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Commentary, Opinion

Bill C-3 forces adoptees to reconsider their national identity; Canada should too

On Nov. 20, the House of Commons passed Bill C-3, drastically altering the Canadian citizenship process. The bill, also known as the “Lost Canadians Bill,” expands access to citizenship for over 115,000 people born abroad. Previously, second-generation Canadians born outside of Canada couldn’t inherit citizenship from a naturalized parent. Now, formerly excluded “second-gens” are guaranteed citizenship, contingent on their parent demonstrating a “substantial connection” to Canada—such as having lived in Canada for at least three years. Lawmakers have celebrated Bill C-3 as a crucial step towards citizenship equity. Yet, the bill has a critical flaw: It fails to grant automatic citizenship to international-born children adopted by birthright Canadian citizens. Bill C-3’s reluctance to guarantee international adoptees’ citizenship reflects underlying anti-adoption bias and an exclusive attitude towards Canadian national belonging. 

One point of contention in Bill C-3 is its substantial connection requirement, which intends to ensure that prospective citizens have genuine ties to Canada. While domestic adoptees are granted automatic Canadian citizenship, international adoptees to Canadian citizens must meet the same substantial connection criteria as second-generation abroad applicants. It is unsurprising that children adopted from abroad would be subjected to some form of government evaluation before obtaining citizenship. However, international adoptees are already subjected to a thorough and intensive government evaluation as part of the adoption process. In Quebec, for example, prospective adoptees must submit a comprehensive profile documenting their personal histories and special needs before being admitted to Canada. It is therefore redundant for Canada to require further vetting of adoptees as grounds for their citizenship. 

Implicit in Bill C-3’s substantial connection stipulation is the notion that the relationship between adopted children and their parents is of lesser validity than that between biological family members. Even before Bill C-3, citizenship typically passed directly from birthright citizens to their biological children. However, the bill does not afford adopted families this same privilege. 

Though proving substantial connection is a formality that does not pose a significant barrier to obtaining citizenship, the requirement draws a discriminatory legal distinction between biological and adopted families. This legislation forces adopted children to earn the right to their parents’ citizenship, a benefit that is freely granted to biological offspring. It is critical to consider how legislation like Bill C-3 reflects societal biases regarding the legitimacy of adopted families. 

Additionally, the bill’s double standards regarding who is granted automatic citizenship leave international adoptees in a vulnerable position. The vast majority of children born abroad are adopted in their early youth, thus leaving the matter of citizenship to their parents’ discretion. It is unfair that adopted children are not guaranteed the full rights and protections of the country to which they have been brought without a choice. 

Bill C-3’s unequal application of citizenship rights raises a larger question: What does it mean to be a Canadian? If ‘Canadian-ness’ is defined by the amount of time lived in Canada (the government metric used to establish substantial connection), then most immigrants are more Canadian than nationals who moved abroad as children. Yet, if ‘Canadian-ness’ is defined by country of origin, then millions of immigrants are excluded from claim to national identity. 

In Quebec province, similar tensions are emerging regarding regional identity at the nexus of increased immigration and nativist sentiment. The Quebecois government is pushing language preservation policies which, if actualized, would inhibit non-Francophones from fully integrating into society. Yet these policies overlook Quebec’s linguistic and cultural diversity, stubbornly pushing for a homogenized francophone identity. Both Bill C-3 and Quebec’s language policies reflect the same flawed logic: That belonging can be legislated through requirements and restrictions rather than cultivated through inclusion and shared investment in community. Senator Mary Coyle lauded Bill C-3 for expanding citizenship opportunities while still “protecting the value”—in other words, exclusivity—of national status. The idea that exclusivity makes citizenship valuable rests on a false belief that accessibility cheapens community. In reality, an individual’s willingness to invest in a Canadian national community—to support it, to respect it, and to protect it— is what makes Canada special. Thus, the House of Commons must amend the bill to rectify Bill C-3’s oversights, moving toward citizenship equity for international adoptees.

Baseball, Cross-Country / Track, Field Hockey, Football, Golf, Lacrosse, Martlets, Men's Varsity, Rugby, Soccer, Sports

Varsity Report Card: Fall 2025

Redbirds Baseball: C+

A rebuilding year showed in Men’s Baseball’s final record: 11–18, with a tough 3–11 mark on the road and no conference play on the schedule entering fall nationals. The team’s strong 8–6 home record kept the season from slipping further, as did steady pitching flashes and an improved structure. However, inconsistency at the plate and difficulty stringing wins together made it hard for McGill to climb above a .500 win rate. This was not a lost year by any means; the team’s foundation was visible as its members tried to reaffirm their identity after key veterans graduated last season.

