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Anchovies are the best pizza topping and you can’t convince me otherwise 

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Anchovies are an amazing pizza topping and I’m tired of pretending they’re not. 

Perhaps you’ve gone to take a bite of pizza before noticing a tiny fish lying atop the cheese. Or maybe you’ve taken a bite and noticed the salty and somewhat crumbly texture of an anchovy gracing your tongue.  

If you’re like most people, you probably gasped in horror and maybe even rushed over to the nearest garbage can. Statistically speaking, you’re probably yet another anchovy hater who can’t bear the thought of a tiny fish resting on your pizza slice. 

If that sounds like you, I’ve got a message for you: get over it. 

The thought of being disgusted by a tiny little fish as a pizza topping is utterly absurd and frankly, it’s time more people started being honest about it. When you refuse to eat pizza that’s come into contact with anchovies, you’re depriving yourself of one of the most flavourful, delightful additions to the classic Italian dish. 

As long as I’ve lived, I’ve found it impossible to understand how a person could enjoy a meal of fish and chips only to turn around and tell me I’m disgusting for enjoying a fish on my pizza. Talk about hypocrisy. If you have no problem consuming meals with fish as a primary course, you have no right to act like you’re somehow above eating a smaller fish as an ingredient. 

As for the flavour of an anchovy, it’s mostly just salty, which means it’s not an unfamiliar taste for pretty much anyone. In short, if you’re okay with eating fish and you don’t mind the taste of salt, there should be no logical problem with eating anchovies. 

If you’ve still got concerns about eating one of our fishy friends, refer to this handy set of rebuttals: 

Don’t like the salty flavour?  

Then why do you have a salt shaker in your cupboard? 

Too slimy?  

If the pizza’s been prepared properly, it shouldn’t be slimy or wet. Take it up with the chef. 

Don’t like the idea of gobbling a creature whole?  

I promise you, you’ll survive. 

What about those little hairs growing out of it?  

Think of it like an extra-special texture. 

Don’t like fish?  

When’s the last time you tried it?  

…that’s what I thought. 

As you can see, most arguments following anti-anchovy rhetoric can be easily debunked. I have a feeling that many people who strongly dislike anchovies on pizza have never even tried it and are more afraid of falling out of line than they are of the ingredient itself. 

But it’s time for anchovy lovers to stop living in silence and fear. We know we’ve got one of the best pizza toppings of all time, and it’s time we stop allowing the ignorance of others to define the recommendations we make to our friends. It’s time to live freely, be ourselves and enjoy an anchovy or two with each slice. 

If that sounds unreasonable to you, remember that it could always be worse. 

At least it’s not pineapple. 

Don’t let Trump saving TikTok fool you into thinking he’s changed 

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Gen Z would be wise not to start considering Donald Trump a hero despite his recent quest to “save” TikTok from being banned in the U.S. 

In the weeks leading up to his inauguration, Trump made clear that he opposed the impending country-wide ban on the highly popular social media app, which was spurred by the American government’s fear that TikTok could pose a national security threat.  

Rep. Michael McHaul referred to the app as a “spy balloon in Americans’ phones,” a concern corroborated by Republican Sen. Josh Hawley of Missouri, who expressed fear that the app can “track your whereabouts… can read your text messages… can track your keystrokes,” and even that “it has access to your phone records.” 

Whether any of this is true is inconsequential to some Gen Z members’ positive response to President Trump’s newfound aim to prevent the government from banning the app as planned. 

On Jan. 18, the government’s anti-TikTok rhetoric came to a head when the app went offline for American users — though the long-awaited ban only lasted approximately 12 hours

Over those 12 hours, Americans who opened the app were greeted by a message ensuring them that their TikTok access would be restored shortly thanks to the valiant efforts of their incoming president: 

“A law banning TikTok has been enacted in the U.S. Unfortunately, this means you can’t use TikTok for now,” read the message. “We are fortunate that President Trump has indicated that he will work with us on a solution to reinstate TikTok once he takes office. Please stay tuned!” 

Over the gruelling and emotionally taxing 12 hours in which millions of Americans had to go without their favourite app, many waited with bated breath to see if their new hero Donald Trump could really restore the fundamental American right to watch short-form skits and thirst traps on TikTok. Thankfully, like an angel descending from the heavens, users were met with a new message not long after: 

“Welcome back! Thanks for your patience and support. As a result of President Trump’s efforts, TikTok is back in the U.S.! You can continue to create, share, and discover all the things you love on TikTok.” 

TikTok placing Trump at the front and centre of this discussion is no coincidence. Trump has repeatedly expressed his support for the app, claiming he has “a warm spot in [his] heart” for TikTok because it supposedly helped sway the youth vote in his favour during the presidential election a few months earlier. His new BFF Shou Chew, the CEO of TikTok, took a seat at Trump’s inauguration ceremony, solidifying the blossoming friendship between the pair. 

If we’re honest, it’s not hard to see why this move would positively impact Gen Z’s overall perception of Trump, considering the demographic comprises the majority of TikTok users. It seems this was an intentional part of TikTok’s messaging during the hours it was banned by explicitly naming Trump as its saviour. TikTok users should hold strong to their beliefs, however, and not allow the reinstating of their favourite app to redefine the way they think about Trump. 

This is still the same Donald Trump that you’ve known for years. It’s the same Donald Trump that separates children from their parents at the border. It’s the same Donald Trump that put abortion access at risk in several states. It’s the same Donald Trump that incited an attempted insurrection during the Jan. 6 Capitol invasion, and the same Donald Trump that recently launched a confusing conquest to intimidate Canada and Greenland into territorial submission. 

It’s the same Donald Trump who consistently acts purely out of self-interest, which would explain why he wants to help the app that he believes helped him gain support during the election. If he thought that TikTok helped Kamala Harris instead of him, he’d be the first one riding the “ban TikTok” bandwagon. 

In fact, it wouldn’t be the first time. Let’s not forget that Trump was a key figure in launching the anti-TikTok movement within the American government five years ago, which sought to eventually ban the app for American users. How interesting that as soon as he believes the app works to his political benefit, he no longer seems to deem it a national security threat — in fact, he’ll take it upon himself to be the figurehead of the movement to save it. 

Trump might have done one thing to benefit the millions of TikTok users within America, but that doesn’t undo the plethora of bad things he’s done throughout the past and will certainly continue to do throughout the future. It doesn’t mean he’s suddenly had a change of heart that will turn him into a Gen Z advocate or reverse his stances on a broad spectrum of issues that harm millions of people. 

Don’t let TikTok’s manipulative messaging sway you in favour of Trump. Don’t be so shallow as to allow your morals to be shifted because a social media app was reinstated. And if that’s not enough for you, don’t forget that Trump is the entire reason the app was in trouble in the first place. 

Donald Trump has taken the public role of TikTok’s saviour, but don’t let that redefine the way you think about him. 

I assure you — he’s still Donald Trump. 

“Squid Game 2” review: a solid follow-up that doesn’t hit the same highs as the first season 

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Score: 3.5/5 

This review contains major spoilers for the first season of “Squid Game” and minor spoilers for the show’s second season. 

The long-anticipated second season of Netflix’s Squid Game is a surprisingly solid follow-up to the show’s original nine episodes, though it doesn’t quite live up to the high bar set by the first season. 

When Squid Game’s first season released on Netflix in 2021, it became a surprise worldwide phenomenon. Within weeks of the show’s release, you couldn’t go to the mall without seeing an abundance of knockoff Squid Game merch as investors ironically attempted to make money on the back of the genre-defining anti-capitalist series. 

Three years have passed since recreated dalgona cookies filled up store shelves, and it’s finally Netflix’s turn to squeeze more life out of their hit series. The show’s creator, Dwang Dong-hyuk, never wanted to create a second season, but in the spirit of Squid Game’s anti-capitalist theme, he was finally convinced because the original series apparently didn’t make him much money and the second season would help him be properly compensated. 

So, with enormous expectations upon Netflix to live up to the show’s first outing, how did the second season end up working out? 

Well, the new season struggles to hit the same highs as its predecessor, but that’s not entirely its fault. The first season came with a sense of surprise and allure because of its core concept: a bunch of debt-stricken individuals putting their lives on the line in a series of deadly children’s games for a life-changing cash prize. In the first season, this felt fresh and exciting at every turn, but the second season often suffers from a feeling of déjà vu — haven’t we already seen this before? 

Once Seong Gi-hun (Lee Jung-jae) re-enters the competition to put a stop to the games for good, a lot of the show begins feeling strangely repetitive. The second season’s new cast doesn’t deviate terribly far from the character archetypes present in its predecessor, and the greedy nature of the contestants who want to keep fighting for money despite the risk feels very ‘been there, done that.’ 

Until an epic moment at the end of the season that I won’t spoil here, the show struggles to create exciting new ideas to separate itself from the first season, a significant problem considering much of the first season’s allure was a result of how fresh it was. There’s even a scene where a woman contestant pleads with a guard to let her use the washroom during off-limits time — a replica of a moment where the exact same thing happens in the first season. 

Despite the rehashed themes, the show is still a fun watch because the ideas are naturally good ones. It’s just a shame that there’s not much to make this season distinct from the last one until the final episode. 

One theme that is different, however, is Gi-hun’s reason for joining the game. In the first season, he participated as a regular contestant unaware of the horrors that awaited him before he eventually won and took home the amazing cash prize. In this season, he willingly rejoins the game in an attempt to end it. 

The premise is an understandable continuation of the character’s arc from the first season, but it’s inherently less interesting this way. This is no longer an opportunity for the audience to experience the surprise of the games alongside the protagonist. Instead, it’s a simple revenge plot, which feels like the most basic way the show could have possibly moved on. 

In short, it makes sense — it’s just not as fun. 

Another thing that’s not as fun the second time around is, unfortunately, the actual games. One of the most exciting parts of the first season was constantly wondering what the next game was going to be. From the surprise horror during Red Light, Green Light to the amazing spectacle of Glass Bridge, there was never any way to know what was coming next. The way the games were presented was just as interesting; for example, the show intentionally confused the audience as it revealed the various shapes for the dalgona cookie-cutting challenge before making it clear what game was going to be played. 

That excitement is unfortunately lost the second time around. 

For one thing, there’s only three games this season, a major step down from the six games present in season one. It doesn’t help that the first game is a rehash of Red Light, Green Light, removing the crucial surprise factor from the episode. The next game, unfortunately, is only slightly better. 

The Six-Legged Pentathlon is a confusing mess that doesn’t have the same excitement as any of the games from the show’s first season. As a collection of minigames including stone-throwing and using a spinning top, it lacks the cohesiveness of previous games and feels more like a round of Mario Party than a grandiose spectacle. It’s a fun moment to be sure, but it’s definitely a letdown compared to previous games in the series. 

The third game, Mingle, is definitely the best from this season, but it stands on its own as the season’s sole quality game that lives up to the first season’s glory. It’s a game that forces betrayal and surprise, and it leaves the audience on the edge of their seats as you watch players scramble to save or kill each other. It’s a fantastic sequence, but it’s a shame there’s not much else to match it. 

The second season of Squid Game is not a failure by any means. In fact, considering it was only made in the name of money, it’s probably better than it has any right to be. I wasn’t expecting the follow-up to the show’s iconic first season to be any good at all, but as a big fan of the original, it still left me with plenty to chew on. 

The problem is that many of the good ideas presented within the second season were already there in the first. It’s certainly worth watching if you’re one of the millions of people who enjoyed season one of Squid Game, but you should be prepared to experience many of the same points over again. 

The characters might be toned down, the games might be less of a spectacle and the plot twists might be less exciting, but this is still Squid Game to its core. If you like what you’ve seen already, you’ll probably like watching it all over again. 

Let’s just hope the show’s upcoming third and final season manages to recapture the freshness that made the first season so exciting. 

Super Bowl LIX Preview: Kansas City Chiefs vs. Philadelphia Eagles 

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Super Bowl Sunday is nearly here, bringing excitement and anticipation ahead of the biggest sporting event of the year. 

With the Kansas City Chiefs (15-2) and Philadelphia Eagles (14-3) set to square off at the Caesar’s Superdome in New Orleans on Feb. 9 for National Football League (NFL) glory, here is everything you need to know before choosing which team to root for (or against). 

Five Key Storylines: 

With Super Bowl LIX filled with storied franchises, superstar talent and marquee matchups, the narratives are endless. Here are five of the biggest storylines ahead of the championship game. 

Super Bowl LVII Rematch 

Super Bowl LIX will mark the second time in three years that the Eagles and Chiefs will meet in the Super Bowl after a thrilling Super Bowl LVII that saw Kansas City victorious, 38-35, to begin their reign of back-to-back titles. 

But the Eagles, who are destined to re-write the ending of Super Bowl LVII, have stated that they’ve been dreaming of redemption since the conclusion of their Super Bowl loss two years ago. 

Philadelphia head coach Nick Sirianni said in a press conference on Jan. 28 that their team is using the heartbreaking loss from 2023 as motivation while learning from the lessons the game taught them. 

Sirianni’s message of being “tough, detailed and together” will be looked upon to overcome the forthcoming hurdles in the Super Bowl. 

The Chiefs, on the other hand, are looking for déjà vu after outscoring the Eagles 24-11 in the second half of Super Bowl LVII to steal the title. Quarterback Patrick Mahomes passed for three touchdowns in the contest while Eagles quarterback Jalen Hurts threw one and rushed for three touchdowns in the defeat. 

Will history repeat itself, or will the Eagles find a way to slay the dragon that is the Kansas City Chiefs? 

Chasing History 

Three consecutive titles — that’s the achievement the Chiefs hope to reach if they’re able to successfully withstand a determined Eagles team on Sunday. 

No team has ever won three Super Bowls in a row, and only nine have won twice straight, with the most recent being the New England Patriots who won back-to-back titles a couple of decades ago in 2003 and 2004. 

The first of the Chiefs’ back-to-back Super Bowl championships came against the Eagles in Super Bowl LVII in Arizona before defeating the San Francisco 49ers in overtime, 25-22, only a season ago. 

The last big-four sports team (NHL, NFL, NBA and MLB) that won three straight championships was the NBA’s Los Angeles Lakers from 2000-2002, and now only 60 minutes of football are standing in the Chiefs’ way of a spot in the history books. 

Catching the G.O.A.T. 

We’ve seen LeBron vs. M.J., Ronaldo vs. Messi, Gretzky vs. Lemieux and now we have Brady vs. Mahomes. 

Yes, Tom Brady’s seven Super Bowl rings are still in the distance, but if Patrick Mahomes can win a fourth at the age of 29, the gap is narrowed, especially since Brady only had three at that same age. 

Mahomes has already won two league MVPs — Brady only won three over his entire career — and the Chiefs’ quarterback is only one Offensive Player of the Year award behind Brady. Similarly, Mahomes is only three All-Pro selections short of matching Brady despite (likely) a decade or more of football still ahead of him. 

So no, the outcome of this game won’t distinguish the G.O.A.T., but it would go a long way in potentially swaying one guy over the other. 

Fun Fact: Making matters more interesting for the casual viewer, Brady will be the colour analyst on the NFL on FOX’s broadcast of the Super Bowl alongside play-by-play commentator Kevin Burkhardt. 

Barkley vs. Spagnuolo 

One of the more intriguing matchups of Super Bowl LIX is the battle at the line of scrimmage.  

Saquon Barkley, one of the five MVP finalists from this season, became the ninth running back in NFL history to surpass 2,000 rushing yards in a single season. Barkley followed up his sensational regular season with a 123-scrimmage-yard performance in the NFC Divisional Round against the Green Bay Packers before breaking loose for three rushing touchdowns in Philadelphia’s trouncing of the Washington Commanders, 55-23, in the NFC Championship. 

But the Chiefs’ defensive coordinator, Steve Spagnuolo, one of the brightest defensive minds in the game who’s leading one of the league’s top defences, hopes to shut down Barkley, who’s poised to win Super Bowl MVP if the Eagles come out victorious. 

The battle at the line of scrimmage when Philly is on offence is one of the more interesting battles that will determine the outcome of the game. Spagnuolo’s blitz packages, including a corner blitz that seemingly ended the game against the Bills, may force the Eagles’ hand to throw the ball more — something they’ve done scarcely all year, ranking 29th of 32 teams in passing yards per game in the regular season (187.9) while finishing second in rushing yards (179.3). 

But if Barkley and the Eagles are able to break through the line of scrimmage via their number-one ranked offensive line, it could be a long night for the Chiefs’ defence. 

Officiating 

Whether you like it or not, it wouldn’t be appropriate to highlight a Chiefs game without discussing officiating. The topic of discussion by many fans for the last few years — with greater emphasis this year after Kansas City’s two playoff wins this season, 24-14 against the Houston Texans in the AFC Divisional Round and 32-29 over the Buffalo Bills in the AFC Championship — has been the alleged “favouritism” in officiating towards the Chiefs. 

While conspiracy theorists have pointed to Xavier Worthy’s catch in the AFC Championship that appeared to may have hit the ground and Josh Allen’s potential first down in the fourth quarter of that game, which was ruled short and changed the complexion of the game, league officials have stated that there is no substance to the perceived bias towards Kansas City. 

It will be interesting to see how officiating will play into the narratives drawn from the Super Bowl and if any questionable calls will undermine the outcome of the game in the eyes of fans. 

Head-to-Head: 

Kansas City leads the all-time series against Philadelphia 6-5, which includes winning four of the last five matchups dating back to the 2013 season, highlighted by their Super Bowl LVII triumph in 2023. 

However, the Eagles have the slight edge in points scored (275 to 273) and defeated the Chiefs in their last meeting in November 2023. 

11/20/23 Philadelphia Eagles 21, Kansas City Chiefs 17 

02/12/23 Kansas City Chiefs 38, Philadelphia Eagles 35  

10/03/21 Kansas City Chiefs 42, Philadelphia Eagles 30 

09/17/17 Philadelphia Eagles 20, Kansas City Chiefs 27 

09/19/13 Kansas City Chiefs 26, Philadelphia Eagles 16 

09/27/09 Kansas City Chiefs 14, Philadelphia Eagles 34 

10/02/05 Philadelphia Eagles 37, Kansas City Chiefs 31 

11/29/01 Philadelphia Eagles 23, Kansas City Chiefs 10 

09/27/98 Kansas City Chiefs 24, Philadelphia Eagles 21 

10/11/92 Philadelphia Eagles 17, Kansas City Chiefs 24 

10/22/72 Philadelphia Eagles 21, Kansas City Chiefs 20 

Fun Fact: The Chiefs are designated as the road team for Super Bowl LIX and the road team has won eight of the 11 matchups (72.7 per cent) in the Eagles-Chiefs all-time series. 

Predictions: 

Predicting the outcome of any sporting event is hard, and this being the biggest game of the year makes it astronomically so. Here is my attempt at picking the winner, final score and Super Bowl MVP of Super Bowl LIX. 

Super Bowl Winner: Kansas City Chiefs 

It’s hard to bet against the Chiefs, who have only lost three playoff games in the Patrick Mahomes era (17-3 record) and seemingly always find a way to grind out a win on the biggest stages. 

Kansas City’s active streak of winning 17-straight one-possession games (wins of eight points or less) is a testament to the Chiefs’ dawg mentality of fighting hard for every yard on each play regardless of the score. 

Expect Kansas City to claw their way to another tight victory, something they’ve done in all three of their 21st century Super Bowl victories. 

Score: 30-27 

It’s going to be a close one, as it always seems to be in Chiefs games this season. 

If there is a trend in Kansas City’s three titles under Mahomes, it’s that they start slow but rally in the third and fourth quarters, scoring 31, 25 and 38 points in each of their three titles since 2020. 

The Eagles have also been explosive, tallying 35 points in their Super Bowl loss in 2023 and eclipsing 55 points to advance to the Super Bowl. Philadelphia is also the league leader in postseason points per game, averaging 35 points a contest while the Chiefs rank fifth with 27.5 points per game. 

While it’s unlikely either team will hit the 50-point plateau in this one, expect a high-scoring matchup with both teams trading touchdowns late. 

Super Bowl MVP: Patrick Mahomes 

Typically, the quarterback of the winning team is named the Super Bowl MVP, and you should expect nothing different this time around. The three-time Super Bowl MVP is the front-runner to win his fourth if the Chiefs claim the title, but the Eagles’ Jalen Hurts may have something to say about that. 

The last time a non-quarterback won Super Bowl MVP was in 2022, when the Los Angeles Rams’ Cooper Kupp notched eight catches, two touchdowns and 92 yards. Kupp is one of only two non-quarterbacks (including Julian Edelman in Super Bowl LIII) to win Super Bowl MVP in the last decade. 

