more information on the Toronto Raptors, head to raptors.com. 

Badgers men’s hockey remain undefeated after two convincing wins

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Brock’s men’s hockey team looked to continue a torrid start to their season coming into this past weekend.  

The Badgers returned home to Canada Games Park on Friday, Oct. 20th having won eight matches straight, including their first four regular season matches.  

The Badgers lost their first game of the year in exhibition play against the Ohio University Bobcats but came back to win the follow-up 7-0. Brock hasn’t looked back since, winning every match while only surrendering 1.5 goals per game. 

Brock’s first match of the weekend came Friday against the Queen’s University Gaels, who also entered the game with an undefeated 4-0 record. The Gaels also entered with the most goals for (24 to Brock’s 17) and best goal differential (+15 to Brock’s +10) in the Ontario University Athletics (OUA). Brock projected to have their hands full with a high-powered offence and equally stingy defence. 

Despite the promise of a tightly matched offensive showdown, the early returns on this prediction were not great.  

On the contrary, for much of the first period both sides found themselves embroiled in a gritty war of attrition, each team fighting doggedly for every loose puck. Neither the Badgers nor Gaels budged an inch as the teams’ transition and breakouts devolved into chip-and-chase games, only furthering the games’ back-and-forth intensity. 

As the period wore on with both teams struggling to break through the neutral zone, the Badgers started to find more success with their play off the cycle. This manifested itself in several flurries of chances for Brock at the Queen’s goalmouth.  

Brock left the first outshooting the Gaels 16-8, but for all their chances, couldn’t find the back of the net, ending the period in a 0-0 draw. 

The Badgers came into the second picking up right where they left off, using what’d been working well for them: creating turnovers deep in the Gaels’ end and working the cycle. Brock created many great early chances this way, keeping Queens on their toes. 

Finally, their hard-nosed game paid dividends.  

Near the five-minute mark of the second, defenseman Oliver Deroches flipped the puck into the Queens’ zone where it was picked up by a Gaels defender in the high slot. 

Struggling to handle the puck, the defenseman was unprepared for the forechecking of Jordan Stock, who forced a turnover right in front of the Queens net. Christophe Cote followed the play to the net and made no mistake with the loose puck, firing a snapshot by the goalie’s glove for a 1-0 Badgers lead.  

After the goal, the period was bogged down by penalties on both sides for much of the middle of the second frame. However, with five-and-a-half minutes left, a shot-block sent the Badgers up ice on an odd-man rush with captain Jared Marino leading the charge. 

Marino entered the Gaels’ zone and threw a pass to the right wing that bounced to Justin Brack who was barreling into the high slot. Brack pulled the puck to his backhand, evading a Queens defender, before slinging the puck to Ryan Stepien who slapped it home on a one-timer. 

After fending off a few more of Queens’ chances, Brock seemed in danger of losing their 2-0 lead after Jacob Roach took a penalty with less than a minute remaining. The Badgers would make short work of their disadvantage though. 

An active stick from Matthew Barnes allowed Stock to pick up the puck on the half-wall and burst up the ice on another two-on-one with Cote. Stock found Cote on the right wing in the neutral zone, giving him plenty of time to walk in, pick his spot and fire one past the goalie from the top of the circle. 

After the 3-0 goal, it was all academic for the Badgers, who piled on three more in the third, coming away with a convincing 6-0 win over their highest-ranked opponent to date. 

Cote’s two goals lead the team in that category while Stock, who added a third helper on Ethan Sims’ goal in the final period, lead in assists. Goaltender Connor Ungar finished with a 33-save shutout. 

Brock got ready to do it all over again the next day, playing the Royal Military College of Canada (RMC) Paladins on the 21st

From the get-go, the Badgers faced little pressure.  

Seemingly out of their depth, the Paladins were outclassed by the Badgers. RMC’s dismantling began early as well, with them falling behind 6-1 by midway through the second period, while only mustering eight shots on net.  

The early gap quickly brought out the ferocity from both sides. Either side was looking for every opportunity to lay the body or get an extra slash in. A Paladins forward even mistakenly landed a small bodycheck on a referee with unfortunate timing.  

With both teams guilty of mouthing-off and a number of undisciplined stick-checks, the second half of the game was almost entirely comprised of shorthanded hockey.  

RMC briefly brought the game closer on one such powerplay, but Ethan Simms struck soon after with his third of the night, stretching the score to 7-2.   

By the end of the third period, the lead had only gotten more lopsided with the Badgers piling on two more, winning by a final score of 9-2.  

Brock’s next two games fall during a road trip to Quebec where the Badgers will face McGill University on Oct. 27th and Concordia University the following evening. 

For Brock’s full schedule and results, please go to gobadgers.ca. 