Men’s and Women’s Cross Country: A-

McGill’s Men’s and Women’s Cross Country teams delivered a strong and eventful fall. On the women’s side, Sophie Courville captured the individual RSEQ championship with an 8 km time of 28:29, becoming the first McGill women’s athlete to win the conference title since 2016. The women’s team also opened their season by winning the 6 km McGill Invitational out of a nine-team field, led by Sienna Matheson’s silver and a bronze by Courville. On the men’s side, the Redbirds secured third place as a team at the RSEQ championship meet, with a standout performance by the 14th-placing Sean Adams, who completed the 8km course with a time of 25:17. Between Courville’s breakthrough individual title, consistent depth from both the women’s and men’s top‑five scorers, and strong showings at key invitationals, the program demonstrates competitiveness and promise.

Martlets Field Hockey: B-

McGill’s Women’s Field Hockey squad faced a challenging fall, finishing with a single win: A hard‑fought 1-0 victory over the Queen’s Gaels on Oct. 19. While their season included some heavy losses, the team showed resilience and determination, especially defensively and through competitive moments against stronger opponents. Despite offensive struggles, their late‑season win demonstrates that the Martlets have grit to build upon and grow from. Their season was a testament to true dedication and sportsmanship. 

Redbirds Football: B 

Men’s Football finished 3–7 in RSEQ play, closing out a season defined by narrow margins and late-game swings. Despite ending with a five-game losing streak, McGill produced its highest number of U SPORTS First Team All-Canadians since 2002; running back Jerry Momo, defensive back Jahnai Copeland-Lewis, and offensive line Domenico Piazza all earned national honours. The talent at the team’s top end is undeniable—but converting that individual success into consistent team results remains Football’s next step. The Redbirds’ season was frustrating but not hopeless, with bright moments such as their upset victory over the Université de Montréal’s Carabins hinting at a stronger 2026 campaign.

Men’s and Women’s Golf: B

McGill Varsity Golf quietly put together a steady fall, as both programs consistently landed in the middle of competitive RSEQ fields. The Martlets finished third at Omnium 1, third at Omnium 2, and fourth at the RSEQ Championship. The Redbirds matched that stability with three straight fourth-place finishes, reflecting the overall team’s solid, but unspectacular, season. While neither team cracked the podium in the final standings, both showed improvement and stayed firmly in contention at every event, bolstered by some gargantuan performances from Astoria Yen—who was named Athlete of the Week and came third in the season’s overall rankings

Redbirds Lacrosse: A

The Redbirds delivered another top-tier campaign, finishing 9–3 overall and 8–2 in conference, powered by one of the Canadian University Field Lacrosse Association (CUFLA)’s most balanced offences. McGill looked like a title threat all season, dominating at home 5–1 and earning a semifinal berth at the Baggataway Cup. Their season ended in a gritty 15-12 loss to the Nipissing University Lakers, despite a hat-trick from midfielder Joshua Jewell. Still, the Redbirds saw five of their players make the CUFLA East Division All-Star Team, underscoring the team’s depth and the program’s continued national relevance. 2025 was a strong year for men’s Lacrosse, and the goal of winning a championship remains at the forefront of the team’s future aspirations.

Men’s and Women’s Rowing: B+

McGill Rowing put together one of its strongest fall campaigns to date, highlighted by their standout performance at the Head of the Rideau Regatta, where the Martlets captured the Kandahar Trophy as the top university program among 10 teams. The Head of the Trent Regatta offered the team valuable racing practice, though without scoring. At the Ontario University Athletics Championships, the Redbirds impressed with a fourth-place finish out of 14, while the Martlets battled through a deep field to place 10th. Both the men’s and women’s team seasons peaked at the Canadian University Rowing Association National Championships, where host team McGill held its own against the country’s best. The Redbirds finished 6th of 28 teams, and the Martlets 10th of 28. The rowing program enjoyed a competitive, upward-trending season that showcased depth and national relevance.

Martlets Rugby: B-

Women’s Rugby’s 1–5 record must not obscure one of the best moments of McGill Athletics’ semester: A miraculous 38–35 comeback over the Bishop’s University Gaiters to close McGill’s season, with the Martlets finally overcoming a 16-game losing streak. Behind by 21 at the start of the second half, McGill stormed back with four unanswered tries, capped by Evelyne Desmarais’s game-winning try and conversion in injury time. While the overall results reflect a rebuilding group, the team showed clear improvement in their structure, fitness, and attacking ambition. Ending the year with their first win since 2023 would have given the program genuine momentum moving forward, if not for the unprecedented cuts to the varsity cohort announced on Nov. 20.

Redbirds Rugby: A

McGill’s Men’s Rugby squad had quite a strong season, cruising to an impressive 73‑3 win over the Carleton University Ravens in their RSEQ opener and finishing with a 5–1–0 record overall—achieving second place in their conference. The season featured several standout performances: A 45‑19 win over the University of Ottawa Gee-Gees, where the Redbirds scored seven tries and a bonus point, and a powerful 50‑25 Hardy Cup victory over the Concordia Stingers that sealed McGill’s status as a top team. Notably, players Henry (Harry) Corkum and Brad Hunger both earned first‑team All‑Canadian honours for their offensive work and consistency. 