Fun Fact: In the 58 years of the Super Bowl, only one player — Chuck Howley in Super Bowl V — won MVP on the losing team. 

Fun Bets: 

For non-football diehards, the Super Bowl is a great way to party with friends and bet on things that seem irrational to win (or in many cases, lose) money on, but elevate the experience. Here are my predictions for some fun prop bets during the Super Bowl. 

Length of Anthem: 121 seconds (2 minutes, 1 second) 

Honestly, betting on the anthem is a crapshoot with every hold of a note or every quick transition of a verse making or breaking your bet. 

New Orleans singer, songwriter and instrumentalist, Jon Batiste, is slated to perform “The Star-Spangled Banner” and the length of his rendition is unknown. 

After tabulating the average anthem length of the last 10 Super Bowls (120.5 seconds), my prediction takes the easy way out, rounding the average to the nearest whole second. 

Coin Toss: Tails 

Literally a 50/50 chance: heads or tails. 

Over the 58 previous Super Bowls, heads hit 28 times — including last year — with tails hitting 30 times, highlighting the even chance of either outcome. 

Following the famous mantra, “Tails never fails,” my pick is in hope that heads isn’t hit for a second consecutive year while acknowledging the totally arbitrary perceived success of tails in coin tosses. 

Halftime Show First Song: “Money Trees” 

For those that weren’t aware, the Apple Music Halftime Show features Kendrick Lamar in what will be the rapper’s second Super Bowl Halftime Show appearance after featuring in the Super Bowl LVI Halftime Show alongside megastars Snoop Dogg, Dr. Dre, Eminem, Mary J. Blige and 50 Cent. 

With over 70 singles and 22 Grammys to his name, it’s hard to pinpoint which song he’s going to open the show with, but “Money Trees” is one of my personal favourites, making it my selection for the Halftime Show’s opening song. 

Gatorade Colour: Purple 

If my prediction is correct and the Chiefs are victorious, then purple seems like a safe bet. 

After Kansas City’s last two Super Bowl triumphs in 2023 and 2024, Andy Reid — head coach of the Chiefs — was dunked in purple Gatorade by his team and it would be odd if the Chiefs changed their Gatorade preferences after the success they’ve endured with purple electrolytes in their systems. 

However, if the Chiefs don’t win and in fact the Eagles’ Sirianni is bathed in Gatorade, yellow or green is a leading candidate as that was the colour of Philadelphia’s Gatorade after they drenched Sirianni following their NFC Championship win a couple of weeks ago. 

— 

Whether you’re looking forward to the entertaining Super Bowl commercials, snacking with friends or want to enjoy what should be an exhilarating game of football, Super Bowl Sunday can’t come soon enough with fans eager to see the league’s top two teams battle for the Vince Lombardi Trophy. 

Catch all the action on TSN and CTV on Feb. 9 beginning at 10 a.m., with kickoff set for 6:30 p.m. 

For information about the Super Bowl, visit nfl.com. 

Canadian Shai Gilgeous-Alexander headlines NBA All-Star starters 

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Shai Gilgeous-Alexander’s sensational season continues with a trip to San Francisco on the horizon to compete in his third consecutive All-Star Game. 

The day after racking up a career-high 54 points in a win over the Utah Jazz on Jan. 22, the Oklahoma City Thunder guard was announced as an NBA All-Star starter, becoming the first Canadian to start an All-Star Game in back-to-back seasons. 

The Hamilton native has followed up his 2023-24 MVP runner-up season with even better numbers this year, leading the league with 32.5 points per game and ranking second with 2.0 steals per game.  

The 26-year-old is also contributing with 6.0 assists and 5.2 rebounds per game as he’s one of only three players this season (alongside Nikola Jokic and Giannis Antetokounmpo) with double-digit games of 30+ points, 5+ rebounds and 5+ assists. 

Gilgeous-Alexander’s stellar play has led the Thunder to first place in the league, having amassed a 39-9 record through 48 games this season. Oklahoma City is also first in net rating this season (12.6) with the Canadian’s play at both ends of the court being a big reason for their success. 

Fans, players and media alike have recognized Gilgeous-Alexander’s domination, as the 2023 FIBA World Cup bronze medalist received the seventh-most fan votes of all players (3.14 million), third-most player votes (158) and tied with the most media votes (95) for All-Star selection. Under the NBA’s All-Star selection format, fans make up 50 per cent of the All-Star starter voting block with players and media personnel each representing 25 per cent of the vote. 

Gilgeous-Alexander joins Stephen Curry (Golden State Warriors) as the two Western Conference starters in the backcourt while Nikola Jokic (Denver Nuggets), LeBron James (Los Angeles Lakers) and Kevin Durant (Phoenix Suns) make up the West frontcourt starter selections. 

The starters from the Eastern Conference include Donovan Mitchell (Cleveland Cavaliers), Jalen Brunson (New York Knicks), Giannis Antetokounmpo (Milwaukee Bucks) — the leader in fan votes with 4.43 million — Jayson Tatum (Boston Celtics) and Karl-Anthony Towns (New York Knicks). 

The 2025 NBA All-Star Game will look different than it has in years past. Rather than a two-team 48-minute game format, which is the standard NBA game, the All-Star Game will be broken into a mini-tournament format featuring three games and four teams, with the winning team decided by the first to reach 40 points. 

The teams will consist of eight players with the rosters of each team drafted by NBA on TNT personnel: Charles Barkley, Shaquille O’Neal and Kenny Smith. The fourth team will be the winning team from the NBA Rising Star Showcase — a highlight event featuring NBA rookies and sophomores as well as NBA G-League stars — which will occur on the Friday (Feb. 14) to kick off the NBA All-Star Weekend. 

NBA All-Star Friday also includes the Celebrity Game, with NBA All-Star Saturday being highlighted by the Skills Competition, Three-Point Contest and Dunk Contest. 

The celebratory weekend will conclude with the 74th edition of the NBA All-Star Game on Feb. 16 at the Chase Center, home of the Golden State Warriors. 

For more information about the NBA All-Star Weekend, visit nba.com. 

Brock women’s basketball drops close game to Queen’s 

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The Brock Badgers women’s basketball team fought valiantly in a high-stakes matchup against the Queen’s Gaels on Saturday, Jan. 25, at the Queen’s Athletic and Recreation Centre.  

Despite an impressive performance, the Badgers fell just short, losing 63-59 in a game full of intensity and competition.  

Angeline Campbell led the scoring effort for Brock with an outstanding 23-point performance. Madalyn Weinert delivered an equally remarkable showing, scoring 21 points and dominating the boards with a game-high 15 rebounds. The duo’s efforts kept the Badgers competitive until the final minutes of the game.  

The game began on a strong note for Brock as they closed out the first quarter with a narrow 15-12 lead. Playing with precision, the team maintained control of the scoreboard throughout the opening period, never trailing. Weinert’s offensive spark continued in the second quarter, where she tallied 12 points to help the Badgers secure a slim 29-27 lead heading into halftime.  

Brock capitalized on opportunities in the first half, covering 11 of 15 free throws and maintaining a strong defensive presence. Their momentum carried into the third quarter, where Campbell took charge with an electric 12-point surge. The Badgers built a 48-38 lead by the end of the quarter, seemingly positioning themselves for a road victory.  

However, the fourth quarter proved to be the running point of the game. The Queen’s Gaels stormed back with a dominant 25-point effort in the final part of the game, flipping the script and outpacing Brock’s 11 points in the quarter. The Gaels’ late-game push was fueled by efficient shooting, connecting 42.2 per cent of their field goal attempts throughout the game compared to Brock’s 33.3 per cent. 

Despite the loss, the Badgers’ performance stood out. Campbell and Weinert’s contributions showcased the team’s competitive spirit and ability to contend with top-tier opponents in the OUA.  

Looking ahead, the Badgers return to the Bob Davis Gymnasium on Friday, Jan. 31, to face the Lakehead Thunderwolves. The matchup marks the beginning of a three-game homestand, offering Brock an opportunity to regroup and gain momentum in front of their home crowd. The Badgers played the Thunderwolves last in January 2024 and surrendered a 77-72 defeat, which they hope to avenge during their next match. 

Although Saturday’s game was disappointing, the Badgers’ performance showcased their ongoing determination as the season progresses. Brock still has every reason to remain optimistic about their path forward in OUA competition, as this is only their fifth loss out of 16 games.  

I’m done being excited about “Hollow Knight: Silksong” 

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It’s become too difficult to wait for Hollow Knight: Silksong’s release. 

On Feb. 24, 2017, now almost eight years ago, one of the greatest games of all time was released. Genre-defining and innovate, Hollow Knight was a masterpiece in nearly every way. The player is placed in the character of the Knight — a small, cute but also hardy protagonist. With the Knight and his iconic nail sword, the player is sent to explore the often-treacherous underground kingdom of Hallownest.  

Completely hand-drawn and dripping with gothic charm, Hollow Knight’s world feels simultaneously intimate and epic: the characters are mostly bugs, yet they inhabit vast, shining castles and richly melancholic cities. 

As you play the game, with its brilliant exploration, compact combat, sentimental moments and satisfying upgrade system, it’s hard not to fall in love. 

I sure did. 

Hollow Knight was a formative game for me, who found it a couple of years after its release when I heard my friend playing the soundtrack’s title song on the piano, piquing my interest in where it came from. By the way, did I mention this game has one of the most phenomenal, epic and atmospheric soundtracks of all time? No? Well, it does. “Nightmare King,” from the Gods and Monsters DLC, is not only one of the most thrilling and imposing boss fight songs of all time, but it’s also just a great track to listen to. 

Hollow Knight introduced me to the Metroidvania genre at large, defined by vast and interconnected 2D landscapes, character and plot progression based on exploration, and tricky but satisfying platformer puzzles. What’s more, Hollow Knight’s prolific environmental storytelling, satisfying difficulty and other “soulslike” qualities gave me the confidence to dive into the “3D Metroidvanias” that are FromSoftware’s entire catalogue of Soulsborne games. I owe a lot to Hollow Knight, and it’s a game that I continue to keep close to my heart — even though I’ve never completed the endgame in Godhome and likely never will, not in my wildest dreams. 

So, when Team Cherry, the small Australian-based indie development team behind the game, announced a sequel to their masterpiece in a reveal trailer in early 2019, I and every other Hollow Knight fan rejoiced. Incoming was a sequel that appeared from the trailer a worthy successor to the brilliant game, building off the mechanics of its predecessor with upgraded movement and combat systems while seemingly keeping all the original game’s charm. It was beyond exciting, and so we waited. 

And waited. 

And waited some more. 

And here we are in 2025, still waiting.  

Despite an initial projected release date of 2023, the game has been delayed indefinitely, and fans’ theories have repeatedly been proven wrong. 

Now it’s February 2025, and we’ve received practically no official news about Silksong’s release. Indeed, the most recent development in the story came shortly after Jan. 15, when Team Cherry co-director William Pellen changed his profile picture on X to a photo of a slice of chocolate cake alongside a tweet that said: “something big is coming. keep your eyes closed tomorrow.” 

Thus began a complicated and absurd hunt for clues in what many fans thought was an alternate reality game (ARG) hinting at an April 2025 Silksong release alongside the Nintendo Switch 2 Direct gaming event. 

Such clues included similarities in the dates of the Nintendo event and the date the chocolate cake recipe was published — April 2 — and a loose connection between Pellen’s new X handle and an Australian-based wine company. 

Despite the desperate search on the part of fans, however, Team Cherry’s marketing and publishing chief, Matthew Griffin, connected with the community “to confirm there was no Silksong ARG and that the changes to William’s account and the tweet were a nothingburger.” 

“The cake was a lie,” said Griffin. 

He later tried to appease frustrated fans by tweeting that “the game is real, progressing and will release,” but at that point, the damage was already done. 

So, what now? 

Griffin’s tweet may have been a nothingburger itself to throw fans off the trail, and April 2 may see Silksong news or even a full release — but at this point I’m done waiting.  

If the game comes out, I’ll be ecstatic and Team Cherry will have my money within seconds, but I wouldn’t count on a release. 

I can understand the lengthy development, so I try not to complain too much about it.  

Team Cherry is made up of only three people — Ari Gibson, William Pellen and Jack Vine — with Griffin managing marketing and Christopher Larkin producing the soundtrack. Five people to create, advertise and polish the sequel to the biggest Metroidvania game, let alone one of the biggest video games in recent years, is astounding. 

Moreover, the pressure to create something as phenomenal as the original, and the fear of failing to live up to fans’ expectations, must be staggering — something George R.R. Martin knows all too well. 

But it’s still gut wrenching. Hollow Knight has surpassed the status of cult classic at this point: it’s a certifiably legendary video game for me and countless others. There’s just something about its crisp gameplay and unique charm that propels it to such a high standard. Some may argue fans put it on a pedestal, but I’d argue there’s a reason so many lists about Metroidvanias compare them to Hollow Knight: it’s the gold standard. 

If it stood on its own, perhaps looking for other games to try and get the same rush would be enough, but we’ve been baited with a sequel and left on the line for six years. At this point, it’s almost cruel. 

The way I’m feeling may have something to do with the headlines I’ve seen about Silksong’s being dethroned as the most followed and top wish-listed game on Steam. Some are upset, but I’m honestly not surprised. Monster Hunter Wilds, the new leader in both categories, has an imminent release date and seems exciting in its own right. 

With Silksong’s only form of update being that it “is real,” it’s hard not to feel discouraged. Until there are some more concrete developments or a physical game to speak of, I will not eagerly anticipate Hollow Knight: Silksong; the pressure’s simply too much, as the ARG debacle plainly shows. 

When it comes, it comes, but until that day I won’t expect it. I’ll never abandon hope, but the sorrow of not having Silksong is too great, and I respect myself better than to wither away in desperate anticipation. 

Maybe I’ll just replay the original. 

Coldest Night of the Year aims to “change the tune” regarding homelessness 

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This year is St. Catharines’ 12th annual Coldest Night of the Year walk, a fundraiser to raise money for the unhoused. 

On the evening of Feb. 22, the Coldest Night of the Year (CNOY) fundraising walk is marching through the streets of downtown St. Catharines to raise money for and spread awareness about local unhoused individuals. 

Emily Fieguth is this year’s event coordinator of the St. Catharines CNOY. Although she’s been volunteering and participating in the walk for years, this is her first time as the coordinator, and she takes her role seriously. She regularly refills the “warmth and care clothesline” beside Mahtay Cafe with a constant supply of hats, scarves, socks and mittens from her car. This display welcomes and encourages unsheltered individuals to help themselves to something warm. A sign there also reminds everyone passing by that: “You are valued, and your warmth matters.” 

Many people use the word “homeless” to describe those living on the streets, however, this word is “not only limiting but also invokes stereotypes,” said Fieguth. “It’s not just that,” she said, gesturing to a man sleeping on the street: “unhoused” or “unsheltered” is more respectful and encompasses everyone without their own residence, including those moving from shelter to shelter or even couch-surfing. 

People from “all walks of life” come to participate in the CNOY, including businesses, social clubs, schools, families and individuals. Fieguth estimates 400 people usually attend the event. 

Last year, the CNOY raised more than $159,000 in St. Catharines. This year’s goal is very ambitious at $175,000. As of writing, the not-for-profit charity Start Me Up Niagara has raised just over $74,900 — 42 per cent of their goal. Donations will be accepted until March 30, and Fieguth is hopeful their target will be reached. 

This year, the theme is “change the tune,” which aims to “change the narrative” on homelessness. Emily Fieguth said they hope to “encourage a shift in perspective — to see unsheltered individuals as resilient people facing complex challenges.” 

An interactive display set up at the start of the event will allow people to consider what they have or have ever had in common with the unhoused community: physical and emotional pain, mental illness, food insecurity, poverty and a lack of stable, affordable housing. 

Fieguth explained the struggles of being unhoused: these people are in constant survival mode, exposed to the elements, worrying about where they’re going to sleep each night and what they’re going to eat each day. When your mind is stuck in survival mode, it’s very hard to think long-term, said Fieguth. 

The CNOY is also a great opportunity for those looking to volunteer. People can help with the set-up, sign-up, check-in, food services and help oversee the walk. 

The event starts at Market Square in downtown St. Catharines at 4 p.m. After checking in, participants can take selfies in the photobooth and partake in the interactive displays. There will be hot chocolate, coffee, snacks and a kids’ fun area. As per this year’s theme, Niagara’s MOVE 105.7 CHRE-FM will be there, as well as local DJ “DJ Nits,” who will be spinning some tunes. 

The walk begins at 5 p.m. It takes place on sidewalks, is wheelchair accessible, can be either two or five kilometers (depending on which route you prefer) and has rest stops for hot beverages and restroom use. 

“Come and have fun, be a part of something, make a positive difference in our community,” Fieguth said. “Help raise awareness and increase the impact.” 

Start Me Up Niagara will be raising funds at the Niagara Ice Dogs game on Feb. 8 with “pass the bucket,” “scan the barcode” and “chuck the puck.” Hockey fans can even join the Ice Dogs’ CNOY team and walk with team captain “Bones.” 

Donating and/or participating in this event directly helps Start Me Up Niagara provide crucial services and programs for the unsheltered, including access to medical support, clothing through Niagara’s Mobile Closet and food security programs through the “From Our Garden” program.  

People are invited to form a team, walk solo or donate if they can’t make it to the event. Each adult that raises $150 will receive a CNOY toque. Those interested can also check out Niagara’s Mobile Closet to make specific item donations. On their Facebook page, they provide a “Needs List” to help encourage the donation of items in desperate need. 

An interview with the Brock Debate Society 

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The Brock University Debate Society was ratified in the late summer of 2024: here’s what their executives are saying about the club. 

President of the newly established Brock University Debate Society (BUDS), Sophia Krause, began the club with a group of her fellow Social Sciences students. In an interview with The Brock Press, BUDS’ Executive Team gave some insight into their ambitions and goals for the club. 

What makes BUDS unique is that it was “founded out of friendship,” said the executive team. The founders shared the desire to explore through debating various concepts they encountered in the classroom. The goal of the club is to engage with topics and ideas that challenge people’s ways of thinking and to encourage the sharing of ideas between students of all disciplines.  

“Not only do we get to explore both sides of potentially contentious topics, but we get to do it in a format that is respectful and productive,” said the execs. One of the most remarkable things to the execs is how club members consistently impress them with their innovative ideas and thought-provoking debates, making every meeting incredibly rewarding to witness. 

The club’s first term (fall 2024) went better than they could have imagined: “We are so lucky to have dedicated members who are committed to supporting our growth and challenging us to always improve our club,” said the execs, who acknowledged that as a brand-new club, there was some trial and error involved while running their programming.  

They are excited to bring new resources and materials to the winter term that reflect the goals of their members, and they already have several new topics they’re excited to debate, ranging from the political to the philosophical.  

With such a divided world, BUDS hopes to highlight the importance of respectful debating in our society. They described how the current political climate can drive wedges between people, as many believe that if they disagree politically, they fundamentally can’t “get along.” To help nurture and maintain an environment of compassion, BUDS encourages club members to debate from stances that may not be their own. “Keeping an open mind and being open to exploring differing viewpoints and experiences allows debates to reach new heights, all while maintaining a culture of respect,” said the execs. 

BUDS formats their debates with a grading scheme that ensures debates remain civil, as disrespectful behaviour loses points for the whole team. The Speaker of the House is also responsible for ensuring debates adhere to the principles of decorum and run smoothly. 

One of BUDS’ strict policies is that ad hominem (an argument or reaction directed against a person rather than the position they are maintaining) is never tolerated, no matter how contentious a topic. “Our club members implicitly understand that debates do not work if debaters do not work together, and this understanding has allowed an environment of mutual respect to flourish,” said the execs: 

“We believe that with the proper level of respect and decorum, a civil environment can be maintained during political debates. So long as participants are ready to listen to other perspectives, an understanding can be reached.”  

The execs described how one club member told them they considered the process of debating as “truth seeking” more than anything, and BUDS has tried to embrace this mentality when discussing potentially contentious topics. 

BUDS’ debate format is founded on Canadian Parliamentary debate, meaning they enforce rules of decorum similar to those seen in the House of Commons, for instance, conventions on how to address opponents when debating. The Speaker of the House’s job is to maintain decorum during debates, calling for order when debaters get riled up and ensuring that the rules of debate are adhered to. BUDS also has “administrative safeguards” put in place to ensure debates are never disrespectful or emotionally harmful. This includes an anti-hate speech clause entrenched in the club’s constitution. As of yet, no major issues have occurred.: “We have been lucky enough that our club members are just as committed to fostering a culture of respect,” said the execs. 

