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Science & Technology

Fresh produce: The hidden face of food poisoning

Over four million Canadians contract food poisoning every year, making it a relatively common—although intensely unpleasant—ailment. The most commonly identified culprits are undercooked red meat, poultry products, and seafood. However, fresh produce is another source that often gets overlooked. As the general public increasingly recognizes fruits and vegetables as integral parts of a healthy diet, our overall consumption of fresh produce is rising, resulting in increased bacterial outbreaks in the produce supply chain. 

In a recent paper, Pierre-Luc Longchamps, a PhD student at McGill’s Department of Food Science and Agricultural Chemistry, and his colleagues studied how bacterial contamination of fresh produce at each step of the supply chain, along with bacterial dormancy, allows bacteria to entrench itself into our produce. 

Typically, bacteria that cause food poisoning, such as  E. Coli, Salmonella, and Listeria, are not naturally present in fresh fruits and vegetables. Instead, contamination occurs through contact with wildlife before harvesting, through human handling, and from unsafe food storage conditions during processing. This can happen at various stages of production, from contaminated surface water runoff on agricultural land or manure from livestock coming in contact with produce, to the final stages of production if produce is packed in a contaminated environment. 

“A major source [of infection] is from a handler, so anyone who’s picking, cleaning, cutting, or processing the produce. If they themselves are sick, they can often spread it to the food,” Longchamps said in an interview with The Tribune

While people usually cook animal products such as meat and poultry before consumption, they often consume fresh produce raw, making contaminated produce more likely to impact us since cooking serves as an intermediate step to kill bacteria. Bacteria in fresh produce can also evade detection by entering a dormant phase—an adaptive state that makes them harder to measure. 

Bacterial dormancy describes a period where bacteria stop growing and replicating in response to a stressor, allowing them to survive in harsh conditions. This is problematic, since current detection methods involve culturing bacteria on selective growth media.

“[Depending on their dormancy state], bacteria have an intact cell membrane and still [perform cellular] respiration, but if you put them on normal growth media, like a petri dish, they won’t grow [….] However, when ingested, we know that bacteria can revert back to their normal growing states and still cause infections,” Longchamps added. 

Notably, bacteria culturing often uses selective growth media, a controlled environment that only allows a specific bacterial strain to grow. This often prevents dormant bacteria from growing even in their own selective environment due to their dormant state, making detection even more difficult. 

PCR testing, a method used to detect COVID-19 infections during the pandemic, is becoming a credible alternative to current culture testing for bacteria detection in fresh produce. This method could help detect the presence of bacteria even when they are dormant. However, it requires expensive equipment and highly trained laboratory professionals, and is prone to false positives—a test result which incorrectly indicates the presence of a condition. 

In the past few decades, reports of bacterial outbreaks in fresh produce have been on the rise, which is likely because of increased testing and the prevalence of prepackaged mixed salads. 

“For a long time, it was thought that vegetables were relatively safe, and people were more concerned with meats, but as we became better at keeping our meat clean, there’s a lot more [testing] being done on vegetables [….] The rise in popularity of pre-bagged salads [also explains the rise in outbreaks] since you end up with vegetables being mixed together, and if a single vegetable is contaminated, then you end up contaminating everything else,” Longchamps explained. While governments are implementing more preventive measures to prevent bacterial outbreaks and scientists are studying novel detection methods, consumers can also take a few measures: Actively checking produce recalls and thoroughly rinsing fruits and vegetables with running water.

Arts & Entertainment, Film and TV

Nosferatu reawakened: A symphony of horror!

‘Twas a dark and stormy night, when the screen flickered bright. Not a creature was stirring, not even a bite. The Christmas bells jingled, but something wasn’t right. Shadows were creeping, the moon hid from sight. Nosferatu emerged, a creature of night. We finally found out who was flickering the lights. As we gathered around for a tale of pure fright, it quickly became clear that fear had taken flight.

Seeing Nosferatu’s opening on Christmas Day was like receiving a funeral arrangement for Valentine’s Day—a flowery ode to the sacred and the beautifully profane. Like a guardian angel announcing its presence, Nosferatu reminds us: Do not be afraid of the dark! At the heart of the film lies the forbidden gothic romance of Ellen Hutter (Lily-Rose Depp) and Count Orlok, also known as “Nosferatu” (Bill Skarsgård). Driven by an ancient hunger, the two become entangled in a hunter-prey dynamic that blurs the boundary between obsession and temptation.