Martlets Soccer: B

Women’s Soccer had an up‑and‑down fall season, finishing with an overall record of 5–74, and a fourth‑place finish in the Réseau du sport étudiant du Québec (RSEQ). The team showed grit with a key 3-1 win on Seniors Day and during a 2-0 victory in their final regular‑season match to secure their postseason spot. But offensive struggles held them back for the majority of the season; with just 11 goals scored, their attack lacked consistency. Defensively, the Martlets held together well under pressure, giving themselves chances late in close games. In the end, their playoff qualification and resilience throughout the season impressed, but limited scoring kept the Martlets from notably advancing. 

Redbirds Soccer: B

The Men’s Soccer team had a season of mixed results, finishing 4–4–8 overall to land them just outside RSEQ playoffs. Their highlights included a 3-0 win over Université du Québec à Montréal’s Citadins, and strong individual performances from Lefika Noko, Esteban Roy, and freshman Romain Dallery. But inconsistency took a toll on the team throughout the season, with heavy losses, scoreless draws, and missed goal opportunities limiting their progression. Solid defence and standout players give hope for next year’s prospects, but the Redbirds ultimately did not advance as expected.

Sports Editor Clara Smyrski and Sports Staff Writer Jenna Payette are members of the McGill Women’s Field Hockey team, and Sports Staff Writer Zain Ahmed is a member of the McGill Men’s Rugby team. Smyrski, Payette, and Ahmed were not involved in the writing, editing, or publication of their team’s respective sections of this article.

Research Briefs, Science & Technology

Uncovering Parkinson’s disease

Parkinson’s disease (PD) results from the progressive loss of specific brain cells responsible for movement. As these neurons deteriorate, patients experience tremors and difficulty with balance and coordination. Although treatments can alleviate specific symptoms, nothing slows the progression of the disease. Projections estimate that by 2031, approximately 163,000 Canadians will be living with Parkinson’s, emphasizing the necessity of effective therapeutic options. 

PD is often associated with aging, as most patients are diagnosed after the age of 60. However, some patients develop symptoms decades earlier. Early-onset Parkinson’s—which develops before age 50—puts patients at a particular disadvantage because they live with the disease for longer and consequently face limitations during important stages of adulthood, often experiencing heavier emotional and economic burdens.

Sabrina Romanelli, a third-year PhD student in Pharmacology at McGill, is currently working in the Trempe Lab to better understand the molecular factors that drive this form of Parkinson’s.

“I really wanted to work in PD research because my grandmother had the disease [….] I saw her go through it, and I understood the toll that it takes on people, and the way that people suffer with the disorder,” Romanelli said in an interview with The Tribune.

The Trempe Lab concentrates on early-onset Parkinson’s by studying two proteins: PINK1 and Parkin. These proteins maintain the health of the mitochondria. Under normal conditions, the mitochondria powers cellular functions; however, when mitochondria become damaged, they generate harmful by-products that can cause neuron death. PINK1 detects the damage, stabilizes on the surface of defective mitochondria, and signals that it must be eliminated. Parkin then follows this signal and clears the defective mitochondria. Mutations in either PINK1 or Parkin disrupt this process, preluding to early-onset Parkinson’s.

McGill researchers are particularly interested in how PINK1 stabilizes on damaged mitochondria long enough to activate Parkin. The TOM complex, a protein structure responsible for transporting proteins into mitochondria, is at the heart of this process. One of its subunits, TOM7, may help hold PINK1 in place when mitochondria are damaged; in the absence of TOM7, PINK1 fails to function.

“I’m trying to better understand how PINK1 is able to interact with this complex,” Romanelli said. “And the reason why this is so important is because the PINK1-TOM complex has become this key therapeutic target for Parkinson’s disease.”

The Trempe Lab currently studies how TOM7 influences PINK1’s behaviour to determine how this subunit affects PINK1 stabilization.

“One thing that I’m doing is taking wild type cells and cells that have TOM7 not present and running that on mass spectrometry to see if there’s any key differences between the conference composition of the cells,” Romanelli explained.

Studying PINK1 is challenging because the protein is unstable under normal conditions. Cells rapidly degrade it when mitochondria are functioning normally. As a result, experiments require timing and careful manipulation of mammalian cells, which can be unpredictable and sensitive to their environment. Despite this, mammalian cell systems are essential for Parkinson’s research because they are comparable to the characteristics of human neurons.

“I think it’s an important field to study primarily because […] as the population keeps aging, we are going to see more people being diagnosed with neurodegenerative diseases,” she said. “But I think what’s really good about our lab is the fact that we’re focusing on early-onset Parkinson’s, […] because these people have to suffer with the disease for longer periods of time.” 

Studying the interactions between PINK1 and the TOM complex has important implications for future therapies. The PINK1-TOM7 connection is a promising therapeutic target, and drug candidates may already be affecting this pathway. However, without a good understanding of how PINK1 stabilizes on mitochondria and initiates the removal of damaged components, drug design remains challenging. Understanding this mechanism could allow for the development of treatments that act preventively rather than mitigating existing symptoms.