So far, BUDS has debated both complicated questions (such as “is it ethical to have children?”) and lighthearted ones (“should mac and cheese be eaten with a spoon or a fork?”). Their debates are always lively, said the execs, “and sometimes even the most seemingly trivial of topics yield the most passionate results.” 

BUDS decides on debate topics through a Google Form with questions classified based on topic: health, economics, society and politics. Collectively, the executive team creates the questions based on general interests among club members, as well as ideas that they find entertaining to debate. Club members vote on which topics they are most interested in, and BUDS debates the most popular ones. 

Some ideas for future topics to debate include Bill C-31 (“Protecting Canadians from Online Crime Act,” 2014), various Canadian Charter rights including section 33 (also known at the notwithstanding clause), ethics related to A.I., animal rights, the UN Security Council and various other ethical dilemmas and philosophical questions. 

In terms of political topics, BUDS largely focuses on Canadian politics because they follow an adapted model of the Canadian Parliamentary Debate system: 

“Our formal, researched debates tend towards more political topics, as these are most representative of what would be debated on the floor of the House. However, when we run more informal debates, we are able to explore a wider range of topics, be it philosophical, comical or otherwise,” said the execs. 

BUDS doesn’t shy away from any political topics, as they believe that the true purpose of debate is not to determine who is correct between the opposing sides, but to find common ground between the two. Debates will occasionally tread into contentious territory — this is unavoidable — but the Speaker of the House, debate judges and the club members themselves all share in the commitment to finding common ground, said the execs. 

Although they have brought up topics featured in the news, the majority of BUDS’ topics are classical debate topics. Some of these topics have been religious freedom, restorative versus punitive justice and the voting age. The execs said that surprisingly, their most contentious topic was whether math — the subject — should be represented by red or blue. 

In training sessions and before all formal debates, BUDS makes it abundantly clear that they will not tolerate any form of disrespect or hate speech. In every debate, the Speaker monitors the debate and ensures that all comments are appropriate and do not in any way infringe on any group’s rights. 

Students believe this new club is off to a great start, and BUDS is excited to continue to foster a safe and respectful place for debates of all kinds. 

Brock University Debate Society membership is open to all Brock students, regardless of program or skill level; “We are so excited to see the club continue to grow and encourage all students interested in debate to join us.” The club meets every Tuesday from 7:00-9:00 pm in TH 257. The execs invite you to come out and see what debate is all about. 

Remembering David Lynch, one of cinema’s great auteurs 

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Renowned American filmmaker and artist David Lynch passed away at the age of 78 on Jan. 15. His death was felt throughout the film industry and cinephile community. An iconoclast and pioneer, there will never be another quite like Lynch.  

It’s true that many up-and-coming filmmakers choose to take inspiration from his work, and surrealism isn’t exactly new, but the signature feel of a David Lynch film is irreplaceable. His singular style led to the creation of the term Lynchian, a term understood largely through the feeling and atmosphere of his work. 

For people new to Lynch’s work, his catalogue can be daunting. Below is a list of several of his films to guide you through his life’s work. 

Blue Velvet (1986) 

Following the brooding aesthetics of the black-and-white Eraserhead (1977) and The Elephant Man (1980), Blue Velvet is arguably his most accessible film for people new to his filmography. Don’t be mistaken, there are plenty of peculiarities scattered across the film’s story to get lost in, but the plot noticeably operates in a more grounded way than his other works that have a suburban, small-town American setting. 

The story follows college student Jeffrey Beaumont, played by Kyle MacLachlan, as he unravels the mystery of a severed human ear discovered in a field. His investigation leads him to the enigmatic nightclub singer Dorothy Vallens (Elizabeth Rossellini), a woman full of secrets she keeps behind a veneer of elegance. 

Every film in Lynch’s filmography possesses signature characteristics that separate them from the others, but Blue Velvet may be the closest to his overarching thesis statement regarding the dichotomy of beauty and innocence with evil and cruelty. Beyond the glossy surrealism of suburban life in Blue Velvet lurks a small-town evil that awakens at night when the townsfolk are asleep. 

Lynch’s work is a reminder there will always be wickedness in this world, but this can be combated by goodness and love if we commit ourselves to them. As Lynch himself puts it in Twin Peaks: “fix your hearts or die.” 

Twin Peaks; Twin Peaks: Fire Walk with Me (1990-1992; 2017) 

Perhaps Lynch’s most widely known work is his television series Twin Peaks. Nestled in the mountains of the Pacific Northwest underneath the gloom of clouds sits the town of Twin Peaks. Like Blue Velvet, small towns are his muse here. The show features an ensemble cast all connected to the mysterious death of high schooler Laura Palmer, the central mystery the show builds on. 

For many, Twin Peaks was their introduction to Lynch and for good reason. The episodic format of television allowed a narrative to be stretched out over three seasons and a movie, expanding Lynch’s world and hammering home his commitment to style and atmosphere as storytelling devices. 

Lost Highway (1997) 

A bold, surreal homage to the film-noir and crime genres, Lost Highway may be more perplexing than viewers initially believe.  

The film divides its time between two protagonists’ stories. The first follows Fred, a melancholy jazz musician, as he is stalked by a mysterious entity known simply as the “Mystery Man.” His paranoia leads him to believe his wife, Renee, is having an affair. The second story introduces Pete, a young mechanic lured into a game of cat-and-mouse with femme fatale Alice, who’s connected to a gang through her boyfriend. Despite being distinct, both stories are linked by their leading women both played by Patricia Arquette, implying a stronger connection than initially believed. 

There are plenty of elements to Lost Highway that make it on the more accessible end of Lynch’s movies. For one, the recognizable, iconic conventions of film-noir and crime thriller make the film a stylish delight. However, it’s this film where Lynch began to push the boundaries of realism in stories, blending dreamlike sequences with realistic settings to challenge audiences to understand what they believe is real. 

Mulholland Drive (2001) 

On the topic of dreams, Mulholland Drive is perhaps the most acclaimed and beloved of Lynch’s films, and rightfully so. It follows Betty, played by Naomi Watts, as she arrives in Los Angeles as an eager, aspiring actress from rural Ontario. Her plans change upon meeting a mysterious brunette woman who claims to have forgotten who she is following a car accident. 

Mulholland Drive unravels like a dream. Betty’s glowing expressions of awe as she enters Hollywood and the subtle halo of light throughout the film construct an uncanny version of a city full of betrayal and broken dreams. It’s as if Hollywood itself is the muse here, with Lynch capturing the uglier sides of the city but nonetheless portraying an  idiosyncratic atmosphere from the idyllic beauty: the vast sea of lights visible from the Hollywood sign; the tall palms lining Sunset Boulevard, monoliths of the path to stardom; or the omnipresent sound of distant cars on a highway.  

Lynch created pure magic on Mulholland Drive, something irreplaceable that will be revered years from now as one of its decade’s best films.  

Inland Empire (2006) 

 
Without a shadow of a doubt, Lynch’s most inaccessible work is his final full-length film Inland Empire. With a sprawling three-hour runtime and a multilayered, experimental plot, the film is best watched after familiarizing yourself with Lynch’s filmmaking style. 

The film follows actress Nikki Grace as she takes on a new role in a mysterious film. It’s not long into shooting before the director tells Nikki and her co-star that the film On High in Blue Tomorrows is adapted from an unfinished German film based on a cursed Polish folktale. Production was halted when both leads were found murdered, both as characters in the story and actors in reality. 

Once the groundwork is laid out, the film goes all in, jumping between timeless surreal spaces and timelines, but in an unchronological way, to reflect Nikki’s loosening grip on reality. Laura Dern delivers an unforgettable performance as numerous characters in the film. In support of Inland Empire’s release and Dern’s awards campaign, Lynch parked himself on a street corner with a cow next to a sign reading, “For your consideration: Laura Dern.” This same cow accompanied Lynch on the film’s release tour, regarding which he said: “I’m looking forward to meeting theatre owners and getting out among the people with the cow.” 

Inland Empire imposes itself on you right from the opening sequence. The entire film is shot on a digital camera, setting itself apart from Lynch’s more polished releases shot on film. For a story as gritty as Inland Empire, this decision creates a visceral sense of immersion and claustrophobia. It’s not always pleasant to engage with as a film, but its rewards are bountiful to those willing to submit to its influence. 

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There are several other Lynch films that deserve attention, but the handful selected offer solid insight into where to begin and how to adjust to Lynch’s storytelling.  

The thought that there will never be another David Lynch is bittersweet. On one hand, we may never find stories told the way he did visually; however, we can rest easy knowing Lynch was able to touch the lives of countless people, immersing them in his various worlds and treating his characters with the dignity and complexity they deserve. 

“The Last Showgirl” offers a tender, vulnerable look at stardom and aging with a one-note ending 

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Score: 3/5 

Gia Coppola’s third film The Last Showgirl is a quiet, intimate portrayal of a woman grappling with her troubled past and uncertain future. It’s a dazzling albeit sobering reflection on social issues around aging. 

Written by Kate Gersten and directed by Gia Coppola, The Last Showgirl has a star-studded cast featuring Pamela Anderson, Jamie Lee Curtis, Dave Bautista and Kiernan Shipka. While it is one of 2024’s smaller, quieter releases, finding its home at festivals and critics circles, The Last Showgirl’s smaller presence does not detract from its unyielding soulfulness, as the film and its characters are full of life and a sense of realism. There is a grit to the way the film is shot that is delightfully uncompromising to any vision other than its own; it feels like a true passion project. This is admirable in many aspects, but the film also struggles to fully leave a mark and tie itself together. 

Shelly (Anderson) has been a Las Vegas showgirl in “Le Razzle Dazzle” for thirty years. While initially beginning as a hustle gig to make ends meet, Shelly developed a love for the tradition and glamour of Las Vegas showgirl entertainment. Her life is flipped over one day when the owners of the casino announce the closure of the show, leaving her to grapple with aging, regrets and her future. 

The film’s highlight is undeniably Pamela Anderson’s vulnerable, soulful performance. She gives Shelly complexity, showing various sides of her character from a starry-eyed optimist and romantic to a distraught, broken person gradually picking up the pieces of her life. The Last Showgirl undeniably fits in the canon of “fame comes with a price” cinema, but the manner in which the film goes about it feels less overarching and broad, adopting a focused, personal approach to a working-class story. 

During an episode of Variety’s “Actors on Actors” series with Mikey Madison (Anora), Anderson said she “was able to bring her whole life into the role” and that “[Coppola] could see the hunger in [her] as a woman who wanted to express herself.” 

The ensemble supporting cast deliver solid performances with the frequently limited script they’ve each been given to work with. Jamie Lee Curtis portrays Annete, Shelly’s close friend and a former member of the show. While she isn’t fully explored and is left forgotten towards the end, Curtis’ natural charisma in front of the camera makes this role entertaining and one no one could play but her. 

Billie Lourd plays Shelly’s estranged daughter, Hannah. Her performance is solid given the limited scenes written for the role but is a prime example of the film’s underwritten aspects, as she enters the story semi-jarringly. The same can be said of Dave Bautista, who, while delivering a compelling performance as the show’s lighting operator, is given only a small handful of scenes to leave a mark and is left with loose ends to his story. 

Coming in at a runtime of 89 minutes, The Last Showgirl’s narrative is airtight, but clumsy at times and leaves a lot to be desired. 

The film meanders through its final act, having introduced several plotlines through numerous expository scenes that The Last Showgirl struggles to tie together. Moreover, certain vulnerable and narratively driven scenes are cut short, whereas they could have benefitted from greater lengths to allow audiences to fully soak in the story’s resonance. All these conflicts fall onto Shelly, who’s left with the responsibility of wrapping many loose ends together, a task which she completes rather unsuccessfully. 

It’s common for audiences and critics to believe a film should be edited shorter, but The Last Showgirl would benefit from exactly the opposite. An extra 20minutes to tie up loose ends or at least make peace with open endings would strengthen its storytelling. 

Still, The Last Showgirl’s main storyteller is Anderson, who treats this film as a victory lap. Her charm bleeds into her co-stars and infects the audience with her vulnerability. She is a star bursting with passion for the craft of cinema, also seen in her visit to the Criterion Closet. Like Shelly, she champions a message of owning mistakes and moving forward through this film. 

Badgers women’s hockey defeat nationally ranked Warriors in weekend split 

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The Brock Badgers women’s hockey team went 1-1 over the weekend with an impressive 3-2 shootout victory in Waterloo against the Warriors before a heartbreaking 2-0 loss to the TMU Bold the next day.  

Brock Badgers 3, Waterloo Warriors 2 (Shootout) 

Jenna Duarte’s shootout winner in the fourth round propelled the Badgers to a 3-2 shootout win over the number seven Waterloo Warriors on Jan. 23, a night that Kennedy Lonson shined in the crease and Taylor Wolsey scored her first career OUA goal. 

After a slow first period with the teams only combining for 10 shots total, 6-4 in the Badgers’ favour, Wolsey netted the game’s first goal just over six minutes into the second frame with a booming wrist shot that beat the Waterloo netminder top shelf. 

Duarte doubled the Brock lead on the five-on-three power play in the final minute of the second, pouncing on the rebound in front to score her fifth of the season to give the Badgers the 2-0 lead heading into the third. 

However, the Warriors displayed resilience all game long, forcing Lonson to make 25 saves in the contest as Waterloo looked to force overtime in front of their home fans. 

The Warriors did just that with two third-period markers, a power-play goal by Brodi Levitt to open the period and a late equalizer by Carly Orth, as their momentum carried into overtime. 

Waterloo rallied six overtime shots to the Badgers’ one, but Lonson kept Brock’s upset hopes alive with a sensational display of goaltending. 

Her stellar play in the crease continued into the shootout, where she stopped all three of the Waterloo shooters, although the Warriors also rejected all three Badgers shooters to force a fourth shootout round. 

In the fourth, Duarte broke the shootout deadlock with a filthy deke to outclass the Waterloo goaltender as Lonson denied Waterloo on their attempt to secure the 3-2 road victory for their second consecutive win. 

TMU Bold 2, Brock Badgers 0 

Looking to win their third straight game, the Badgers played hard at both ends of the ice but two third-period goals by TMU handed Brock the 2-0 defeat at Canada Games Park on Jan. 24. 

Kennedy Lonson continued her skillful play in the net by denying the Bold on a penalty shot early in the first period, making one of her 16 saves in the contest. 

Her momentum-shifting stop sparked the Badgers as they outshot TMU 9-7 in the first and 14-5 in the second, but neither team could solve the goaltenders as the game remained scoreless entering the third. 

In the third period, an early power play for the Bold gave TMU the player advantage which they capitalized on courtesy of Cailey Davis to give the visitors the one-goal lead. 

Despite pushing for the equalizer, TMU capped off the road win with an empty-netter to snap the Badgers’ two-game winning streak as Brock fell 2-0. 

Next, the Badgers open a homestand against the Laurier Golden Hawks on Jan. 31 before facing the Ontario Tech Ridgebacks on Feb. 1 at Canada Games Park. Puck drop for both games is set for 6 p.m. 

For more information on the Brock Badgers women’s hockey team, visit gobadgers.ca. 

Ex-Badger Logan Thompson named NHL First Star of the Week 

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Former Brock Badger Logan Thompson has been selected as the National Hockey League’s (NHL) First Star of the Week for the week ending Jan. 19. 

The Washington Capitals’ netminder posted a flawless 3-0-0 record during the week which included a pair of back-to-back shutouts while registering a 0.33 goals against average and a .984 save percentage. 

Thompson’s first of two shutouts during the week came in a 3-0 win over the Anaheim Ducks on Jan. 14, where he stopped all 25 shots he faced. He continued his shutout streak with a 1-0 overtime victory over the Ottawa Senators on Jan. 16, making 24 saves for the road win. 

The 27-year-old clipped a career-long 198:22 shutout streak — the third-longest in Capitals history — spanning from the second period of Washington’s matchup against the Nashville Predators on Jan. 11 to the third period of their contest against the Pittsburgh Penguins on Jan. 18.  

The Capitals defeated the Penguins 4-1 with Thompson earning 18 of 19 stops. The win marked his 21st of the season as he became the fastest goalie in franchise history to reach the 21-win plateau (26 games played). 

Over the course of the week, Thompson stopped 61 of 62 shots, leading him to rank tied for first among goalies with a .927 save percentage. 

The Calgary-native is also third best in the league with 23 wins and has the second-best goals against average among qualified netminders (2.05). 

Thompson’s sensational 23-2-3 record is a big reason why the Capitals sit first in the NHL with a 34-11-5 record as Washington is one of only two teams in the league with a points percentage greater than .700, earning .730 points per game. 

This is the second time Thompson has been named one of the NHL’s Stars of the Week after being named the NHL’s Second Star of the Week last season, for the week ending March 31, 2024, when he was a member of the Vegas Golden Knights. 

Last season with the Golden Knights, Thompson recorded a 25-14-5 record while posting a 2.70 goals against average and a .908 save percentage.  

Prior to his time in Vegas, Thompson played in the ECHL with the South Carolina Stingrays in the 2019-20 season. This was preceded by a season with the Brock Badgers, where he eclipsed an 18-6-0 record with a 2.22 goals-against average and .934 save percentage while being named both OUA Rookie of the Year and OUA Goaltender of the Year in the 2018-19 season. 

Thompson and the Washington Capitals return to the ice in Ottawa with a matchup against the Senators on Jan. 30. Puck drop is set for 7 p.m. 

For more information about Logan Thompson, visit nhl.com. 

Madalyn Weinert selected OUA Female Athlete of the Week 

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Madalyn Weinert of the Brock Badgers women’s basketball team has been named the Ontario University Athletics’ (OUA) Female Athlete of the Week for the week ending on Jan. 12. 

The fourth-year star continued her domination of opposing defences with back-to-back 24-point double-double performances against the York Lions on Jan. 8 and in Toronto versus the TMU Bold on Jan. 12. 

In the home contest against the Lions, Weinert tallied 24 points, 14 rebounds, five assists, four steals and three blocks — all of which were game-highs — in Brock’s 69-54 triumph. The St. Catharines native shot the ball very effectively from the free throw line, going 11-for-12 from the charity stripe while shooting 40 per cent from the field (six-for-15). 

Weinert continued her impressive week on the road against the Bold, finishing with game-highs in points (24), rebounds (15), blocks (4) and steals (3) while matching a team-high with three assists. She went 10-for-24 (41.7 per cent) from the field against TMU while recording a season-high nine offensive rebounds. 

Last season’s OUA Women’s Basketball Player of the Year continues to showcase her versatility on both ends of the floor, leading the OUA with 20.8 points per game this season while contributing 2.1 blocks per game, which ranks second in the conference. 

Her stellar play up and down the court is a big reason why the Badgers currently sit in second place in the OUA West division, having amassed an 11-5 record this season.  

Weinert’s Athlete of the Week honour marks the third time she has been awarded this distinction. The Medical Sciences major was also named Athlete of the Week on two separate occasions: the week ending Jan. 28, 2024 and the week ending Dec. 4, 2022

This honour adds to her growing list of accolades, which includes being selected as OUA Player of the Year and OUA First Team All-Star last season, named OUA Second Team All-Star in 2022-23, and featured on the OUA All-Rookie Team in the 2021-22 season. 

Fans can see Weinert and the Badgers women’s basketball team (11-5) when they return to action on home court with a doubleheader against the visiting Lakehead Thunderwolves (3-13) on Jan. 31 and Feb. 1. Tipoff is set for 6 p.m. on both days. 

For more information on Madalyn Weinert, visit gobadgers.ca. 

Sports in chaos amid the L.A. wildfire tragedy  

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The L.A. wildfires have disrupted sports across the region, impacting athletes and forcing teams to navigate unexpected challenges. 

The L.A wildfires are a recurring and devastating natural disaster in Southern California, fueled by a combination of extreme heat, strong winds and prolonged drought conditions. These fires often ignite during the late summer and fall months, when vegetation is dry and highly flammable.  

In recent years, the intensity and frequency of these wildfires have increased, resulting in destruction that has displaced thousands of residents, destroyed homes and caused widespread air quality issues that extend far beyond the immediate burn zones. These fires not only affect communities but also disrupt daily life, including industries like sports.  

The impact of the L.A. wildfires on sports has been significant, with athletes, teams and organizations forced to rapidly adapt to changing circumstances. High school and college teams in particular have struggled to find suitable venues for competition, with many relocating games to unaffected areas. Professional teams have also felt the strain, with concerns about the long-term health risks of competing in smoke-filled environments. Beyond the logistical challenges, wildfires have highlighted the vulnerability of sports to environmental disruptions, which can push leagues and organizations to rethink their preparedness for such crises.  