Fully embracing the inky space of historical horror, Robert Eggers delivers signature authenticity through meticulous period-accurate sets, costumes, and dialogue. It’s apparent that Eggers is no stranger to the dark, and with his acclaimed work on The VVitch and The Lighthouse, Nosferatu serves as a natural successor in his repertoire—perhaps his most impressive work to date. Through its dramatic tricks of light and dark, the film pays tribute to gothic horror style, referencing the German Expressionism movement that defined the 1922 original. Just as vampires can only enter a home when invited, Nosferatu extends a chilling invitation to its audience to “succumb to the darkness” with a series of promotional coffin-shaped popcorn tins and rat plushies in its plague-themed marketing campaign.

Lily-Rose Depp delivers a standout performance as Ellen Hutter. She performs long-take convulsion scenes, prescription breakdowns, and the unique psyche of a woman who grieves the living. In a role where the stakes could not be higher, Depp conjures a desperate lover, convincing housewife, and sympathetic patient in the demanding role of Ellen.

A new addition to the world of Nosferatu, Willem Dafoe plays Professor Albin Erbehart von Franz—an occult scientist introduced in the 2024 rendition. The character seemingly takes inspiration from Dr. Caligari of the Cabinet of Dr. Caligari, a hallmark of German Expressionism often double-featured with Nosferatu in screenings. Through this character, the film suggests that increasing reliance on science has made man less tolerant of mysteries beyond our understanding. He declares: “We are not so enlightened as we are blinded by the gaseous light of science. I have wrestled with the Devil as Jacob has wrestled the angel.” von Franz reminds us that life changes amidst technological advancement; though cities may grow, graveyards will always remain. 

Nosferatu subverts the conventions set by its contemporaries, existing as a countercultural response to the pop culture interpretation of the vampire myth. While drawing inspiration from Bram Stoker’s Dracula, Nosferatu diverges radically, embracing an unsettling intimacy with repulsion. While vampires traditionally intertwine repression and sexuality, Nosferatu presents himself as a hideous manifestation of unbound evil and ailment, even when presenting themes of temptation. His name derives from the Greek “nosophoros, meaning “plague carrier,” reinforcing the idea of vampirism as an otherworldly disease. While Dracula manipulates with charisma and seduction, Nosferatu hypnotizes with pure psychological force. His love is an affliction that corrupts contagiously and is characterized by a brutality that makes Dracula pale in comparison

We skeptical lovers often convince ourselves that evil things have an inherent allure or hidden beauty. But Nosferatu rejects this notion. Unapologetically grotesque, he taps into modern anxieties beyond reason to engage with the primal disgust within us and challenge our beliefs about morality. Orlok has very little to redeem himself with—he’s not complex, not an antihero. He is neither sympathetic nor vengeful—he is unknowable at best. Remaining remarkably faithful to the 1922 original, this adaptation takes a stab at the silent horror classic, bringing it to life and delivering a holiday gift like no other—proving love, in its darkest form, never truly dies.

McGill, News, The Tribune Explains

The Tribune Explains: McGill’s Canada Award

In October 2023, the Quebec provincial government announced its plan to increase tuition at English universities for out-of-province Canadian students.

While the government’s original plans were to nearly double tuition rates, in December 2023, Higher Education Minister Pascale Déry settled on hiking tuition rates by about 30 per cent. In an effort to sustain out-of-province undergraduate applications, McGill launched the Canada Award, while Concordia University launched the Canada Scholars Award—both of which subsidize part of the increased tuition for most out-of-province students.

According to McGill’s Fall 2024 Admissions Profile, 22 per cent of the university’s incoming undergraduate class is from Canada beyond Quebec. For these out-of-province students, The Tribune unpacks the Canada Award.

What is the total monetary value of the Canada Award?

The Canada Award is valued at $3,000 CAD annually, with $1,500 CAD disbursed to recipients each semester. The Award offers up to $12,000 CAD over the course of eight semesters, translating to four years of full-time study. 