Brock men’s lacrosse close out the season with two home wins

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Brock’s men’s lacrosse team was back in action this weekend, playing in games nine and ten in their final matches of the season.  

On Saturday, Oct. 21st, the Badgers faced off against the University of Toronto Varsity Blues for the second time this season. Toronto, who sits second to last in the Canadian University Field Lacrosse Association’s (CUFLA) West division, lost by a decisive 12-5 score the last time the two met on Sept.16th.  

Brock, who now sits in third place in the West with CUFLA’s second-ranked offence, was looking to replicate that performance. 

Luckily for the Badgers, that’s almost exactly how it played out. 

Mimicking their previous game against Toronto almost verbatim, Brock’s leading scorer Avery Steinbach-Parker potted the Badgers with just over three minutes remaining in the first quarter.  

With 11 seconds left, Steinbach-Parker’s goal looked to stand as the lone marker in the first before Blair Pachereva—Badgers’ second-highest goal-scorer—battled his way through several Blues to find the back of the net with three Toronto defenders draped over him. 

“C’mon, that guy’s gotta be on his a**!” yelled a Toronto player in frustration as Pachereva celebrated his way to the Badgers’ bench. 

Pachereva would strike again soon after. 

Three minutes into the second quarter, Pachereva scored his second of the night stretching the lead to 3-0. Pachereva’s goal remained the only one of the frame with the Badgers holding the lead until early in the third.  

Toronto found themselves the first team on the board in the second half, scoring two minutes in.  

However, their celebration would be short-lived.  

The Badgers quickly responded in kind with Colton Armitage grabbing his first of the game less than two minutes later. The Badgers would pump two more behind the Blues’ goaltender before the quarter was up, with a goal from Brodie Thoms and Steinbach-Parker’s second of the night. 

From there, Toronto had no response to the Badgers’ offence. The Blues couldn’t find another goal the rest of the way, while the Badgers had no trouble, adding three more in the fourth quarter, winning 9-1. 

With another outstanding performance, Steinbach-Parker maintained his role as Brock’s main offensive catalyst, finishing with two goals and two assists, game highs in both categories. Steinbach-Parker sits at 17 goals and 26 points through nine games played. 

Pachereva and Armitage both also finished with two goals, while Aidan Buis had a goal and an assist in the win.  

Only a day later, the Badgers would line up again at Alumni Field to play the McMaster University Marauders in their final game of the regular season.  

McMaster is a middle-of-the-pack team, and the Badgers didn’t anticipate much trouble. Surprisingly, the Marauders struck first – and all the more surprising – it took them until two minutes remaining in the first half to break the ice.  

After a scoreless third quarter, the Badgers looked doomed to lose this tight, low-scoring match. But, who else but Steinbach-Parker would open the scoring for the Badgers in the fourth quarter. Brock had the run of the game from there on out with Armitage and Jaden Patterson both scoring to secure a 3-1 nailbiter.  

The win leaves Brock with a final 7-3 record, placing them in a tie for fourth in the CUFLA. 

With the CUFLA regular season coming to a close, the Badgers will have to wait and see who they will face in their playoff matchups. For more information, please go to gobadgers.ca.

Women’s volleyball come away even in Quigley Cup rematch

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This past weekend, Brock women’s volleyball took the long road to Kingston to play the Queen’s University Gaels in a rematch of last year’s Provincial Championship. 

The Badgers beat Queen’s handily during last year’s regular season, winning in straight sets in their two meetings, but had a more difficult go in the Quigley Cup where they won despite dropping two sets.  

On Nov. 18th, the first of two matches got underway in much the same fashion as last year’s regular season matchups.  

In set one, after a 5-5 tie game devolved into a 12-6 advantage to the Badgers, the set was not very interesting. Emily Foest and Sadie Dick punched in the final four points of the set for kills, taking it 25-16. 

Set two was marginally more exciting. This time around, Queen’s was decent enough to stretch the score to 13-13 before having their brakes blown off. The Gaels got a few token points down the stretch, but all the same the Badgers won set two by a convincing 25-19.  

Unfortunately for the Gaels or any viewer hoping for an ounce of intrigue, Queen’s was again trounced in set three. Brock first turned a 10-10 tie into a 14-10 lead. They then stretched that lead into an even more impressive 20-13 lead. From there, there was nothing for the Gaels to do except roll over and accept a 25-17 set loss and a straight-set defeat.  

Perhaps feeling the sting of the dispiriting loss, Queen’s returned with a vengeance in game two, looking much more the part of a Provincial finalist. 

Brock took a significant lead early, going up 10-5 in set one, and though it seemed that they would soon squander it with the Gaels brining it as close as 10-8, the Badgers managed to hold on, though not without difficulty.  