“What I would want people to take away is the fact that basic research could be very powerful. It starts at the lab bench,” Romanelli said. “I won’t find a cure in my PhD, but hopefully my PhD will bring us a step closer to a cure.”

Arts & Entertainment, Film and TV, Theatre

Double, double, Oz is in trouble!

The releasification occurred on Nov. 21 at the 13th hour on the silver screen downstage-right of the Time Dragon Clock—the direct result of adaptifying Act One of Academy Award-winning composer Stephen Schwartz’s stage classic into a movie musical. Yes, the second act of WickedWicked: For Good—is officially in theatres. Thank goodness

I couldn’t be happier. No less than a clock-tick later, the truly wonderful Wicked has us off to see the Wizard once more. Come out, come out, wherever you are, and rediscoverate the death-defying conclusion of Elphaba’s origin story, now soaring to the gravitas of a $150 million USD budget. Audiences everywhere are obsessulated with the indelible blonde of female friendship and the extraordinary brains, heart, and courage required to set the merry old land of Oz back down its rightful yellow-bricked path. Wicked: For Good is an invitation to reinvestigate the poppylar understanding of technicolour Oz through new eyes and ruby-tinted glasses.

Wicked: For Good opens with the newly arranged “Every Day More Wicked,” a series of brief first-act song reprises—including “No One Mourns The Wicked,” “The Wizard and I,” “What Is This Feeling?” and “Popular.” They reacquaint audiences with everything that’s transpired since Wicked, making it clear we’re not in Kansas anymore

It really was no miracle; what happened in the film was just this: Hiding deep in the forest, thick with shadows, Elphaba flies on her broomstick. She tries to warn the Ozians of Madame Morrible’s tricks. MM begins to flip into a Wicked Witch! Fiyero, Gale Force captain, hopes to find Elphaba and ditch. Glinda, now in politics, unveils roads of yellow brick. Lavender-wed Fiyero, Friends of Dorothy click-click-click! Ding-Dong! The Witch has fled! Which old Witch? The Wicked Witch! Ding-Dong! Will Elphaba end up dead? 

This opening sets a darker tone while establishing continuity with L. Frank Baum’s The Wonderful Wizard of Oz. Wicked: For Good undertakes the unlimited burden of offering narrative resolutions to these dissonant but intertwined stories; it incorporates Dorothy’s arrival and aligns the rainbow trajectory of Wicked author Gregory Maguire’s characters with Baum’s intended fates, without ever feeling contrived—oh my! Wicked: For Good needs to have all the convincing answers and deliver it asbestos it can.

With something oldish, something new, something battered, something askew, Wicked: For Good reveres the integrity of the stage classic while expanding its world through the addition of two original, politically resonant solos. Elphaba’s “No Place Like Home” and Glinda’s “The Girl in the Bubble” honour the intentions of Maguire’s political critique by framing Oz’s authoritarian regime through a dual lens: One of resilience, as Elphaba searches for hope in times of despair, and one of responsibility, as Glinda awakens from her political apathy to confront the systems of injustice that her privilege upholds. 

Elphaba’s central lament in “No Place Like Home”—“Why do I love this place that’s never loved me?”—captures the grief of holding space in your heart for a society beyond redemption. It’s a perseverance born from love, the defiant will to forgive a homeland that has systematically marginalized her since birth. Glinda’s solo marks a pivotal turning point as she awakens to the hollowness of her complicity in an emerging fascist state—a world gone to Shiz enabled by the fragile comforts her willful ignorance affords. In choosing to become “Glinda the Good,” she sacrifices privilege for principle, illustrating that moral clarity demands personal sacrifice—that in Oz, as in our world, no good deed goes unpunished.

The Wicked duology represents the culmination of a 22-year-long theatrical legacy—a love letter to the generation it raised—crafted by the community that cherished it. It’s a rare milestone: A passion project that celebrates the storytelling tradition and the enduring magic of stagecraft. It’s not just good, it’s great and powerful. It’s a gift to the theatre world that proves pink goes good with green. Who can say whether all its changes have been for the better? One thing is certain: The wonderful world of Oz has been changed—for good.

Commentary, Opinion

Without redistributing power, repatriation of artifacts remains incomplete

Reconciliation should not come with an invoice. The Vatican’s decision to return 62 Indigenous artifacts to Canada is being described as a “concrete sign of dialogue, respect and fraternity.” Yet when the Catholic Church maintains control over the timing, framing, and logistics of the return, even forcing Indigenous communities to pay to bring home what was stolen from them, such gestures reveal how colonial power still sets the terms of reconciliation.

For a century, Indigenous belongings—including an Inuit kayak and a set of embroidered gloves from the Cree Nation—sat in the Vatican’s ethnographic collection. The Church claimed the artifacts, and they were added to the Anima Mundi museum as part of its permanent inventory in 1925. Now, the Vatican has decided to return these artifacts to Canada. 

