Annabel Adams, Janai Berrocal, Sophia Brownsword, Michael Bryan, Caroline (CeCe) Erskine, Jaymee Hinz, Mams (MJ) Jagha, Anne Kosanke, Laura Lemgruber, Kaitlyn Paige, Jack Pasquale, Hannah Peters, Juliet Seith, Sarah Wells
DIGITAL
Megan Radakovich CREATIVE DIRECTOR
EXECUTIVE DIRECTORS: Kylie Adedeji & Emma Novy
DIGITAL WRITERS: Nickaylia Anderson, Tori Baker, Janai Berrocal, Caroline Erskine, Yasmina Gall, Samayee Gupte, Alexis Landrini, Maria Masek, Gray Reed, Emily Refici, Tessa Reiner, Juliet Seith
DIGITAL DESIGNERS: Kate Batista, Jay Cronkite, Maria Masek
VIDEO DIRECTOR: Evan Blenko
VIDEO TEAM: Brenna Desmond, Beckett Painchaud, Maddie Fox, Jaymee Hinz
SOCIAL DIRECTOR: Lizzy Calvo
SOCIAL TEAM: Bailey Chapin, Christian Slowinski, Christina Stathatos, Madison Wasai, Logan Rae Wilbanks-Davidson
CREATIVE
ILLUSTRATION HEAD: Christina Mastellone
DESIGNERS: Abigail Aggarwara, Eva Aurnhammer, Emma Coyer, Emily Saraidarian, Ailani Wong
ILLUSTRATORS: Marina Lee, Ita Kim, Emmet Kobasa, Hannah Peters, Kate Tang
PHOTOGRAPHY DIRECTORS: Abby Johnson & Maya Lockwood
PHOTOGRAPHERS: Brenna Desmond, Alicia Hoppes, Zobayer Joti, Ion McDonald, Alexandra Rice, Owen Sellers, Jenna Sents, Collin Snyder, Ailani Wong, Ike Wood, Claire Zhang
Harriet Brown ADVISOR
Through its content, Jerk is dedicated to enhancing insight through communication by providing an informal platform for the freedom of expression. The writing contained within this publication expresses the opinions of the individual writers. The opinions expressed herein are not those of Syracuse University, the Office of Student Activities, the Student Association, or the student body. Additionally, the ideas presented in this publication do not necessarily reflect the opinions of the Jerk Editorial Board. Furthermore, Jerk will not be held responsible for the individual opinions expressed within. Submissions, suggestions, and opinions are welcomed and may be printed without contacting the writer. Jerk reserves the right to edit or refuse submissions at the discretion of its editors. Jerk Magazine is published monthly during the Syracuse University academic year. All contents of the publication are copyright 2025 by their respective creators. No content may be reproduced without the expressed written consent of the Jerk Editorial Board.
LETTER FROM THE EDITOR
Every time the snow starts melting and baby leaves start budding on trees, I am reminded of resilience. You’re probably thinking, “Karla, are you about to make a lame spring metaphor?” And the answer is yes—yes, I am.
Hear me out. After what seems like 23 months of waking up to 20-degree weather, unsalted sidewalks and a parade of puffer jackets, I am ready for that beautiful spring weather that gets everyone on campus out on the front lawn. The arrival of spring is, after all, a reminder that even after months of freezing temperatures and no sunlight, life can grow back.
Now, here comes the metaphor. As we were putting together this issue, we got to talking a lot about our experiences growing up. Most of us here at Jerk are part of the generation that became teenagers as Trump took office for the first time. We had to graduate high school during a global pandemic and adapt to new social standards as human interaction largely moved online. Our “formative” years were not just formative for us but for society as a whole. So much changed so quickly that looking back to our teen years feels like a blur. As a 21-year-old teenager myself, I can’t quite place it, but somewhere along those years, I became an “adult.”
While older generations like to call Gen Z a lot of different things, from “lazy” to “overly-sensitive” or “chronically online,” the one thing our generation has proven, time after time, is that we are resilient. Just like those baby budding leaves, we have managed to grow in a world that gave us freezing temperatures and no sunlight (Ick! I’m done with the metaphor now).
In this issue, we explore the concept of growing pains and the resilience they help us build. On pages 57–64, we discuss different aspects of teenage girlhood and its media portrayals in a package dedicated to our former teenage selves. We also hear from queer students on page 35 in a photoessay
documenting the LGBTQ+ experience in an uncertain political climate. On page 19, we discuss the importance of disability representation in a personal essay analyzing the characters that were formative in our writer’s experiences growing up. And we apply a critical eye to the teenage pop icon who characterized many of our childhoods on page 66.
So, Jerks, we might still be stuck in the extra six weeks of winter that Punxsutawney Phil predicted, but you can sleep well tonight knowing that spring is coming and that we—like we have done many times before—will get through this.
Jerk Magazine is exploring new ways to compliment our print mag. Find additional content on social media and our website jerkmagazine.net.
HIT
What we love
OPUS
MARCH 14
Opus is the new A24 thriller starring the people’s Irish princess Ayo Edebiri, who plays a reporter stuck in the middle of a pop-star led cult. Not only is this inspiration for our next issue, but Edebiri always has us in the theater seated and starry-eyed.
THE CRUX
APRIL 4
The Crux is Djo’s first album since 2022 and is slated to stray from his usual synthy style. If we can make any predictions from his January release "Basic Being Basic," the songs on this new album will definitely be on everybody’s playlists.
FOREVER IS A FEELING MARCH 28
Calling all lesbians, depressives and lovers of haunting, melodic ballads! Our favorite queer tear-jerker, Lucy Dacus, is coming out with a new album, Forever is a Feeling, at the end of March. Get your tissues and your “dhmu” texts ready.
THE LAST OF US, SEASON TWO
APRIL 13
Pedro Pascal, Bella Ramsey and Kaitlyn Dever are starring in the hit HBO show’s long-awaited newest season. We here at Jerk love the show’s compelling characters, heartbreaking storyline and awardwinning acting. But in all honesty, we mainly love seeing Pedro Pascal play the father figure we all crave.
THE OSCARS
MARCH 2
Words by Sarah Wells
After reading the Oscars nominations, from Emilia Perez’s 14 nominations to Challengers’ zero nominations, we’ve lost all care for stupid award ceremonies. We can’t bare to watch another Oscars that misses the mark.
A MINECRAFT MOVIE
APRIL 4
A childhood favorite video game turned into a movie sounds like it should be fun but with the uncanny animation and cliche jokes shown in the trailer, we don’t have much interest. Even Jack Black’s comedic prowess may not be enough to save this one. And seriously, that pink sheep is still haunting us.
TAX DAY
APRIL 15
Yeah, sure, taxes are necessary but why do the forms have to be so damn tedious? I’m not in the mood to think about how my hard-earned money is going to a government that couldn’t give less of a fuck about us or where we want our tax dollars to go.
NEW INSTAGRAM UPDATES SPRING 2025
When is Instagram going to understand that the only fix we want to see is who unfollowed us? Give us our squares back! We’ve all been working for years to curate the perfect aesthetic, and now you’re just going to take it away from us? Watch your back, Zuckerberg.
What we hate
Hey Aries, you’ve got a lot in store for you this month. Be patient, amazing new beginnings are on the way, but the journey to success might be long. Be present, practice gratitude and get ready to unlock this new era.
TAURUS
You can’t catch a break, can you, Taurus? Your busy schedule and countless extracurriculars may look good on a resume but surviving on four hours of sleep should not be a regular occurrence! Take a break, babe. Chill and unwind. You deserve it.
ARIES GEMINI
Oh, Gemini, all this yearning can’t be good for you. Stop dwelling on things or people that aren’t in your life right now. Protect your peace—if they wanted to, they would. Time to come back to reality and appreciate what is right in front of you.
We sense some insecurity here, Cancer. It can be hard to truly express yourself and be honest about your needs but you have got to cut the people-pleasing! Start serving your own needs, we promise it’s not that serious.
CANCER LEO VIRGO
We see travel in your future, Leo. Get ready for some fun trips and airport hopping this month. Be careful with your boujee taste, though. The Instagram post may be fire but don’t get too carried away in first class. A little birdie told us your wallet has cobwebs in it.
Hey, Virgo. This month, you may be tempted to fall back into old habits. You may have a soul crushing fear of change, but it’s time to make space for some new things in your routine! Out with the old, in with the new. Great things are in store for you!
Not to clock your tea, but we’re sensing some trouble in paradise, Libra. Whether it’s a romantic relationship or a friendship, learn to have patience and communicate. Your stubbornness only gets you so far, and the silent treatment isn’t healthy. Empathy and understanding are on your side this month.