The award is classified as taxable income, which means recipients must report the return on their T4A tax slips. McGill issues these students a T4A tax slip each February for the award granted in the prior year term.

Why did McGill launch the Canada Award?

In a 2023 CBC interview with journalist Mark Kelley, McGill Vice-President (Administration and Finance) Fabrice Labeau mentioned that the Quebec government’s intention to raise tuition rates would “price [McGill] out of the market and close access to […] degrees and to the McGill experience.”  The Canada Award was thus created to maintain the university’s competitiveness.

“So what we’re trying to do here is [to send] a message to our students and our prospective students […] saying, you’re welcome here at McGill,” Labeau said to CBC. “We’re going to help you overcome these new barriers that have been put up by the government.”

In another statement, McGill President and Vice-Chancellor Deep Saini said that the university’s success is founded in the talent of a diverse student body, and the Canada Award aims to support students who otherwise would not be able to come to McGill.

Who is eligible for the Canada Award?

Currently, the Canada Award is offered to out-of-province, full-time undergraduate students admitted to McGill in Fall 2024 or Winter 2025, in the Faculties or Schools of Agricultural and Environmental Science, Architecture, Arts, Arts & Science, Education, Music, Nursing, and Science.

Additionally, students who have undergone an interfaculty transfer in Fall 2024 or Winter 2025 from an ineligible faculty to an eligible faculty can also receive the Canada Award.

To qualify for full-time status, students must be registered and billed for 12 or more credits per semester. If students receiving the award withdraw from a course with a refund and fall under 12 credits, the award will be revoked. However, if students withdraw from a course after the refund deadline, they can keep the award.

Students in part-time studies due to a disability can also claim the Canada Award, so long as their disability is recognized by Student Accessibility and Achievement.

For students entering McGill in the Fall 2025 and Winter 2026 semesters, the Canada Award will still be offered, albeit with added restrictions: Canada Award recipients will also have to be in receipt of a one-time or renewable Entrance Scholarship or Bursary.

Students who deferred their admission to the Fall 2025 semester or beyond will only receive the Canada Award if they meet the Fall 2025 eligibility criteria.

How is the Canada Award issued? Does it interact with other scholarships or bursaries?

The Canada Award requires no application. It is automatically deducted from tuition rates on e-Bills for eligible students. During the add-drop period, if a student fluctuates between full-time and part-time status, the Award will simultaneously be added and dropped on their student fees account menu.

McGill scholarships and bursaries are distributed regardless of whether a student is a recipient of the Canada Award. 

For more information on the Canada Award, visit McGill’s Scholarships and Student Aid website.

Arts & Entertainment

Arts & Entertainment recommends

The Eternal Memory (dir. Maite Alberdi) – Shani Laskin, Managing Editor

From Chilean director-producer Maite Alberdi, The Eternal Memory follows life partners Paulina Urrutia and Augusto Góngora as they navigate the latter’s Alzheimer’s diagnosis. The film intertwines the couple’s day-to-day routines with home videos and archived footage of Góngora’s career as a broadcast journalist during the repressive Pinochet regime in Chile. 

In the documentary, Urrutia—an actress, union leader, and politician—reckons with caring for her partner as his mobility and cognitive function increasingly deteriorate while acknowledging the reality that he is slowly forgetting who she is. Through this film, these two beloved figures of Chilean public life literally open the door to their most intimate moments, baring themselves to the world. Urrutia’s commitment to her husband and to ensuring that his legacy lives on is an act of tremendous selflessness. Clips of Urrutia leading Góngora on walks juxtaposed with moments of desperation when he fears his beloved books will be taken away from him emphasize the joy, peacefulness, and immense heartache in the act of loving through the loss of memory. 

In addition to the remarkable love between the Urrutia and Góngora, what sets the documentary apart is the throughline of memory not just as a personal endeavour but as a political tool. Góngora’s career was defined by a commitment to truth-telling despite the threat of imprisonment, torture, and even death. Through his work and activism, Góngora stressed the importance of documentary to fuel action and reconstruction. In a way, The Eternal Memory can be viewed as his final attempt to do exactly that.

The Vegetarian (Han Kang) – Kellie Elrick, Arts & Entertainment Editor

Content warning: Eating disorders, self-harm, sexual violence.