One of the most prominent examples was the Genesis Invitational, a PGA Tour event hosted by Tiger Woods. Originally scheduled at the Riviera Country Club in Los Angeles, the tournament was forced to relocate to the Torrey Pines Golf Course in San Diego due to hazardous air quality caused by the fires. The decision was made after organizers received reports of unbreathable conditions and concerns from players about the safety of competing in such an environment. The event, held in February 2025, not only changed locations but also became a platform for raising awareness about the fires, with proceeds from certain initiatives directed toward relief efforts.  

Similarly, the NFL faced a major disruption when the Los Angeles Rams had to move their Wild Card playoff game against the Minnesota Vikings. Originally scheduled to take place at SoFi Stadium, the game was relocated to Glendale, Arizona. This decision came after consultations with local officials, who expressed concerns about the strain on emergency services and the health risks of hosting a large-scale event during the fires.  

The University of Southern California (USC) women’s basketball team faced a disruption when their game against the Northwestern Wildcats was postponed due to wildfires. Originally scheduled to be played at the Galen Center in Los Angeles, the decision to postpone was made in response to deteriorating air quality.  

Similarly, the top-ranked University of California, Los Angeles (UCLA) women’s basketball team had to relocate their game against Penn State. Originally set to take place on UCLA’s campus in Westwood, the game was moved to the Walter Pyramid at Long Beach State University, approximately 35 miles away. This relocation was necessitated by concerns about air quality and safety near UCLA.  

The devastation caused by the L.A. wildfires serves as a reminder of the challenges faced by communities in the region, including athletes and sports organizations. While games can be rescheduled and events relocated, the impact on individuals — whether it’s athletes displaced from their homes or residents losing everything to the fires — cannot be understated.  

While sports offer a temporary escape and a sense of normalcy during such crises, the wildfires serve as a sobering reminder of the challenges many are currently facing. Beyond the games, the focus must remain on supporting those affected, fostering community solidarity and addressing the environmental factors that make such tragedies more frequent. By acknowledging the bigger picture of these events, we can ensure that the sports world not only adapts but has the ability to raise the voices of those who need help the most.  

NBA bans Jontay Porter for betting scheme  

Jontay Porter, once a promising young talent in the NBA, has been banned from the league, marking a shocking turn in a career that seemed destined for greatness.  

Jontay Porter is a former collegiate basketball standout who made his mark as a versatile big man during his time at the University of Missouri alongside his older brother, Michael Porter Jr.  

Jontay Porter began his NBA career with the Memphis Grizzlies during the 2020-2021 season. He appeared in 11 games, averaging two points and 1.3 rebounds per game. After his stint with the Grizzlies, Porter joined the Toronto Raptors for the 2023-2024 season, playing in 26 games, starting in five and averaging 4.4 points, 3.2 rebounds and 2.3 assists per game.  

During his tenure with the Toronto Raptors, Jontay Porter became embroiled in a significant gambling scandal that ultimately led to his lifetime ban from the NBA. Investigations revealed that Porter had been actively communicating with co-conspirators during games, providing them with confidential information about his playing status and intentions to manipulate his participation to influence betting outcomes.  

In a game against the Memphis Grizzlies on Jan. 22, 2024, Porter sent multiple text messages to associates detailing his conditions and likelihood of continued play. He informed them about an eye injury and expressed uncertainty about his return to the game, stating, “I went back to the locker room to get an eye check on. [I don’t know] if I’mma play much more.” Such disclosure allowed his associates to place informed bets based on his anticipated limited playtime.  

Further complicity was evident in a game against the Los Angeles Clippers on Jan. 26, 2024. Prior to the game, Porter messaged his co-conspirators, advising them to bet on the “unders” for his performance metrics. He outlined a plan to play briefly before feigning an eye injury to exit the game early, thereby ensuring the success of their bets. This premeditated action not only breached league integrity but also showed a deliberate attempt to manipulate game outcomes for financial gain.  

The scandal extended to a game on March 20, 2024 against the Sacramento Kings, where Porter again communicated his intention to leave the game early, citing illness. These orchestrated early exits were designed to influence proposition bets related to his performance, allowing his associates to profit illicitly.  

Various sportsbooks reported an increase in proposition bets directly related to Porter’s individual performance, such as his points, rebounds and minutes played. What caught their attention was not just the volume of bets, but the accuracy with which these bets predicted his performance — particularly in games where he unexpectedly exited early or underperformed.  

The NBA’s integrity unit, tasked with monitoring gambling activity, played an important role throughout this investigation. Their team cross-referenced Porter’s on-court behaviour with betting anomalies and found a pattern. For instance, his sudden exits due to vague injuries — often in games with substantial betting on his performance — raised suspicions. This led the NBA to coordinate with law enforcement to investigate further.  

When one of Porter’s gambling associates was arrested on unrelated charges, they cooperated with authorities to reduce their sentence, providing detailed accounts of the scheme. This included specific games where Porter allegedly manipulated his performance, screenshots of text conversations and records of financial transactions.  

Upon discovery, Porter surrendered to authorities and pleaded guilty to conspiracy to commit wire fraud. He admitted that mounting gambling debts has driven him to participate in the scheme, compromising the integrity of the sport. Porter was released on a $250,000 bond, with sentencing that was scheduled for Dec. 18, 2024, now set to take place on May 20, 2025. He faces a potential prison term of up to 20 years, though sentencing guidelines suggest a likely range of 41 to 51 months.  

Meta has underestimated the threat of online misinformation 

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Meta’s decision to remove its fact-checking feature following the rise of Republican control of the White House is a last-ditch effort to gain legislative leverage from Trump despite the flood of non-flagged misinformation that will soon infiltrate American citizens’ social media timelines. 

On Jan. 7, Meta — the parent company of social media platforms Facebook, Instagram and Threads — announced via their website that they would be removing the third-party fact-checking program with independent American journalists from their platforms in the U.S.  

In a news release titled “More Speech and Fewer Mistakes,” Meta CEO Mark Zuckerberg said now is the time to “get back to [Meta’s] roots around free expression” on their social media platforms.  

This pledge entails replacing fact-checkers with a less “politically biased” moderation model derived from X called Community Notes, wherein communities are given the jurisdiction “to decide when posts are potentially misleading and need more context” paired with a “much less obtrusive” indication when that may be the case.  

He also plans to rid content policies of restrictions on “topics like immigration and gender” that garner “out of touch” opinions; change policy enforcement to avoid the acts of “censorship” that Zuckerberg associates with fact-checkers; push political content; and move content moderation teams out of California and into Texas where there will be “less concern about the bias of [Meta’s] teams.” 

Despite Zuckerberg’s implications that online misinformation is a trivial issue, researchers at New York University found that political extremists are far more likely to interact with and believe online misinformation. Furthermore, they found that visibly flagging a social media post spreading misinformation reduces the overall amount of misinformation appearing on the feeds of more extreme users. 

Therefore, it’s easy to deduce that Meta’s U.S. platforms will see an increase in misinformation in the coming months.  

Keeping in mind that increased access to misinformation fuels widespread political radicalization and the identification with ideologies based in fearmongering and deception, it is evident that Zuckerberg has willingly ignored the truth because shifting to an outward belief in right-wing ideologies will serve him with monetary and power-related benefits now that America’s government is mainly controlled by Republicans. 

Do not be deceived by Zuckerberg’s supposed efforts to cultivate “friendly and positive” online spaces wherein “free expression” is restored. Zuckerberg’s actions are clearly partisan: mirroring the actions of the Republican-affiliated Elon Musk, fueling right-wing claims of “censorship” when confronted with plainly false political facts online, and moving Meta’s moderation teams from a blue state to a red one shows an undeniable shift toward the right. 

Zuckerberg’s promise to prioritize political content poses another threat. As Zuckerberg is now privy to right-wing politics, Meta’s algorithms will no doubt begin to push right-wing media on their American platforms. 

This has been suspected to have already occurred on Musk’s X, as evidenced within Vanity Fair’s coverage of analyses from both The Wall Street Journal and The Washington Post finding that the platform favours the exposure of right-leaning media in comparison to the left. 

Zuckerberg’s decision will have insurmountable consequences for American democracy. Seeing as over half of Americans use social media to get news, with Facebook being the chief social media platform most likely to be relied upon for news, Zuckerberg and other social media CEOs have a degree of responsibility of protecting their users from damaging political misinformation. 

Zuckerberg views this responsibility as engaging in censorship. He has discredited legacy media that have asked him to approach fact-checking with great care during Trump’s first presidential campaign, saying in his news release video that Meta was increasingly “pushed to censor more and more” political topics during this time.  

He went as far as subtly suggesting in his speech that it is the left who are making social media platforms more partisan, saying in his news release video that the U.S. government pushed censorship onto Meta “over the past four years,” implying that the Democratic Biden-Harris administration was to blame. 

The fundamental idea of a healthy democracy is virtually impossible when voters can easily become susceptible to lies surrounding a politician’s policy plans or online persona.  

Zuckerberg suddenly expressing concern for “censored” victims of the war on political misinformation just as Republican politicians rise into power is completely ingenuine. Fueling the belief that fact-checking is a partisan issue when the president you are trying to gain approval of is all too acquainted with making misleading or downright false claims is a spineless act on Zuckerberg’s part.  

It is completely ridiculous that fact-checking political information has become coded as censorship of “free expression” by the owners of major social media platforms. 

Expression can never be “free” if it is being influenced by lies and misinformation about reality, political or not.  

So you think you can graduate? Not without doing these tasks first 

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Timely preparation can prevent additional costs and stress during the graduation process this year. 

Here you are, nearing the end of your time at Brock. It’s been three, four, six or more years of hard work, and now it’s finally going to pay off: graduation is just around the corner. It’s a relief, surely, but students can’t slack off just yet. 

Indeed, graduating is not certain unless students take the necessary steps to ensure it is possible and to initiate the process. 

With midterms approaching, students may be inclined to put off these tasks until a less busy time. However, now is the best time for several reasons, including saving some money and avoiding unnecessary stress later in the term. 

First and foremost, graduating students should book an appointment with their academic advisor to ensure they’ve met all their degree requirements in this final term, including whatever credits are needed for any minors. 

Students can check their Degree Audit Worksheets in the Brock DB student portal by clicking “Degree Audit” in the Navigation Menu on the left, then “daudWorksheet” in the drop-down, then the corresponding Segment and finally “Current Working Copy” in the “Please select a worksheet” drop-down. If the worksheet seems out of date, unclick the “Print Friendly Version” checkbox and click the newly appeared “Reload Worksheet” button.  

The Degree Audit Worksheet can be incredibly helpful for organizing your courses into their respective categories, but nothing beats the wisdom of an academic advisor.  

Once students are certain they can graduate, they can submit their “Intent to Graduate” form via the corresponding button in the “Student Self Serve” menu of the “Applicant & Student Self Serve” portal or the “GraduationApp” button in the Brock DB student portal. 

Submitting your “Intent to Graduate” is quite simple: the most challenging part will likely be providing the phonetic spelling of your name, but Brock’s provided a useful link right in the form to make this easier. The other most challenging part will likely be shelling out the $65 fee that all students must pay to graduate, but after Feb. 1 this fee jumps to $80. 

Students can apply to graduate in spring 2025 or fall 2025, the latter providing an opportunity for students who need a few more credits over the spring and summer terms. Once this process is complete, students can check the status and details of their application in the same “GraduationApp” section. 

If this application is denied, students will receive an explanation in the form of an email. At that point, they can defer their intent to a later ceremony, like fall 2025. If the application is approved, details regarding the date and time of your convocation ceremony will appear in the coming months. Double majors will need to check their “Program Status” and see the first listed major to determine which ceremony they should attend, but this can be switched by contacting records@brocku.ca

But this isn’t the end of the process. 

Students will need to ensure no outstanding fees remain on their student account — visible via the “FinanceHistory” button in the Brock DB portal — lest they be denied their diploma. 

Once students are confirmed to graduate, they can book graduation photos through the Brock University Students’ Union (BUSU) and Studio Nostalgia. Students can register online with their student number, email, faculty and other basic information. Students can then log in and book an appointment; they must bring a $35 sitting fee to their appointments (cash or contactless card) and know their student number. Graduation photo packages cost anywhere from $47 (for one wallet sheet) to $420 (for a large package of different photos). 

When it finally comes time for the convocation, students should plan to arrive 60 to 90 minutes before the ceremony begins to arrive in time for the graduand procession and to pick up a free gown and hood in the Bob Davis Gymnasium — these items do not need to be reserved, nor is there any associated rental fee as long as it is returned on time after the ceremony (souvenir hoods, gowns and other souvenirs are available for purchase at the Campus Store). Students will need to bring a piece of photo ID and leave any valuables behind. 

All students may bring two guests to the ceremony, but they can request additional seating via the Additional Guest Request form under extraordinary circumstances. Anyone else who wishes to watch the ceremony can do so via the convocation livestream in the overflow room, and guests who require accommodations can fill out the Accommodations Request Form — both this and the prior form will become active closer to the ceremony. More information about accessibility and guest information can be found on the Brock website.  

Students who don’t wish to or cannot attend the convocation in person have a few options for receiving their diploma, including pick-up or mail-out, and should check out this link for further details. 

Students who’ve worked towards completing their Campus-Wide Co-Curriculum, which provides graduates with a special distinction upon graduation, will want to ensure every task and domain is completed before convocation to ensure their hard work has paid off. 

All in all, ensuring your graduation is a relatively simple process, but it shouldn’t be left until the last minute, lest you become bogged down with exams and final assignments and forget to undergo this crucial process. Moreover, if you apply to graduate before Feb. 1, you save $15! 

And students may need that $15 once they graduate, especially for students who have student loans that can accumulate interest, but also just generally for the rest of post-university life. 

Prominent athletes’ struggles and successes in the social media era 

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Social media has changed how prominent athletes connect with fans, but with that it brings challenges that can impact their careers both positively and negatively.  

The impact of social media on prominent athletes’ mental health is profound and multifaceted, as these platforms often amplify the unique pressures they already face as athletes. For many big-time athletes, the constant stream of feedback — both positive and negative — can significantly affect their mental well-being. Public scrutiny has become a standard part of their lives, and the weight of meeting both performance expectations and maintaining a flawless public image can be overwhelming.  

Simone Biles has been candid about the toll that social media and public pressure have taken on her mental health. Leading up to the 2024 Paris Olympics, Biles felt the weight of being regarded as the “face of gymnastics” and an international role model. In an interview with Today, she shared that after a challenging performance, her immediate concern was the potential backlash online: “As soon as I landed [my vault], I was like, ‘Oh, America hates me…’ And I can only see what they’re saying on Twitter right now.”  

To manage this pressure, Biles has taken steps to limit her social media usage. She mentioned the importance of reducing exposure to online platforms during competitions, noting that she had logged off certain apps completely.  

Social media’s accessibility doesn’t just affect these athletes’ mental health — it also raises serious safety concerns. Breanna Stewart, a prominent WNBA player, has faced significant safety concerns due to her visibility on social media.  

In October 2024, during the WNBA Finals, Stewart and her wife, Marta Xargay, received threatening and homophobic emails directly sent to Xargay’s personal account. Stewart expressed her unease, stating that, “The fact it came to Marta’s email is something she [had to] see. The level of closeness was a little bit different.”  

Allison Stokke has also been a victim of social media’s safety risks. In 2007, at just 17 years old, Stokke was a high school pole vaulter competing at a national level. During a routine meeting, an innocent photo of her in her track uniform was taken and later shared online without her consent.  

What followed was a viral explosion that had nothing to do with her athletic achievements. The image, initially posted on a sports blog, quickly spread across platforms with objectifying comments and captions that focused entirely on sexualizing her appearance. Within days, Stokke became unwillingly viral, with her name and image circulating widely, often in inappropriate contexts. The attention escalated to the point where strangers began contacting her family and showing up to her track meets.  

While social media can be a toxic environment, it also creates opportunities for athletes to control their own narratives and build their own personal brands. The Cavinder twins, Hanna and Haley, are prime examples of athletes leveraging their social media presence for financial success. Through their viral TikTok videos, the twins capitalized on the NCAA’s name, image and NIL policy, securing endorsement deals that far exceeded what they could earn from sports alone.  

Athletes today face a constant balancing act. Social media offers them the chance to connect with fans, shape their public image and secure endorsements, but it also exposes them to harassment, mental health challenges and safety risks.  

The intersection of sports and social media, therefore, is complex, offering both unprecedented opportunities and challenges. As these platforms continue to evolve, so must the support systems and strategies athletes rely on to navigate their digital lives.  

Fame, crime and the fall of athletes  

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Some famous athletes have seen their legacies tarnished by serious crimes, trading the court for the courtroom. These stories expose the darker side of sports and fame.  

Plaxico Burress  

Plaxico Burress was at the height of his NFL career when one fateful night in November 2008 altered his path forever. Known for his performance during the New York Giants’ Super Bowl XLII win, Burress became the centre of controversy after accidentally shooting himself in the leg at a Manhattan nightclub. The firearm, which was tucked into his waistband, discharged as it slipped down his leg. 

The situation worsened when it was revealed that Burress didn’t have a permit for the gun, a serious offense under New York City’s strict gun laws. Facing immense public and legal scrutiny, Burress pleaded guilty to criminal possession of a weapon and was sentenced to two years in prison, serving 20 months. His time behind bars interrupted his career, leaving him unable to play during what should have been some of his peak years. While Burress eventually returned to the NFL, his reputation and career were never the same.  

Mike Danton 

In 2004, NHL player Mike Danton shocked the sports world when he was arrested and charged with conspiracy to commit murder. Danton, a promising young player for the St. Louis Blues, had hired a hitman to kill his agent, David Frost. Frost had been a long-time figure in Danton’s life, but their relationship had grown increasingly toxic, with allegations of manipulation and control surfacing during the trial.  

The planned murder was thwarted when the “hitman” Danton hired turned out to be an undercover police officer. Danton’s motivations were linked to his troubled relationship with Frost. After pleading guilty, Danton was sentenced to 7.5 years in prison. Although Danton eventually resumed playing hockey at a lower level upon his release, his NHL career was permanently derailed.  

Rae Carruth 

Rae Carruth, a former Carolina Panthers wide receiver, orchestrated the murder of his pregnant girlfriend, Cherica Adams. In 1999, Caruth hired a hitman to shoot Adams after she refused to terminate her pregnancy. On the night of the attack, Carruth lured Adams into following him in her car before blocking her escape as the hired gunman opened fire. Adams was able to call 911 and identify Carruth as the orchestrator of the attack before falling into a coma.  

She died a month later, but their son, Chancellor Lee Adams, survived, born prematurely and with cerebral palsy as a result of the trauma. Carruth fled after the attack but was eventually captured, tried and sentenced to 18 years in prison for conspiracy to commit murder. Released in 2018, Carruth remains one of the most reviled figures in sports history.  

Ruben Patterson  

Ruben Patterson, a former NBA player known for his defensive prowess and self-proclaimed title as the “Kobe Stopper,” saw his career fall apart by legal troubles and personal scandals. In 2001, Patterson pleaded guilty to attempted rape after being accused of sexually assaulting his children’s nanny. The incident led to his placement on the sex offender registry.  

But Patterson’s legal troubles didn’t end there. Over the years, he faced multiple accusations of domestic violence and was arrested for various incidents, including disputes involving family members. While Patterson had moments of success on the court during his time with teams like the Portland Trail Blazers and the Denver Nuggets, his off-court actions defined his public image.  

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These cases reveal the fragile line between success and downfall, showing how poor decisions can tarnish even the most promising careers. For these athletes, their legacies are no longer defined by their achievements in sports but by the choices that led them to the courtroom.  

The rise of the Ball family empire

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LaVar Ball, father of NBA players Lonzo, LaMelo and LiAngelo Ball, transformed the Ball name into a global brand, building a family empire that reaches well outside the world of basketball.  

LaVar Ball brought his family into the spotlight, becoming the first individual to guide all three of his sons to the NBA. While his success as a father is undeniable, his outspoken and often polarizing persona has drawn significant media scrutiny. Despite the criticism, however, LaVar’s influence on his sons’ careers and his ability to keep the Ball family name relevant in sports and popular culture remains unwavering. 

The foundation of the Ball family’s rise began long before NBA draft night. LaVar Ball, a former college basketball and professional football player, envisioned success for his family early on and set the stage for it through relentless preparation and belief in their potential. Growing up in Chino Hills, California, LaVar’s sons were raised in an environment where sports were not just a pastime but a road to something greater.  

This dedication culminated in the brothers’ first major success during the 2015-2016 season at Chino Hills High School, where they led the team to an undefeated 35-0 record and secured a national championship. At the time, Lonzo Ball was 18 years old and in his senior year; LiAngelo Ball was 17 and in his junior year; while LaMelo Ball, just 14, made an impact as a freshman. Together, their dominance on the court drew national attention and marked the beginning of their rise to basketball stardom.  

