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Science & Technology

Elementary, my dear Watson

by Morgan Sweeney on

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Everything is made of something. Books are made of pages, which are made of paper, which is made of wood. All of these items are made up of molecular complexes that break down into tiny atoms. What differentiates these atoms from one another is the number of subatomic particles, protons and neutrons, that compose them. This is what makes elements distinct from one another.

For a long time, people didn’t know what anything was made of. This ignorance persisted until the protoscience of alchemy birthed chemistry almost four hundred years ago. Early chemists initially found elements haphazardly, labelling and mislabelling them as they went, until the invention of the periodic table of elements.

“Truth be told, chemical knowledge at the time was pretty chaotic,” Joe Schwarcz, director of the McGill Office for Science and Society, wrote in an email to The McGill Tribune. “Students basically memorized what happened when chemicals were combined. They learned, for example, that when a piece of sodium was dropped into water, it ignited [while] a piece of aluminum did not. Nobody really knew why.

The organization of elements continued to be mired in confusion until Dmitri Mendeleev, a Siberian-born chemistry professor at the Main Pedagogical Institute in St. Petersburg, Russia, began recording the atomic weights, names, and properties of known elements on cards. By 1868, he had created the first prototype of the periodic table, placing the elements in horizontal rows in order of atomic weight and grouping elements of similar properties into columns.

“Then came Mendeleev’s boldest stroke,” Schwarcz wrote. “He predicted from ‘holes’ in his periodic table that undiscovered elements must exist.”

Every element has a different, exciting tale of discovery. Initially, elements were found by exploring nature, delving into caves or the ocean to find substances no human had yet laid eyes upon and then manually analyzing their properties back at the lab. Today, scientists have found all the natural elements and so have moved on to investigating elements that can only be created artificially.

Scott Bohle, a chemistry professor at McGill and the Canadian Research Chair in Bioinorganic Chemistry, elaborated on the process of modern elemental discovery.

“We’ve discovered all the stable [elements], or we think we’ve discovered [them],” Bohle said. “But, now it’s much more controversial […] because you have to demonstrate that you have […] a new element.”

Bohle explained that nature fabricates many elements in nuclear explosions via calcium fusion, a process in which a calcium atom collides with a larger atom to create a new, larger molecule, usually verified via mass spectrometry.

Unfortunately, the larger molecules get, the less stable their configurations are: Some of the largest on the periodic table exist for mere thousandths of a second before they begin to decay, giving off protons and neutrons and, therefore, changing their elemental composition.

To mark the enormous scientific impact of Mendeleev’s creation, UNESCO named 2019 the International Year of the Periodic Table to celebrate its 150th anniversary. Despite being over a century old, modern scientists still refer back to it.

“I used to be able to write out the basic table in about 75 seconds, but now I am out of practice,” David Harpp, professor in the Department of Chemistry, said. “It is easy to do with an hour’s effort and helpful for students, I believe, for defining the relationships. They ‘own’ the table instead of having to look it up.”

Singing the table appears to be another popular way to learn it, with a number of different tunes published online, including celebrity appearances from Sheldon Cooper and even Laura Pavelka, a faculty lecturer in McGill’s Department of Chemistry.

“Our inorganic chemistry course instructor insisted that we memorize the first row of the transition metals, which I am terrible at […], so I made a little tune to sing the list of 10 elements,” Pavelka wrote in an email to the Tribune. “Joke’s on me, because I still remember them in order!”

No matter the field, the periodic table of elements has revolutionized the way that scientists think about and organize the elements that make up our world.

Arts & Entertainment, Theatre

‘Spring Awakening’: A change of scene and season

by Chloe Maglacan on

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The Arts Undergraduate Theatre Society’s (AUTS) production of Duncan Sheik and Steven Sater’s 2006 musical, Spring Awakening premiered on Jan. 24 at Moyse Hall. Directed by Kyra Church (Concordia BA) and adapted from the 1891 Frank Wedekind play of the same name, Spring Awakening is a coming-of-age tale that follows the lives of young teenagers in late 19th-century Germany as they uncover realities about themselves, their peers and the world around them.