Queen’s managed to pull the score within one or two several times down the stretch, including a close call when they brought it within one, down only 19-18. The Gaels battled hard, but the Badgers scored 6 of the final nine points to take set one.  

Set two, they were not so lucky.  

Killing the Badgers at the net, the Gaels jumped out to a sizeable 12-2 lead. Brock clawed back to make it much more respectable, but still fell 25-20.  

In set three it was Brock’s turn to grab a lead and run with it. Capitalizing on the Gaels’ most error-prone set, the Badgers were able to establish a five-point lead and maintain or grow that margin throughout the set, eventually winning 25-17.  

 Now up 2-1, this was a great chance for the Badgers to put Queen’s away, but the Gaels completely flipped the game on its head, starting in the fourth set.  

Though the score stayed close, the Gaels held a definite advantage throughout set three. It was only once they’d eclipsed the 20-point barrier that Queen’s really started to pull away, scoring seven of the final nine points to take it 25-18, forcing a playoff set. Set four was the worst of Brock’s weekend, recording only seven kills to 10 errors. Queen’s, on the other hand, had one of their most efficient, with 13 kills to three errors.  

The Gaels did their best to put the game away early, running up the score to 4-10, but the Badgers battled hard and were able to bring it back to 11-12. That was unfortunately the closest they would get: Queen’s secured the final three points, winning the set 11-15, and the match 2-3.  

The Badgers play their last two games before the winter break at home, facing Lakehead University on Dec. 1st and 2nd. For more information, please visit gobadger.ca. 

Boygenius’ the rest: another building block in Boygenius’ journey to indie royalty

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Rating: 4/5  

The indie band Boygenius surprise-released their EP the rest on Oct. 13th as a follow-up to their debut album the record, released in March. 

Boygenius has become a staple in the indie-rock scene, encompassing the most genius, like-minded women in the music industry all in one band, namely Phoebe Bridgers, Lucy Dacus and Julien Baker. While the band has harnessed a cult-like following since their self-titled EP released in 2018, the success of their debut album, the record, signified a colossal magnitude of success and influence in the genre. 

Just seven months post-debut release, Boygenius has shared a collection of four songs as part of their EP, the rest. Do not be alarmed, the rest does not fall victim to the B-side album treatment that some bands push for profit’s sake. As described by Phoebe Bridgers in an interview with Zane Lowe: 

“These songs don’t belong on the record. To me, the record couldn’t be another way. I think these four, I have no idea where any of them would go in the sequence. They make no sense, but they make so much sense together. It’s really exciting.”

Truer words could not be said. Simply put, the rest differentiates itself from prior work in Boygenius’ catalogue. The feelings provoked while experiencing the album bring to mind the sensation of aimless, quiet walks taken as the sun sets. Even prior to hitting play on the very first song on the EP, the cover artwork translates all the emotional nuances one is about to discover once Julien Baker’s voice paints the beginning of the album in “Black Hole.” 

As an opening statement, “Black Hole” puts forward the idea of trusting the unexpected and feeling comfort in the unpredictable. The first verse features Julien Baker singing over an escalating yet melodious combination of poignant synthesizers and guitar strums. In the second verse, Phoebe Bridgers and Lucy Dacus’ haunting voice performances shine over the sound of muffled drums and guitar strumming. The vocal performances, mixed with the powerful yet muffled instrumentation create a harmonious but charmingly dishevelled track. 

One of the star tracks in the EP to keep an eye out for is “Voyager.” Appearing as a slow burn within the track list, “Voyager” emerges as a soft whisper of confusion and agony amidst chaos in a relationship. Boygenius channels this pain through a metaphor of a voyager stepping into the moon yet realizing how dull and “blue” it truly is.  

Phoebe Bridgers interprets the main vocals of the song accompanied by humming cadences interpreted by bandmates Lucy Dacus and Julien Baker. The tempo is almost conversational in nature, coming off as an intimate poem written by the band. The talkative rhythm in Bridgers’ voice flows in accordance with a looping finger-plucked guitar melody that highlights the band’s vocals and words rather than concealing them.  

The release of the rest, following Boygenius’ debut album the record, masterfully serves as a building block in Boygenius’ career to establish their dominance in the indie-rock genre. As if Boygenius’ cult-like following needed any more reasoning to be obsessed over their music, the rest provides their audience with another piece of media to rightfully play on repeat.  

Is Disney killing cinema?

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Movie studios like Disney have changed the landscape of the film industry; and maybe not for the better. 

Recently, I’ve become especially sick of comic book movies.  

When Disney’s slate of Marvel films started in 2008, I was initially a big fan but somewhere along the way they’ve lost me.  