Building on the growing media attention surrounding the family, LaVar Ball leveraged the momentum by launching the reality TV series Ball in the Family in 2017. The show provided an intimate glimpse into the family’s daily lives; it became a platform for LaVar to showcase their personalities and solidify the narrative of the Ball family as more than athletes.  

By this point, the Ball family had established a strong enough platform to transform themselves into a brand, and LaVar seized the opportunity by launching Big Baller Brand (BBB). This independent sportswear company was designed to promote the Ball family while offering an alternative to established athletic brands. The brand quickly garnered attention with the release of Lonzo Ball’s signature shoe, the Z02, which debuted the same year BBB was introduced to the market.  

LaVar Ball’s dedication to shaping his sons’ futures led each of them down distinct paths in basketball and beyond. In 2017, Lavar made the controversial decision to pull LaMelo out of high school and LiAngelo out of the University of California, Los Angeles (UCLA), choosing to send them to play professionally in Lithuania instead. The move sparked criticism, with many questioning whether it was the right choice, but LaVar believed it was necessary to keep their careers on track and under his control.  

Before he played in Lithuania, however, LiAngelo’s journey was further complicated by his arrest for shoplifting during a UCLA team trip to China. The highly publicized incident resulted in his suspension from the team and eventual withdrawal from the university. LiAngelo’s basketball career has encountered setbacks as his time in the NBA has been brief. With appearances in Summer League and preseason games for teams like the Charlotte Hornets, he has yet to secure a permanent spot on an NBA roster. He has continued to pursue opportunities in the G League while also branching out into music, where he currently has a viral hit [tweaker] gaining attention.  

LaMelo’s unconventional path ultimately paid off. After Lithuania, he played a standout season in Australia’s National Basketball League (NBL), where he was named Rookie of the Year. After that, LaMelo was selected third overall by the Charlotte Hornets in the 2020 NBA Draft and since then, he’s become the face of the Charlotte Hornets, earning the NBA Rookie of the Year title in 2021. 

As for Lonzo, the first ball brother to make it to the NBA, he followed a more traditional route. Drafted second overall by the Los Angeles Lakers in 2017, he has played for multiple teams, most recently the Chicago Bulls. Although injuries have sidelined him in recent seasons, Lonzo has made his return to the NBA in 2024 and is back on the court with the Chicago Bulls.  

The Ball family has cemented their name through the brand and legacy they’ve built, ensuring they will not be forgotten. Each of LaVar’s children has found success in their own way, showcasing the impact of his guidance. While LaVar often draws negative attention, there is no denying the role he played in elevating his family to the prominence they possess today.  

The evolution of women in sports broadcasting  

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Women have steadily redefined the landscape of sports broadcasting, creating a space in an industry that was once overwhelmingly dominated by men. This progression marks a significant shift in representation, reflecting the growing recognition of women’s expertise and authority in sports media.  

The journey of women in sports broadcasting has not been without challenges. In the early days, their roles were often limited to sideline reporting or features, with few opportunities to take on lead commentary or anchor positions. Despite these obstacles, pioneers like Lesly Visser, who became the first woman to cover the NFL as a beat reporter, and Hannah Storm, who excelled as a SportsCenter anchor, helped to carve the way for future generations.  

Women are now taking high-profile roles in marquee events like Super Bowl coverage, Olympic broadcasting and major league playoffs. This visibility challenges the traditional norms of sports media. Today, women like Doris Burke in basketball commentary and Jessica Mendoza in baseball analysis are not just participating — they are excelling in positions that demand deep knowledge and expertise. Their rise reflects a growing acknowledgement of their credibility and has inspired more women to pursue careers in sports media, contributing to a more inclusive society.  

The presence of women in sports broadcasting has also challenged outdated perceptions about who can provide analysis and commentary on traditionally men-dominated sports. Individuals like Erin Andrews, Maria Taylor and Kate Abdo have proven that insight, professionalism and charisma are not gendered traits but rather essential qualities of any great broadcaster. Moreover, digital platforms and social media have played an essential role in accelerating this evolution. Women broadcasters now have greater bridges to showcase their talents, connect directly with audiences and build their own brands outside of traditional networks. This shift has empowered women to bypass traditional gatekeepers who once limited their opportunities.  

Education and mentorship programs have also been crucial in supporting this evolution. Organizations like the Association for Women in Sports Media (AWSM) provide networking opportunities, scholarship and advocacy for women looking to break into the field. Established broadcasters are mentoring women, offering guidance and support to find their way around the challenges of the industry. This sense of community has strengthened the pipeline of talent, ensuring that the progress seen today is sustained into the future.  

This evolution is not just about representation but also about influence. Women broadcasters bring unique perspectives to storytelling, often highlighting the human side of athletes and addressing broader social issues within sports. This approach has improved sports coverage, making it more relatable and reflective of the diverse audiences it serves.  

Despite these advancements, the road ahead is not without obstacles. Pay disparities, underrepresentation in leadership roles and the persistent expectation for women to “prove” their knowledge remain systemic issues. However, the strides made in the past few decades demonstrate that growing progress is possible.  

The continued success of women in sports broadcasting not only diversifies the industry but also values the way audiences experience and connect with sports. The future promises an even more inclusive landscape, driven by women who refuse to accept the status quo. 

Brock avoids OSSTF strike, reaching a tentative agreement 

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The day before the Ontario Secondary School Teachers’ Federation (OSSTF/FEESO) was set to guide Brock University’s support staff into a strike, the union reached a tentative agreement with the university. 

OSSTF, the union representing over 150 support staff in library, clerical and administrative sectors of Brock University, announced on Jan. 13 that they had set a strike deadline starting at 12:01 a.m. on Jan. 16 if Brock University did not accept an adequate deal with the union in advance of the deadline. 

Following “eight months of incredibly slow bargaining,” OSSTF turned to a strike to make changes for their members working for Brock University. 

Martha Hradowy, the Provincial Vice President of OSSTF, said that achieving “fair wages, equitable working conditions and long-term job security” for Brock University’s support staff was the union’s top priority going into plans to strike. 

Furthermore, Wanda Gilmore, the President of the District 35 OSSTF Brock University Support Staff Bargaining Unit, said that Brock was “determined to erode working conditions and increase precarity” for support staff. Gilmore said that the workers they represent can no longer be “undervalued and shortchanged” by Brock. 

Had the strike proceeded, it would have been the first in the history of the OSSTF Brock University Support Staff Bargaining Unit that called for over 150 employees to take strike action. 

Dr. Tami J. Friedman, Associate Professor and Chair of the Department of History at Brock University, suggested the bargaining difficulties between OSSTF and Brock University could be related to Brock’s hiring of a consulting firm tasked to “find efficiencies.” 

“The support staff at Brock are already in a pretty vulnerable position, and this consulting firm’s mandate is a real source of concern — not to mention unsettling and stressful for support staff,” said Dr. Friedman. 

After no conclusion came from the Jan. 14 meeting between the Brock administration and OSSTF — the meeting in which OSSTF said they planned to strike if no resolution was met — many students braced for picket lines to surround the perimeter of the university’s main campus.  

However, on Jan. 16, OSSTF announced that they reached a tentative agreement with the University. Gilmore called the bargaining process “lengthy and difficult,” saying that OSSTF members demonstrated “enormous solidarity and strength” during the labour disputes. 

Gilmore said that the support shown for the bargaining team was a major factor in reaching a deal with Brock University that is worthy for imminent ratification. OSSTF and its members at Brock University “were committed to do what was necessary” to reach a fair deal, despite the intense process it took to get there. 

Specific details regarding the tentative agreement between Brock University and OSSTF will remain confidential until it sees ratification from both parties. 

BUSU BoD discusses The Brock Press, menstrual equity and club funding in December and January meetings 

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Club funding, the Menstrual Equity Project, and The Brock Press were all topics of discussion in the BUSU BoD’s December and January meetings. 

After November’s lengthy meeting, the BUSU Board of Directors (BoD) ended 2024 and began 2025 with two relatively simple agendas. 

Here is an overview of the BoD’s winter meetings. 

December Meeting 

The BoD held their Dec. 10 meeting online, making it easier for a virtual audience to follow along. They called to order at 7:22 p.m. 

Before approving the agenda, BoD Chair Brielle Kaminsky pointed out that the BoD had failed to complete financial metric reviews on “staff budget spending, staff reimbursements, Club Levy spending and Engagement Levy spending,” which should have been done in September and November as per Policy 102. She said these updates happened every month when she was on the Brock University Students Administrative Council (BUSAC) — now the BUSU Advisory Council or A-Team — so she’d like to start that moving forward and be caught up on the missed reports. 

General Manager Robert Hilson said that could be done in January before he and BUSU President Anusha Pahuja added verbal reports to the end of the agenda. 

The first item of discussion was a request from Brock Human Rights and Equity (HRE) for BUSU to contribute $7,500 per year for the next four years to help support the Brock University Menstrual Equity Project, a donation which HRE would match. 

Hilson explained that this program, which provides free menstrual product dispensers and disposal units across campus, was piloted in 2019 by BUSU, which gave a one-time donation of $10,000 in 2021 for four years of service, a donation HRE also matched at the time. 

Hilson made clear that this was HRE’s request and “not a recommendation of [his],” saying that BUSU’s Division 1 Operating Budget only has room for $2,500 per year for the project, and any more would require the advocacy budget to be altered. 

Kaminsky said that while menstrual equity is important, the amount requested was somewhat high, especially considering these “free products” were coming out of student funds anyway. She said giving $2,500 per year for four years would match their previous donation and allow them to keep funds for other advocacy projects. 

Board member Mohiz Imtiaz asked why the requested funds were increased, and Hilson reported that HRE and Brock’s Custodial Services were not forthcoming on why, nor did he think they would be, only that they said the project costs upwards of $15,000 a year. 

Kaminsky said she wished there was more transparency, but that $2,500 per year seemed a reasonable and fair donation. With no opposition, the BoD voted and the amended motion to support the Menstrual Equity Project passed. 

The next item for discussion regarded the transfer of $22,370.38 from the Brock University Chinese Student and Scholars Association (BUCSSA) club’s Scotiabank account to the BUSU Clubs Funding account. 

BUSU’s Director of Governance and Advocacy, Kayleigh Rossetto, explained that while BUCSSA has been a popular club for many years, they did not re-ratify this school year, meaning their club Scotiabank account had to be closed and the money reallocated. 

Typically, BUSU Clubs Manager Chloe Villers puts any outstanding funds into the Clubs Levy for other Brock clubs to use, but Rossetto explained that after being shocked by the sheer amount in BUCSSA’s account, they were seeking board approval. 

Rossetto said that as of Dec. 5, there was only $2,300 left in the Clubs Levy, which had funded all current Brock clubs who requested, but left little for any newly ratified clubs in January. This $22,370.38 would help these new clubs, she said. 

Imtiaz was concerned about dissolving the club and this fund because of the few alternative spaces for Chinese students at Brock, suggesting that BUSU reach out to the Chinese population in their home language to empower students to maintain this important club and community space. 

Rossetto sympathized but explained that all student clubs have a natural life cycle that includes de- and re-ratification as years pass and students come in and out of the university. She gave Brock Pride as an example, describing how despite being an important space, the club disappeared for several years before new students picked up the mantle and made it into a thriving community once again. Students must be the ones to maintain club settings, explained Rossetto, not BUSU. 

Pahuja also said that while BUSU “should probably look into supporting East Asian students more,” Brock’s English as a Subsequent Language (ESL) program does provide support and information about news and services on campus such as clubs. 

The board voted and approved the transfer of funds back into the Clubs Levy. 

As promised in the November meeting, Hilson provided an update on The Brock Press. At the time of the meeting, the paper’s management had given BUSU a timeline for when their “Stakeholders” page, on which most of the requested documents — except their bylaws, which were still being formatted for Ontario Not-for-Profit Corporations Act (ONCA) compliance and needed more time — would be fully constructed and uploaded over the winter break. 

Hilson reminded the BoD that all not-for-profits were supposed to be ONCA compliant by Oct. 18, but it was now Dec. 10, and The Brock Press was still not.  

[The following disclaimer has been provided by the Press’ Editor-in-Chief in response to Hilson’s update:  

While before Jan. 9 the Press didn’t have their written bylaws formulated to reflect the changes to ONCA, the Press’ legal counsel made clear that the updated legislation simply supersedes the parts of the old legislation that have been augmented by the change, regardless of whether written bylaws are formatted to reflect this change. Not having the bylaws reflect the changes to ONCA doesn’t automatically mean the organization is non-compliant. If, however, an organization’s bylaws don’t align with ONCA, it could create practical issues for governance, voting rights and other operational matters, to be sure. But non-alignment of this kind was never an issue with the Press’ old bylaws; there simply needed to be new clauses added to the old bylaws to make the bylaw compliant to the changes.  

Therefore, Hilson implying the Press overall was “not” compliant with ONCA prior to our updating the bylaws in January is misleading. For the Press to be non-compliant with ONCA, the paper would have to be, in practice, violating the substance of the updated legislation. BUSU’s General Manager and Board have not provided any concrete proof that the paper has violated the substance of the ONCA for the simple reason that no such violation has taken place.] 

Imtiaz appreciated the timeline but wished it was more concrete. Kaminsky suggested that the BoD request a deadline, taking Hilson’s earliest suggestion of Jan. 10 for all requested items in order to have an update before their January meeting. 

Pahuja wondered if the board should give The Brock Press more time on the bylaws as they’d requested, but Kaminsky and Imtiaz said Jan. 10 was ample time. 

Kaminsky inquired as to what The Brock Press meant by “stakeholders,” and Hilson responded that their shareholders — at the time, at least — and board members, according to their bylaws and worker cooperative structure, were elected staff members.  

Stakeholders, which Hilson did not explain, represent anyone with a stake in the company but mainly Brock students because they fund The Brock Press, which reports primarily for them. 

Following this update, the BoD had a 15-minute in-camera discussion and then Hilson gave his verbal General Manager’s report. 

Hilson said that the new building is coming along nicely and the architect wants to present plans to the board in January. He also mentioned Patricia (Patty) General, who will be replacing Rossetto when she goes on maternity leave, and provided some updates on an upcoming EDI audit and Omnibus agreement he’s assisting with. 

Pahuja then provided her verbal President’s report. The second A-Team meeting, held in December, had about seven students in attendance, which Pahuja said was “not the biggest turnout but still good.” Pahuja also provided updates on various events and meetings, including BUSU’s recent free poutine night with over 600 students in attendance and a meeting with Dr. Robyn Bourgeois about the Indigenous Strategic Plan that will be developed. Pahuja also said she met with Brock Associate Vice-President, Students Brad Clarke about the Food First Program, which was “not the best conversation” but of which she would have more details in January. 

Finally, Kaminsky inquired as to why BUSU wasn’t holding the “12 Days of BUSU” giveaway event this year. Hilson explained that the event was only about getting followers and not student engagement or “giving things back,” and since BUSU is now organically gaining followers — having the second-highest followers based on the ratio of undergraduate students in the province — that money has gone into other resources like the Food First Program. 

The December meeting adjourned at 8:28 p.m., marking one of the shortest of the year. 

January Meeting 

The BoD’s Jan. 13 meeting ran for nearly four hours, but featured the shortest public runtime by far, with a video of only eight minutes and 24 seconds. 

After being called to order at 6:37 p.m. and undergoing the standard approvals, the BoD moved in-camera where they remained until 10:14 p.m. No motions were voted on after the session; instead, Hilson launched into an update on The Brock Press

He said that as of Jan. 13, The Brock Press had posted its budget from this fiscal year, audited financial statements from last year, and minutes on its website. Hilson also reported that they had sent BUSU their latest version of ONCA-compliant bylaws, which BUSU’s legal team had indeed confirmed were ONCA-compliant. The next steps for The Brock Press included voting on the revisions and submitting the documents to the ministry, but aside from that, no legal troubles remained. 

Imtiaz asked if the board had any concerns, and Hilson said yes, their governance structure had not changed: 

“Certainly the fact that literally, you know, let’s say we both work together we can say ‘hey listen, do you want a $10,000 raise and I want a $10,000 raise’ and we say ‘yeah sure’ and then we vote on it, that is still an option for them, and it remains an option for them. If that’s concerning to the board, then that may be something you want to have a conversation with down the road,” said Hilson. 

[Disclaimer: The Brock Press is preparing a public statement about this concern and encourages students to read its “Stakeholders” page to see exactly what its remuneration figures are and generally how the paper divvies up the spending of its funds.]  

No other board members had anything to say about The Brock Press, so they moved on to the next agenda items — the Division 1 Operating Budget financial update as well as General Manager and executive reports — which they tabled for the next meeting due to a lack of time. 

Before the BoD adjourned, Hilson provided an update on Pahuja’s absence: being in the process of renewing her visa for a postgraduate work permit, Pahuja is on non-paid leave until her return, which was intended to be Jan. 15 but has been pushed to Jan. 27. 

Hilson said there have been no complications in the process; it’s just taking a long time. He noted that while she could have better communicated this absence with the Board, BUSU has known about this, and she has not just disappeared without any notice. With no other questions, the meeting adjourned at 10:22 p.m. 

All BUSU board meeting recordings can be viewed on their YouTube channel, and all meeting minutes are available on their website. If students want to attend meetings in person or contact the board, they can email Brielle Kaminsky at chair@brockbusu.ca 

Brock’s Experience Expo brings work opportunities to students 

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Brock University’s Experience Expo will give students the opportunity to speak with 70 employers providing countless co-op, full-time, part-time and seasonal job opportunities. 

On Jan. 28, Brock is hosting their Experience Expo, an on-campus recruitment event that will facilitate networking between Brock students and their potential employers. 

The Expo will occur in the Ian D. Beddis gym between 11:00 a.m. and 2:00 p.m., hosting employers seeking a diverse range of employees in all stages of their education. 

Employers will be looking for students to fill a range of positions, including full-time jobs for new graduates, co-op opportunities, part-time employment and summer jobs. 

As dozens of employers will be attending the event, Brock’s Experience Expo is also an opportunity for students to network with potential employers across several industries. Experience Expo is Brock’s largest on-campus recruitment event, so there will be countless industry connections for students to explore. 

The employers include school boards, local businesses, municipal governments, Brock University itself and many more. 

Brock’s Co-op, Career and Experiential Education team will be available during the event to lead students through their job search efforts if needed.  

Students will have access to an on-site photobooth to take professional headshots to add to their resumes. If students are feeling unsure about the quality of their resumes and cover letters, Brock’s Career Education Team will also be attending the Expo to conduct resume reviews to ensure students are approaching potential employers as prepared as possible. 

As spots for the Experience Expo are limited, students are encouraged to RSVP as soon as possible by logging into CareerZone and registering through the Experience Expo event page or ExperienceBU. 

Ethel Cain explores the dark capacities of lust on “Perverts”

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Score: 4/5  

The latest project from American singer-songwriter Hayden Silas Anhedönia, known professionally as Ethel Cain, is an unapologetic, challenging descent into the depths of lust, sexuality, perversion and self-realization. 

Perverts is a stark deviation from Cain’s previous work on her debut album, Preacher’s Daughter, a harrowing American epic of the original character Ethel Cain and the events that lead to her tragic demise. Perverts operates separately from the album’s storyline in its own world. 

Here, the lyrically dense dream-pop sound, which Cain established a reputation for, is replaced by lengthy drone tracks. The accessible, shimmering indie-pop melodies of songs like “American Teenager” and “Michelle Pfeiffer” are nowhere to be found. Instead, the track on Perverts demand patience from listeners as they build slowly over runtimes exceeding 10 minutes. For fans more acquainted with Cain’s notable pop-sounding — but nonetheless still brilliant — songs, Perverts may feel unwelcoming, but it is still a strong reflection of Cain’s willingness to make uncompromising, authentic art on her own terms. 

Prior to the project’s release, Cain began sharing cryptic, eerie promotional material on her various social media platforms. These include unsettling videos on her YouTube channel with songs from the EP; a story of a man celebrating the one-year anniversary of his psychosexual, onanistic relationship with a power plant; and most notably, the repeated reference to the quote, “it’s happening to everybody.” 

The thematics of Perverts live up to the title. Through carefully crafted ambient instrumentals and limited lyrical content, the project explores themes of sexuality, lust, perversion and shame. Like all of Cain’s work to date, the project’s themes are explored in relation to religious themes and divine connection.  

The project begins with a staggering 12-minute title track, opening with a cover of the traditional Christian hymn, “Nearer, My God, to Thee,” with the sound warped and distorted like the hiss of a forgotten tape recording buried in the woods. 