The musical begins as one of the central characters, Wendla (Leah DeBorba U0 Arts) asks her mother the age-old question: “Where do babies come from?” Fearful of divulging too much too soon to her young daughter, Wendla’s mother (Julia Kennific) refuses to answer, intent on keeping Wendla’s innocence intact. Curiosity gets the better of Wendla, however, and what follows is a familiar and heartbreaking account of the trials of adolescence.

The characters in Spring Awakening are all navigating puberty and its accompanying anxieties in an era when traditional values discourage them from exploring their curiosities and desires freely and safely. Wendla isn’t the only one searching for answers; her peers, too, are all puzzled by new experiences and feelings. When Wendla and her friends meet Melchoir (Natan Saviv U0), a well-read and mature classmate, they gain the courage to explore their feelings and learn more about themselves.

Discovery, coming of age, and sexuality are all central themes of Spring Awakening. Notable performances by DeBorba and Eric Wakim (Concordia BFA) as lovable but nervous Moritz highlight these ideas and anchor the ensemble. Their stunning vocals convey pure emotion, which makes for captivating musical numbers, specifically in “Touch Me.” The brilliant instrumentation, conducted by musical director Ben Barton Creelman (M1 Music) adds depth to the songs and heightens the emotions of the characters while complementing the cast’s outstanding vocals.

Wendla’s close friend Marta (Devin Sunar U2 Arts) gives a heartbreaking performance that balances precocity with  innocent youthfulness. During “The Dark I Know Well,” Marta reveals to her friends that she has dealt with abuse for years. She is then accompanied by a close friend, Ilse (Meera Raman), who shares that she has endured similar experiences. This number stands out, offering a particularly poignant portrayal of the effects of trauma.   

The simple stage design allows for the actors to make full use of their space, best demonstrated in the various dance sequences. Although the staging is effective, the young girls’ costumes—reflecting different styles and time-periods—are somewhat distracting considering that the rest of the costuming is indicative of the late 19th century time frame.

Jeffrey D’Ambrosio’s (U1 Arts) stunning light direction brings the show to life, particularly in the penultimate scene as the cast joins in unison to sing “Song of Purple Summer.” As the front lights turn off, only the silhouettes of the cast remain backlit with a violet light that creates a mystical atmosphere.

Although Spring Awakening is set over a century ago, the characters’ stories of sexual assault and abuse feel strikingly contemporary. The musical cements itself as an impactful piece of theatre by portraying an important story that continues to be relevant to this day.  

Spring Awakening runs Jan. 31 and Feb. 1-2 at 7:30 p.m. at Moyse Hall (853 Sherbrooke St W). Tickets are $15 for students and $20 for the general public and can be purchased online at autstheatre.ca or at the door.

News, SSMU

SSMU hears $19 million student housing pitch

by Ezra-Jean Taylor on

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The Students’ Society of McGill University (SSMU) held their first Legislative Council of 2019 on Jan. 24. As this is the final semester in SSMU executives’ terms, some pushed major legislation to the forefront.

SSMU invites UTILE to research affordable housing options for students

General Coordinator of L’Unité de travail pour l’implantation de logement étudiant (UTILE) Laurent Levesque introduced an affordable student housing project to the council. UTILE is a non-profit organization in Quebec that promotes and develops affordable student housing in cooperation with student unions. Although SSMU does not sit on UTILE’s board of student directors, it has collaborated with the organization since 2014.

Levesque summarized UTILE’s 60-page proposition on how SSMU could create new affordable housing.

“The first [option] looked into was Royal Victoria Hospital,” Levesque said. “We researched residential conversion […involving buying] existing housing, [lowering] rents, and [offering] it to students. We [also] looked into two different construction scenarios: A medium-rise which is four to six stories or a high-rise which means eight or more stories.”