Maybe it’s because they feel so factory produced now, or maybe with how many of them there are I just feel over-saturated. 

Whatever it is, lately I’ve been craving a different kind of movie. 

On a Sunday in late August, I was possessed by a sudden urge to go to the movies. Specifically, I really wanted to see Christopher Nolan’s Oppenheimer.  

I found my seat as the previews were ending; my thoughts consumed by the horror stories of awful theatre etiquette coming out of the pandemic. I was a little uneasy when the raucous crowd’s loud intermingling conversations began to bleed into the beginning of the movie, but my fears were quickly assuaged when Cillian Murphy appeared on screen, and everyone quieted down.   

Though nothing was overly distracting, the rumours were in fact true. People holding conversations at normal volume at key plot points or scrolling through Tik Tok while the bomb was going off. The most heinous began with a couple having a fairly public fight directly next to me. The boyfriend eventually stalked off while the other remained at the movie only to also scroll through Tik Tok the entire time.  

I wouldn’t go nearly so far as to say that it ruined my viewing experience, but it was definitely jarring. It was bizarre to see a group of 19+ people at a VIP showing unable to remain focused on a movie for its full duration—let alone one of the most successful films of the 21st century. 

I find Oppenheimer an interesting case. Movies like this don’t seem to get made much anymore. It’s a three-hour, exposition-heavy, biopic with an all-star cast and director that a lot of people seem incapable of investing their full attention in. However, I would argue its box office success is evidence of a larger demand for films of its ilk. 

The media seemed to think so too.  

After Martin Scorsese sat down with GQ to discuss the state of the industry and his filmmaking, Dexerto released an article comparing Scorsese’s upcoming movie, Killers of the Flower Moon, to Oppenheimer.  

The author, Daisy Phillipson, suggested that “Killers of the Flower Moon may be the next Oppenheimer following a rush to bag tickets by fans looking for their next cinematic fix.” 

The Phillipson added that both films’ successes “demonstrates audiences’ thirst for adult-targeted cinema and compelling storytelling.” 

With all due respect, what on earth does that mean? 

“Cinematic fix” and “adult-target cinema” just seem completely absurd. They suggest that the majority of movies are not targeted to adults and that “cinema” is a rarity.  

It’s a particularly interesting comment to make, especially considering the contents of the Scorsese interview that prompted it.  

While Zach Baron—the interviewer—and Scorsese began by discussing his past as a director, his life and childhood, they eventually got on the topic of the state of the industry. 

“Well, the industry is over,” said Scorsese, one of the industry’s greatest.  

It was around this point that the interview took a bitter turn.  

In Scorsese’s mind, many of the industry’s problems begin with Marvel and other “comic book movies.” 

“The danger there is what it’s doing to our culture,” Scorsese said. “Because there are going to be generations now that think movies are only those—that’s what movies are.” 

Scorsese then doubled down saying, “They already think that.” 

It certainly feels that way.  

One response to Scorsese’s comments came from a now-deleted post on X, formerly Twitter, that drew a lot of engagement. Quoting Canadian media critic John Campea, the post suggested that audiences resonated more with media like Ms. Marvel, a Marvel TV mini-series, than The Wolf of Wall Street.  

“Nobody can relate to being a billionaire getting busted by the feds.” 

Sure —that’s almost certainly true —and also misses the entire point of The Wolf of Wall Street, a film about the insatiable greed of America’s 1% and the repercussions of their actions. 

At the end of the day, I can’t argue with the results; it looks like it’s what the fans want. 

Since being bought by Disney in 2009, as of February, Marvel has earned $28.2 billion at the global box office.  

Despite the success of these films, they often feel like they’re missing something. Another post in this Scorsese discourse from a comic-book-movie fan illustrated it excellently: “You have to micromanage a shared universe for it to work. You want that much creative freedom, watch indie films.” 

This was something else that Scorsese touched on in his interview as well. A long-time antagonist of the major studios, Scorsese believes that much of this lack of emotional depth comes from these studios.  

“[Studios aren’t] interested any longer in supporting individual voices that express their personal feelings or their personal thoughts and personal ideas and feelings on a big budget,” said Scorsese, “Now…they’ve pigeonholed [those movies] to what they call ‘indies.’” 

This division has occurred in cinema so that we now have two kinds of films: movies and entertainment products. 

Don’t get me wrong, entertainment is always a good thing, and there’s a lot to enjoy about comic-book movies. At a certain point, though, some of it becomes a little insulting to the viewer.  

Their stories feel increasingly pallid and hollow. They lack character development, pushing on from one plot point to the next. The dialogue feels vapid, every moment of sincerity undercut by a snide remark or lame quip. They don’t push the boundaries of the form, except in how much they can spend on CGI. Most importantly, they lack the substantiative qualities that separate art from simple content. They stand for nothing and therefore risk nothing. It’s all manufactured to appeal to the maximum number of people with a minimal amount of risk of alienating even a single viewer. 