Let’s get a little crazy, Capricorn! This month is all about spontaneity. It’s about time to break out of that quiet little shell of yours. Book that trip, make those plans or take up that new hobby. You’re on fire and nobody can put you out. Go out and be the life of the party.
LIBRA SCORPIO SAGITTARIUS
Woah there, Scorpio. The forecast this month is looking HOT. New and exciting romantic connections await. It might finally be time to delete that Hinge account. And Tinder. And Bumble. Look up from your phone and enjoy the real world! We may not be able to promise a ring by spring situation, though. We’re optimistic, not delusional.
Thinking about booking that tattoo appointment, huh? Maybe your third Target trip of the week? We know it’s an emotional period, but it may be time to reel it back on the impulsive spending, Aquarius. Take some time to reflect. Slow down. Life may be coming at you quickly, but settle back and enjoy the journey.
Words by Madeleine Oliveros | Art By Hannah Peters
How lucky are you, Sagittarius? This month is full of friendship and a whole lot of love. Make time for your besties and appreciate the people in your life. You’re one to get swept up in the chaos, but being present and practicing gratitude is a MUST. Now go spend some time with your people!
PISCES
You’re about to face a major decision, Pisces. Things are about to change for you...big time. Trust your gut and do what feels right. Choices are hard, especially for you, but you know your intuition never fails you. It’ll all work out!
HOLD ON, WE'RE COMING!
Destigmatizing female masturbation
Words by Sarah Wells
Art by Hannah Peters | Designed by Abigail Aggarwala
Maybe your first experience with masturbation was as a teenager. Or maybe it was when you were younger, when you didn’t even realize what it was. Who knows, maybe you haven’t had any experiences with masturbation. Either way, if you’re a woman, you’ve certainly heard of the harmful rhetoric surrounding female masturbation. Some may call it “dirty” or “unnatural,” and men might see it as a way to disparage a woman’s innocence—even though men jerking off every time they get the chance is perfectly natural, right?
With the recent release of media like Ethel Cain’s Perverts and Robert Egger’s remake of Nosferatu, both of which touch on the subject of female sexual shame, the conversation of female masturbation has been a strong talking point in pop culture as of late. And we, here at Jerk , want to talk about it and try to rewrite the narrative of female masturbation from something seen as "guilty" to something that should keep women in touch with their sexuality!
While women masturbating is nothing new, works like these bring the actual topic into the light for us to examine. For years, our only exposure to female masturbation has been in pornographic media, where we see women screwing themselves in various unrealistic ways for the viewing pleasure of men. So, if men love to watch women masturbating on camera, they must also love it in real life, right?
Well, not exactly. When we think of “purity culture,” we often think of doe-eyed female virgins dressed in white, wearing cross necklaces and hoping for some big, strong, heterosexual man to bless them with the gift of penetrative sex (after marriage, of course). Purity culture is framed as
a way to stay innocent before marriage, but it’s obvious that it’s just a way to shame women into sexual repression, which includes masturbation.
Syracuse-based sex therapist Tanya Peterson says purity culture exacerbates the shame that women feel when it comes to expressing their sexuality, whether it be through masturbation or with partners.
“The whole purity culture and shame over ‘body counts’ comes from a lot of messaging with religious undertones, purity undertones, and men hear that messaging, too. And so they can create perceptions in their head of what purity is and what it isn’t, what a good girl is versus a bad girl, and also perpetuate those messages themselves,” Peterson said.
Also, spoiler alert: virginity isn’t real! It’s a sexual pedestal that allows society to label women in order to degrade them, regardless if they “have it” or “don’t.” It’s no secret that the reason certain men are obsessed with the idea of purity is because they love to feel the ego boost of giving women sexual pleasure for the first time. However, masturbation takes this chance away from them, putting it entirely in the hands (or toy) of the person it should be in.
Sophomore Nina Thomas says that she’s faced judgment multiple times for being open about her sexuality.
“As I got older, I started to be more open. I would joke to my guy friends and say, ‘Oh, I’m gonna go use my vibrator,’ and they would say it was disgusting, but they talk about jerking off in the bathroom for how long? Why is it okay when you do it, but not when I do it?” Thomas said.
The way women interact with masturbation is actually quite representative in the kinds of toys that we’re using, as well as the way we’re using them. The first vibrator was invented in 1869 to treat women misdiagnosed with hysteria. These women weren’t hysterical, they were just horny! These early vibrators would give women pelvic massages and, well, make them orgasm.
Despite its sexist origin, vibrators became more mainstream with women around the 1960s and ‘70s, thanks to the Sexual Revolution, Peterson said. Plus, with shows like Sex and the City, it became much easier to see female masturbation represented in the media.
Despite the increase in representation, things still aren’t perfect. Purity culture and the patriarchy still hold a strong grasp on the relationship between women and their sexual autonomy, so how do we begin to solve this issue? Peterson has a clear answer for this: “Just talking about it. Just normalizing speaking about this, and having open, transparent, really vulnerable conversations and destigmatizing it in your own life."
Thomas says that once she started talking about masturbation with her friends, the shame
“There’s a double standard with everything sexual when it comes to women. I definitely try to tell my friends that we can’t let that happen. We’ve got to take control.”
NINA THOMAS
So, to follow Ms. Peterson’s orders, let’s start a conversation about female masturbation. Let’s compare vibrators and discuss what’s been getting us off recently because if men can do it, women can do it better. Jerk will proudly continue
ANDREW BERKMAN
Finding yourself through art and collaboration
Words by Miguel Rodriguez | Photos by Ailani Wong
Andrew Berkman, a second-year studio arts student at Syracuse University, spends most of his time working within the studio space—a space whose appearance he has made entirely himself. Whether it be “mind maps” meant to guide projects, bananas carefully balancing on hooks in the wall or pieces gifted to him by friends, no part of Berkman’s space in the studio is left untouched by his eccentric personality.
"The area we're in right now, it's like an expression of myself," Berkman said about his studio space. "It's really good to be here; it's like my favorite place, I come here to do work and whatnot."
"Definitely everybody in this room," Berkman said of his biggest inspirations. "Romina's here right now. Hi Romina. Romina makes awesome art. Everybody here makes dope art."
This care and love for others is a characteristic that shines most not only in Berkman’s work but also in how he shares it. As of late, Berkman can be found around campus giving out Tarot card readings using cards he makes himself. Berkman’s readings are unlike the traditional in the sense that he makes it a collaborative effort with the viewer. Rather than reading the meaning to each card, Berkman likes to ask those being read what they think his unique cards mean.
Berkman began creating art after falling in love with the optical illusion work of Maurits Cornelis (M.C.) Escher as a kid growing up in Needham, Massachusetts. Escher’s work is known for its twists and turns, leading those who view it to question what they truly believe. However, that sense of uncertainty is the antithesis of Berkman, a certainly passionate and caring artist. Despite his shelf of books that contain the work of influential artists such as JeanMichel Basquiat and M.C. Escher, Berkman
"I just want people to find themselves, even if it's through a silly Tarot reading," Berkman said. "Imagine a dude walking up to you, saying, pick one, and then you pick a card, and it's just a goofy ass drawing. And you're like, ‘What the fuck?’ But like, I have to imagine that some people connected to it in some way, you know?”
21 +/MIAMI VICE
A strawberry daiquiri and a piña colada in one drink? Well, yes!
Words by Laura Lemgruber
Photo by Claire Zhang
After a harsh Syracuse winter, and yet another brutal midterm season, we know all you Jerks are daydreaming of a sunny spring break to take your minds off the cold (and most importantly, your work). Look no further, Jerk ’s got you covered! The Miami Vice is the perfect drink for any syracuties heading down to the beach in March, or anyone who still wants a little taste of the tropics while they rest at home. Although it takes a few steps, the Miami Vice’s sneaky sweet taste masks a powerful punch that will guarantee a fun break and make it worth the extra effort. Here is how to make it:
INGREDIENTS
• 2 ounces of rum (divided)
• 2 cups of ice (divided)
• 1 cup strawberries
• 1 ounce lime juice
• 2 ounces cream of coconut
• 2 ounces pineapple juice
• Strawberry (for garnish)
PROCEDURE
1. Add one ounce of rum, one cup of ice, strawberries and lime juice to a blender. Blend until smooth.
2. Pour into glass so that it is filled halfway, and put in the freezer.
3. In a clean blender, add one ounce of rum, one cup of ice, cream of coconut and pineapple juice, and blend until smooth.
4. Pour into the same glass, creating a split effect.
5. Garnish with fruit of your choice.
6. Sip and enjoy your break!
DUMP YOUR BIGOTED BOYFRIEND
Relationships
with opposite political views don’t work—here’s why
Words by Annabel Adams
Art by Marina Lee |
The 2024 election caused a lot of tension in this country, especially within the interpersonal lives of Americans. Families, couples and friends debate over political beliefs and question if they can even respect each other.