When the novel begins, Yeong-hye is having violent dreams—murder, barn floors soaked with blood, frothing mouths, cuts, faces. She stops eating meat, and eventually stops eating altogether. She gives up sex. She dreams of transforming into a plant.

The Vegetarian is written in three parts, each with one voice: Yeong-hye’s husband, her brother-in-law, and her sister. The novel begins in the first person and eventually moves into the third, becoming estranged from itself as Yeong-hye becomes estranged from her own body. She desires to escape the body in order to rid herself of the thing that eats, hurts, the thing men look at, and violate.

Yeong-hye stands on her hands, imagining them as roots in the earth, wills flowers to bloom between her legs, bares her body to the sun, wanting to leave the woman behind and become the tree. The story is a much older one: In an ancient myth, Apollo, god of the Sun, music, poetry, and—most relevant to Kang’s story—healing and illness, falls in love with the nymph Daphne. She tries to flee, but Apollo chases after her. Daphne, terrified, cries out to her father, a river god, who transforms her into a laurel tree. 

But in Kang’s story, there’s no god to save Yeong-hye.

Swan Song (dir. Chelsea McMullan) – Charlotte Hayes, Arts & Entertainment Editor

“Ballet is punk rock as fuck,” says newly promoted corps de ballet member Shaelynn Estrada in the closing moments of Swan Song—and after watching Chelsea McMullan’s docu-series, it’s easy to see why. The series offers an intimate look at the National Ballet of Canada as they take on the ambitious task of mounting an all-new version of the beloved Swan Lake, complete with fresh choreography by their long-time artistic director, Karen Kain.

Over its four-episode run, the series follows Estrada alongside fellow cast members Jurgita Dronina and Siphesihle November as each navigates pivotal “breakthrough” moments in their careers during rehearsals. Swan Song brilliantly showcases the extraordinary mental fortitude demanded of professional ballet dancers, matching their physical endurance and artistic talent. From grappling with mental health challenges to the struggles of immigration and adjusting to life in a new country, the series thoughtfully explores how ballet intersects—both positively and negatively—with the dancers’ personal milestones.
From casting to opening night, Swan Song delivers a comprehensive and unfiltered portrayal of what it truly means to give everything to your art. Blending the intrigue of a gossip-fuelled reality show with the stakes of a high-stakes sporting event, it immerses the audience in the joy and drama that drive one of the world’s most celebrated ballet companies.

Commentary, Opinion

Those who decry McGill’s work-hard-play-hard culture have it wrong

Four days of activities, DJs, and early rises is a serious undertaking at the end of your summer holidays. Some outsiders raise eyebrows when told that’s how McGill readies students for university life—and yet it sets the tone perfectly for our degree. What better way to work out how many nights you can handle on the trot and still function the next day? Who better to introduce you to student life than upper-year students who’ve been in your shoes? Of course, Frosh wasn’t perfect for everyone, but those who declare that it inculcates a toxic culture of peer pressure and alcohol couldn’t be more wrong. 

Frosh has changed with the times and does a great job of ensuring that the almost 5000 students who partake in the orientation week can move at their own pace. As a first-year, I did Frosh sober (loved it), and became a Frosh leader this year. About half of my froshies hardly touched a drink all week, enjoying the opportunities to dip their toes in Montreal nightlife, make friends over a game of beach volleyball, and explore the city. 

This contrasts with a crew of Québecois first-years I bumped into at the Mont-Royal viewpoint on a morning run back in October. They told me they were doing “scunts”—a portmanteau of “scavenger hunts”—to earn points for their team in one of McGill’s activity weeks. These students had read ahead in their classes so they could spend their day running up mountains, taking shots, and all sorts of other chaos. They told me that so far, it had been the best fun they’d ever had. 

One might wonder how it can possibly be in the interest of those students to miss two lectures to spend a day doing silly drunken challenges. However silly as they might seem, these activities play an important role in establishing community, making friends, and having a good time. A McGill degree isn’t easy, but that doesn’t mean students should chain themselves to the library year-round. 