Cain ends the track with the line, “it’s happening to everybody.” Although intentionally open-ended, what “it” refers to is the revelation of desire. In a YouTube video, Cain introduced the concept of a “ring” as a way of understanding one’s proximity to divinity, transcendence or God, often achievable through music. 

On Perverts, the ring illustrates a link between sexuality and a transcendental state. If you listen closely with headphones, ambient segments of these tracks circle from your left to right ear and craft a ring-like effect. It’s a small detail, but one that creates immense world-building. 

Knowing this, “it” can be described as a revelatory state of mind, the moment when all the pieces seemingly click together and you surrender yourself to this realization. The narrative of Perverts makes this revelation a sexual one, but it applies broadly to all kinds of epiphanies we’re yet to experience. 

Only three of the EP’s nine songs adopt a traditional, lyrical structure, but nonetheless trudge through ample drone and ambient aspects in between their verses. The second track and the project’s single, “Punish,” is a melancholic piece with beautiful production elements contrasted by unsettling subject matter.  

The lyrics narrate a child predator who is shot by his victim’s father. Now living in exile from society, he engages in daily self-mutilation to simulate the bullet wound as an act of punishment. The subject matter is heinous and disturbing, but strengthens Perverts’ exploration of lust’s ability to control people, driving one to commit heinous actions of all kinds. 

“Vacillator” is the EP’s second song with a distinct lyrical structure, which narrate a vacillator, someone tormented by their own indecision over a relationship. On one hand, they wish to fully surrender themselves physically to this person to satisfy their needs, but are plagued by their hesitancy. The first verse ends with the line, “You won’t lose me to thunder or lightning / But you could to crowded rooms.”  

The vacillator expresses neurotic confidence over their ability to physically control their lover, but they know that crowded rooms full of many faces will dwarf their power over them. The following verse depicts their attempts to further seduce their lover, fixating on their possessive qualities. 

The track ends with the narrator repeating the line, “If you love me, keep it to yourself.” This line acts as a double entendre, one of many scattered throughout Perverts to build on its established themes.  

The vacillator struggles with indecision in the romantic realm. Out of shame and fear, they reject their partner’s advances while simultaneously wanting to keep their partner’s love for themselves, hidden from the glaring eyes of the world. 

The EP’s longest cut at 15 minutes, “Pulldrone,” serves as a sonic climax to the album. Its placement towards the tail-end of the EP comes off as Cain recognizing that listeners who have made it this far are fully immersed and can handle whatever she throws their way.  

After the narrator’s garbled spoken-word scripture, the track continues as a distorted harmonization of stunning organic strings, stretching and modulating in an entrancing manner. The two primary string lines intertwine in a sonic folie à deux, one always struggling for dominance over the other. The dance of sounds deliberately outlines a strangely erotic struggle for control between two forces. While the sheer length of the song could warrant more variety even for a drone track, the unapologetic length and atmospheric production are enough to justify these shortcomings for fully engaged listeners. 

The EP wraps itself up on the arrestingly cold “Amber Waves,” one of the most accessible — by this EP’s standards — and devastating tracks. The narrator describes their lover, Amber, as they leave them, waving goodbye. The narrator speaks of numbing themselves from their emotional pain through sexual gratification and drugs. They attempt several times to reckon with their loneliness, using their addiction and hatred as comfort for their former lover’s departure. Cain ends the EP with a chilling delivery of the line, “I can’t feel anything,” a haunting, cataclysmic result of the narrator’s addiction, leaving them in a catatonic purgatory. 

Perverts is equally challenging as it is rewarding, though the latter is dependent on the listener’s willingness to melt into the haunting soundscapes. For those not yet acquainted with drone and ambient music, it will likely be an uncomfortable, confusing listen not immune to criticism.  

There is a strong point to be made with this release though. While Cain is a formidable lyricist and storyteller, as is visible on the magnificent Preacher’s Daughter, Perverts demonstrates her ability to manipulate soundscapes and nuances in production to tell stories, conjure mysteries and build worlds. Her voice is in the production here and it demands to be heard. 

Luca Guadagnino’s “Queer” is a soul-swelling journey through heartache  

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Score: 4.5/5 

Luca Guadagnino’s Queer is a soulful, heart-throbbing adaptation of the William S. Burroughs’ novella of the same name. 

As his second film of 2024 following the sleek triumph of Challengers, Queer feels like a return to form for Guadagnino. Like all his films, it is overflowing with sensuality and tenderness. It’s hard to find another director working today with such a singular knowledge of how to coordinate and film intimacy and the human body. Guadagnino places great emphasis on the way bodies move and reacts to various stimuli, the way they intertwine and melt into each other, or how an exhale is shared during the union of two bodies, as if souls have been touched.  

This desire to depict organic sensuality is a ubiqitous trait across Guadagnino’s filmography, from the soft swoon of Call Me by Your Name to the electrifying, erotically charged Challengers. Queer is Guadagnino at his most experimental and metaphorical, orchestrating desire in an equal parts raw and abstractly disembodied fashion. 

The film’s first act has a unique mood. The slightly oversaturated, slightly fantastical portrait of Mexico City in the 1950s feels like a dream. The city teems with life day and night, the epicentre of its inhabitants’ joys and heartbreaks. We’re introduced to William Lee (Daniel Craig), an expatriate from the United States who spends his days and nights drinking, doing drugs and hooking up with any beautiful men he can seduce for the night.  

His self-gratifying, numbing rituals are thwarted after his first encounter with the younger Eugene Allerton (Drew Starkey), a fellow expatriate and the new source of Lee’s infatuation, though this time his affection manifests differently. 

Lee develops an all-consuming yearning for Allerton: a glimmer of genuine connection in a state of mind where sharing a bed is more akin to scratching an itch than it is the act of romantic consummation. Being close is never enough. Lee’s own flesh becomes a barrier between him and Allerton, leaving him with no greater desire than to tear open his chest and invite him into his heart and under his skin. 

Craig delivers a masterful performance as Lee, revealing a side to his acting range hardly seen before. He depicts Lee in all his forms, from a flamboyant diva-like seducer to a man quivering from his own desire. 

Queer is a love story as much as it is a story about queerness. Queer people can understand the struggle and helplessness of not being able to be loved the way they do another, but the core idea of “queer” in this film has nothing to do with any modern understanding of the term regarding identity.  

Here, queerness is the distance between two bodies; it is any obstacle that prevents the flourishing of love in unison. In an interview with Vanity Fair, Guadagnino describes Queer as not a tale of unrequited love, but of unsynchronized love. Queer seems to say, no matter how far you journey or how deep you delve — even to the heart of the rainforest to take ayahuasca — love that is not meant to be simply will not flourish. 

Guadagnino expresses total control over the intimacy in the film all the way to the devastating climax, knowing just when to introduce it to scenes. Lee’s yearning for Allerton is suffocating, becoming a drug he cannot be away from. The strength of his heartache bleeds into the audience; every touch, glance and caress with Allerton is a relief of tension. Even scenes where Lee is only imagining these actions evoke a swoon and desire for more. Guadagnino explores the intimacy of Lee and Allerton in all its quiet stillness and overt excitement, evoking a rawness of desire that feels natural for his characters. 

There is immense heartbreak explored throughout the film, but Guadagnino leaves audiences with a hopeful, bittersweet reminder: although there is always the chance that the love we seek does not go our way, it is better to open our hearts and try than to deprive ourselves of connection.  

This sentiment can sting following the film’s rather bleak conclusion, but it is nonetheless a stark reminder that it truly is better to have loved and lost than to have never loved at all. A cold, empty existence awaits those who adopt the latter style of living. 

Modern art: it doesn’t suck 

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Abstract modern art, which is often viewed as pretentious nonsense, isn’t all that bad. 

For any number of reasons, it’s easy to dismiss the artistic quality of modern art. Words like “lazy” and “derivative” are often thrown down by those disapproving of said pieces. One such hot topic of this debate is Italian artist Maurizio Cattelan’s piece Comedian, consisting of a fresh banana duct-taped to a wall. 

That’s it, that’s the piece. 

It’s ridiculous, right? Being able to do something so simple and egregious and somehow garner acclaim in the art world. Yet does that decide whether something can be considered art? Does the absurd simplicity of a piece with seemingly no effort gone into its creation mean it’s unworthy of its status as art? There are several counterarguments to be made against the scorn of those adamant about their dismissive views on modern art. 

Cuban American visual artist Félix González-Torres is responsible for the creation of some of the most prolific and moving works of modern art. During his life he produced several simple, albeit moving pieces of contemporary visual art. Perhaps the most notable, however, is a piece named “Untitled” (Portrait of Ross in L.A.)

The piece is simple in its medium, standing as a pile of candies wrapped in various coloured wrappers, often placed in the corner of an exhibit. To passing onlookers it’s nothing more than a pile of candy that somehow — one might say by way of its creator’s grift — swindled its way into an art gallery. The absurdity of modern art is an invitation for interpretation. Like many works of art, the context of its creation is necessary. 

The piece was created in 1991, the same year González-Torres’ partner Ross Laycock passed away following AIDS-related complications. In this sense, the pile of colourfully wrapped candies with an intricately managed weight serves as a metaphorical portrait of Laycock, immortalizing him through the piece.  

Visitors are invited to take a candy from the pile, taking with them a piece of Laycock’s memory and becoming part of the piece themselves. However, in doing so, they are demonstrating the decrease in Laycock’s weight due to his illness, placing them in the position of watching someone’s life slip away. 

I could very well recreate this piece within the walls of the apartment I am writing this in. Sure, I would have to go through the effort to gather supplies and tediously ensure all candies are wrapped in colourful wrappers and that the pile is the accurate weight, but I could still recreate the physical piece.  

And yet, it wouldn’t be the same. 

My makeshift pile of candies carries no emotional weight regarding the lived experience of González-Torres. My replication is no more than a pile of trash on the ground. Sure, it’s functionally the same, but by lacking the lived experience connected to the life of the creator, it’s not the same. 

Additionally, González-Torres could have chosen to approach the “portrait” aspect more literally by painting a visual portrait of Laycock. While portraits warrant their occasion, the decision to use this contemporary medium allows visitors to become part of the piece, taking with them a candy to reflect on the life of Laycock and the love González-Torres had for him. Simply knowing this and choosing to eat the candy can evoke an emotional response. 

With this we can understand the mission behind various works of modern visual art. It’s true that we turn to all art to exalt us emotionally. Paintings stimulate our vision, drawing our eyes across a canvas in awe. Music of all genres provide auditory stimulation, using sounds and melodies to dictate our emotions and shed light on them.  

Modern art differs from these other forms as it relies on the interpreter’s intuition. A pile of candy is perfectly easy to recreate, but the pile of candy is given meaning and tells the true story of an artist’s experience. Appreciating such art is a test of our ability to engage our emotional states. 

One common critique of modern art is that it is “lazy,” requiring, as it were, no effort to produce. The rebuttal to this isn’t that one could easily make it but chose not to, but rather the notion that not all art needs to be a result of exhaustive physical efforts.  

For instance, one could exert immense effort into painting a landscape. After hours of meticulously replicating the land, they complete their portrait: a near one-to-one re-creation of their chosen landscape. It’s a task that requires significant technical skill and effort from the artist, but that does not necessarily entail that the piece itself is emotionally rich to everyone, especially not if it is a rigid re-creation.  

While this is not to discredit landscape painters, who by and large can use landscape paintings to evoke moods and tell stories, it demonstrates that the effort put into a piece does not automatically decide its artistic value or emotional potency. 

Let’s take music as another example. One could tirelessly train themselves as a technically flawless vocalist, but it’s glaringly obvious if they don’t possess deeper artistic intention that elicits a raw emotional response from listeners. We see this all the time in so-called “department store pop music,” that, while art in its own right, may not be revered for rawness and grit found in less polished or less technically perfectionistic styles.  

Ultimately, art’s ability as a tool for artistic expression and emotional stimulation cannot be chalked up to rigid metrics of effort. 

So, what’s the deal with the banana? 

A fair criticism of modern art is its prominence in the sphere of wealthy individuals. Comedian was sold to Chinese cryptocurrency entrepreneur Justin Sun, who, after laying down a pretty penny for a banana, ate it on stage in front of all the fellow patrons slobbering over the piece just minutes before it was sold. 

A banana taped to a wall isn’t exactly what one thinks of when it comes to art. Perhaps though, the art is in the joke itself. The very fact that the artistic identity of something as ludicrous as a banana taped to a wall has been the source of debate for years and stirred up such vehement vitriol is the art.  

Comedian represents a satirization of itself and, ultimately, a satirization of the very people who try to discern what art is. It’s a banana taped to the wall, it’s not meant to be taken seriously, it doesn’t even take itself seriously.  

It’s a comedian, after all. It’s one big middle-finger to the wealthy few willing to shell out millions for something so absurd and discuss its merits. You could even say it’s a satirization of my argument, but that doesn’t discredit its right to be called art. 

Works of modern art, be it a banana taped to a wall or a pile of candy, aren’t art for what they are as objects, nor their functionality, nor the skill required to create them. It is the cultural myths and personal stories surrounding their creation, along with the conversations we have about them, that transform them into art. 

Badgers wrestling teams victorious at home Brock Open 

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The Badgers men’s and women’s wrestling teams continued their strong seasons with impressive first place finishes at the Brock Open on Jan. 11 at the Ian Beddis Gymnasium. 

The men’s team captured three gold medals and appeared on the podium eight times, while the women’s squad won two gold medals in seven podium appearances as both teams won their home tournament for the second consecutive season. 

On the men’s side, Garette Saunders (61kg), Yazdan Farokhizad (90kg) and Callum Knox (100kg) each placed first; Gabriel Blanchette (68kg), Hamzah Al-Qayse (72kg), Cole Coghill (76kg) and Roger Li (125kg) finished in second; and Zakir Ibrahimkheil (57kg) placed third. 

Those performances helped the Badgers achieve a total of 69 points which was a lucrative 42 points ahead of the Brock Wrestling Club, who finished second, and 49 points ahead of the Western Mustangs who were the second-best university finisher, placing fourth overall. 

On the women’s side, Vanessa Keefe (68kg) and Brianna Fraser (72kg) won gold medals; Francesca Lo Greco (53kg), Rachel Hall (65kg) and Cassie Corbett (72kg) added silvers; and Olivia Mathezer (59kg) and Jusleen Sidhu (62kg) won bronze. 

Those performances propelled the Badgers to a narrow first-place finish with 55 total points to edge out the McMaster Marauders, who finished in second with 50 points. 

The home triumphs by both squads kicked off the new year in style, picking up where 2024 ended for each team. The win marked the men’s second straight tournament victory after picking up a first-place performance at the U of T Open, while the women’s team have now won three consecutive tournaments after wins at both the U of T Open and the York Open, both of which occurred in November. 

With their performances, the men’s team remains in the number one spot in the Wrestling Canada Lutte Top 10 rankings while the women’s team sits in second, one point behind the Calgary Dinos. 

Both teams look to continue their dynasties with the provincial and national championships on the horizon in February, with the men’s side seeking their 10th straight U Sports title as the women’s team looks to win their second national title in a row. 

The Wrestling Canada Lutte U Sports Invitational Championships will be hosted by Brock University for the first time since 2020, at Canada Games Park from Feb. 28 to March 1. The celebratory weekend will also include an awards banquet, and an induction ceremony for alumni wrestlers into the Brock Sports Hall of Fame. 

Stay tuned to The Brock Press for all information in the lead up to and during the championship weekend. 

For more information on the Brock Badgers wrestling team, visit gobadgers.ca. 

Badgers men’s basketball win Paint the Meridian Red with dramatic comeback 

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The Brock Badgers men’s basketball team showed fight and hustle in their 74-60 comeback victory over the McMaster Marauders at Paint the Meridian Red on Jan. 17 to win their seventh straight game. 

Davanté Hackett led the Badgers with 18 points while Thierry Tshibola and Michael Matas also recorded double-digit points with 14 and 13 respectively, but points were hard to come by for the Badgers in the first half. 

Brock found themselves trailing early after the Marauders opened the game going on a 10-0 run which grew to a stunning 24-9 advantage after the first quarter, shooting 56.3 per cent from the field in the opening frame to leave the Meridian Centre speechless. 

But the home crowd came to life in the second quarter as threes from Thierry and Anthony Heyes, the St. Catharines native, cut the deficit to single-digits before a 6-0 run by McMaster closed the half and restored their 15-point lead, 43-28. 

However, the halftime break sparked the Badgers’ offence as they began the third going on a 12-2 run to get back into the game and restore hope amongst the Brock faithful. 

Hackett’s step-back three-pointer midway through the quarter — representing three of his 12 third quarter points — gave the Badgers their first lead of the game, 49-48, and they never looked back.  

The Badgers outscored the Marauders 27-9 in the third, in large part due to stellar defence that limited McMaster to only four made field goals (26.7 per cent), as the Badgers were up 55-52 with their explosion continuing in the fourth. 

Brock rallied 19 points compared to McMaster’s eight, highlighted by a Ben Herbert three-pointer which seemingly put the game out of reach and expanded the Badgers’ lead to 14. 

Paired with a strong defensive clinic which limited McMaster to shooting only 20 per cent from the field in the final frame, the Badgers second half surge sealed their dramatic Paint the Meridian Red victory — their fourth win in seven games in the history of the event and their first since 2020. 

The Badgers’ offensive eruption was in large part due to a strong shooting performance from beyond the arc, making 10 of 24 three-pointers in the contest (41.7 per cent) while limiting the Marauders to only five makes on 31 attempts (16.1 per cent). 

Brock also outscored McMaster in points in the paint (32 to 24), points off turnovers (18 to 12), second chance points (14 to 10) and bench points (49 to 20), which contributed to the Badgers earning their 10th win of the year for the ninth straight season. 

Next weekend, the Badgers hit the road with back-to-back contests in Oshawa against the Ontario Tech Ridgebacks on Jan. 24 and in Kingston versus the Queen’s Gaels on Jan. 25. 

For more information about the Brock Badgers men’s basketball team, visit gobadgers.ca. 

Exploring the Archives: Has the downplaying of women’s healthcare really come that far in the last half-century? 

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This past summer, a few of my colleagues and I worked alongside the Brock Archives & Special Collections department to digitally archive all of The Brock Press’ physical volumes. Dating from September 1964 to March 2020, these issues covered 56 years of Brock history, much of which had been, up until that point, nearly lost to time. 

The archives, a name we have fondly given to the nearly 30 shipping boxes collecting dust in our office, hold a wealth of knowledge. The Brock Press, which has had various names throughout its impressive 60 years of existence, has reported on a variety of topics, covering news specifically related to Brock as well as other issues impacting students that unfolded on the world stage. 

This article will be the first in an ongoing series covering stories written by the era-defining reporters who came before me. Instead of following a linear progression, each week this series will cover stories relevant to current news and pertinent to student life.  

This week, we will examine Margie Wolfe’s discussion of the IUD printed on Sept. 12, 1974, in Press volume 11, issue one

In 2025, the intrauterine device, or the IUD, has become one the most popular methods of birth control. In a report about contraceptive use methods published in 2019, the United Nations stated that between 1994 and 2019, the “number of women relying on the IUD [had] risen from 133 million to 159 million.” This report also estimated that the IUD was used by a whopping 17 per cent of women of reproductive age (15-49 years), making it the third most common method of contraceptive globally behind female sterilization and male condoms. While it is unclear whether this report refers to all people assigned female at birth (AFAB) or simply people who identify as women, it still presents staggering data about the popularity of IUDs around the world.  

In the United States, the IUD is also the third most common method of birth control used by AFAB people according to Dr. Tessa Madden. In fact, research completed by Megan Kavanaugh and Jenna Jerman in 2018 stated that more women in the U.S. are using an IUD now than ever before, with it being the contraceptive choice of approximately 4.4 million people, or 7.8 per cent of the country’s female population.  

While the IUD is now a part of everyday life for many AFAB people in North America, before its rise in popularity in the early 2000s, the IUD saw its highest level of use in the early 1970s. This popularity was likely part of its novelty, yet a steep drop in the percentage of IUD use amongst all contraception users occurred around 1975 after a series of safety concerns caused the most popular form of the IUD at the time — the Dalkon Shield — to be taken off the market in June 1974.  

In 1974, Margie Wolfe was a writer for The Chevron, the University of Waterloo’s official student newspaper. Her story “copper 7 contraception” was published in The Chevron and then consequently published in the Press (the name that The Brock Press operated under between 1970 and 1988). The re-printing of applicable students’ news from other universities in Ontario was a typical practice at the time, due to the Canadian University Press (CUP) operative. CUP allowed for a network of different newspapers to share stories with one another and our membership in CUP meant that a good portion of non-Brock news published in Press in the ‘70s was re-printed from other papers.   