UTILE explored each option based on criteria such as environmental impact, risk, and quality of life for tenants. Each proposal carried some complications, but Levesque noted that a medium-sized construction project would be ideal.

“The average rent per room in this recommended scenario would be $650 [amenities included],” Levesque said. “About 58 per cent of students pay more than that.”

The suggested 150-unit building is estimated to cost $19 million to construct. Fortunately for SSMU, part of UTILE’s mission is to connect student unions with investors to fund construction. Levesque estimated that SSMU would only need to pay $1.6 million out of pocket, and could use government and private investments to make up the difference.

SSMU President Tre Mansdoerfer and Vice-President (VP) University Affairs Jacob Shapiro expressed a strong interest in the project and planned for time to be allocated outside of Council for discussion and questions.

Solidarity with Unis’tot’en Camp in Wet’suwet’en

In 2010, Unis’tot’en members built a cabin directly on the path of a proposed Coastal GasLink pipeline that would cut through their territory in northern British Columbia. They argued that their hereditary chiefs retain ownership of the land and did not consent to construction. More recently, the government deployed Royal Canadian Mounted Police Force (RCMP) tactical officers on Jan. 7 to breach the Unis’tot’en Camp.

In conjunction with SSMU Indigenous Affairs Commissioner Tomas Jirousek, Council members submitted a motion declaring SSMU’s solidarity with the Unis’tot’en. Senate Caucus Representative Bryan Buraga was primarily responsible for the motion.

“This motion would [urge] SSMU to pledge their support for the Unis’tot’en as well as communicate this position to [the] local [Member of Parliament] and Minister of Justice,” Buraga said.

SSMU’s motion originally mentioned their opposition to the Coastal GasLink pipeline. However, several Council members raised concerns with this statement.

“The truth is that a lot of McGill students will be employed [in the gas and oil market], especially engineers,” Club Councillor Victoria Flaherty said. “If we move the amendment [to remove opposition], it would be more representative [of] the McGill population.”

In response, the original statement was amended to remove direct opposition to the pipeline. Buraga argued that this did not constitute a major change, as the motion still called for the signing of a pledge opposed to the pipeline.

“We denounce attempts by Coastal GasLink Pipeline, federal and provincial government, or RCMP to interfere in the rights of the Unis’tot’en,” the third clause of the pledge reads.

Jacob Shapiro objected to what he believes is a contradictory stance on the matter.

“It is lacking [in] transparency [on the part of SSMU] to take away an action that we’re clearly doing,” Shapiro said. “We will still be in opposition to the pipeline [due to the citation], we just won’t say we are in opposition.”

The motion ultimately passed without explicit opposition to the pipeline itself but in favour of the show of solidarity.

SSMU will hold its next council meeting on Feb. 7.

Science & Technology

Lobsters and crabs, here to save the oceans

by Farida Rahman on

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While attempts to reduce plastic usage have taken many forms, including McGill’s plastic water bottle ban and much ado about straws, some McGill researchers are approaching the situation from a different angle, by replacing the controversial polymers with biodegradable alternatives. Audrey Moores, associate professor of applied chemistry and Thomos Di Nardo, a student in Moores’ lab discovered that plastic alternatives can be made out of a modified version of chitosan, which comes from a substance called chitin that is found in the shells of various crustaceans.

“With our method, we are able to transform chitin into chitosan, a well-known polymer used, among other things, for biomedical applications,” Moores said. “Because our method relies on making the chemistry happen under dry conditions, as opposed to in a liquid medium, we are able to make a chitosan with much larger molecular weight than what was previously known. This means, in short, that we made a brand new material […with] exciting properties, including better durability and robustness, so we can target novel applications with it.”

Most public campaigns on plastics emphasize reducing personal use or recycling more. Yet, while McGill’s campus and students tend to be a rather environmentally sensitive crowd—as evidenced by the increased appearance of glass containers and reusable mugs—it can be easy to get discouraged at the sheer volume of community-wide plastic consumption. Even climate change activists may falter in bringing their reusable straw from home on every spontaneous trip to the local cafe. However, these band-aid solutions aid progress toward the goal of moving away from plastic altogether.