Amidst these debates, there’s been a longrunning joke on social media about couples with differing political views. For the past few years, people have joked about “liberal girls and their bigoted boyfriends.”
These couples have reclaimed this joke by posting memes and videos about “canceling out each other’s votes.” It’s not just couples though— friends and families make the same posts as well.
This trend begs the question of whether or not these relationships are healthy—and if they can last.
Being a steadfast ally means not entertaining oppressive political beliefs. Yes, it’s important to hear different points of view, but ignoring or excusing bigoted beliefs teaches people that there are no consequences to oppressing others.
Lauren Holland, a junior at Syracuse University, grew up in a very conservative area of Florida but values left-leaning politics. She was able to keep
friends with similar beliefs in her inner circle, but was surrounded by conservative peers at school.
As someone who is very resolute in her beliefs, Holland found it easy to keep right-wingers out of her life. And while she did not move to New York because of the political climate, she does consider it a perk.
Some may argue that ending or avoiding relationships because of political differences is immature, but there is no ignoring the fact that so many marginalized groups are already facing the reality of an oppressive presidency. If they cannot ignore politics, neither can their friends.
A common trope for couples with opposing political beliefs is women dating pro-life men. It’s astonishing that these women don’t feel disrespected as their partners actively vote against their bodily autonomy.
This scenario illustrates why it’s important for young people to discuss political beliefs in the early stages of a relationship. It may seem immature or laborious, but putting off that conversation has the potential to do more harm than good.
Eman Tadros, a marriage and relationship
counselor at the Couple and Family Therapy Center at Falk College, said that political differences come up very often in couples’ counseling, now more than ever.
“[From] when I started seeing clients until now, things have drastically gone more towards the conflict side of things,” Tadros said.
Political differences are also causing more intense arguments between couples as our country becomes more polarized.
“The intensity of these arguments often cause[s] people to avoid such discussions, which in turn hinders intimacy and authenticity in relationships,” Tadros said.
Politics feel personal because they are personal. Even if your partner voted for Trump “because of economics,” their vote still contributed to mass deportation, the deconstruction of DEI and anti-trans legislation, just to name a few. That excuse continues to be pathetic and uneducated.
It gets even more complicated with familial relationships. We develop deep emotional ties to our family before we can even understand what politics are. People have to tolerate their family’s beliefs because they depend on them for safety. Still, parents and grandparents are often products of their generation, having less access to different types of people growing up, and therefore, more traditional opinions.
family members’ political beliefs. It is not uncommon for people in our generation to be the only queer or trans person in their family, so their relatives' votes or values can make them feel disregarded.
When our parents and grandparents were dating, the U.S. was not so polarized. The country was actively progressing with social justice and equality instead of regressing like today. These days, minorities and members of marginalized groups have to weed out potential partners who are voting for their rights to be taken away, making dating all the more difficult.
“Political differences may seem less significant at first, but as the relationship deepens, these differences become more prominent, especially if they affect fundamental values or life decisions,” Tadros said.
The unwillingness to have difficult conversations also displays a lack of fervor in one’s beliefs.
It is possible to have a partner who opposes your views, but that doesn’t mean it's the best choice for everyone. It can be very emotionally taxing to foster mutual respect for each other when opposing politics are in the picture.
“Maintaining a healthy and respectful relationship despite political differences is possible. I do have some key strategies, [but] I don't want to emphasize that ‘Oh, it's possible, so everyone should do it.’ It's very difficult,” Tadros said.
Holland often debates with her father, who was born in the 1960s in Arkansas. To her, it's important to have these tough conversations with conservative relatives as a way to stay true to her beliefs.
“I genuinely want to know why he thinks these things, but it doesn’t mean that I’m going to agree with him at the end of the day,” Holland said. It is understandable to feel disrespected by
Being with a partner whose political beliefs are working against your identity should be treated the same as any other type of intense disrespect in a relationship.
If you hung out with your friends and told them that your partner cheated on you, they would all tell you to stand up. If you tell your friends that your partner is voting against your human rights and/or the human rights of others, they should tell you to stand up.
THE MOBILE ORDER EPIDEMIC
With wealth comes convenience
Words by Michael Bryan
Art by Kate Tang | Designed by
What ever happened to the broke college student? It’s a real symptom of the American college experience, one that’s characterized by exhaustion, malnourishment and ramen noodles.
But when you take a look at the constant stream of Golden Goose and Alexander McQueen shoes flopping around on Syracuse University’s campus, you quickly realize that "broke" students shouldn’t be able to afford those.
Whether it’s at dorms or student apartments, either on SU’s campus or in the University Neighborhood, something else remains constant: there’s a mobile order on the doorstep.
SU students’ heavy use and reliance on mobile ordering services like Uber Eats or DoorDash is a prime example of the ease of access to labor-saving luxuries that middle and upper-class Americans enjoy.
Campus is big, but not that big. Sure, weather, health and access to transportation are important to consider, but when you see a Chipotle or a Popeyes bag at a doorstep or a dorm entrance, you have to wonder: “Was it worth the extra $20?” We all know Marshall street is a five-minute walk away. People will do whatever it takes not to leave the comfort of their dorm's bubble—even if it means paying a crazy delivery fee.
Dr. Suho Han, a professor of entrepreneurship at the Whitman School of Management, specializes in qualitative methodologies. Han collects and analyzes non-numerical data, such as interviews and observations, to understand people’s experiences and social phenomena. His work explores how in-depth qualitative approaches can uncover complex social and organizational processes, such as the overreliance on food delivery apps.
“We're very used to convenience, having everything at our fingertips,” Han said. “Technology has definitely made that easier.”
Consumer preferences have become more demanding, as online services are expected to be near instantaneous. Life during the
COVID-19 pandemic set a precedent for these types of behaviors, which were initially mere safety measures.
“COVID really helped accelerate this when we were already on that path, having a couple of years where it was advised not to be too close to people,” Han said.
With an app, people do not have to worry about interacting with a host or a driver when there’s an option for the delivery person to leave food without knocking. Customers can order, pay and eat without having to see a single stranger.
Erin Mullen, an SU senior who delivered parttime for Grubhub during her junior year, described her experiences interacting with customers—or the lack thereof.
“The only time I did see someone was when they [paid] me in cash,” Mullen said.
Aside from its social ramifications, there are downsides to mobile ordering. Deliveries get stolen and delivery fees fluctuate based on driver availability and distance. Timing is also a problem, particularly when you need it most: at night, when you’re drunk.
Dorm living presents a unique scenario for many students, mainly freshmen and sophomores, who do not have a car on campus. During those long and inebriated weekend nights, underclassmen resort to delivery services more frequently.
Melted Starbucks pink drinks and greasy McDonald's bags from nights before populate the entrance to every dorm building.
“But [students] never pick them up. That happens all the time. I'm like, you're walking past your order every day,” Mullen said.
For Mullen, having a car on campus changed her personal ordering habits.
“Now, I have my car, I can go get groceries because I have a kitchen—I'm not going to DoorDash [from] Five Guys anymore,” Mullen said.
Cars are a great help, especially when living on South Campus or in off-campus housing. Owning a car is a privilege in its own right—one that the majority of Americans have access to and need, given the sprawling nature of the nation’s cities and countryside. However, this does little to negate the fact that convenience outweighs necessity in the daily lives of fortunate college kids. We’re just lazy.
On average, Americans spend $118 a month on non-essential food delivery, according to a 2024 study done by The Currency. Another study from YouGov shows that Uber Eats, DoorDash and Grubhub are the most popular apps among Millennials and Gen Zers. Using the figures from The Currency, the average order for these three apps is $42.
Not every SU student has expendable wealth— there are many students who stress every day to sustain their scholarships and work a job to maintain a life at school. However, there are also staff employed to feed students tirelessly every single day at the dining halls, a luxury that is not cheap for the school, or students' parents.
For freshmen attending SU, the “Orange Unlimited Plan” is a meal plan costing $3,940 a semester, per the university’s website. On average, it costs around $16 a meal. Still, the cost of tuition might not be enough to deter college kids from placing multiple delivery orders a week.
“I don't think it'll disappear. [Students] they're very strapped for time,” Han said. “Multiple classes, maybe part-time jobs, and they might not have time to cook. And so, if they have this option, I think they'll continue to use it.”
Using mobile delivery services is not immoral; people are free to spend their money in any way they like. Delivery is great on a moment-tomoment basis, especially for those who need food in a pinch. Plus, there is no better feeling than drunk-ordering McDonald’s at 12:45 a.m.
It becomes a problem, however, when people develop dependencies on these apps. In the case of college life, for most students, delivery is a novelty—a “non-essential,” where instant gratification trumps necessity.