Wolfe’s article outlined the concerns that many IUD users felt following a disclosure from manufacturer A.H. Robins Co., which admitted to the death of six women and 36 infected spontaneous abortions mid-pregnancy with the Dalkon Shield in place.  

Hugh J. Davis and Irwin Lerner introduced the Shield as a contraceptive option in 1968. The device was a plastic five-pronged, crab-like shield that contained trace amounts of copper which acted as a spermicide. Unlike the modern copper IUD, which Wolfe discusses further in the body of her article, the Dalkon Shield was placed directly into a person’s uterus to prevent pregnancy. Once production began under A.H. Robins Co., the device was marketed as a scientific marvel that was much safer than the pill and had almost perfect birth control protection. This marketing technique clearly worked as by 1970, over 600,000 Shields had been sold in the U.S and after three years on the market, physicians had prescribed the device to over 2.2 million women. 

But by 1971, women using the Shield began to report suffering from septic infections and other dangerous complications that had resulted in them seeking serious medical attention. It soon became clear that the string that was attached to the Shield was not sealed at the end, causing it to fray and draw vaginal bacteria into the uterus. This complication resulted in not only septic infections, but miscarriages and various other related complications, including what is now approximated to be the death of 18 women. 

A year before it was taken off the market, the U.S. Center for Disease Control and Prevention (CDC) conducted a study that gathered information from nearly 17,000 obstetricians and gynecologists about the frequency of hospitalizations and other complications that were related to the IUD. While it became clear that the Dalkon Shield was the most popular IUD on the market, the CDC concluded that the device could be correlated to an increased rate of pregnancy-related complications, including septic pregnancies and bacterial infections of the placenta or the fetus.  

“Is there a type of IUD that is more effective than others? Are any of them safe?” Wolfe pondered in her article as she considered the IUD conundrum. At the time, the answer to this question was relatively unclear.  

Wolfe quoted Dr. Alexander Morrison, Canada’s Assistant Deputy Minister of Health Protection in 1973, who stated that the government had “inadequate data on the safety of all IUDs.”  

Wolfe also reported that “exactly how the IUD acts to prevent pregnancy is still a matter of speculation.” Even more important, she stated, is the fact that no one can provide straightforward data proving the Dalkon Shield is all that effective in preventing pregnancy.  

“Also, a matter of guess work,” she wrote, “is the average number of complications, which range from minor complications such as IUD-induced pain to such major complications such as surgical intervention, severe infections and death.”  

Most interesting is Wolfe’s commentary on the lack of pre-market government testing on the Dalkon Shield: as an IUD was considered a device and not a drug, it was not subject to the same kind of rigorous testing.  

In 1976, two years after Wolfe published her article, the U.S. Congress passed federal legislation mandating that the U.S. Food and Drug Administration (FDA) would be required to test the safety and efficacy of IUDs prior to their approval for sale. The Canadian government followed suite and took similar precautions, halting the distribution and promotion of the Dalkon Shield all over Canada due to the lack of testing.  

While Wolfe did not address the question of inadequate women’s healthcare head on, it was clearly on her mind. It should be on our minds too.  

There are no clear numbers of the number of women who die each year due to ineffective health care, but there is clearly a problem. Throughout history, physicians and scholars have considered the male body to be the “norm” and the female body to be atypical, despite women making up almost half of the global population. This has resulted in devastating health care disparities, as women have been chronically excluded from clinical studies while still being subject to the same treatments that prove to be effective for men.  

This problem was made even worse in 1977, when the FDA created a policy that omitted women of reproductive potential from Phase 1 and 2 clinical trials. This decision would soon be adopted by the health administrations of many other countries across the world, resulting in the gender disparity in health care growing even deeper.  

This policy was a reaction to the side effects of a drug called thalidomide, taken by thousands of women in Europe and Australia for morning sickness, that was found to cause severe birth defects or even infant mortality. While it is astounding to think that government officials chose the safety of a potential baby over advancing the scientific understanding of the female body and improving the quality of women’s health care, it must be better now, right?  

No, it isn’t. 

In 2022, a study conducted by Harvard Medical School found that women were still substantially underrepresented in clinical trials. After the repeal of Roe v. Wade in the United States, we know that more women are suffering due to the new abortion laws. It is incredibly difficult to find maternal morality numbers associated with this repeal but The Guardian is one of many sources that report precise and accurate numbers of the increase in fetal deaths after the supreme court’s ruling. It is clear which group is thought to be more important.  

Simply put, women’s health care is not and has not been considered a priority and because of that reality, I am in no way astonished that over 2 million Dalkon Shield IUDs were sold in the early ‘70s without proper medical testing. In fact, I can only laugh at the astonishing similarity to women’s health care today. 

The National Cancer Institute acknowledges that there may be some correlation between oral contraceptives and cancer risks, but their research comes from observational studies and therefore cannot definitively establish that an exposure to birth control pills causes cancer. In 2019, the United Nations concluded that 152 million women were using the birth control pill, and somehow, we still don’t know for sure if it causes cancer? 

While Margie Wolfe takes an informative tone in her article, speaking of the copper IUD and its better safety standards, she seems to have hope for the glimmering future of women’s health care.  

Can we say the same? 

The most overrated video game of all time 

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The Legend of Zelda: Ocarina of Time is certainly an enjoyable game and a classic title that set many foundations for 3D video games, but it is nowhere close to being the greatest game of all time. 

At the time of its release in 1998, Ocarina of Time was groundbreaking. 

The game put the fan-favourite swordsman Link into a vast 3D world teeming with intricate dungeons to explore, villagers to save and secrets hiding around every corner. The game was, by any measure, very impressive for its time and became a clear inspiration for many future 3D titles by other publishers. 

However, a piece of art’s legacy is not necessarily synonymous with its quality. While Ocarina of Time had a major impact on the gaming industry, it has been widely surpassed in grandeur by countless new games since its release in 1998. 

Make no mistake, this isn’t an argument about the game’s graphics — such a claim would be obviously unfair given the advancement of technology since the game’s release nearly three decades ago. This is an argument about the game’s content itself, which would almost certainly not be considered the “greatest game of all time” if it had been released on more capable hardware today. 

While the title of “greatest game of all time” can never be objectively measured, it often seems like Ocarina of Time’s biggest fans are looking at the game through nostalgic, rose-coloured glasses. It’s not uncommon to hear stories about children staying up all night exploring the land of Hyrule on their exciting new Nintendo 64 console, and while this nostalgia is perfectly valuable and worth holding onto, it shouldn’t be a factor when attempting to discern what games are the best based on their content alone. 

There are several games that I feel nostalgic towards, yet I can admit as an adult that they are flawed and not always easy to recommend. If you’d asked me my opinion on 2007’s Super Paper Mario at the age of 10 years old, I’d likely have told you it was the greatest game money could buy. Years later, however, I can recognize the many flaws behind the game’s design philosophy that keep it from reaching truly great heights. 

Importantly, that’s not to say I don’t enjoy that game anymore. It will always have a special place in my heart and it’s one I play fondly while feeling that same joy I felt over a decade ago. I simply recognize that not everyone is going to love it as much as I do. 

That’s the problem when childhood fans call Ocarina of Time the greatest game ever. Your memories of it might be wonderful, and that’s a valid reason to hold the game in high regard. However, as someone who doesn’t have the towering bias that is childhood nostalgia clouding my view of the game, it’s easy to see many other games that have surpassed it in virtually every way. 

Take the 2017 Zelda installment, Breath of the Wild, as an example. While no game can truly ever be considered “perfect,” it builds on many of the ideas created by Ocarina of Time by setting Link in a larger, more dynamic world for his adventure. Ocarina of Time certainly played a role in Breath of the Wild’s success, but I personally consider the latter to be a grander, more exciting and fun adventure. 

Sure, there are parts of Ocarina of Time that outclass its distant successor, such as its more complex dungeons, but when looking at the two games in their entirety, it becomes fairly obvious that Breath of the Wild simply has a larger scope and a far more ambitious vision than its predecessor. 

This isn’t meant to discredit the nostalgia felt by the generation who grew up playing Ocarina of Time. Nostalgia is a powerful drug, and it makes perfect sense for someone who grew up with Ocarina to love playing it time and time again. 

There’s no shame in that. 

However, when trying to judge games on their quality in comparison to each other, it should be acknowledged when nostalgia is a factor. It’s fair to love a game simply because you grew up playing it, but it’s unfortunate when you can’t acknowledge that a title played later in life was simply better. Maybe you don’t enjoy playing it quite as much without the feeling of childhood whimsy, but it’s okay to acknowledge when you’ve found a newer game that’s simply easier to recommend. 

The Legend of Zelda: Ocarina of Time is an important landmark in the history of gaming and a fantastic game in its own right, but in the years since its release, video games have significantly developed as an art form and the game has been outclassed time and time again by a multitude of developers.  

The game is without a doubt incredibly special, but it’s far from the greatest game ever released. 

After writing 150+ articles, here are the ones that aged the worst 

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Over the last two-and-a-half years, I have written many articles as an editor for The Brock Press. Many were written during my ongoing time as Managing Editor, in which I have largely focused on the Opinion section, providing my insights on an array of topics including politics, internet culture, video games and Milk Duds

While this role continues to excite me with each new week, acting as a collection of my current opinions, it has also provided an archive of many opinions from times past that present certain personal viewpoints I no longer hold.  

This article will reflect on some of my past work that no longer suits my thinking, whether they’ve been updated with new information that has changed my point of view, didn’t age well or just simply no longer align with my opinions today. 

After years of mediocrity, Smosh is back in full force 

This article was particularly exciting to write, both because of my love of old-school Smosh videos and because it was one of my first opinion pieces as Managing Editor of The Brock Press

In the article, I described my appreciation of Smosh’s then-recent commitment to bringing back their classic-style content with co-star Anthony Padilla rejoining his best friend Ian Hecox on the channel. It was an exciting moment for the channel, which had seen the friends part ways years earlier in 2017 and Hecox’s leadership take the channel in a different direction than what he had established with Padilla. 

As I wrote in my original article, the duo’s first sketch upon Padilla’s return closely resembled the successful formula they had established in the channel’s prime, and everything seemed to be pointing toward this being the new direction for the channel, which Hecox admitted “hadn’t quite found its footing” in the years before Padilla’s return. As a huge fan of their older content, this shift was incredibly exciting to me. 

Unfortunately, over a year later, it’s become clear that this bold new direction has fizzled out even faster than it did the first time. While Padilla is still technically a member of the Smosh team, he is often absent from videos across the primary Smosh channels, with Hecox once again taking up the helm as a lead star. 

Making matters worse, the pair stopped producing old-school sketches roughly one year after their first new sketch aired, which was incredibly disappointing as someone who looked forward to new content every other week. The main channel has shifted toward a new SNL-style program called “Bit City” which doesn’t star Hecox or Padilla and once again feels like it lacks a clear creative vision. Sadly, it feels as though the channel has stepped right back into the mediocrity that defined it in the years before Padilla’s return. 

As for why the pair would stop producing new sketches only a year after their triumphant return, it’s impossible to say for sure, but there are a couple reasons that would make sense. 

The most obvious guess is that the duo’s 2023 and 2024 sketches pulled in significantly lower views than those from the early 2010s, a reminder that the YouTube landscape has significantly shifted from Smosh’s primetime. Considering that many of the new sketches struggled to hit one million views compared to the tens of millions of views the old sketches pulled in, it’s not terribly surprising that Smosh would abandon the formula. 

Another possible reason is that some of the channel’s newer fans seemed dissatisfied with the sketches primarily featuring Hecox and Padilla when they had grown accustomed to the large cast that had taken starring roles in the previous few years, which is understandable for those who found the channel after Padilla’s departure in 2017. 

All in all, it’s hard to blame Smosh for abandoning their old-school sketches a second time, but it’s still disappointing as a longtime viewer who saw their reunion as a chance to return to the channel’s glory days. At this point, what’s most important is that Padilla and Hecox remain close friends, even if their channel was never bound to return to its prime after all. 

It’s time to stop hating MrBeast” 

Jimmy “MrBeast” Donaldson, who has the highest subscriber count of any channel on YouTube, did not have a great 2024. 

The year was clouded by controversy for the MrBeast channel, starting with grooming allegations towards Donaldson’s co-star and longtime best friend Ava Kris Tyson. While a law firm later hired by Donaldson to conduct an investigation found these claims to be “without basis,” the damage was already done and Tyson had been removed from the MrBeast team. 

But Donaldson’s turmoil was far from over. The production of his highly anticipated Amazon Prime Video series Beast Games was plagued with controversy, with several contestants accusing the production team of “chronic mistreatment,” misrepresenting winning odds, failure to prevent sexual harassment and a variety of other problems. These allegations ultimately culminated in a lawsuit against Amazon and the MrBeast company. 

While the MrBeast team has refuted some claims and cited the July 2024 CrowdStrike incident as a reason for certain shortcomings, it’s clear that there was serious mismanagement during the production of Beast Games. While this was Donaldson’s first attempt at a large-scale streaming show, proper preparation and due diligence could have prevented most of these issues from happening at all. 

Things got even worse for Donaldson when disgruntled ex-MrBeast employee Dawson French, known online as dogpack404, levied several concerning allegations toward the creator, including performing illegal lotteries, rigged competitions, faked videos and employing sex offenders. 

It’s important to note that many of these allegations have been debunked, so it’s not quite as easy as immediately dismissing Donaldson as a villain. At the end of the day, it’s worth considering both sides and drawing your own conclusions about who is in the wrong — I’m inclined to believe that neither side is without fault. 

Regardless, enough has gone wrong with the MrBeast brand in 2024 that I no longer believe MrBeast to be unworthy of criticism. These controversies demonstrate that there’s more to the MrBeast company than a really nice guy who loves giving away money, and while I’m not certain about the legitimacy of every allegation, I now understand why some viewers have problems with Donaldson and his work. 

Here’s why you should expect a Nintendo Switch successor in 2024 

Here it is, my one opinion article that is objectively and indisputably wrong, no matter how you slice it. 

As much as I would have loved to get my hands on the Nintendo Switch successor last year, that simply didn’t come to pass. In fact, my prediction was so wrong that the console wasn’t even officially revealed within the year of 2024; it wasn’t until Jan. 16, 2025 that Nintendo released the long-anticipated trailer for the Nintendo Switch 2

Perhaps my article was purely written from a place of unfounded hope, or maybe the rumours that the console was internally delayed out of 2024 were true. Either way, my bold prediction ended up false — much to my disappointment. 

— 

I have written several stories that didn’t stand the test of time, but after over 150 published articles, that should be expected. 

Indeed, having a few articles age poorly isn’t something that distresses me; the ability to change your perspective over time is beautiful. We’re never locked into an opinion simply because we felt it months or years ago. There’s always time to change and grow as an individual. 

These three articles no longer represent how I feel today, and they almost certainly won’t be the last of my opinions to change or predictions to fail. Remaining flexible and adaptable is an important part of thinking critically, and if you refuse to shift your point of view, you close yourself off to new viewpoints that might be worth considering. 

Allow new information to enter your mind and sway your thoughts. Trust me — it’s a whole lot more fun that way. 

Nintendo Switch 2 isn’t a revolution, but that’s exactly what Nintendo needs 

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The recently announced Nintendo Switch 2 might not be the hardware revolution some fans were hoping for, but it’s exactly what Nintendo needs to succeed in the next generation of gaming. 

The online response to the first-look trailer for the long-anticipated Nintendo Switch successor has been fairly mixed. Some viewers have expressed disappointment at the console’s seemingly iterative improvements over the original Switch, while others are more appreciative of the improved features that will come with the new console. 

Both viewpoints are understandable, but I firmly believe that this is the best approach Nintendo could have taken with their next-generation system. 

The reason some viewers are so disappointed is because the iterative approach taken with Nintendo Switch 2 is highly unusual for the company. Throughout each new generation of hardware, Nintendo has been known to surprise viewers with innovative ideas that change the way games are played. 

To understand this unique approach, take a look at 1996’s Nintendo 64, which featured one of the first controllers to incorporate an analog joystick that has become a mainstay for console controllers up to today. Another great example is 2006’s Wii, which broke from the industry’s power-driven mindset to prioritize motion controls, something that would draw in plenty of casual gamers who had never owned a video game system before. Even the Wii U, which was a massive failure in terms of sales, still tried something different with a touchscreen implemented on its controller. While the console bombed, it’s impossible to deny that Nintendo was still focused on creating new, inventive ways to play games. 

The original Nintendo Switch captured the company’s innovative spirit perfectly. While their competitors focused on an increasingly irrelevant race for more powerful hardware, Nintendo shook up the gaming landscape with their hybrid home-handheld system, which could play large games like The Legend of Zelda: Breath of the Wild on the big screen at home and be easily transferred to a handheld unit. It finally felt as though the Wii U’s vision had been realized, and with the Switch Nintendo remained the most innovative player in the console race even if their hardware was far from the most powerful. 

So, when Nintendo revealed their next-generation system would simply be a Switch with improved functionality and graphics lacking any big change to the hardware, it’s not hard to see why some fans were disappointed. Even as someone who is incredibly excited to get my hands on the new system, I acknowledge that it’s not nearly as conceptually interesting as past hardware reveals from the company. 

But that’s just the thing. With the Nintendo Switch, the company has finally found a form factor that is so perfect in concept that the best way to guarantee continued success is to improve that same concept in a new iteration. The philosophy behind the Nintendo Switch 2 embraces the old adage, “if it ain’t broke, don’t fix it,” a mindset that might have saved Nintendo from past failures. 

Consider again the Wii U. The console’s core idea — incorporating a touchscreen onto its controller — was certainly interesting in concept, but it felt like its designers never bothered to think of practical applications that would enhance the way games are played with it. In many cases, the touchscreen simply ended up being used to display maps or inventory spaces while the main game was played on the TV, which felt like the system underdelivered on its promise of revolutionizing gaming with a dual-screen setup. 

This was a case where Nintendo prioritized innovation over practicality. In other words, just because an idea is unique, that doesn’t mean it’s good. You can have the most interesting hardware idea in the world, but if you can’t figure out how to make it fun for players, then it’s probably best to go back to the drawing board. 

By building on the success of the Nintendo Switch rather than attempting something innovative just for the heck of it, Nintendo is improving on a concept that has already proven to resonate with players. Sure, it might not be as exciting as past hardware reveals with brand new ideas at the forefront, but it embraces what players love about Nintendo Switch and makes it even more fun to play. 

While I believe the original Nintendo Switch was perfect in its concept, it had some issues in its execution. The Joy-Con controllers are very small and uncomfortable to use when held sideways; the kickstand (on the original model) is weak and prone to popping out; the Joy-Cons slightly rattle when attached to the sides of the console unit; and the joysticks are susceptible to the infamous case of “Joy-Con drift.” 

Judging by the Nintendo Switch 2’s trailer and various leaks about the system, these are all issues that will be mitigated by its successor. The larger and more ergonomic Joy-Cons will make them a more comfortable fit in the hands; the U-shaped kickstand will provide solid support for the console in tabletop mode; the magnetized Joy-Cons should prevent rattling when attached to the main unit; and the rumoured hall effect joysticks should prevent drifting during gameplay. That’s not even to mention the increased graphical and processing power that the system will undoubtedly offer, which should allow Nintendo games to look more stunning than ever before. 

In other words, the Nintendo Switch 2 looks like a perfected version of the original 2017 console, which already had a wonderful, versatile concept. Throw in confirmed backwards compatibility with Switch 1 titles and you’ve got yourself the ultimate Nintendo system ready to be played anytime, anywhere. 

It’s true that this is a safer approach than coming up with something totally different, but I’d argue that this is best for consumers and Nintendo alike. We get to keep playing amazing games through a beloved form factor, and Nintendo doesn’t need to worry about incorporating needless gimmicks to complicate the experience. They can simply continue to focus on what they’ve been working on throughout the past generation: making incredible games. 

The Nintendo Switch 2 might not be the revolution that some players were hoping for, but that’s okay. Nintendo has learned from their successes and failures alike, and they’ve reached a solid conclusion: sometimes, a revolution just isn’t necessary. 

Badgers women’s hockey split weekend homestand with pair of overtime clashes 

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The Brock Badgers women’s hockey team split their weekend homestand with a 4-3 overtime defeat to the Queen’s Gaels on Jan. 17 before beating the Windsor Lancers 4-3 in overtime on Jan. 18 for their first win of 2025. 