Perhaps the best example is the “multiverse” storylines that are cropping up, full of forced character cameos, characters coming back from the dead, slapping 15 pieces of Marvel IP together with $100 million of CGI and calling it a day.  

The pattern —noticeable in Marvel, DC and Star Wars— bears a striking similarity to the returns from the dead of WWE wrestlers like The Rock.  

I queried my roommate, a WWE fan, about the comparison. His response was, “Yeah, but it’s really cool.” 

He’s not wrong, and neither are the Disney writers who are completely aware of this.  

But fake wrestling isn’t an art form. It’s becoming harder to say that the comic book movies are anything close either.  

It shouldn’t be like that. Film is an art form. It’s art in the same way a painting, a sculpture or a piece of music is. What’s happening in film now is as if the most successful style of paintings on the market were Canva infographics. 

We’ve entered a point in cinema discourse that positions these comic book movies as movies for the everyday person due to their easy digestion. The simplistic nature of comic book movies’ enjoyment is considered the overwhelming merit of the work itself, rather than any artistic liberties the movies choose to make. “Let people like what they want!” is a common refrain used to absolve any film from the rigours of critical analysis. 

On the other hand, more complex movies, with nuanced and conflicting characters, stories and moralities, have their intricacies used against them like a cudgel. People can’t be bothered to put in the work to unpack a movie and think that any movie that requires that or encourages that is “pretentious.”  

It’s likely a sign of the times: people’s tastes —and the industry itself—have changed. 

I have a number of friends who tell me they mostly watch TV shows because they better match their shorter attention spans; they don’t watch movies outside the Disney ones or raunchy comedies. The type of movies I am talking about require a rigorous attention that the average viewer has no desire to expend. 

The American movie industry has also moved in a different direction as a whole.  

Since Wall Street started to expand into Hollywood in the ‘90s, the industry has been dominated by hedge funds, whose capitalistic approach impacts the ways movies get made.  

Hedge funds, by nature, want to squeeze every single dollar out of a property in the most efficient way possible, and their movie-making practices reflect this. 

Every single Marvel movie makes money, no matter how much of an affront to the idea of cinema it is; if the big Hollywood execs know they can make money churning out a few comic-book movies every year, why would they stop? 

To cap it off, the diminishing theatre industry hurts “indie” films too. Studios now own massive streaming services that they are incentivized to populate with their own IP.  

In turn, the streaming services cut deeply into the revenues of theatres, which are then forced to make choices about what kind of movies they show. Why would they give chances to indie films when they’re barely clinging to survival? 

The film industry has been fundamentally changed.  

However, that doesn’t mean I think people who care about great cinema should just give up either.  

Based on Killers of the Flower Moon and Oppenheimer, there is demand for it, but people need to show the hedge funds that in the only way they understand: money. 

Buy tickets to the theatres, visit film festivals like TIFF, and subscribe to streaming services like Criterion or Kanopy that support a wider range of film makers. 

Disney and its hedge-funded brethren might be committed to anti-art, but that’s only because it’s profitable.  

If people show that they care about good art with their wallets, more of it will be made.   

The industry as we know it may be over, but it’s not dead yet. 

The dark history of plagiarism in HBO’s “Euphoria”

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The HBO-drama series has acquired recent attention for accusations of plagiarism. 

The hit HBO series Euphoria took streaming platforms by storm upon its release in 2019. The show follows the story of Rue, played by Zendaya, a recovering teenage drug addict navigating the complexities of recovery. Additionally, she deals with the world of adulthood pressing down on the fading world of her youth. 

The show released its second season in winter 2022 and is set to produce a third season in the coming years. 

Without question Euphoria was a massive success, being critically acclaimed for its characters, acting performances, original score and cinematography. However, it is the cinematography which has ignited accusations of plagiarism against the show’s creator and director Sam Levinson. 

These accusations came from Canadian director of photography Petra Collins, who claims that Levinson and HBO ripped off the photography and aesthetic choices she became known for. 

Born in Toronto, Collins turned to photography as a hobby, aiming to capture female sexuality and the many fluctuating emotions of adolescence, particularly from the female gaze. After establishing a platform where she could publish her own creative work, Collins began to receive directorial offers, going on to become a collaborator with singer-songwriter Olivia Rodrigo in her music videos.  