Instead of just trying to reduce the sheer quantity of plastic used, replacing the material entirely might lead to greater success in phasing out ocean-littering plastics in the long term. The key is to have an environmentally-friendly replacement that is comparably efficient. This is part of what makes Moores’ discovery so critical.

Even if plastics could be eliminated entirely, they are so common that it would be impossible to maintain the current level of worldwide material wealth while doing so. Plastic is ideal for packaging because it is durable, lightweight, and very cheap. With suitable replacements, environmentally-friendly packaging might come to serve as a way for businesses to distinguish themselves from their competitors. Some examples include A&W introducing completely compostable bags and Starbucks vowing to replace their plastic straws with strawless lids or straws made of alternative materials by 2020. In both cases, a material was, or is being, engineered to take the place of plastic with miniscule, if any, change to customer behaviour. This makes the changes seem more viable for the long term both from an environmental perspective and from that of customer practicality.

Some of the future directions for research on the modified chitosan focuses on developing new applications of the material, such as for antibacterial fibres, and trying to source the chitin as sustainably as possible.

“Common plastics are sourced from petrochemicals, which have the advantage of being sourced in very large volumes from refineries,” Moore said. “Chitin sourced from crustacean shells is a different story because it is produced locally in so many different fisheries, harbors, and restaurants. So, we need a method of concentration of this raw material. We are partnering with companies in the Maritimes who have experience in this supply chain challenge [and] are currently working on targeting the best application based on these considerations.”

Arts & Entertainment, Theatre

‘True Crime’ doubles down on deception

by Jonathan Giammaria on

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True Crime is labyrinthine. The show, which played at the Centaur from Jan. 8-27, recounts indie-singer-turned-true-crime-writer Torquil Campbell’s real-life investigation into his con man doppelgänger, Christian Karl Gerhartsreiter. In 90 short minutes, Campbell whirls through his crimes, a series of kidnappings and murders, portraying Gerhartsreiter and his many aliases. Campbell also plays himself, chronicling his efforts to meet with Gerhartsreiter. Though the premise may seem overwhelming, Campbell captures his audience with a story replete with twists and turns befitting the popular true crime genre.

Campbell’s task of switching between the flamboyant Rockefeller, the sweet-talking Chichester, and the Bavarian Gerhartsreiter makes his job seems insurmountable. Undoubtedly, the exploration of a psychopath’s fractured identity is much more difficult than self-portrayal. Against all odds, however, Campbell manages to believably embody each part.

The unease Campbell creates during his monologues as Gerhartsreiter is particularly notable. He playfully rips through hyperactive speeches which often transform into terrifying aggression. The audience is left stunned in the wake of his explosive outbursts, and in the resulting silence, there is nothing to focus on but Gerhartsreiter’s menacing smile.

A much more subtle form of discomfort takes place during Campbell’s self-reflection. If Gerhartsreiter represents manipulative deception, Campbell bills himself as the relatable everyman. For much of the performance, Campbell stands centre stage, often slipping into improvised, informal speech, and breaks the fourth wall, setting up a friendly rapport with the audience. Similarly to his con man character, though, much of it is veneer. Campbell peels back the layers to unveil his own unpalatable qualities. Obsessive and reckless in pursuit of the truth, he lies to his family in order to keep contacting Gerhartsreiter, putting them all in danger. Near the end of the show, he betrays the audience’s trust too, implying that the entire tale is, in fact, fictitious. Deceptive and cunning, the similarities between Campbell and Gerhartsreiter run far deeper than their appearances. 

While Campbell is the only actor, an equally-talented performer, musician Julian Brown, accompanies him onstage. Throughout the play, Brown sits upstage, equipped with a guitar and piano. Brown accompanies Campbell with a near-continuous stream of quiet riffs, twangs, and crescendos, and amidst a barebones set, he bolsters Campbell’s performance. With nothing much to engage the eyes, the technique is clever: It mimics the suspenseful ambiance true crime podcasts.