This craving for immediacy is not limited to food delivery. Mobile orders are just one example in our expanding culture of instant technological satisfaction—same-day shipping, AI assistance and streaming all exist to serve our needs. The faster the service, the more we are willing to spend on it.
Most attending SU may be able to spend money on four mobile orders a week without breaking the bank, but the ability to do so speaks volumes about what we hold dearest, not just as privileged students, but as American consumers.
DISABILITY ON SCREEN
We need more accurate representation of disabilities in the media
Words by Jack Pasquale
Art by Emmet Kobasa | Designed by Emily Saraidarian
Disability representation has improved somewhat over time, but there is still more work to be done. Disabled people remain significantly underrepresented in plays and musicals, and have few substantive roles in TV shows and movies.
People deserve to see themselves properly represented across race, gender, ability and disability in the media. This is fundamental to how we view the world and ourselves.
It’s encouraging to see progress in disability representation across various platforms. It can also be used to see what people with disabilities can and cannot do in life.
For example, in the 2024 movie adaptation of the novel Out of My Mind, disabled actor PhoebeRae Taylor plays the main character Melody Brooks, a young girl with cerebral palsy, who uses a wheelchair for mobility and communicates through a text-to-speech device.
Melody's disability does not define her. The movie focuses on how Melody is just like any other ordinary teenager trying to cope with everyday experiences like making friends, having a crush, wanting to be seen and finding her way in the world.
However, this project is the exception, and there's still much to be done to ensure even broader and more inclusive visibility. Other prior films have reduced characters with autism to calling their autism a “superpower,” like in the popular 1988 movie, Rain Man .
It’s important to remember that not every neurodivergent person is a math wiz, nor do we have photographic memories. As someone with a disability, I believe that stereotypes and generalizations like that do far more harm than this limited representation does good. These kinds of movies foster a damaging and broader
misunderstanding of disabilities.
I believe the recent increase in accurate representation is crucial in challenging harmful myths about disabilities. Accurate portrayals show the thoughtfulness of creators, as well as the inclusion of disability research experts and individuals with lived experiences of the issues depicted.
This progress was seen in the praised inclusion of characters with neurological, cognitive and physical disabilities on Sesame Street, such as those with autism and down syndrome. This representation has also extended to tween animation, like the TV adaptation of the popular Monster High book series, which introduced a character named Twyla who has autism.
More accurate, full portrayals like these are essential for raising awareness, fostering understanding and driving progress. Taking a holistic approach from the start to the end is needed if the goal is to provide accurate representation.
Carl the Collector, a TV series about an autistic raccoon created by bestselling author Zachariah OHora, has received praise for its inclusion of autistic actors, writers and neurodiverse individuals throughout its entire production team.
In the recent TV show, Star Wars: Skeleton Crew, there is a disabled character named KB who has an unknown disability, and in the TV show Doctor Who there are several disabled characters. One of the disabled characters uses a wheelchair and the other has dyslexia. Two popular television franchises like Star Wars and Doctor Who giving screentime to diverse characters is a huge leap for autism representation in media.
Other portrayals are included in hit TV shows Elena of Avalor and Spirit Riding Free: Riding Academy, where characters with cerebral palsy are
featured. In the popular movie How to Train Your Dragon 2 , the character Gobber the Belch has a prosthetic limb.
These are a few examples of more prominent or diverse disabled characters, but they still remain less common overall.
This is in direct contrast to historical portrayals in the book and movie adaptations Of Mice and Men or Flowers for Algernon, where characters are portrayed as dumb and bumbling, an inaccurate portrayal of people with autism.
Up until recently, the award-winning musical Wicked has never cast a wheelchair-using actor to play the role of the wheelchair-using character Nessarose. This all changed when actress Marissa Bode was cast for the 2024 Wicked movie. Additionally, the Broadway cast will feature wheelchair-using actress Jenna Bainbridge and debut on March 4.
Bainbridge’s win is historic because on Broadway, you can count the number of disabled characters since they are so few and far between.
Ali Stroker became the first wheelchairusing actor to win a Tony Award in 2019 for her breakout role in the musical How To Dance in Ohio Unfortunately, that was the last we saw of her until this past year, when Bainbridge appeared in Broadway’s Suffs .
playing the story’s leading autistic characters. Despite being widely praised, the show did not catch on with audiences and had a short-lived run. Making matters worse, any real progress was limited because other productions failed to pick the autistic actors up to cast them in new roles.
Unfortunately, other than a few one-off appearances, none of the autistic actors have appeared since the abrupt closing.
There is a clear need for dramatic improvement in the level of representation of people with disabilities in the media. The lack of roles and representation in plays, musicals, TV shows and movies designed for people with disabilities limits visibility and opportunities.
This has a profound negative impact on the lives of the millions of people around the world living day to day with a disability.
True representation goes beyond simply telling stories about a disability—it means creating roles where the character’s disability is not the defining trait, but rather an aspect of a fully developed, central story.
WHITE MALE MEDIOCRITY
Words by Maddy Brousseau
Art by Ita Kim | Designed by Abigail Aggarwala
You might have just read the title and thought “No shit, white male mediocrity has plagued our world since the dawn of time. How could this article possibly touch on all the atrocities white men have committed for centuries? Why hasn’t Jerk touched on this before? Have they lost their touch?”
First of all, of course we haven’t lost our touch, what is wrong with you? Second, if white male mediocrity has ever been at the forefront of pop culture, it would be this year, specifically this award season. It's made us really mad and it’s finally time to dedicate an entire page to shitting on white male mediocrity because fuck that.
This year’s Oscars nominations were disappointing to say the absolute least. In the leading and supporting actor categories, only ONE person of color was nominated for a role. In a year with such diverse stories and characters, it’s disappointing— but not surprising.
How could the Academy ignore Denzel Washington in Gladiator II and Clarence Maclin in Sing Sing? The biggest acting award to be given out this season just “happened to forget” about them and put in a white man’s mediocre performance instead (*cough* Edward Norton *cough*).
On the topic of award season, let’s talk about the Grammys. We’re thrilled by the winners this year, but we can’t skip over some of the nomination atrocities.
The pop girls turned out and we’re so happy so many popular women were given their flowers, with many deserved artists being nominated for “Best New Artist.”
But how the fuck did Benson Boone end up in that category—over LISA? Boone, a TikTok artist that blew up for his Walmart Harry Styles looks and mediocre songwriting was chosen over a talented singer, dancer and rapper from one of the most popular girl groups of this decade, BLACKPINK. Who let this slide?
Who’s letting any of this slide? Just open the comments of mid white guys being edited to a Don Toliver song and you’ll find some of the culprits. Because of this, these runof-the-mill white guys are given insane opportunities to get more time on the forefront of our timelines. That’s how Benson Boone started, and now people like Noah Beck and Lil Huddy are starring in movies even though their acting chops are equivalent to those of a brick wall.
They’re getting away with it because they’re white and kind of okay to look at. That’s all it takes at this point, and we’re sick of it. Although we here at Jerk would love to end institutionalized sexism and systemic racism, we simply aren’t getting enough monthly readers.
BUT, we’re going on a mediocre white man cleanse. That means nothing from Vinnie Hacker to Ryan Reynolds—we're taking a break. Our eyes are getting tired.
WHO'S BEHIND @BEAUTIFULSU WOMEN?
The anonymous Instagram account has hundreds of posts, all photos of women associated with SU
Words by Brenne Sheehan
Art by Marina Lee | Designed by Ailani Wong
“Hey, I don't know if you know this but you're on this Instagram page.”
When Syracuse University student Annaliese Pillitteri opened her phone to this text from her friend Hailey, what was a peaceful weekday dinner quickly turned into an upsetting evening.
“She sends me this Instagram account I’ve never seen before, I’m looking through it, and then all of a sudden my photos show up quite a few times,” Pillitteri said. “I was like ‘Oh my god, this is absolutely crazy.’”
The first post that featured Pillitteri showed a photo of her in a bathing suit, sitting in her hot tub. The photo, taken from her public Instagram account, was captioned: Annaliese #cuse #beautiful #syracuse #orange #tïts.
Taken aback by the post’s caption and hashtags, Pillitteri immediately began reporting the page for impersonation, harassment and bullying.
Today, over a year later, the account and Pillitteri’s photos still remain on the account.
“Honestly, it's everything that my parents told me when they were fearful of social media,” she said. “People will impersonate you, people will take your photos and people will use them.”
Pillitteri’s story is not an isolated incident. @beautifulsuwomen, the Instagram account Pillitteri and hundreds of other women are featured on, posts photos of female students at SU almost every day. Many women don’t know how to feel about the account — its origins and ownership still remain anonymous.