In a now archived interview with Punkt, Collins spoke about her experience with Levinson and HBO: 

“[Levinson] reached out to my agency and told me: ‘I wrote a show based on your photos. Will you direct it?’ So, I moved to LA and worked for HBO for about 5 months. I created a whole world for it, I did the casting, and at the last minute HBO was like, ‘we are not hiring you, because you are too young,’ and that was like ‘fine, okay, thank you so much,’ they won’t take my version of the show obviously – I was so naive – they’ll just do another one.’ So, it was fine, I learned a lot, it was interesting… And a year later I walked out of my apartment and saw this billboard and it’s exactly what I am, as a copy of my work.” 

The resemblance of Euphoria’s visual direction with Collins’ work is uncanny. Collins herself even collaborated with actors from the show in previous projects before filming for season one began. In 2016, a video titled “Love Is So Much!” starring Barbie Ferreira was uploaded to i-D’s YouTube channel.  

The video incorporates the striking visual aesthetic Collins is known for: vibrant neon lights cast over a hazy, dishevelled bedroom reminiscent of youth’s emotional turbulence.  

 
Collins shot images of the Euphoria stars Zendaya and Hunter Schafer. She also published a photography book with Alexa Demie, who was also involved in the show as an actor. 

Perhaps the primary cause for alarm is the resemblance to Collins’ book Coming of Age, which illustrates teenage life in the 2000s. Iconography from the show’s first season such as the glitter tears makeup bears a strong resemblance to Collins’ work titled “Jackie and Anna (rainbow tear).” The explosive hues of colour overlaying models with distraught, pensive — or for lack of a better word, euphoric — expressions paint the turbulence of growing up and exploring how one fits into the world. 

There is irony behind HBO’s choice to remove Collins from Euphoria for being young, since the world Collins claimed to create as well as her creative direction and work leading up to the project were made for youth by youth. Euphoria itself is listed as a teen drama, and despite drug addiction spearheading the array of conflicts in the plot, the show references youth culture and coming-of-age themes, in all their pain and glory. 

Regarding accountability, Levinson and the HBO network may both be held accountable. Regardless of Levinson’s own decisions when directing the show, HBO’s choice to ultimately exploit Collins creative direction and ideas is a disturbing demonstration of women in creative industries being prevented by patriarchal institutions from excelling to higher positions of leadership. 

Additionally, Euphoria itself has been open about being a direct adaptation of an Israeli miniseries of the same name, with similar characters and plot. What the show has not shared is its alarming similarity to Collins’ aesthetic that she built her career on. The network and Levinson used her familiarity with girlhood from an experiential and artistic frame of reference to produce content without the labour of paying her. 

To have one’s work stolen is a cause for distress, but the matter also prompts discourse on the other side of the coin: primarily, the question of authenticity in art. If we are consumers of art, is the art we produce directly influenced by it against our own will? 

To date, neither HBO nor Levinson have responded to the accusations made against them. 

Art theft has fueled discussion for decades. Regarding Petra Collins and the turmoil with Euphoria, the show’s popularity has brought her style to the mainstream, making it something that can be replicated with ease. The sharing of art as a means of bringing people together is a valuable component of popular culture, but it equally serves as a bittersweet reminder that nothing may truly be sacred. 

“Strange Way of Life” and “The Human Voice”: A delightfully eclectic double feature

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3.5/5 

Spanish filmmaker Pedro Almodóvar delivers two thought provoking stories with his latest short films. 

The first short in this double feature shows the tumultuous spiral of a woman following the end of a relationship. Played by Tilda Swinton, the protagonist is a visually striking character. Throughout the film, she wears various vibrant colours, from deep royal blues to igniting reds. This is not an aesthetic choice without symbolism, rather the vibrancy aids in the outpouring of emotions the protagonist is cycling through during the break-up.  

An opening scene in the film shows the protagonist purchasing an axe in a hardware store. The store itself is unsuspecting, but the protagonist’s attire speaks for itself. A monochromatic deep blue outfit accompanied with sunglasses concealing any secrets her eyes may be holding, giving a voice to her emotions.  

The majority of the short film is set in the protagonist’s apartment, where she formerly lived with her ex-lover. Much of the dialogue spoken in the film occurs over a phone call with only the protagonist’s voice being heard. Interestingly, this “one-man show” approach to dialogue does not feel confusing to watch. Both the script and Swinton’s performance are meticulous in describing the demise of the relationship with only the protagonist’s voice being heard. 

With The Human Voice, Almodóvar seeks to create experimental artistry from the simplicity of one voice. Passion, heartbreak, desperation and anger can all be heard in Swinton’s performance as she paces along the tiles of her abode, a cell of torment.  

 
Swinton could easily rest atop the many accolades achieved and stellar performances she has delivered. Nevertheless, she persists and continues to challenge herself with roles many would not reach the level of. From being a regular in Wes Anderson’s films to playing three roles in Luca Guadagnino’s Suspiria, Swinton is an unrelenting artistic force to be reckoned with. 