This action, on the surface, is powerful: Indigenous belongings make the long trip home after decades in a European museum. Pope Leo XIV has framed this move as proof that the Vatican is listening to Indigenous demands for justice. Yet, the 62 objects have not been handed directly to Indigenous organizations. Instead, they were formally given to the Canadian Conference of Catholic Bishops, which will then be responsible for working with Indigenous representatives and the Canadian Museum of History to identify each object and eventually route it back to its community of origin. This bureaucratic process reflects a broader pattern in repatriation work. 

Indigenous nations bear a large share of the labour and financial burden in regaining what is theirs: Travelling to museums, documenting claims, hiring researchers and legal experts, and covering transport and ceremony costs. One recent report on the repatriation of Indigenous items in British Columbia estimated that fully returning heritage objects currently held in museum collections would cost these groups $663 million CAD. This system places the burden on systemically disadvantaged communities to negotiate with government-funded institutions, which are grounded in powerful academic and cultural networks, just to reclaim what belonged to these communities in the first place.

The Vatican has framed the repatriated artifacts as gifts, stating the items were originally sent by missionaries to showcase both Catholic expansion and the “cultural richness” of the peoples they evangelized. Such characterizations of these artifacts fail to reveal the true context in which they entered the museum—as belongings stolen under conditions of profound coercion. For generations, the Catholic Church was a central power in Canada’s role in colonialism. Catholic orders operated the majority of federally funded residential schools, facilitating land dispossession and banning Indigenous ceremonies to systemically eradicate their cultures. Yet recent moves by the Catholic Church, such as the repudiation of the Doctrine of Discovery and the 2022 papal apology for residential schools, merely distract from the Church’s duty to reconcile for its theft of these objects, instead casting the Church as a morally awakened actor generously choosing to share what it ‘owns.’

This framing shapes public understanding of what reconciliation requires. If the return of these belongings is treated primarily as a sign of good will, the underlying question of rightful ownership is softened, and the asymmetry of power involved in both the original removal and the present-day repatriation is obscured. 

The return of the 62 pieces is an important step, but incomplete. Tens of thousands of Indigenous artifacts remain in the Vatican’s ethnographic holdings. If institutions continue to control which items are relinquished, on what schedule, and at what cost, they will still retain the most significant form of authority: The power to decide who gets to keep their heritage and who doesn’t.

For reconciliation to move beyond symbolism and colonial facilitation, the logic reinforcing repatriation would need to be reversed. The default must become proactive, institutionally funded returns guided by Indigenous priorities, and a willingness to relinquish interpretive control not only over individual objects, but over the stories museums tell about how those objects arrived in their collection in the first place. 
This responsibility doesn’t end at the Vatican Museums. McGill, situated on unceded territory of the Kanien’kehà:ka, equips archives, research practices, and institutional structures shaped by the same colonial histories that made the Vatican’s ethnographic holdings possible. Whether in Vatican City or in Montreal, reconciliation must represent genuine efforts to repair damage by colonialism—not strategic efforts to save reputational face.

McGill, News

McGill Athletics slashes over half of varsity and club portfolio

Recent provincial pressures on McGill’s finances—from government limits on how many international students McGill can accept, to government-mandated tuition hikes for out-of-province students—have led the university to cut costs. Most recently, McGill cut 25 McGill Athletics varsity and club programs.

As McGill Athletics announced on Nov. 20, the teams that McGill has cut beyond this season are men’s and women’s varsity Badminton, men’s varsity Baseball, men’s and women’s Fencing, women’s varsity Field Hockey, men’s and women’s Figure Skating, men’s and women’s varsity Golf, women’s Lacrosse, men’s and women’s Logger Sports, men’s and women’s Nordic Ski, women’s varsity Rugby, men’s and women’s Sailing, men’s and women’s Squash, men’s and women’s Tennis, men’s and women’s varsity Track and Field, and men’s Volleyball.

Teams that will still compete beyond the end of the 2025–2026 academic year are co-ed varsity Artistic Swimming, men’s and women’s varsity Basketball, co-ed Cheerleading, men’s and women’s varsity Cross Country, women’s Flag Football, men’s varsity Football, men’s and women’s varsity Hockey, men’s varsity Lacrosse, men’s and women’s varsity Rowing, men’s varsity Rugby, men’s and women’s varsity Soccer, men’s and women’s varsity Swimming, and women’s varsity Volleyball.

Community members immediately criticized the university for what they called an “unbelievable” decision. In an interview with The Tribune, varsity Track and Field Co-Captain Ashleigh Brown, U4 Arts, affirmed being “completely blindsided” by the results of the varsity review.

“To give you an idea of how blindsided we were, our head coach was in the middle of doing tours for [potential recruits when cuts were announced],” she said. “Given the standards that [McGill Athletics] set, we thought that we fit most of [the review] criteria, so most of us were confident that our team would be staying. We were never told explicitly that the Track and Field team was under [any] scrutiny.”

Similarly, Vice President Competitive of McGill’s Nordic Ski Club, Matthew Randall, U3 Science, emphasized in an interview with The Tribune that McGill Athletics warned Nordic Ski they would be restructuring only two weeks prior to the decision’s announcement.