“It’s always a surprise whenever me or my friends are posted on it and we have no clue who’s behind it,” said Sunny Suaya, a SU sophomore
who’s also featured on the account. “It’s kind of scary.”
@Beautifulsuwomen did not respond to a request for an interview over Instagram direct messages, but here’s what we know about this mysterious account:
At the time of publication, the account has 14 followers and follows over 1,500 women who either currently attend or have attended SU. Additionally, they follow the SU cheer team and many panhellenic sororities on campus.
The account joined Instagram in March 2022, according to its profile. The account is also associated with a country code +1 phone number, according to Instagram.
Women who have been posted on the account have inferred that the page either screenshots or downloads their posted Instagram content, then reposts it without their permission.
“It wasn't something that I was concerned about because of the fact that so many other people I knew were on it,” Amya Howell, another sophomore SU student featured on the account, said. “Maybe this is normal, but I still think there's some unsettling aspects to it. Like, why is this happening to me?”
Most people find out they are featured on the account when someone else tags them in a comment. This was the case for Howell, when a friend pointed out that her name had been misspelled as “Amy” in the post’s caption:
“Can't wait till these beauties are back. Alex, Amy, Bella, Chloe, Sophia, Ciara, Emily, Amy, and Erin. #cuse #syracuse #syracuseu #syracuseuniversity #beautiful #fyp.”
“I think the fact they didn't spell my name correctly was really off-putting,” she said. “It’s so diminishing in a way—why are you not even spelling my name right? Like, it's on my Instagram.”
Pillitteri says that her several appearances on the account have made her insecure about sharing photos that could be seen as “provocative,” even though she doesn’t see her public image as innately sexual.
“As a woman, it's just so demoralizing. I personally use my Instagram as a place to just share my life because I love taking photos,” Pillitteri said. “I feel less confident in myself, and I feel like I'm a subject to be objectified.”
Pillitteri says that she blocked @beautifulsuwomen from her personal Instagram account the first time she was featured on the page in 2023. But since then the account posted pictures from her Instagram two more times.
“They must have used other accounts to access my photos,” Pillitteri said.
While Pillitteri, Howell and Suaya have
account, the page could still fall within Instagram’s community guidelines.
Shubha Ghosh, a professor of law at SU with experience in practicing copyright and intellectual property law, says the account poses two legal questions: Who owns the copyright to the original image, and is the account infringing the original owner’s copyright?
“People only hold copyright in photos they’ve taken. The problem with these photos is that the copyright would be held by the person who took or created the photograph,” Ghosh said. “The second part is that whoever this account holder [is], could say, ‘We're doing something with it. We're engaging in fair use, and we're doing something that's creative or transformative on our own.’”
Ghosh suggests that the real issue may lie in the individuals’ right of publicity—or the “right everyone has to their own name, image and likeness.”
According to Sections 50 and 51 of New York Civil Rights Law, it is a state misdemeanor to use a person’s name, portrait, picture or voice for
advertising or trade purposes without their written consent and those affected can seek injunctive relief and damages.
There’s no telling if the account makes any money off of its content.
It is, however, against Instagram guidelines to “impersonate individuals, brands, celebrities or organizations.”
Ghosh suggests that those uncomfortable with the account and its contents should report for copyright infringement or for “pretending to be someone else.”
“Part of the problem is that [harassment reports] are monitored by AI or some sort of automatic system,” Ghosh said. “But they tend to be more responsive to things like copyright than things like harassment, which are sometimes more subjective and not as blunt as commercially damaging someone’s copyright.”
While some think that this account might not show malicious intent, and rather promotes the women that it reposts, Pillitteri says that regardless, she doesn't feel comfortable with it.
“I don't think it's a positive thing, at least for me, not at all,” Pillitteri said. “We don't know who this person is, but if they weren’t just taking people's photos without permission, or even if the hashtags on my photos weren't what they were, I might have felt a little better about it.”
Howell says that she believes that whoever is behind it is most likely male.
“If it was a girl, it would seem a little bit more uplifting. The way that it's projected, I find it really hard to believe that it's a girl, just because I don't know how I would relate to it,” Howell said. “In any picture where I’ve been [posted], I was always in a bathing suit or something, which made me a little uncomfortable because there's plenty of pictures on Instagram where I'm not.”
From being misnamed to only being posted in a bikini, Howell questions the true intentions of the account and its owners.
“I guess it wasn’t like they were calling me beautiful, they were probably calling me hot,” she said.
COLLECTIVE ACTION STARTS SMALL
A local climate change activism group fights for change one member at a time
Words by Kiran Hubbard | Photo provided Art by Christina Mastellone | Designed by Megan Radakovich
Outside his split-level home in Fayetteville, New York, Peter Wirth raced against the winter weather to replace the roof shingles he had removed a few weeks earlier. He was just in time, too—the first official snowfall of the season came only two days after he finished.
Wirth had taken out the original shingles to make an access hatch for air sealing his attic, fixing gaps and cracks to prevent air from leaking in or out. This was the latest in a series of home improvement projects meant to carry his household toward net zero, a milestone that means all of the power used in a household is produced through solar power or
“That’s actually a word that I hate. I mean a lot of people say, ‘Oh it’s sustainable,’ but for me, ‘sustainable,’ there’s no one clear definition,” Wirth said. “I realized my focus was really advocacy on climate change. I believe it’s an existential issue—it literally has the capacity to change civilization as we know it.”
On the individual level, CCAA publishes various resources including educational newsletters and compiled lists of personal, business and political steps that people can take to reduce their environmental impact at climatechange-action.com.
“People need to understand, I would say, the gravity of the issue. And hopefully then, out of education, people will be moved to action. Climate change is very interesting in the sense that all of us are guilty,” Wirth said, explaining that individual efforts can compound to make a difference. “You
multiply that by millions and tens of millions of homes. And the cars we buy. And the decisions we make as consumers. So you need the individual education and action.”
While these grassroots efforts are critical to the organization, CCAA operates on another level to implement policy changes. This often means collaborating with other environmental groups to push for larger-scale climate reforms.
On Nov. 21, CCAA and the Sierra Club put together a virtual information session discussing replacing retiring diesel school buses with electric ones, which would require school district policy shifts to be made.
CCAA is also a member of the NY Renews coalition, a group of more than 380 organizations that was instrumental in passing the 2019 New York Climate Leadership and Community Protection Act. This landmark act created a deadline for New York to reduce greenhouse gas emissions from its 1990 levels at least 85% by 2050.
The coalition promotes a range of causes within the environmental movement, including justice for communities disproportionately impacted by climate change and protections for workers in a future clean energy economy. It is a project of Tides Advocacy, a California-based nonprofit that “identifies, connects and fuels movements for social justice and the health of our democracy,” according to its About page.
NY Renews recently sponsored a statewide lobby day in Albany to bring attention to the intersection of climate issues, affordable housing and income inequality. It is also politically active, joining over 80 organizations in signing a letter to Gov. Hochul in early February urging her to release draft Cap-and-Invest regulations to the public and submitting testimony in late January to the Joint Budget Hearing on Environmental Conservation highlighting the urgency of the climate crisis.
Ethan Gormley, a climate justice organizer
at Citizen Action of New York, works closely with CCAA on the legislative end. One joint effort of this partnership is lobbying for the allocation of state funds toward causes like free heat pumps and insulation for low and moderate income households, in order to make it affordable to “green” more homes.
“CCAA has had an enormous impact on the CNY community by being really good partners with other climate and environmental justice groups. They’ve really led the charge on public education,” Gormley said. “They’re all a group of really dedicated people that want to protect future generations from the worst impacts of the climate crisis.”
The organization has also fostered connections outside of advocacy groups. Wirth heard about Tom Goodfellow—a local building developer committed to combating climate change— through Goodfellow’s carbon free renovation of the Whitlock Building in downtown Syracuse. The Whitlock Building now houses commercial interests and 26 fossil free apartments, and CCAA has helped publicize this project as environmentally friendly.
“We’ve been trying to promote that locally, so that people are aware that it can be done and
that the costs are in control,” Goodfellow said. “[Wirth’s] experience in marketing has been really helpful to me, as far as marketing the carbon free aspect of the building.”
As CCAA continues to grow and develop, some members are concerned about its long-term future. Wirth expressed concern that grassroots organizations are susceptible to fading away as members shift their lives in different directions or age out of working.
One way the organization is trying to institutionalize itself is through becoming a nonprofit, generating internal discussions about the best type of succession plan to ensure the
survival of the group.
“With climate change, if anything, the issue is gonna be there’ll be more of a need as time goes on, not less,” Wirth said. “There’s gonna be more of a need for CCAA 15 years from now than today.”