Ultimately, True Crime’s story is one of smoke and mirrors. Gerhartsreiter, whose mysteries are irresistible, is an elusive presence. Campbell, a reflection of Gerhartsreiter, comes to embody this enigmatic nature. He proves to be a master storyteller who spikes the same curiosity in his audience that initially inspired his play. Because Campbell’s show is based on a true story, there is no satisfying conclusion.  When the mysteries are left unresolved, as they are for Campbell in real life, the audience is left compelled to seek the truth.

Ask Ainsley, Student Life

Ask Ainsley: How can I move on after being ghosted?

by Ainsley on

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Dear Ainsley,

I was seeing a new potential partner and was really excited about him, but he recently ghosted me. I am not sure if I should check in by sending another message or if I did something wrong. I am trying to stay positive, but I can’t help but take this the wrong way. Do you have any insight into why he may have ghosted me or any suggestions on how to get over it?

Sincerely,

Getting Over Ghosting  (GOG)

 

Dear GOG,

Unfortunately, ghosting is quite common, particularly because technology makes it so easy to ignore and avoid someone. This person probably saw the relationship going in a certain, and, instead confronting that reality with you, figured it would hurt less to ghost you. However, ghosters do not understand that this form of break-up is ambiguous and leaves the other party feeling more insulted than a clean break. The silent treatment can amplify the pain of rejection, and it can feel like a form of emotional cruelty.  

As the recipient, you should try not to jump to the conclusion that you did anything wrong. Ghosting negatively reflects on the ghoster—not on you. It shows that they are unable to confront their feelings, and that is not a person worthy of your time and attention. The worst thing to do after being ghosted is to wallow. At first, it may seem cathartic to get in touch with your feelings, but, after a while, it can begin to negatively impact your self-esteem. Try to remember that many people feel this way every day, and there is no reason to feel alone and isolated.

Instead of giving in to the impulsive reflex of secluding yourself, try to reach out to friends and family. Talking about how much it hurt you to be ghosted can allow those closest to you to support you, which can be therapeutic, as it may lend additional insight and help you talk to those who have had similar experiences.

If it helps, you can even think about what your ghoster may be doing—is he overthinking his decision to not respond to your messages? Probably not: He has likely moved on and has no idea about how his actions have affected you. I can assure you that he did not mean to hurt you, but, regardless, you should take your pain and channel that into bettering your own life.

You need to continue going about your daily life—it will provide a necessary distraction from any self-deprecating thoughts. Focus on your own mental health and wellbeing: Eat well, get enough sleep, exercise, and pick up new a hobby. These activities can preoccupy those lingering parts of your mind and help you stop thinking about that person. Pretty soon, you will gain a newfound confidence and remember that one person’s mediocrity should not determine your mood.

There is absolutely no shame in being ghosted. Countless individuals have been ghosted, and plenty of people encounter this inconvenience. So, GOG, put this annoyance behind you. Go out and focus on yourself and becoming your best self.

Sending you love and support,

Ainsley

Arts & Entertainment, Theatre

Tuesday Night Café Theatre’s annual 24-hour play festival spotlights up-and-coming actors

by Kevin Vogel on

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In the 24 hours from Jan. 25 to 26, six student playwrights, directors, and actors met for the first time to write, produce, rehearse, and perform original student-written play as a part of the Tuesday Night Café Theatre (TNC)’s annual festival. Each play had to incorporate certain elements, including the line “and that’s why I never left my house again,” Kanye West’s “Lift Yourself,” a shovel, a phone, and a pair of boxing gloves. With plots ranging from a gossip session about after-school rumours to a dramatic tale of a workers’ union struggle on a remote space station, the festival’s diverse arrangement of plays proved exceptional, especially given the limited time constraint.