Beyond the classic “you’re only young once” argument—though it is true that you’re not going to be able to squeeze out a 2000-word essay the day after getting home at 3 a.m. forever—life doesn’t get any less busy. Being able to balance academic deadlines with whatever else you enjoy is a vital skill, whether that means getting involved in Intramurals, acting in a play, or running a club—whatever piques your interest. What’s important is making time to do anything other than your essays—if not for the sake of your mental health, then at least for the sake of having something to talk about besides that professor.

A student bar like Bar des Arts (BDA) might not immediately appeal to everyone, but the excitement on the faces in its line reveals that it’s doing a hell of a good job providing respite for stressed McGill students. Frosh and scunts may look like academic self-sabotage, but the 4.0 GPA of the sorority girl who goes out every night (as per the transcript posted on her Instagram for 150 scunt points) evidences the patently obvious truth that McGill students are capable of scheduling their work and their play. 

Some will take it too far and drop a few marks, as has been the case since the dawn of time, but that’s a lesson we all must learn. University is more than simply ensuring you nail your calculus test or can perfectly outline the realist perspective on nuclear proliferation. It’s about learning self-discipline, giving yourself the broad base of experiences you need to tackle an evolving world, and working out who you are. At the end of the day, university is where you make the most of your newfound freedom. Which will you regret more at 30: Dropping down to an A- on POLI 244 because you failed to squeeze in those last couple of readings between a soccer game and a power hour, or having never made the memories at all?

Science & Technology

Searching for life beyond Earth

What does it mean to be alive? Could life exist elsewhere in the universe, and if so, how would we recognize it? 

On Jan. 14, 2025, Dr. Michael L. Wong, Postdoctoral Fellow at Carnegie Science’s Earth & Planets Laboratory, addressed these mysteries during a seminar at the Trottier Space Institute (TSI) at McGill. Wong’s talk, titled Pondering Our Place in the Universe, showcased his interdisciplinary approach, blending planetary science, data science, and philosophy. 

Wong began his presentation by framing the core questions of astrobiology: How does life emerge? And what makes a planet habitable? These questions, he argued, demand a multidimensional approach to better understand life’s inherent complexity. 

Earth’s distinct atmosphere

One of the key focuses of Wong’s research is atmospheric chemistry. Earth’s atmospheric network is distinct from those of other planets. This could be because Earth’s atmosphere reflects a combination of its biosphere and technosphere—the part of the environment made up or modified by humans. Together, these two unique features form a technobiosphere

“Earth’s atmospheric network is the most non-random network we’ve observed,” Wong noted. 

This means that although everything in the universe is formed randomly, our atmosphere has the most non-random biochemistry that would be conducive to harbouring life. 

This begs the question: Does life reorganize matter in a universal manner? And if so, it raises intriguing possibilities for identifying biosignatures—chemical traces of life—in the atmospheres of exoplanets.

How do we detect life? 

The next part of Wong’s talk focused on methods to detect life beyond Earth. One method is the use of Pyrolysis Gas Chromatography-Mass Spectrometry (Pyrolysis GCMS), which uses heat to separate the chemical components of a sample to then analyze it. This approach, Wong explained, offers several advantages: Minimal sample preparation, versatility in extreme environments, and low energy requirements. 

“If there is life on an alien world, it will not exhibit the exact same biochemistry as Earth,” Wong emphasized. 

By training machine learning algorithms on a diverse range of biotic and abiotic samples, Wong’s team achieved an impressive 90 per cent accuracy rate in determining whether a sample contained evidence of life. However, challenges remain, particularly when identifying fossilized life or life concealed within mixtures of abiotic components

Ethics of the Cosmos

Wong advocates for the development of astrobioethics, an ethical framework to guide humanity’s exploration of outer space. With private companies, such as SpaceX, accelerating the path to space travel, Wong urged the audience to consider what constitutes moral value in the cosmos. 

“We have an obligation to respect that which is morally valuable,” Wong explained. “The big question is, what actually constitutes moral value in outer space?” 

Should intrinsic value be assigned only to living entities, or do non-living structures with innate complexity deserve moral consideration? These questions are crucial to answer as humans prepare to venture into extraterrestrial environments. 

Looking to the Future

From missions like NASA’s Europa Clipper and Dragonfly to the potential for sample-return missions from Mars and Enceladus, Wong highlighted the exciting opportunities that lie ahead. 