The same day Wirth installed his shingles, he was approached by an individual at the Fayetteville Library who wanted to talk about energy-efficient interior storm windows. These windows provide a tighter seal and essentially act as an extra layer of insulation. The conversation resulted in Wirth recommending a window company and one more citizen planning to take a step toward a cleaner energy future.
FROZEN FUNDING AT SU
President Trump’s executive orders reach students, faculty and our university’s future
Words by Kiran Hubbard
Art by Hannah Peters | Designed by Megan Radakovich
Private universities are not immune to the effects of a blanket freezing of government funds. At every level of the institution, individuals at Syracuse University are feeling the ripples of federal budget cuts and anticipating bigger waves to come.
Amid the stream of executive orders signed by President Donald Trump during the first weeks of his second term were directives to halt federal funding toward programs that might not align with his administration’s ideology. Memo M-25-15, issued by the Office of Management and Budget (OMB) on Jan. 27, instructed federal agencies to comply with these orders by pausing financial aid distribution and other related activities—including grant and loan disbursement to educational institutions. After two days of widespread national backlash and confusion, the memo was rescinded on Jan. 29—however, the Trump administration clarified this did not represent a rescission of the freeze itself.
The first legal challenge to Memo M-25-15 came even before it was scheduled to take effect, from the National Council of Nonprofits. The case resulted in a five-day delay on the pause for financial awards already granted, but did not affect the pausing of new awards. Shortly after, a coalition of attorney generals from 22 states and Washington D.C. brought a lawsuit against the order. On Jan. 31, U.S. District Judge John McConnell issued a temporary restraining order (TRO) prohibiting the stoppage of funds based on the memo.
Despite the outcomes of these cases, certain organizations across the U.S. reported they were still cut off from their funding after the TRO. For instance, many Head Start programs—which provide free school readiness services for low-
income children—and community health programs currently face risks of shutting down due to inaccessible funds. On Feb. 10, McConnell ordered Trump to comply with his earlier TRO and free the money that remains frozen.
According to Christopher Faricy, an associate professor in the political science department at SU, these legal actions have not dissuaded President Trump from using the Department of Government Efficiency (DOGE), led by Tesla and SpaceX CEO Elon Musk, to continue the task of cutting funding.
“They realized the measure was being declared illegal,” Faricy said. “And it was being covered negatively by the media. And creating confusion that resulted in members of congress—Republicans and Democrats—getting 40 to 50 times the calls they regularly get. So they walked it back, and decided to try a different way.”
Musk, an unelected official in an ambiguous position of power, does not have the authority to undo congressionally approved funding per the constitution. Article One, Section Nine of the U.S.
Constitution grants congress the power of the purse—the ability to spend public money. Despite these legal restrictions, DOGE has continued to target different governmental agencies with the stated goal of reducing “wasteful” spending.
“What college students need to understand is that they have said they want to go after the Department of Education. And going after the Department of Education, you think about how universities keep the lights on and teach students. A big part of that is federal grants,” Faricy said. “These are real threats to universities, public or private.”
As of Feb. 11, DOGE announced almost $1 billion in cuts from the Department of Education, specifically affecting the Institute of Education Sciences.
Thomas Keck, Michael O. Sawyer Chair of Constitutional Law and Politics at SU, described the implications of the funding cuts from both a short and long-term point of view. According to Keck, many university employees, especially in the hard sciences, rely on federal grants for research. Many grants are awarded in a set number of installments, leading to confusion over whether or not certain funds can still be used if they have already been given to the school.
“A university that’s as big as Syracuse—there’s some universities with even more resources than Syracuse, but there’s a lot with less too, so we’re
in the middle somewhere; we can weather that crisis for a little while,” Keck said. “But then the sort of medium, longer-term threat is the Republicans in Congress and in the Trump White House are saying, ‘We don’t really believe in federal science funding. We want the NSF’s budget cut in half,’ just massive budget cuts.”
The National Science Foundation (NSF), is an independent government agency designed to support science and engineering research across the U.S. primarily through investing in grants. Keck added that existing budget models for the hard sciences at SU and elsewhere depend on the availability of federal grant money from places like NSF. If this source of funding was to be cut off, the entire research structure of the university would no longer be functional.
Students and professors involved in projects across campus are prepared for further consequences of the Trump administration’s orders. Zach Isaman is a SUNY ESF senior working on a joint project with SU and SUNY ESF faculty. The project is modeling edible green infrastructure, which can help combat food insecurity in Syracuse and decrease sewage plant overflow into Onondaga Lake.
According to Isaman, the project is primarily funded by the Great Lakes Restoration Initiative, a federal grant that applies because of the proximity to Lake Ontario. While this specific project has
not yet lost any money, Isaman described a sense of deep distress in the days following the freeze, which affected different work undertaken by the professors involved in his research.
“The thing that’s the scariest for us in terms of this executive order freeze is that this is strictly a program about environmental justice, green infrastructure. And a lot of the terminology that can be used in our grants are some of those flag words that are seen as things that shouldn’t be used anymore,” Isaman said. “It feels like it’s not even an attack on just DEI [Diversity, Equity and Inclusion], but there also is an environmental attack.”
Weekly meetings for this project have devoted time to discussing alternative funding options in case the freeze ultimately goes through, such as finding state-funded or private grants. Ideally, a project like this will continue for years, so longterm implications of federal orders are a necessary consideration.
“One of the biggest issues I find with this on top of all that is it feels like the people that are writing this legislation about who should and shouldn’t receive federal funding don't really have a scientific background, don’t have a background in grant writing. It kind of just feels like making mass panic about a DEI issue,” Isaman said. “In our case, we’re doing environmental justice, but it’s more about bringing up [low-income communities] rather than really pushing forward an agenda about DEI.”
In the face of these obstacles, this project maintains “a sense of resolve and commitment to continue work that inclusively connects local ecologies and diverse peoples to support healthy, sustainable, and equitable communities for all,” according to SU professor Anne Bellows, one of the faculty involved in the research.
The future of federal aid in the face of Trump’s presidency and DOGE’s continued existence remains uncertain—Isaman’s project is presumably not alone in seeking out a safety net of diversified funding. Regardless of future orders or rescissions, one thing seems clear: the scars left by this funding freeze are unlikely to fade any time soon.
THE QUEER EXPERIENCE
Words by Sadiya Kherani
In an ever-changing world, where identities are being questioned and erased, it is important to keep talking about them. Under President Trump’s presidency, so far, the National Park Services removed the word “transgender” from the Stonewall National Monument website. Trump signed an executive order targeting mainstream healthcare for transgender people. He paused foreign development assistance,
including HIV drug supply to USAID-supported countries. He froze applications for the genderneutral “X” marker on U.S. passports, among many other things. While government efforts attempt to negate the experience of queer identities, one thing is clear: queer people are still here and will not be going anywhere. A few students from Syracuse University and ESF discuss how they are feeling right now in this political climate.
Photos by Ike Wood | Designed by Megan Radakovich
“Thinking towards the future, I’m definitely a little worried. Just getting out of college and trying to find job security with all the things that are already being pulled away. We’ve already lost a ton of government jobs. There’s already a ton of policies being changed that cause trans individuals [to be] erased from government documents, medical journals, the CDC, including Stonewall. Which is also insane because trans women, specifically black trans women, were the ones who fought for LGBTQ+ rights at the protests. So, I am worried, but I know I have a great support system of friends and family.”
MAXINE BRACKBILL
“My entire life I’ve always felt like I’ve been really accepted for who I am, especially here on Syracuse campus. There is just a very big and widely accepted queer community, where I’ve always just felt like I’m able to be myself. But now coming to the end of senior year, especially about to graduate and in the political climate that we’re in right now, it’s very scary not knowing if where I end up when I graduate is going to be a safe place.”
MADDIE BECK
“It’s an interesting world because it feels so small and so large at the same time. You’re always meeting new people but everything feels so deeply intertwined, and there’s like this very interesting middle ground between there being a unified culture, there being all these pockets of different people, different opinions and things like that. I think it’s still good to have the overarching culture to come back to, especially with times like these, when identities are being threatened and livelihoods are being threatened. It’s still good to know that we are still around and at least, on college campuses, we are still very visible.”
FREDDY TOGLIA
“Being queer currently, I just feel like there is such a rush for everything. We’re on borrowed time since Trump got into office and it just feels like everything is moving so fast. Like the opportunity that I might have to possibly get married, to have legal rights, that feels like it's constantly slipping away and I’m just falling behind.”