“We still don’t have more information about how teams were compared concretely [when] McGill Athletics went about making this decision very quickly,” Randall emphasized. “Nov. 3 is when [McGill Athletics] first told [Nordic Ski] that they were going to be making cuts [….] They told us the review process was sort of months in the making, but this [was] the first we were hearing formally of it.”

In a written statement to The Tribune, McGill Athletics shared some of the main factors they took into account in their review decisions, emphasizing a potential provincial focus.

“[We looked at] overall competitive performance and future potential, [….] availability and suitability of competition venues, […] financial and administrative requirements, […] [and McGill Athletics’] ability to provide appropriate and sustainable support […] while ensuring compliance with McGill University policies,” McGill Athletics wrote. “Through a rigorous review process guided by the new RSEQ model, [we are] aligning [our] programming with the future of sport in Quebec.”

McGill Athletics also outlined the post-restructuring supports they have offered to impacted athletes.

“Administrators continue to meet with affected sports to […] discuss potential pathways for continued participation, including the possibility of transitioning to SSMU club status,” McGill Athletics wrote. “We continue to encourage our students to seek support through the [Athletics] Local Wellness Advisor.”

However, Martlets Field Hockey vice captain Grace Hodges, U3 Arts, expressed in an interview with The Tribune that the mental health resources recommended by McGill Athletics are inadequate.

“[McGill Athletics has] one therapist on staff who [is] obviously wonderful at their [job], but can’t possibly be expected to account for all the athletes [cut], particularly given that trying to get an appointment with them [regularly] takes a month [already],” she stated. 

Hodges further shared that the reactive measures of support McGill Athletics has provided to impacted athletes feel performative.

“They’ve offered meetings with all the teams that were cut,” she stated. “I think that is a response to the media blowback that there’s been [….] You have Olympians who are talking about how embarrassing this is for McGill, […] [so] I don’t think there’s a genuine concern for the athletes. I think [McGill is concerned] for their image and damage control.”

Sports Editor Clara Smyrski and Sports Staff Writer Jenna Payette are members of the McGill Women’s Field Hockey team. Neither was involved in the writing, editing, or publication of this article.

Research Briefs, Science & Technology

The McGill Engine Centre’s 11th annual innovation celebration

On the rainy evening of Nov. 27, the McGill Engine Centre hosted its 11th annual celebration of innovation and entrepreneurship at the Redpath Museum. The event highlighted the students, faculty, and researchers who applied innovative tech solutions to real-world problems with the help of Engine.    

In an interview with The Tribune, Andromeda Wang—a former undergraduate student in the McGill Desautels Faculty of Management and a current administrative coordinator for the McGill Engine Centre—explained what Engine is all about. 

“Engine is an incubator for early-stage tech-driven startups, and what we do is we help students [and] faculty across McGill with their startup ideas […] by giving them training on more of the business side,” she said. “We are primarily tech-driven, so STEM, anything technologically innovative, science, math, […] medicine is a big one, and […] we offer the kind of business support and support for innovation at McGill.” 

The McGill Engine Centre helps dedicated students turn their tech dreams into a reality by providing them with mentorship, funding, and community, among other things. One of the Centre’s key programs is the TechAccel Program, which is open to McGill undergraduate, graduate, and post-doc students interested in launching their own start-ups. This program has granted over $265,000 CAD in funding since 2016 and is an exciting prospect for students looking to bring their ideas to fruition.

“It’s essentially your tech idea, and you […] get assigned a mentor [because] you get to talk about your ideas, do the market research, and, you know, create community within the startup and technological innovation space at MGill and even beyond,” Wang said.

The TechAccel Program takes three cohorts of students annually, and each cycle lasts around 18 weeks. For those who are just looking to get their foot in the door without long-term commitment, Engine offers a number of additional resources. 

“We also host workshops every week during the school year on pre-startup skills. So it covers market research, how to find your customer, Startup Law 101, those are just a couple of the topics we have,” Wang said. “We also have a more in-depth collaboration with McGill SKILLSETS, which again covers kind of the startup skills you need, but it goes a little bit more in depth.”

The McGill Engine Centre also works with McGill engineering students completing their capstone projects. TissueTinker, one of many tech-driven solutions highlighted at the event, began as one of these capstone projects and is now an operational startup. 

“[TissueTinker] is a cancer modelling solution that allows you to 3D print living human tissue to test new drugs on directly without the need for animal studies,” Madison Santos, one of the company’s three co-founders, said in an interview with The Tribune

The company engineers materials that simulate different bodily tissues, such as organs. These serve as a scaffold into which researchers can incorporate their cells of interest, whether they are from patients directly or sourced commercially. From there, the researchers can load the scaffold into TissueTinker’s bench-top 3D bioprinter, enabling them to print living tissue to use for their research.

Not only does TissueTinker’s work facilitate groundbreaking cancer research, but it also does so while lowering some of the environmental and emotional expenditure associated with animal research. Furthermore, TissueTinker employs many students, ultimately allowing the founders to carry forward the community-building initiatives that the McGill Engine Centre helps foster.  