“These missions could revolutionize our understanding of life in the universe,” he said.

Moving forward, Wong hopes to partner with space agencies to continue searching for signs of life in the cosmos. He also aims to bring more attention to the field of astrobioethics to fuel moral discussions on space exploration and interaction with the universe. 

Wong’s seminar offered a thought-provoking mix of innovative science and deep philosophical reflection. By pushing the boundaries of planetary science and ethics, he is paving the way for humanity’s search for life beyond Earth. 

“Astrobiology doesn’t just answer questions about life elsewhere,” Wong concluded. “It helps us better understand what it means to be alive here.”

Letters to the Editor, Opinion

Another Look at PGSS

In its Dec. 4 issue, The Tribune published a review of the Post-Graduate Student Society (PGSS) executives The Editorial Board reported on Secretary-General Satish Kumar Tumulu’s lack of initiative (“he has yet to take concrete steps to improve channels for executive and student communications”), but followed it with an uncritical quote from Tumulu about lack of initiative from students to voice opinions about divestment, the Association of McGill Professors of Law (AMPL), or Association of Graduate Students Employed at McGill (AGSEM).

Advocacy on these topics has been energetic, consistent, and well-documented. This fall, a motion was submitted to the PGSS’ General Meeting calling for the PGSS to share the Expression of Concern about Israeli companies among all its members. The motion presented on the agenda was changed without the consent of the mover to insert defense of McGill and remove ‘Palestine’ from the title. At the General Meeting, an amendment was made to revert the motion back to its original form and the motion was approved. But after this approval, Tumulu said in an email that executives will not enact the motion. In the same email, he redefined the role of a General Meeting, saying it should only concern itself with financial statements, governing documents, appointments, and removals. This contradicts the spirit of a General Meeting, and also the description on PGSS’s own website, which states, “[t]he General Meeting is the way for members to directly participate in the decision making processes for the society that represents graduate students […] you can also submit agenda items on topics that YOU think are important”. 

Meanwhile, the approach PGSS has taken towards AGSEM has been antagonistic. The PGSS provided AGSEM with no support during the strike and refused to let AGSEM put up posters in Thomson House.  A PGSS member told me they were expelled from a funding working group after being accused of sharing financial information with AGSEM, without being told what information was supposedly shared. 

It does not take in-depth research to reveal the struggles for democracy at PGSS during Tumulu’s term, and I wish the students who have been fighting to be heard at PGSS were acknowledged in the Tribune’s reporting. The Tribune Editorial Board should welcome graduate students to its team, and pay attention to voices that are marginalized by the PGSS’s institutional power.

Behind the Bench, Hockey, Sports

What cities would be valuable additions to the PWHL?

A recent Professional Women’s Hockey League (PWHL) game between the Montréal Victoire and Minnesota Frost in Denver set a U.S. attendance record, with more than 14,000 fans chanting: “We want a team!” This excitement has sparked conversations about which cities should host the league’s potential 2025-26 expansion teams. Chicago, Vancouver, Denver, and Detroit stand out as strong contenders. Each has a rich sports culture and a passionate audience that could help the league grow and thrive.

Denver is an ideal candidate for a PWHL team because of its established hockey culture, fanbase, and infrastructure for professional sports. The success of the Colorado Avalanche evidences the city’s strong support for hockey, complemented by a thriving recreational scene that sparks interest in the game among youth. Denver’s sports market would offer significant sponsorship opportunities and media coverage, creating a strong foundation for a women’s professional hockey team. 

Denver PWHL fans’ overt support during the Victoire vs. Frost game is a clear tell of their enthusiasm to potentially welcome a team. Additionally, Denver’s diverse and active community aligns perfectly with the PWHL’s goals of growing the game and promoting inclusivity. Expanding to Denver would also strategically extend the league’s presence into the western United States, attracting new fans and strengthening its reputation across North America.

As one of the largest cities in the U.S., Chicago has a passionate fanbase that hosts teams across all major leagues, which would make for a vibrant environment for a new hockey team. The city is already home to a plethora of youth programs, which could help build local talent pipelines. With elite facilities like the United Center and Wrigley Field, Chicago has the infrastructure to successfully host a PWHL team. Its central location also makes it an ideal hub for travel within the league with potential for friendly regional rivalries. 