The festival aimed to introduce new actors into McGill’s theatre community. For Laine Berry (U1 Science), a TNC director who co-organized the festival with Sarah Mitchell (U1 Engineering), seeing so many new faces come out for the festival was a clear sign of a successful event. Although several of the participants had been previously involved in theatre in some capacity, the sheer number of actors performing for the first time at McGill establishes TNC as a valuable gateway into the performing arts.

Once the plays came to an end, three judges in the crowd briefly convened and declared “Where We Were,” written by Megan Hunt and directed by Alex Cruz, both Concordia theatre students, the best of the festival. The piece opened as a conversation between a group of friends reminiscing over where they were when they heard the news that their friend’s overweight 14-year-old shih tzu passed away. The script detailed the characters’ comedic flashbacks to past romances and social gatherings of suburban wine moms attempting to recruit people into a dubious Tupperware sales business.

“[When first given the writing prompts] I saw the phone and thought, ‘What were some of the worst times for a phone to ring?’” Hunt said in an interview with The McGill Tribune. “I’m from southern Ontario, and pyramid scheme parties are so prominent there [.…They would] be a terrible place to find out bad news.”

Cruz, who received the completed script only an hour before the actors, quickly set out to get the play ready for performance. Cruz had to cast the actors, figure out how to incorporate “Lift Yourself” into the piece, and work with the technical crew to perfect lighting in just a few hours.

“[You] need a kind of creative spark to do this sort of thing in a time crunch,” Cruz said. “They say necessity is the mother of invention, and you have to put your nose to the grindstone for this. You make decisions, [and] don’t know if they’ll work but you have to believe in what you’re doing right away.”

As the curtains closed on the festival, each production showcased a diverse array of genres, styles, and methods. From comedies to tragedies, this year’s 24-hour play fest featured the best of the newest generation of McGill’s theatre community.  

Tuesday Night Café Theatre is a student-run experimental theatre company based in Morrice Hall dedicated to giving opportunities for students to grow and learn through theatre. TNC’s next production, The Anastasia Trials in the Court of Women, written by Carolyn Gage and directed by Charlotte Giraudet, will run from Feb. 7-9 and Feb. 14-16.

Science & Technology

Males more sensitive to painful memories than females

by Margaret Wdowiak on

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Stereotypes may lead many to assume that women are more sensitive than men. However, recent findings on pain challenge conventional assumptions regarding the way men and women experience pain.

A recent study conducted by researchers from McGill and the University of Toronto exploring the role of memory in the transition from acute to chronic pain suggests that environments associated with previous trauma trigger increased sensitivity to pain. Moreover, the researchers found that men and women experience pain differently, which could have major implications for chronic pain management and treatment of chronic pain.

The study measured pain hypersensitivity in humans and mice to gain new insights into how they remember pain. Researchers administered heat to the forearms of human subjects who then rated the level of pain they were experiencing. Mouse subjects underwent a similar test to determine their sensitivity to heat.

“We used a test [on the mice] that’s very common called the ‘radiant heat paw withdrawal test,’” Jeffrey Mogil, professor in the Department of Psychology, said. “It’s basically a heat lamp that’s aimed [through glass] at an animal’s hind paw [….] At first, it’s just warm, but, at some point, that warmth changes to [greater heat]. As soon as the animal realizes that, it simply hops away, and we measure the amount of time it takes for them to do that.”

The results of the experiments show that men and male mice experienced noticeably higher levels of pain when they returned to the same environment for further tests. Conversely, when placed in new environments, neither humans nor mice of either sex showed greater sensitivity to pain.

Male hypersensitivity to pain may be a result of men remembering earlier pain more clearly than females. The differences in sensitivity are not inherent but, rather, a consequence of increased stress when recalling memories of pain.

To see whether the correlation between pain and location was a function of memory, the researchers injected male mice with a memory-blocking drug. They then conducted the experiment again and found that the injected mice did not exhibit increased sensitivity to pain when returning to the same environment. This apparent link between pain and memory could help to understand chronic pain in the future, supporting existing research suggesting that memories of pain have a significant impact on later perceptions of pain.