“We were all students once. I would never have gotten to this point had somebody not taken a chance on me when I was a student, and I feel we kind of owe that to the next generation to take the chance on people that might also be able to do great things and help them get started, whether it, you know, will long term remain with us or whether they will find their own things and fly off,” Santos said. 

The McGill Engine Centre and the companies that it has helped remind us that community-building is essential, as it is these connections which allow us to flourish on academic, interpersonal and societal levels.

Arts & Entertainment, Music

Dijon transforms Montreal into a playground of sound  

Halfway through his sold-out tour, Dijon walked out onto the barely lit L’Olympia stage in a sweater and jeans—no opener, no fuss—and somehow transformed a 2,400-capacity venue into a jam session in his living room. Before the stage lights even turned on, he slipped into the first notes of “Many Times,” and the room answered with a shout, the kind where everyone realizes they’re flung into something at the same time. 

2025 has been Dijon’s year: The release of his sophomore album Baby to practically unanimous praise, a cameo in Paul Thomas Anderson’s Oscar-bound One Battle After Another, writing credits on Bon Iver’s newest album, and a Grammy nomination for Producer of the Year on Justin Bieber’s best material in years. But in Montreal, all that buzz dissolved, leaving us with something intimate and irreplaceable. Dijon wasn’t playing the part of an artist on a winning run; he was just making music in real time, fully trusting that we’d follow him wherever he took us. 

With his seven-piece band, made up notably of Henry Kwapis on the drums, Amber Coffman from Dirty Projectors, and Daniel Aged, who’s previously worked with Frank Ocean and FKA Twigs, Dijon treated the night like a conversation between musicians: Songs weren’t just played, they changed shape, were remixed and rebuilt in real time. He’d restart mid-verse if the energy felt off, taking suggestions from the crowd. Band members moved around the stage as naturally as if they were rehearsing, tweaking sounds, stepping in and out depending on the track, like they were in a studio session we had the chance to witness. 

The set list swerved between pulse-pounding highs and softer sounds. “HIGHER!,” “Talk Down,” and “Yamaha” hit like quick bursts of adrenaline, the lights flashing on the audience, revealing a crowd swaying in unison. He gave a fresh kick to tracks like “rock n roll” by adding drum weight, creating a version that now only exists in that room. “(Referee)” melted seamlessly into “Rewind,” detonating into the night’s most electric mixes. “FIRE!” leaned heavily on production, sometimes swallowing Dijon’s voice. Still, it didn’t shake the energy in L’Olympia. “my man,” unexpectedly, was the vocal masterclass: A song I wasn’t particularly excited to hear, but one he blew right open. 

When the tempo slowed down, the room shifted with him. “The Dress,” his best-known and beloved track, pulled the audience into a collective trance, thousands of voices singing along. Its transition into “Annie” made the moment land even harder, the two songs folding into each other so naturally that the crowd leaned forward with them, powerless. He surprised the audience with “TV Blues,” an older track, previously untouched on this tour. Dijon’s been keeping fans on their toes, switching up the setlist at every stop, so the second the opening notes hit, you could see the crowd trying to place it, followed by smiles of recognition that ran across the audience.  

After “Kindalove,” he saluted us and left the stage with his band members, but the crowd wasn’t having it. Their applause dragged him back out for a three-song encore: “Big Mike’s,” sped up, “Nico’s Red Truck,” an old single from his discography that had the whole room clapping along to the beat, and finally, “Rodeo Clown.” For that last hurrah, his band slipped offstage, leaving him alone in the spotlight, the audience cast in darkness, singing along. Slowly, the musicians drifted back onstage, folding themselves back into the song when needed. The encore cemented the spell, reminding everyone why he’s one of today’s most surprising and magnetic performers. 

As I walked out, the music still vibrated in my chest, quietly humming, as if Montreal hadn’t just heard a concert but had helped build one.

Arts & Entertainment, Fashion, Private

2026 Met Gala theme ‘Costume Art’ revives the body in art

On Nov. 17, the Metropolitan Museum of Art announced the 2026 Met Gala theme, “Costume Art,” in honour of the new 12,000 square foot gallery space that will house the Costume Institute’s annual spring exhibition. 

The Met Gala has consistently been a spectacle that sparks widespread discussion; the theme is the backbone of the ensembles worn by attendees. This year’s theme, however, is very broad. In an interview with Vogue, Costume Institute curator Andrew Bolton said the exhibition will be on the human body—specifically how the body communicates with costume. “The idea was to put the body back into discussions about art and fashion, and to embrace the body, not to take it away as a way of elevating fashion to an art form,” he explained.

There are many ways designers might interpret the 2026 Met Gala theme, from referencing famous portraits housed in the Met to reimagining other iconic paintings. They could draw inspiration from ancient Greek and Roman marble sculpture. Imagine someone appearing in a dress referencing Winged Victory of Samothrace, a sculpture of the goddess Nike on the bow of a ship. Despite the material being marble, the look of wetness and wind against her body makes the dress flow as if real. It would be interesting to see a designer experiment with that illusion, transforming a hard material into something that looks soft and fluid. 