Queen’s Gaels 4, Brock Badgers 3 (Overtime) 

Madison Cronkwright, Randyll Strongman and Catriona Cormier each found the back of the net for the Badgers, but it wasn’t enough to overcome a late overtime winner by the Gaels. 

After Queen’s opened the scoring less than a minute into the contest, Brock began testing the Gaels’ netminder with a flurry of chances until they found a breakthrough in the second. 

Cronkwright buried the equalizer with a wrister glove-side after Allison Moore’s stretch-pass from the defensive zone found the speedy winger on the breakaway. 

Strongman then doubled the Brock lead after Hannah Ryan’s stingy forecheck forced a Queen’s turnover in their defensive zone before the Gaels responded shortly thereafter to level the game at two apiece entering the third. 

In the third, the Gaels got on the board first with a go-ahead goal midway through the frame, but the Badgers were eager to tie the game in front of their home fans at Canada Games Park. 

After applying relentless pressure throughout the game, outshooting the Gaels 45-36, Cormier netted the tying goal with under 30 seconds left to force overtime, with assists by Camie Matteau Rushbrook and Madelyn Walsh. 

But Queen’s responded with the game-winner off the stick of Alyson Reeves with 4.7 seconds left in the overtime period to hand the home side a single point in their heartbreaking overtime defeat. 

Windsor Lancers 3, Brock Badgers 4 (Overtime) 

Looking to avenge their overtime loss from the night prior, Allison Stevenson scored the overtime winner against Windsor — one of her three points on the night — which featured a pair of goals by Jenna Duarte and a power play marker by Madison Cronkwright. 

Duarte buried the game’s opening goal midway through the first period, crashing the net with a slick move to beat the Lancers’ netminder and give the Badgers the quick one-goal lead. 

The Badgers swiftly doubled their advantage in the opening minutes of the second off the stick of Cronkwright, scoring with the one-timer on the five-on-three power play, for her second of the weekend and Brock’s second of the game. 

But the Lancers responded less than a minute into the third with a goal of their own to cut the Badgers’ lead in half before Duarte restored the two-goal cushion with her second of the night midway through the third period off assists by Cronkwright and Stevenson. 

However, Windsor showed their resilience all game long, outshooting the Badgers 42-22, which resulted in two quick goals in the latter stages of the third, forcing overtime. 

In the overtime frame, Stevenson forced a Windsor turnover in the neutral zone before taking it the length of the ice to score the game-winner high blocker side for Brock’s first victory of the 2025 calendar year, snapping their five-game losing streak. 

Next, the Badgers look to build off their momentous win over Windsor with a trip to Waterloo to face the Warriors on Jan. 23 before hosting the TMU Bold on Jan. 24. 

For more information about the Brock Badgers women’s hockey team, visit gobadgers.ca. 

P.E.I. homeowner captures the first-ever video of a meteorite strike 

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P.E.I.’s first confirmed meteorite landed near a person’s front door in July of 2024, and has now been verified. 

Prince Edward Island homeowner Joe Velaidum caught a video with audio of a meteorite landing by his front door in July just moments after he left to walk his dogs. 

After noticing the strange dust mark on the walkway and lawn, he checked his front door video camera to find out what happened. When advised by a friend, Velaidum collected samples of the debris to send to be studied. About seven grams worth of fragments were collected and sent to the University of Alberta (UA), where they were confirmed to belong to an ordinary chondrite meteorite, says CBC News. Later, a total of 95 grams were acquired. 

Chondrites are collections of tiny, rounded particles called chondrules that form when melted minerals congeal and freeze in the zero gravity of deep space and then become cemented together over time by accumulated space dust. 

The sample has been named the Charlottetown Meteorite since the crash site was just east of P.E.I.’s capital. 

James Dunn, an expert from the UA, confirmed that this was the first recorded meteorite event in the region. This rare occurrence provides a unique opportunity for the research and understanding of cosmic phenomena. 

Chris Herd, the meteorite collection curator of the UA, said this meteorite is from the asteroid belt between Mars and Jupiter, and estimates it was travelling 200 kilometres per hour at the time of impact. 

Scientists say this was the first time a meteorite strike was caught on camera with audio. The meteorite was going so fast that you can only see it in two frames before it crashed. The fact that it was caught on a frame at all is impressive. 

A Naseba article says the area could see a tourism uptick “as curious visitors flock to the area, eager to explore both the meteorite’s impact site and the research facilities.” This celestial event also enriches local scientific interest and “has the potential to transform the island into a hub for astrobiology enthusiasts and geologists.” 

For potentially billions of years, this rock had been floating through space, moving between the inner planets and all the objects in the asteroid belt. As it orbited the sun around the inner solar system, the rock drifted too close to Earth and began its descent. As it entered the atmosphere, it was subjected to extreme heat and pressure, which often causes meteors to explode into fragments. Despite the speed, heat and pressure, many meteoroids remain completely intact.  

According to Herd, a closer look at the interior structure of the Charlottetown Meteorite fragments suggests that it endured many collisions in space. This likely weakened its internal structure; the collision with the walkway was just the last straw, blowing it to pieces. 

It turned from a meteoroid (a piece of rock, ice and/or metal 2mm to 1m wide), to a meteor (a meteoroid that enters the atmosphere), to a meteorite (a meteoroid or asteroid that survives to reach the ground). 

The Meteoritic Society says that prior to this, there were only 68 known meteorites discovered in Canada, found in every province and territory except for Nova Scotia, Nunavut and Prince Edward Island. 

This is one historic moment that will be remembered fondly, especially for the locals of Charlottetown. 

L.A.’s historic wildfire catastrophe 

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The January 2025 Southern California wildfires are becoming a historic event. 

Since Jan. 7, fires have raged in Southern California. As of writing, there have been over 40,000 acres burned, over 12,300 structures destroyed and at least 27 people killed with dozens more still missing. 

On Jan. 10, a health emergency was declared in the Los Angeles County due to the fire events and windstorm conditions.17 million people are under a windblown dust and ash advisory, but residents at risk can get free N95 masks at L.A. public libraries. 

Of the 30 fires that were active, 25 have been contained. The two largest ones, the Palisades and Eaton Fires, as well as three smaller blazes, are still active. 

The Palisades Fire has burned more than 23,000 acres threatening the suburban neighbourhoods Brentwood and Encino, and the commercial city neighbourhood Westwood. As of Jan. 15, the blaze was only 18 per cent contained. 

Southern California is facing “extremely critical fire conditions” caused by the Santa Ana winds, with windspeeds recorded as being up to 70 miles per hour (about 112 kilometres per hour). That is about nine-tenths as fast as a hurricane

Meteorologist and climate journalist Eric Holthaus said in a BBC interview that the winds not only help spread the fire but also make it difficult for aircrafts to safely get above the fires to drop loads of retardant and water. The lack of precipitation combined with the warm winds also further dry out the vegetation, allowing any sparks to grow into full-on fires.  

Although there is no lack of water for the firefighters to use, the dry vegetation is the main problem, making kindling out of dry grass, brush and trees. The weather forecast does not expect any rain until the end of January, possibly into February, which is a huge concern and very unusual considering this is usually the peak of the rainy season in Southern California. Holthaus said this is the driest start to the rainy season on record, “revealing some climate change signals.” Holthaus predicts this weather will likely continue for several weeks. 

Evacuation orders are in effect for about 92,000 residents and 89,000 are in evacuation warning zones, meaning they are advised to be ready to leave at a moment’s notice.  

Among the firefighters risking their lives to contain the wildfires are about 950 inmates from California’s prison systems.  

The California Department of Corrections and Rehabilitation’s (CDCR) Conservation Fire Camp Program allows incarcerated individuals to shorten their sentences by working as firefighters. This is not an uncommon practice in the United States. The inmates make up about 30 per cent of California’s wildfire-fighting force and are paid about $10 per day.  

This has become a very controversial topic, with some inmates accusing the state of exploiting a vulnerable population and others insisting it is a great voluntary opportunity for them to give back to the community. Other people in the community have questioned the ethics of the choice to volunteer for the program given the perks of reducing inmates’ sentences and criminal record expungement. California Fire Public Information Officer John Clingingsmith Jr. assures that certain convictions disqualify inmates, including violent crimes and arson. 

Roadblocks and patrols by the National Guard have increased in the devastated areas, with more than 60 arrests made in evacuated areas mainly for looting and burglary according to BBC News. Elsewhere, price-gouging and scamming have also been reported according to CBS News

With thousands of homes destroyed and more still at risk, many families are left with nowhere to go. A New York Times article describes evacuees scrambling to find places to sleep in shelters, hotels and even cars. A lot of people evacuated so suddenly that they have nothing but the clothes on their backs. Rehousing people will take months if not years, said Democratic Congresswoman Judy Chu to BBC News

According to Global News, officials say they are better prepared going into the second week with crews from across the U.S., Canada and Mexico in place. In the third week however, stronger winds are expected. 

CBS News assures the public that the Grammy Awards, scheduled to take place in Los Angeles in February, will not be cancelled or postponed, “but instead will refocus on fire relief efforts.” The Recording Academy will be raising funds to support wildfire relief efforts and honour firefighters and other first responders. 

Some people are accusing Los Angeles firefighters of being too slow and weak in their initial attack of the Palisades Fire, which many say was due to understaffing. Whether having more firefighters on scene at the beginning would have made a difference is unknown. The cause of the Palisades Fire is still being investigated. 

Some celebrities who live in Los Angeles have made major donations to L.A. fire relief and rebuilding efforts. Jamie Lee Curtis, Beyoncé, Paris Hilton and Leonardo DiCaprio have each donated between $100,000 and $2.5 million, according to a CNN report. L.A. County also reports that there has been an overwhelming flow of generosity as individuals and charities across the country donate. In-person donations are currently at capacity, but the county recommends making monetary donations to organizations dedicated to emergency work like Emergency Network Los Angeles

As this tragedy is still ongoing, the exact number of victims and structures destroyed is currently unknown. 

What Brock’s budget cuts mean for students 

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Going into 2025, Brock expected a $37 million deficit. After many budget cuts, this number is down to $10 million, but Brock University will still be making more major cuts this year. 

Brock University has a budget process deficit of $10 million going into the 2025-26 school year, which will result in library budget cuts, postponed capital refurbishment projects and the reduction of seminars. 

Brock President Dr. Lesley Rigg said to The Standard, “We have the same budget as we had in 2014,” meaning underfunding is unavoidable. A Niagara Falls Review article said that “years of inadequate provincial funding, frozen tuition, rising costs and an international student cap has brought Brock to a financial tipping point.” 

The library’s budget cuts include cancelling students’ access to major academic journals such as Springer Online (excluding Nature), Readers’ Guide Abstracts, Street & Smith’s Sports Business Journal (print) and Lyell Collection. Permanent access to all Springer journal content from 2024 and earlier will remain available.  

This decision was made because, in comparison to the other “Big Deal” subscriptions, “Springer has the poorest value proposition, with relatively lower usage but at a high cost.” Analysis showed that cancelling the Springer package would help Brock save money while having a lesser impact than cancelling other subscriptions. Springer’s cancellation achieves about half of Brock’s budget reduction.  

Besides cancelling the subscription to the major academic journal and some other smaller ones, Brock will also reduce their spending on new books and e-books. 

According to the Niagara Falls Review, more cuts include “forming a voluntary retirement program for faculty and postponing capital refurbishment projects.”  

Dr. Rigg said that she feels confident staff will find a path to sustainability, but that there are going to be “lots of hard choices.” While more information on what choices these will be is still forthcoming, Dr. Rigg mentioned they will be “things that, while we love doing them and they mean so much to our students, we’re not going to be able to afford.” 

With Canada’s international student cap causing turmoil among post-secondary institutions, Brock will also be increasing its domestic enrolment and going over its corridor allotment to bring in tuition.  

Perhaps the biggest impact that will be seen this year and in the future is the reduction of seminars. Associate Professor and Chair of the History Department Dr. Tami Friedman said this is her biggest concern: “I fear we are at risk of losing something very special that has distinguished Brock from other institutions for many years.” 

Already, Dr. Friedman has seen the elimination of third-year seminars in her department for the 2025-2026 school year: “Now we will have three hours instead of four, so that will severely undermine our ability to hold seminars the way we normally do.” Other departments have similarly seen other cutbacks on seminars. For professors, “this is a major blow,” said Dr. Friedman in a statement to The Brock Press

Dr. Friedman explained that seminars are important because they give students a chance to get to know each other, share ideas, discuss views, ask questions and reach a collective understanding of subject matter. In courses above students’ first year, most professors ask students to work together and share the responsibility of guiding discussion. This is an important skill that promotes collaboration and leadership, which is especially helpful to students who are planning on becoming teachers.  

“There’s really nothing like students being able to engage with and learn from each other,” said Dr. Friedman. 

Faculty are also under pressure to make sure students don’t have to pay for course materials, even low-cost materials, “as if the best way to cut corners is in the classrooms themselves”, said Dr. Friedman. 

For decades, Brock has prided itself on offering specialized learning that promotes individuality, co-operation and connectivity. 

Dr. Friedman said the elimination of these seminars cuts costs because the faculty member or teaching assistant that teaches the seminar are paid a stipend for each seminar. The payment rate for teaching assistants in 2021 ranged from $20.11 per hour (undergraduate rate) to $31.63 per hour (graduate rate). 

According to Dr. Friedman, some faculty members believe there are people on Brock’s board and high-level administrators who have wanted to get rid of seminars altogether for many years now: 

“We also have to consider what choices the administration is making about how to distribute funds. We have a new engineering school, many new high-level administrators, money spent on costly outside consultants hired to ‘find efficiencies’ and carry out responsibilities that used to be done in-house.” 

Considering Canada’s near financial recession, increased living costs, and unclear political future, it’s unsurprising that Ontario is seeing so many changes. Ontario also receives the lowest funding of any Canadian province for post-secondary institutions. Brock’s base operating grants (funds allocated for each full-time equivalent student) have declined as a proportion of its revenue for about two decades, with no adjustments for inflation. 

Brock is currently working with a third party to examine its processes from procurement to programming to governance, hoping to identify cost-effective actions that won’t impact students too harshly. 

What to know about BUSU’s February election 

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As BUSU’s February election is fast approaching, new candidates will begin to run for positions in the union. 

With polls opening on Feb. 11, the Brock University Students’ Union (BUSU) will take on several new candidates to manage many important roles in BUSU’s Board of Directors, the Brock Senate and The Brock Press’ Board of Directors. 

Whether students are interested in running in the upcoming election or want to learn about BUSU’s electoral process, here is an overview of some important factors in the February election. 

Positions and responsibilities 

There are four types of posts up for election in February, including seven one-year seats as a BUSU Board Member, four two-year seats as a BUSU Board Member, three two-year seats on the Brock Senate and a one-year seat on The Brock Press’ Board of Directors. 

The BUSU Board of Directors (BoD) is the governing body responsible for managing BUSU’s legislative documents, overseeing the “strategic direction” of BUSU, and dealing with their financial, legal and human relations issues.  

Meeting one or two times a month for two to three hours at a time, the BoD is led by 13 students with voting power and two non-voting directors, BUSU’s General Manager and President.  

The BoD serves as a direct line from Brock’s undergraduate students to figures in the governing body who can advocate for students in the areas in which they specialize. 

The Brock Press’ director seat is an advisory seat held by a student who is independent of BUSU or the Press. This student acts as a stakeholder-auditor of the Press on behalf of students whose fees fund the whole paper’s operation.  

The Brock University Senate is a group that manages the university’s academic policy. Although the Senate is comprised of roughly 70 members, Brock students elect six students to sit on the Senate alongside BUSU Vice President of University Affairs Carleigh Charlton. The Brock Senate hosts meetings once a month for roughly two hours at a time. Members of the Senate must also meet with their accompanying BUSU senators prior to each meeting to review their concerns and discuss amongst each other. 

All electoral positions are unpaid and voluntary. However, the positions on the Brock Senate will provide an honorarium based on adequate attendance and active participation. 

Nominations 

Nominations will take place online, on BUSU’s website. To find the nominations tab, head to BUSU’s election page and click on the “post list.” Ensure you are logged in to your student account to have full access to the necessary information. This will take you to the nominations and voting page, where more information about each seat and your eligibility to run will appear. 

Next, navigate to the “stand” tab, where you are able to nominate yourself for the position you are interested in. After filling out this information, students can create a biography explaining why they are interested in running for a position.  

According to BUSU’s website, candidates must also be nominated by their peers through their Signature Package. To campaign for a position on the Senate, a student must receive 25 signatures from their peers, whereas students must receive 100 signatures to campaign for the Board of Directors. 

Nominations must be submitted before the deadline on Jan. 24 at 12 p.m. 

A comprehensive tutorial regarding the nomination process for the February election can be found on BUSU’s Instagram page. 

Campaigning 

Running for a position in BUSU’s upcoming election is completely free. In fact, BUSU will provide candidates with $100 to $150 to cover campaigning costs. Their website suggests using the money for professional headshots, graphic design needs, advertising via social media or anything else that will go towards students’ campaigns. BUSU will fully reimburse students when the election ends, but they warn that spending more than necessary will lead to a “financial penalty” or one’s complete removal from the election. 

According to BUSU’s website, all candidates will be given a campaigning guide to assist their electoral efforts. Their website says to use Brock’s campus as the chief site of campaigning, suggesting that students should utilize the hallways and share their campaigning efforts in classes if professors allow them to do so. 

BUSU also recommends campaigning online to connect with students. 

For more information regarding general election rules, students can reach out to BUSU’s Returning Officer at elections@brockbusu.ca. More information about the February election can be found on BUSU’s website

Badgers men’s hockey drop pair in Toronto to open 2025 

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The Brock Badgers men’s hockey team lost both games of the weekend, falling 4-3 to the TMU Bold on Jan. 10 and 5-2 to the Toronto Varsity Blues on Jan. 11 in heartbreaking fashion. 

Brock Badgers 3, TMU Bold 4 

Jordan Stock, Zack Stringer and Jonah Boria each found the back of the net for the Badgers, but it wasn’t enough to withstand a late surge by the Bold in a 4-3 defeat. 

After TMU’s Jordan D’Intino opened the scoring less than a minute in, Brock answered back with a pair of goals in quick succession. Stock tied the game at one by deflecting Ryan Thompson’s point shot in the crease before Stringer gave the Badgers the one-goal lead by crashing the net and pouncing on a rebound in front. 

With Brock up a goal entering the second, Boria doubled the Badgers’ advantage with a laser of a shot through the net-front traffic, but the 3-1 lead was short-lived. 

The Bold’s Tyler Savard cut the TMU deficit in half minutes later with a powerplay goal that shifted the momentum of the game.  

TMU scored twice in the opening moments of the third, one by William Portokalis and another by Kevin Gursoy on the powerplay, to give the home side the one-goal edge. 

But the Badgers remained relentless on the forecheck, outshooting the Bold 14-3 in the period — 35-30 in the game — in search of an equalizer. 

Brock’s best chance came in the dying seconds of the game as Ryan Stepien, who already recorded two assists in the game, was awarded a penalty shot after a Bold player illegally played the puck with their glove in the crease. 

However, TMU netminder Ryan Dugas got the better of Stepien on the breakaway try as the Badgers fell 4-3 for their second consecutive loss and first defeat of the calendar year. 

Brock Badgers 2, Toronto Varsity Blues 5 

With their sights set on ending the losing streak, Zack Stringer and Holden Rogers scored for the Badgers in the first but Toronto showcased their superiority with a 5-2 comeback win. 

As was the theme in Friday’s matchup against TMU, the Varsity Blues buried the game’s first goal just over a minute into the contest off the stick of Ben Dirven, but the Badgers responded. 

Rookie forward Stringer notched his ninth of the year on the powerplay to extend his goal-scoring streak to three games, re-directing Rogers’ wrist shot into the open cage to level the game at one. 

Stringer then returned the favour to Rogers, assisting on his team-leading 12th goal of the campaign — which is tied for fourth-most in the OUA — as the third-year forward poked at the loose puck in front to give the Badgers the 2-1 lead. 

However, the lead didn’t last long as the Varsity Blues’ Julian Recine scored with two seconds left in the period to even the game at two apiece entering the second. 

After a scoreless second period full of chances and excitement, Toronto broke the deadlock with five minutes remaining in the third as Aiden Reeves scored the go-ahead goal. 

Despite the Badgers outshooting Toronto 10-6 in the third and 36-28 in the game, Reeves’ late goal stood as the game-winner as the Varsity Blues added two empty-netters to hand Brock their third straight loss, losing 5-2. 

Next, the Brock Badgers (7-12) open their 2025 home schedule at Canada Games Park against the York Lions (3-15) on Jan. 16. Puck drop is set for 6 p.m. 

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