MATT MALKIEWICZ
NEHILAH GRANDPIERRE AND ALYSAH PANTORILLA
Jerk sits down with two Newhouse students to discuss their Spotify podcast’s unique theme
Words by Janai Berrocal and Chandler McCoy
Photo by Ion McDonald
After meeting in a Z89 radio training session during their sophomore year, Nehilah Grand-Pierre and Alysah Pantorilla never imagined hosting their own podcast. Now seniors, they spend two hours every Monday discussing how news and politics are addressed within different genres of music in their podcast Beyond the Beat .
Uninterested in joining an existing podcast at Z89, Grand-Pierre had an idea for a new show, and she wanted to work with Pantorilla, an experienced podcaster and friend. Initially submitting their podcast application in September, the pair was unable to release their first episode until November of last year.
Unlike the radio show the pair had been hosts on together, every responsibility—from the editing to posting on the podcast’s Instagram account—is divided between the two.
“We're pretty much our own host, our own producers. We run our own socials. We do everything ourselves. So I think we have a lot more liberties, running this by ourselves,” GrandPierre said.
Pantorilla, a television, radio and film major, takes on most of the editing with her technical expertise, though it is still a fairly collaborative process. Grand-Pierre, a broadcast and digital journalism major, does the majority of the research for each episode and ensures that their discussions maintain a journalistic approach— avoiding exaggeration or bias.
Tackling unique topics often difficult to discuss, Grand-Pierre and Pantorilla have released an episode on the relationship between Kamala Harris’ presidential campaign and Charli XCX’s Brat album, as well as multiple episodes on the themes of social justice in rapper Kendrick Lamar’s songs.
After graduating from SU in May, Pantorilla plans to put down roots in New York City, where Grand-Pierre is from—no matter the difficulties she may face when trying to find work. Being in close proximity, the two hope to continue recording Beyond the Beat, not wanting to pass on the responsibility to other undergraduate students.
“It's something we hope that we can keep, and pursue in some regard, at least immediately after graduation, before our careers get too busy. We're always joking like, 'Oh, we wish this was a job,'” Grand-Pierre said.
THE CABINET ROOM
Behind Harvey’s Garden lies a new speakeasy
Words by Sadiya Kherani
Photo by Alexandra Rice
If you are anything like us here at Jerk , then you probably love a speakeasy. If so, then we have some news for you! Hidden in the back of Harvey’s Garden, you’ll find a new speakeasy by the name of The Cabinet Room.
The Cabinet Room, which officially opened in spring 2024, is a speakeasy on Water Street that opens on Thursday, Friday and Saturday nights from 5:30 to 10:30 p.m.
The concept relates to the original story behind Harvey’s Garden. The beer hall is named after Harvey Baldwin, the first mayor of Syracuse, and now, The Cabinet Room is a place where visitors can play the role of one of his “trusted advisors.”
“In some ways, the lore of him kind of inspired what The [Cabinet] Room would be,” said Michael Greene, the owner of Harvey’s Garden.
In 1846, Baldwin gave a speech called the “Hanging Garden” speech. In it, he predicted that Syracuse would grow and become a major city in New York—and that it would eventually be adorned by hanging gardens. Though his vision did not really come to fruition, it made a great theme for a bar—and now, speakeasy—in Greene’s mind.
“So this is like the completion of his prophecy which is why we called it Harvey’s Garden and that’s why we have like the garden motif in [The Cabinet Room],” Greene said.
The Cabinet Room is unique in many ways, but one of the main things that stands out is the way customers order their drinks: by ballot.
Each cocktail is named after a fictional character. There is a New York whiskey sour named Mr. Hudson and a cranberry drink named Lady Cranberry.
When you go to order your drinks, you write down the drink on the ballot and cast your vote for your favorite character. Eventually, they hang the drink ballots on the wall behind the bar so that throughout the night you can keep track of who is “winning” the race.
The speakeasy is beautifully decorated with antique furnishings, like Harvey’s original desk and a vintage book shelf across from the entrance. Around the room hang beautiful photos from the Onondaga Historical Association with antique frames curated from the Syracuse Antique Exchange.
“We thought it would be fun to have a speakeasy, more cocktail-focused room given that out front is more focused on beer and [is] a little more of an active space,” Greene said. “And this is a little more chill, a little more kind of like later-at-night, darker.”
Photos by Collin Snyder
Assisted by Joelle de Poto
Designed by Eva Aurnhammer
FROM WORKSITE TO WARDROBE
How blue-collar staples became everyday essentials
Words by Kandra Zaw
Art by Ita Kim | Designed by Abigail Aggarwala
A pair of Dr. Martens, a Carhartt jacket and a pair of Timberlands are all commonly found clothing items in an average person’s closet today. These brands were originally established for durability because their products were designed for laborers who needed tough, long-lasting clothes in the workfield. Now, these items can be seen
These iconic yellow-stitched boots that are now heavily associated with many subcultures such as punk, goth, grunge and the LGBTQ+ community started out as modest gardening and work boots. As stated on their website, the shoes were first marketed as work boots by the Griggs family. Then, during the post-World War II period, Dr. Klaus Maerten introduced the widely known air cushioned sole. In its earliest years, the boots were only £2 (roughly $2.50) and became a staple among Britain’s working class. Postmen and factory workers relied on the shoes for their sturdiness.
However, the shift in the shoe’s purpose emerged in the 1960s.
According to the Dr. Martens’ website, the shoes’ popularity evolved suddenly due to the, “Early multicultural, ska-loving skinheads—who proudly championed British working class style.” Additionally, figures like Pete Townshend of The Who helped these shoes gain even more traction, when he famously wore them to symbolize his “working class pride and rebellious attitude.” By the end of the 1970s, the boot became a “symbol of selfexpression” within British youth culture.
on the streets of a city as well as on construction sites. The shift from workwear and utility footwear to becoming everyday staples emerged from participants in subcultures—skaters, punk rockers and hip-hop artists—who embraced the aesthetics of workwear.
This culture expanded into the 1980s when U.S. hardcore musicians popularized the brand and shoes in America. The rise of grunge further solidified Dr. Martens’ place in mainstream fashion. The music associated with the subcultures that wear Dr. Martens has become synonymous with the brand. Today, Dr. Martens remains a fashion staple, worn by artists, musicians and everyday trendsetters. While its roots are in workwear, its legacy is built on self-expression, rebellion and a cultural impact that spans generations. As the Dr. Martens website notes, “Without music, Dr. Martens would have remained a workwear boot. The music of tribes who wear Dr. Martens has become inseparable from the brand itself.”
Founded in 1889 by Hamilton Carhartt, the company began by producing overalls for railroad workers. A statement on their website emphasizes their motto: “Honest value for an honest dollar.” Carhartt’s bib came into demand quickly and became a standard for quality workwear. The brand supported the U.S. military during both World War I and World War II, manufacturing uniforms and workwear. The brand's growth continued with massive orders during the construction of the Alaska Pipeline in the 1970s.
As noted by the brand, in the 1980s and 1990s, Carhartt’s workwear appeal extended beyond its original audience, becoming unexpectedly popular in the hip-hop scene. As rappers and streetwear influencers embraced the brand, its influence spread globally, leading to the launch of Carhartt Work In Progress (WIP) in 1994. This European-focused division refined classic designs while staying true to Carhartt’s durable roots, solidifying the brand as both a functional and fashion-forward choice.
the brand’s commitment to performance. In 2024, Linda Hubbard became CEO—the first non-family member to hold the title—but alongside Mark Valade, who remained as executive chairman, the two continue to uphold the brand’s promise.
Under Mark Valade, Hamilton Carhartt’s great-grandson, the company expanded its reach, launching e-commerce, retail stores and a full women’s line. Innovations like Quick Duck, Storm
This brand celebrated the 50th anniversary of its original wheat-colored, “Premium 6-Inch Waterproof Boots” in 2023. Timberlands, or now commonly known as “Timbs,” were not always an everyday footwear choice.
Forbes covered the shoe’s 50th anniversary, and along with it the origin and evolution of the brand.
Forbes notes that the boot was popularized in the late '90s and early 2000s by hip-hop pioneers like Wu-Tang and Jay-Z, who
Today, Carhartt remains a global powerhouse, with operations in the U.S. and Europe and a workforce of over 3,000 employees. Its “Made in the USA” line continues to honor American laborers, ensuring that the brand’s heritage of toughness and quality endures. What started as workwear has evolved into a cultural staple.
styled them either by hiding them with baggy pants or tucking slimmer denim into them.
Rapper Nas has also referenced a suede pair of “Timbs” in his music, saying they complement his streetwear aesthetic. Additionally, the late Notorious B.I.G. also rapped about the famous boot, which helped popularize the brand and eventually earned him a collaboration that resulted in the “Notorious B.I.G. Boots.”
What once was made for workers in construction has now become an urban, streetwear essential. To commemorate its 50th anniversary, Timberland just launched its program Future73, highlighting when its iconic boots first came to be and their evolution through the years.