Vancouver would be another strong option as a host city due to its deep love for hockey and it being one of Canada’s most vibrant urban scenes. As home to the National Hockey League (NHL)’s Canucks and a thriving hockey community, Vancouver has a community of passionate fans who would embrace professional women’s hockey. The city’s picturesque setting and multicultural community would make it an appealing market for players, fans, and sponsors. Expanding to the West Coast also catches the eyes of potential donors for the PWHL, which could help build the league across all facets. Considering its reputation for hosting successful sports events in venues such as Rogers Arena, Vancouver has the means and community needed to host a franchise and grow the league’s presence on the West Coast.

Lastly, Detroit would be a qualified host city for a PWHL team, given its rich hockey culture and passionate fanbase. Known as “Hockeytown,” Detroit has a deep connection to the sport, with a long history of supporting the NHL’s Red Wings and a strong culture of youth hockey. With a community that values the sport as a whole, Detroit fits the criteria of what is needed to support a PWHL team.

Chicago, Vancouver, Denver, and Detroit each offer unique opportunities to help expand the PWHL and elevate professional women’s hockey. Denver’s public display of enthusiasm for a team may prompt the PWHL to prioritize adding them to the league before others. While Chicago’s status as a major sports centre with a thriving hockey culture would attract a large and diverse fan base, the PWHL may prefer a team based on the West Coast to help expand the league’s reach, like Vancouver. As a Canadian hockey hub with a proven track record of supporting women’s hockey events, Vancouver would further solidify the League’s presence in Canada. Detroit, with its deep hockey roots and reputation, offers a perfect blend of tradition and enthusiasm for the sport, but it may not be able to compete with larger fan bases in its area, like Chicago. Looking at the current league, there are three American teams and three Canadian teams, so one could predict that the PWHL would choose to add one team from the US and one team from Canada to maintain a balance for future seasons. All of these cities provide a mix of geographic diversity, supportive fan bases, and resources to help the PWHL continue to grow and inspire future generations of players and would all be exceptional additions to the league.

Arts & Entertainment, Film and TV

‘Squid Game’ wins again

If offered bread or a lottery ticket, which would you choose? Now imagine this question is posed only to students who are hundreds of thousands of dollars in debt. Which would they choose?

Released on Dec. 26, Squid Game Season 2 follows Seong Gi-hun (Lee Jung-Jae) as he attempts to dismantle the Squid Game, a competition in which players must compete in childhood games for a prize of 35.6 billion ₩ (over $45 million CAD). Winners take home the money while losers die, and each player’s death increases the prize money for the remaining players. Contestants are cherry-picked for having hefty debts; most are motivated to play to escape a life of poverty, pay off medical expenses, or recover from an unlucky gamble. In his efforts to undermine the games, Seong becomes trapped in them instead. Losing contact with his militant team on the outside, he must confront the game’s organizer, the Front Man (Lee Byung-hun), on his own.

The first season premiered to unprecedented acclaim, and so far, Season 2 has been nominated for a Golden Globe and reached 152.5 million views on Netflix. Along with near-universal praise, the success of the first Squid Game  led to a reality television spin-off and the second earned a Google Doodle. The cinematography is breathtaking; one could get lost analyzing the lighting, colour, and contrast used in a single frame. Lee’s performance of Seong is particularly captivating as he embraces his character’s duality: Vengeful and strategic, yet frustrated and desperate. In Season 1, Seong is motivated by self-preservation, a few friends, and fortune; in Season 2, Lee expertly captures the transition to a character who is now fighting for all of the players’ survival.

This season’s antagonist is no longer fellow competitors, but the Squid Game itself and those in charge of the operation. It mimics the plots of films like the Matrix and Hunger Games: Catching Fire, where in the midst of violent conflict, both the audience and underdog characters have to “remember who the real enemy is.”  Squid Game Season 2 excels in highlighting the humanity of individual players, ensuring the audience never forgets that the players are not the criminals—the games are the true perpetrators. Squid Game Season 2’s antagonist inversion not only creates plenty of action-packed and gory scenes, but it also reveals an obvious commentary about the exploitation of desperation among impoverished and indebted people in society. Characters that would have been received as villains in the first season, like the pink-suited soldiers hired to oversee and kill players, are made tragic and even sympathetic as their despair is equally as preyed upon as the heroes.