 
The Human Voice can hardly be called a digestible watch; it goes down like a screwdriver and the audience always feels left with gaps of information. It is, however, a powerful demonstration of acting and voice as a storyteller, and an engaging one at that. 

Strange Way of Life 

3/5  

The second short film tells the story of two friends, Silva (Pedro Pascal) and Jake (Ethan Hawke), reuniting after years of separation. Set in the unforgiving land of the American southwest, Silva returns to his hometown to visit Jake, who currently holds the title of the local sheriff. The two immediately reignite a spark they shared years ago, revealing buried feelings of romantic affection the two have for each other. 

The Western genre has traditionally been a source of masculine iconography with men on cowboys with lassos, dominating the land they cross. Strange Way of Life includes many of those conventions but feels refreshing for depicting homosexuality in a way that does not compromise how masculinity is understood in the Western genre.  

Pascal and Hawke give noticeably dramatic performances, though their acting reaches levels of a soap opera at times, making the drama feel a little suffocating, worthy of an occasional eye roll for some. The script itself is also to blame for this and would have benefited significantly from a longer runtime to flesh out the tension between the two. 

The primary conflict within the plot surrounds Silva’s son being the prime suspect in a local murder case that Jake is responsible for solving. Both men are faced with the ghosts of their past adventures and must reflect on how the murder impacts their relationship.  

While the depiction of masculinity among gay men in traditionally masculine genres is interesting, it has been approached by other works in far more effective and memorable ways. The prime example that comes to mind is Brokeback Mountain, though more recently HBO’s The Last of Us told the tender story of Bill and Frank in the show’s third episode. Although the episode had the groundwork of previous ones to aid in its worldbuilding, it made good work of its script and timeframe to create an air-tight plot.  

Strange Way of Life may attract audiences for its lead actors, who both tackle the script with passion, but the overarching story is rather uninteresting. If one seeks out this film in hopes of finding a diverse and believable portrayal of gay relationships between men, Strange Way of Life is not the way to go, staying in predominantly safe territory. It is an amusing watch, but hardly a memorable one. 

Troye Sivan embraces sexuality through dance on “Something To Give Each Other”

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4/5 

Troy Sivan cements himself as one of the most important artists in the queer community with his newest LP. 

Australian artist Troye Sivan began teasing his new album Something To Give Each Other with the release of the single “Rush,” a driving summer anthem of hedonism. The track would later be revealed to be the album’s opener, pulling listeners onto the dancefloor before they have the chance to back out.  

“Rush” was released with an accompanying music video shot in Berlin. The video helps provide a taste of queer-club culture, painting the image of a sweaty dance floor under strobing lights, bodies colliding in flashes of darkness. It’s the sound of pure erotic bliss leaving as fast as it arrived, demanding you to savour every beat. 

The subsequent track and the first deep cut of the album is the pulsing “What’s The Time Where You Are?” where Sivan yearns for his lover, feeling connected by the thought of what he may be doing from across the globe. The tempo is far less frantic than “Rush,” but it keeps a steady energy to keep listeners either bobbing their heads passively or dancing from wall to wall. 

A striking highlight on the record is the track “One Of Your Girls,” where Sivan describes the situation of flirting with a guy who may identify as straight. In an interview with Apple Music, Sivan declared the track to be “[his] favourite he has ever worked on.” The seductive sound of the track reflects Sivan’s fascination with flirting with straight men, feeling in touch with his own femininity, and willingness to be one of his girls if it means gaining the affection he desires.  

There is a sultry aura to this narrative, as Sivan knows he will eventually have his heart broken from rejection. It’s a tragic, authentic story many gay men endure, disconnecting from themselves to become objects in hopes of fulfilling the desires men may want. In the chorus, Sivan coos with the line “Give me a call if you ever get lonely / I’ll be like one of your girls or your homies,” reflecting his willingness to rush to men to please them but vanish if they want him gone. It’s a personal yet all too familiar struggle gay men find themselves cycling through. 

The following track “In My Room” is a playful pop cut that Sivan likens to “kicking [his] feet on [his] bed using Tumblr on [his] first MacBook,” a description that is accurately matched by the song’s bouncy production with lyrics that feel like diary entries about one’s first crush. 

The album’s mid-section slows down as Troye adds a pinch of soul to his polished pop rhythms on “Still Got It” and “Can’t Go Back, Baby.” With an electric organ and fuzzy drum machine, the two songs paint colours of passing city lights as the warm breeze teases your hair from a car window. 

 
The visual groundwork of Something To Give Each Other is effectively captured in music videos and promotional work for the album. It’s a meticulously crafted aesthetic that shows Sivan’s dedication to making the album a visual experience as much as an auditory one.  