“In the future, and it’s even already started in [some] research, […] instead of trying to attack the pain directly, you would try to treat the memory of the pain […] either pharmacologically or psychologically,” Mogil said.

Chronic pain, lasting months or years, can be debilitating and force those who endure it to rely on careful pain management in their daily lives.

“At any one time, somewhere between 20 and 25 per cent, […] almost a quarter of the population, is experiencing chronic pain,” Mogil said.

Despite the many insights provided by this new study, including the importance of gendered treatment, many further discoveries lie ahead to fully understand the link between pain and memory. In particular, how people form memories of pain remains a source of further questions than answers.

Arts & Entertainment, Film and TV

Awards season villains

by Olivia Church on

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In 2017, Damien Chazelle’s La La Land received a record 14 Oscar nominations. The film, which met with critical acclaim as well as enormous box office earnings, was an ode to the lush Hollywood musicals of the 1950s. But by the time that the Oscars race began, critics were tiring of La La Land’s tone-deaf optimism and white-washing of jazz music, prompting an  inevitable backlash. Popular favour shifted to Barry Jenkins’ Moonlight for Best Picture: A gentle, luminous film about a black gay man that stood in opposition to La La Land in every way. For many, Moonlight’s eventual Best Picture win over La La Land represented the triumph of the Oscar underdog over the awards season ‘villain.’

Broadly put, a ‘villainous’ film teeters on the brink of offensiveness by featuring only straight, able-bodied actors, privileging white narratives, and going against the grain of youthful, online critical consensus. In the #MeToo era, this definition extends to films produced or directed by predatory figures. If the endless online cultural critiques on platforms such as Twitter and Letterboxd are any indication, it seems that no one wants these films to succeed, yet they rack up nominations and win.

After the outcry brought about by the overwhelming whiteness of the 2015 Academy Awards, the Oscars implemented a higher standard for representation. The runaway critical and financial success of Black Panther, Girls Night, and Crazy Rich Asians proved that films featuring non-white protagonists are just as profitable. Diversity and profit margins are compatible, but the Academy chose to respond to this industry trend with the short-lived and maligned addition of a ‘popular film’ category—the implication being that as commercial films with diverse casts began succeeding, the Academy designated a category of lesser prestige to account for those movies.

Bohemian Rhapsody and Green Book have taken up the mantle of this year’s villain narrative, and while previous villains’ faults were largely subtextual, this year’s villains have more egregious issues in their production in addition to their woefully-homogenous casting choices. Bryan Singer, director of Bohemian Rhapsody has been accused of sexual assault and while he left production before completion, the film’s credits still bear his name. Bohemian Rhapsody tells the story of Queen’s meteoric rise while cleaning up (read: straightening up) Freddie Mercury’s personal life. Green Book, directed by Dumb and Dumber helmsman Peter Farrelly, tells the true story of the friendship between a black, gay piano player, Dr. Don Shirley, and his white chauffeur. However, Green Book, in typical villainous form, has been diagnosed with a case of ‘white saviour complex.’ While the film overflows with saccharine nods to ‘how far we’ve come,’ Dr. Shirley’s family has accused the filmmakers of misrepresenting their relative and exaggerating the friendship for the sake of ‘multiculturalism.’ Even more upsetting was director, Peter Farrelly’s admission to having exposed himself on set. Add in the public use of a racist slur by the white star, and pro-Trump tweets from one of the film’s writers, and, if the subsequent internet outrage is an accurate barometer, Green Book should kiss its Oscar dreams goodbye.