Bolton mentions in the interview that the exhibit will reference the nude body in art, so perhaps we can expect to see some inspiration from works such as Aphrodite of Knidos, Michelangelo’s David and many more. David was revolutionary in the way it depicted the idea of a ‘perfect body’ during the Renaissance. Designers and attendees can create room for a discussion about the classic ‘idealized body’ and the way nude women have been depicted and perceived by society for centuries. 

The Costume Art exhibition will be split into three sections: Overlooked bodies, such as aging bodies; bodies frequently portrayed in art; and universal bodies, referencing the ubiquitous human anatomy we all share. Basing costumes on overlooked bodies is particularly thought-provoking, especially since many of the celebrities attending the Met Gala regularly use anti-aging procedures, such as Botox and plastic surgery. With a celebrity culture punctuated by Ozempic and unhealthy body standards, plus-sized bodies are also overlooked and stigmatized in visual culture. Ironically, it could be argued that the very celebrities funding and attending the Met Gala are partially responsible for the disregard of these bodies in the first place.  

Bolton’s idea of representing the ‘universal body’ in this exhibit also has many intriguing facets. Can we expect to see ideas of the anatomical body, perhaps dresses that are supposed to represent the human muscular structure, skeleton, or different organs essential for living?

The Met Gala itself is highly exclusive, with tickets from past years costing about $30,000 USD and attendees drawn mostly from celebrity or wealthy circles. In this context, this theme of a ‘universal body’ may be an attempt to reach out to the average person viewing this event, who does not share that level of privilege. The message behind the theme may be a gesture towards connection and community, because in the end, we are all humans. 

Who will be brave enough to represent the overlooked bodies? And while most of the celebrities have some familiarity with their own bodies as works of art, how will celebrities celebrate the universal? 

Commentary, Opinion

Cutting teaching assistant funding will hurt learning

With first- and second-year classes averaging 69 enrolled students—and many required classes tallying in the hundreds—McGill must create more opportunities for students to collaborate in smaller sections. The benefits of small-group learning have been widely documented; it is in McGill’s best interest to draw money from its endowment to expand teaching support instead of cutting it.

In 2013, McGill chose to cut 100 seminar-style classes in the Faculty of Arts and redirect the saved funds toward hiring more teaching assistants (TAs). The aim was to offset the cut of smaller courses by dividing larger classes into conferences managed by TAs. 

Studies consistently show that people remember information best when they link what they are learning to their own personal experiences. TA-led conferences can best facilitate this process. Often, this format of smaller class sizes and closer instructional attention allows students to engage with material in a more multifaceted and low-risk setting alongside peers. 

This year, instead of maintaining its promised expansion plan, McGill has reversed course. With the deficit expected to grow to nearly $200 million CAD by 2028, the administration chose to implement 15 to 20 per cent cuts for teaching support in the Faculty of Arts, shifting TAs into other roles and reducing their hours.

This is a lose-lose scenario. Cost-cutting is a short-term solution to a budget shortfall, but it spells demise in the long run. In ten years, will TAs who had their hours cut want to donate money to McGill? What about students who struggled to find classes where their voice was heard and valued, where they could delve deep into topics out of pure interest, not just motivated by a grade?

If McGill wants to receive donations from alumni and preserve its endowment in the long term, it must create positive experiences for its students. More importantly, if students, faced with a tough job market, see that the only programs worth maintaining are those that provide monetary value to McGill, they might apply that logic to their own lives and prioritize performance over learning.

By robbing students of a space to share their thoughts, the administration tells Arts students that their academic contributions are not worth the tuition they pay, even as McGill raises spending on external private security by the millions.

McGill is teaching the wrong lessons. It’s operating like a business and foregoing its primary goal of promoting higher-level learning. If advancing education were truly the administration’s top priority, as President Deep Saini claims, it wouldn’t cut funding for teaching support. 

As Quebec lowers funding and slashes caps on international students, fiscal prudence is wise, but McGill still has an impressive cushion. The university’s endowment sits at $2.2 billion CAD, of which the university spends 4 per cent each year. In contrast, the endowment grosses a ten-year average of 7 per cent per year, a rate that continues to rise. The fund has increased in value by a whopping 41 per cent in the last five years, an astounding number in light of this month’s frantic belt-tightening.

McGill should raise its distribution rate from 4 per cent to 4.25 per cent, freeing up an extra $5 million CAD to hire more teaching assistants. This small budget increase would allow McGill to hire 300 more teaching assistants for the whole year, expanding the number of TAs by nearly 20 per cent, while still ensuring that the endowment grows over time.

Cuts to teaching support will wind up hurting McGill’s fundraising abilities, reputation, and enrollment in the future, while worsening the experience of current students. McGill claims it can’t afford to pay for teaching assistants. In the long run, it can’t afford to cut them.

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