The flow of the album’s throbbing beat is unfortunately interrupted by the single “Got Me Started,” which mixes a sample of Bag Raiders track “Shooting Stars.” Sivan rides the sample with a catchy hook, but the sample standing alone is poorly mixed and feels jarring to the ears. The final version of the song feels like a demo better suited for a music file titled “ideas?” never to be touched again. 

Regardless, Sivan picks up in the album’s final tracks, rounding off on the same euphoric house beats with hints of 2010s trance EDM. The penultimate track, “Honey,” is a standout from the album’s slower B-side, encouraging listeners to dance once again. 

A five-year gap between albums generates high expectations for an artist’s return, but Sivan returned with confidence and vision on Something To Give Each Other. His previous work felt sombre towards the topic of his sexuality, but with this LP, Sivan finally sounds like he has had room to breathe and accept every aspect of himself.  

SZA may not be ‘wack,’ but her overreaction was

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SZA’s recent response to a fan referencing a fanbase meme on Instagram was inappropriate for a person who willingly chose a life of fame. 

A few weeks ago, TikTok user “vadellor” shared an experience in which Grammy-winning artist SZA privately messaged her. vadellor, who goes by “Vaseline,” had attended one of SZA’s shows and posted a picture on Instagram referencing the fanbase meme “SZA Wack.” For those unacquainted, “wack” refers to something that is not good, annoying or generally uncool. 

Vaseline tagged SZA on the photo taken at the concert, and surprisingly, SZA came across the photo. Unfortunately, the artist was offended by the meme, leading her to comment on the post, writing: 

“I don’t think you realize how f****d up that actually is and how hurtful it was back then and how it RUINED my confidence and desire to perform live. Y’all not human it’s sad. Really wish you the best. Love.” 

After seeing the comment, Vaseline quickly became embarrassed and deleted SZA’s comment, prompting the artist to privately message the fan. 

In the hour-long back-and-forth that ensued, SZA explained that her feelings matter and that “being the butt of a joke [just because you’re] popular doesn’t make it better or okay.” Vaseline explained that the meme had become popular within SZA’s fanbase and that they didn’t intend any harm by using it, but the dialogue still ended negatively. 

This issue brings up the topic of celebrities’ feelings and what’s appropriate for fans to share online. The other question this situation raises, however, is this: is it appropriate for celebrities to respond to individual comments online whenever they see something that might be personally upsetting? 

The first thing to make clear is that people’s feelings matter, whether they’ve got tens of millions of followers or none at all. SZA is completely correct that her anxiety and mental health are important concerns, and her position of fame doesn’t take that away from her. 

Despite that, there’s something uncouth about a massively popular celebrity reaching out to individual people making jokes on their social media pages.  

When a person willingly chooses to enter a life of fame, they must accept that there are going to be jokes made at their expense. Whether these jokes are made by fans as joking references to fan base humour, or it’s coming from genuine critics or ‘haters,’ there is a level of acceptance that must come with taking on fame. This is a natural part of being a celebrity. There are people that aren’t going to like you, and there will be people that are outright cruel. 

Vaseline’s post didn’t seem to follow either of these trends, but for the purpose of understanding this topic, let’s further explore the potential of even harsher statements. 

This isn’t to say that hateful comments are acceptable just because the subject is a celebrity – bullying is bullying regardless of the target. But when a person takes on massive fame, they should know the circumstances they are getting themselves into. It’s okay to have your feelings hurt, but part of being a celebrity is leaving jokesters alone and focusing on your craft. There’s a reason why famous singers and actors don’t reach out to every critic of their work – they might be personally upset, but they ultimately move on and don’t single anyone out. That’s just a part of having widespread fame. 

Of course, there is a line here. Perhaps some more outrageous comments or jokes might justify some sort of response, especially when they become dangerous for the celebrity (although at this point, these can no longer be considered innocent “comments” or “jokes”). In this case, SZA singled out a fan who made a reference and spent an hour accusing that fan of not caring about her feelings. 

That’s not her responsibility. While SZA is completely valid to feel however she wants about jokes or critics, it is inappropriate as a celebrity to message a single person who, in this case, was making an ultimately innocent joke. 

Some people might not be okay with this for themselves. They may feel that it should be appropriate to defend themselves in any given case, and that’s okay. But if they aren’t able to accept this, they should understand that assuming a life of fame might not be the right path for them. There is a level of public resilience that needs to come with fame, and those who can’t handle this should consider if aiming to become a celebrity is really the right choice for them. 

Celebrities’ feelings are valid, and they deserve support systems to help them through their troubles, but those who willingly assume a life of fame must understand and accept the inevitable negative aspects that come with it.