However, on Jan. 22, the Academy announced that both Green Book and Bohemian Rhapsody received Best Picture nods. Despite swirling bad press, a myriad of think pieces, and plenty of rightful criticism, 6000 members of the Academy thought that these films’ positive qualities outweighed their overwhelming negatives. The Academy is oft thought of as a singularly-minded force, when, in reality, it is fractious and increasingly diverse. Whether these villains will come home with hardware on Feb. 24 will depend on which faction of the Academy proves influential. Villain narratives provide invaluable clicks that sustain the thinkpiece economy and will therefore likely remain a mainstay of awards season. Nevertheless, the Academy should focus not on drumming up excitement for a Green Book or Bohemian Rhapsody flameout, but instead on honouring films that are radical, diverse, and reflective of this politically-turbulent era.

 

Basketball, Sports

Surf and sweet victory for McGill basketball

by Owen Gibbs on

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On the evening of Jan. 24, first-year guard Quarry Whyne scored 21 points to help McGill men’s basketball (5-4) come back from a 15-point deficit and defeat the Bishop’s Gaiters (3-9) 84-80. The crowd, decked out in Hawaiian shirts and flip-flops for McGill Athletics’ annual Beach Night, fostered an exciting atmosphere throughout the game. The two teams delivered an exciting contest but, it was McGill players who came out on top to earn a second win over Bishop’s following the Martlets’ earlier 57-39 victory.

The McGill men’s team started slowly. Bishop’s scored three quick three-pointers in the opening minutes to go ahead by a score of 9-1. However, a layup by McGill fifth-year forward Noah Daoust and a dunk from fellow fifth-year guard Avery Cadogan gave the team—and the crowd—new life, and they caught up to the Gaiters to enter the second frame behind by only one point. Throughout the night, McGill continued to lose ground, only to regain momentum and cut into the Gaiters’ advantage again.

In the second quarter, the Gaiters took several sizable leads, and McGill responded with successful offensive drives of their own to bring the lead back within a few points each time. As the quarter wore on, a series of baskets gave Bishop’s a 45-35 lead that they carried into halftime.

Bishop’s built on their lead early in the third quarter. Consecutive three-pointers in the opening minutes put the Gaiters ahead by a comfortable 15 points. However, this moment was the turning point in McGill’s favour; the home team scored basket after basket in the following minutes. With 53 seconds remaining in the quarter, Whyne hit a pair of free throws to even the match at 64 points apiece heading into the final frame.

The last 10 minutes played out much like the rest of the game had: Bishop’s built a lead, only for McGill to come back and draw even or take the lead. With the score sitting at 80-74 for the Gaiters and a minute left on the clock, a three-point shot and a technical free throw from Cadogan brought McGill within two points. Finally, Whyne sunk a three-point shot with 27 seconds remaining, giving McGill a one-point lead that they would hold onto for their fourth win of the season.

Head Coach David DeAveiro spoke to his team’s resiliency.

“This is a young, young group,” DeAveiro said. “They’ve shown that they don’t quit, that they play right to the end, regardless of time or score.”

McGill has a relatively youthful squad, with all but four players playing in their first or second year. Whyne, who is already emerging as a star, is one of those first-year athletes.

“It was a good game,” Whyne said. “We need these wins so that [Bishop’s] cannot be in the playoffs, so it was a big game for them and us.”

Cadogan, a team veteran, is satisfied with the younger players’ performance thus far in the season and is sure that they will continue to be successful after he graduates.

“I have the utmost confidence in the future of our young guys,” Cadogan said. “They all have plenty of potential. They’re just getting the experience right now, which I’m sure will be valuable for their future.”

In the rematch at Bishop’s on Jan. 26, McGill won by a score of 66-58. They will host the Laval Rouge et Or (4-5) on Jan. 31.

Moment of the Game

The crowd erupted when Whyne sunk his game-winning basket with 27 seconds to play.

Quotable

“The playoffs are a long way away. When we get there, we want to make sure that we’re playing the best that we can.” – Head Coach David DeAveiro on McGill’s plans as the postseason approaches.

Stat Corner

Quarry Whyne scored a season-high 21 points, nearly tripling his previous record at McGill of eight points.

1 … 508 509 510 511 512 … 1,363

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