However, while side character spotlights and side plots allowed the audience to focus on the players’ humanity rather than just that of the main characters, the expanding side characters failed to create a clear fan favourite. Viewers can empathize with every side character subject to the cruelty of the game, but each side character doesn’t have enough screen time to make their deaths nearly as emotionally devastating as in the first season.

A striking feature of this season is the increased representation of marginalized people within Korean society, featuring side characters such as a North Korean defector, individuals experiencing drug addiction, and a transgender woman, Cho Hyun-ju (Park Sung-hoon).  Cho entered the games to acquire money for gender-affirming care, and is unfailingly heroic and caring. Though Cho represents a big step for the representation of 2SLGBTQIA+ characters in Korean media, the character would have been more accurately portrayed by a transgender actress.

Squid Game Season 2 is a masterclass in suspenseful pacing, creative cinematography, and mesmerizing performance, prompting the audience to empathize with those whom society leaves behind.
Squid Game Season 2 is now available on Netflix.

Off the Board, Opinion

Making someplace a home 

Over the course of my 21 years of life, I’ve lived in nine different houses/apartments; three countries; five cities. But until recently, I couldn’t tell you if I’ve ever lived somewhere I’d call home.

By Merriam-Webster’s definition, “home” refers to one’s place of residence, and also as “the social unit formed by a family living together.” I had the luxury of living in various places and growing up comfortably. I never lacked the essentials, and I was given every opportunity to explore my interests and identity with my parents’ unwavering love and support.

But there’s always been a gap. When my friends talked about their long-standing relationships with their friends and families—visiting grandparents over the weekends, spending holidays with their extended families—I knew this would never be an experience I could share. Moving around as much as I did, the idea of being best friends with my cousins or living next door to friends for so many years that we basically became siblings wasn’t feasible for me.

For all these types of interpersonal relationships, I generally knew but one: A promising—but casual—new friendship cut short by my family’s next move. Though it is now possible to keep in touch over social media, this option was not one I had access to as a child. Besides, nothing comes close to in-person connection; over time and separated by a phone, it seemed my presence in my extended family’s and casual friends’ minds would eventually fade.

Every move, I would make new friends, and after a couple years, we would move again. I felt a piece of myself stay behind with every changing town. Until I was a teenager, I felt like no one cared about me as much as they did their other friends; and how could I blame them? I wasn’t physically there.

My heart has been separated into so many segments, each one being left in different regions and experiences with people who I’ll never see or meet again. So how can home be where the heart is if my heart is fragmented into all these pieces?

If I could never stay in one place long enough to establish a home, what was the point in relentlessly trying to make one? As a result, I avoided over-personalizing my spaces, knowing it was but a few years until I would have to tear down the decorations and repaint the walls. Establishing intimate connections felt similarly futile, as I would eventually have to tear myself away from everyone I’d met anyway. 

As a student and an immigrant, I’ve always felt like I didn’t quite belong anywhere I went. So I’ve had to learn to find the feeling of home in places other than my residence—I’ve been searching for it in the love around me.

The compassion and love my friends and family have shown me created a home in themselves. My friend and her mom once drove 16 hours total from Toronto to Stamford, Connecticut for a weekend visit; my Whitby friends have driven up to Montreal at least twice a year for nearly four years now. With sleeping bags and air mattresses sprawled on the cold floor of my tiny studio apartment, I’m reminded that I’ll likely never find friends like these again.

Though my scenery changes constantly, I will always cherish my chosen family.

So why should I deprive myself of the joy of having a home that’s my own, filled with colourful ceramic dishes, thrifted crystal lamps, and the laughter of my loved ones? With every hand-me-down from my family, personal trinket, or thoughtful act from my friends, I bring a bit of everything—and everyone—I’ve experienced into every place I go, and, in the process, I leave a piece of myself in every place I’ve been. 

With my turbulent living arrangements, I felt like I would never know stability and community; but, with every year, I’m thankful for the tumultuous moves, as every step has been bringing me closer to something that I might someday call home.

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