Dr. Martens, Carhartt and Timberland all started as functional clothing brands but have grown to incorporate utility and style into their clothing design and marketing. Now the average person can comfortably wear these pieces of clothing whether it's for their durability, function or simply because of their aesthetic and cultural history.
CLOSET
CASE: THE BIRKIN-IFICATION OF BAGS
How some students transform their bags with personalized decor
Words by Laura Lemgruber
Photos by Alicia Hoppes
“It's just a mix of individuality, practicality and just a lot of me,” Syracuse University student Laiya Medina shared as she described her embellished purse. Amongst a sea of identical, neutral-tone Longchamp totes and North Face backpacks, Medina and a handful of other accessory-loving students view their bags as more than just a practical vessel for carrying day-to-day items. Instead, they see a blank canvas begging to be accessorized. Often, bags default to an essential yet criminally boring piece of every college student’s attire, but, beyond their functionality, bags can represent one's personality, interests and past.
FREDDY TOGLIA:
Toglia’s backpack—covered in an elaborate medley of funky pins—holds memories. “One was a gift from my first partner's dad. It was his pin in high school, and then we broke up and I kept it,” they said. Their collection began during high school, in their hometown’s flea markets. Over the years, new contributions were added, each holding a story. They shared that the majority of the pins came from “a lesbian’s cruising jacket in the '70s and '80s, so a lot of the more flirty pins are from this jacket that she wore to the bars every weekend.”
LAIYA MEDINA:
For Medina, inspiration struck in an airport where she realized she needed to make her luggage stand out. “I actually just really liked the way it felt. It was more comfortable, it was unique,” she said. So, she decided to take a similar approach to her college bag by accentuating her purse—a hand-me-down from her mom—with scarves, bows and jewelry. “I think it just really reminds me of my mom,” she said.
ALANA LUGO:
Lugo’s bag is a mix of practical, everyday trinkets like keys, safety pins, hair clips and tiny, fun additions to compliment them. A gift from her friend, Lugo’s bag and its accessories also remind her of the loved ones in her life. She said, the act of wearing these items, “makes [her] feel closer to them.”
CIRCLE OF SHRED
How the SU Skate Club is building community one wood push at a time
Words by Miguel Rodriguez
Photos by Jenna Sents | Designed by Megan Radakovich
The idea for the Syracuse University Skate Club first came to its founder and current vice president, Roman Patrick—a senior studying supply chain management and business analytics—during his freshman year after he and some friends got together to skate outside of Newhouse. As they laid wheels to the pavement together, more students with boards joined them in their efforts to do tricks off a ledge outside the academic building.
“Two more skaters who didn't even go to [SU], were just walking by, going to hit the random obstacles around Syracuse and I asked them to join us,” Patrick said. “We're skating, and then two more skaters just randomly appear, and then the same thing happens, [so] our group is growing little by little. And it was, honestly, a perfect day.”
Ever since he was a 13-year-old living in Orlando, Florida, hitting the skatepark for the first time with his older cousins, Patrick enjoyed the energy and sense of companionship that came with skating amongst others. This sense of community surrounding the act of skating has been and continues to be the reason why Patrick is drawn to the sport. As a kid, it provided him with a sense of belonging and a way to make new friends, an aspect of the sport that influenced his desire to start the SU Skate Club.
After taking part in multiple, very random group skate sessions around campus, Patrick wanted to create a way for these experiences to happen in a way that was more structured and easier to access.
“We wanted to create something to build this community a structured banner,” Patrick said. “We were just like, ‘Let's just get people to the skate park. Let's just make that the first concrete goal.’”
The importance of the commonwealth of skateboarding lies not only with Patrick but also with its current president, Makenzie Sproles, a second-year student studying supply chain
management and entrepreneurship, and emerging enterprises. Sproles began skateboarding during her junior year of high school, quickly falling in love and finding solace in the friendships it provided her.
“I found my closest friends skateboarding. I remember when I actually started going to the skate park every single day I would miss dinner with my parents. I would go there and literally just hang out there for five hours at a time,” Sproles said. “It was almost like a coping mechanism because after school, or if I had breaks in school, specifically, I would just go practice and it was just like having the freedom that I didn't have anywhere else.”
Not only does skateboarding provide a sense of community—a word that Patrick and Sproles used over 20 times when talking about their club—but it’s also one whose membership knows no bounds and is as sundry as the collection of stickers you’d find for sale at a skateboard shop.
“There's a bridge [between generations]. You go to a skate park, and you'll see a 13-year-old with a 15-year-old, but then with a 25-year-old, and they're all hitting the same spot and chatting it up,” Patrick said of skating’s ability to connect diverse groups. “I can go to the skate park and see those local faces I know and just have something to do and somewhere to be where I can find people not like me, which is the best part.”
The “welcome-to-all" mentality has become the mantra of the SU skate club, which came to fruition during Patrick’s sophomore year. Following more than a semester’s worth of effort— opening doors just to be met with 50 more by the university’s infamously tricky Office of Student Engagement—Patrick and the now-graduated cofounder Joey Flatley were able to officially establish the organization. Through painstaking work and unwavering enthusiasm, the two were able to develop the Skate Club into an establishment
that makes skateboarding with others easy and accessible to all who may be willing to try it.
“The club is not the constitution, it's the people inside of it. It’s all the familiar faces that you see year in and year out,” Patrick said.
Today, all the hard work Patrick and Sproles put into the club pays off in just how open-to-all it has become. The club has created and maintained a budget, as well as built connections with local figures in the Syracuse skating community—such as the Black Mamba Skate Park and Justin Keskin, owner of Syracuse skate brand Wool Skateboards. These assets and relationships have allowed the club to host skate sessions at the Black Mamba Skate Park and provide usable Wool skateboards for any student to use, all free of charge. The club has also collaborated with Wool in the past to do board giveaways to its members who might not own boards, emphasizing, as always, the idea that skateboarding is open to everyone.
It can be intimidating to try skateboarding for the first time, especially in a group setting, but Patrick and Sproles do their best to ensure firsttime skaters feel comfortable.
“What we do is try to break those barriers down, not just drop them off at a skate park and be like,
‘Good luck,’” Patrick said. “If they want advice or they want help, we are there with a friendly face and a smile and, [let] them know, ‘You might eat shit like once or twice, that's just part of it, just as long as you get back up, or it's okay to sit down for a couple minutes, but give it another try.’”
The helping hand of the SU Skate Club is not just in the form of simple verbal affirmations and advice. Sproles and Patrick will literally offer a hand to anyone who feels too nervous to go at it alone, a feat the two recognize as scary given how dangerous the sport can be. For Sproles in particular, she has been helping other members get a grip on things since she first attended one of the club’s sessions at Black Mamba.
“I remember it was the first day, and there was a group of girls like they'd never stepped on a board before and I was like, okay, I can maybe help them. I feel like girl-to-girl, especially with skating, it’s a little less intimidating, especially in a park,” Sproles said. “These girls had literally never stood on a board before, and they were taking turns dropping in. It was really cool to see all of those people, just have the confidence to do something so quick and new.”
In addition to their personal efforts to make the Skate Club a welcoming environment, Patrick and Sproles have also been collaborating with other student-run organizations on campus to broaden its reach beyond the wide grasp it has already achieved. Whether it be collaborations with Orange After Dark, the Filipino Student Association or Las Naranjas, the club is dedicated to sharing and acting on its belief that “anyone can skate” and spreading the love of shredding to as wide a range of people as possible.
“I want to have people who would never even think about stepping on the board, come to Black Mamba, come to skate events, and also, just have the consistency to be able to have that community that we have,” Sproles said. “So it's really fun doing the collabs. That's my favorite part about it—just people learning how to do it because some people stick with it, some people don't, but some people have.”
All that was said to describe the Skate Club’s sense of service showed itself fully at a February 20th “Skate & Celebrate” skate sesh’ hosted by the Skate Club and Las Naranjas, the university’s Spanish Club. After meeting with its members— new and returning—at the university’s College
Place bus stop, the group rode through heavy snow together in a big yellow school bus to Black Mamba Skate Park.
Once at the park, skaters of all skill levels gathered to practice tricks and hang out while eating Hispanic snacks and listening to Spanish music provided by Las Naranjas. Patrick and Sproles could be seen walking around and lending helping hands to ensure that everyone was comfortable, safe and enjoying their time.
Paige-Taylor Wilson, a first-time Skate Club participant, came to the event after seeing the club at one of the university’s club fairs and deciding to sign up out of curiosity.
“It's my first time skating on a skateboard ever, and my first time in a skate park,” Wilson said. “Even though I was worried about the board and falling, I actually had some support and advice that was very helpful, so it wasn't as bad as I thought it would be.”
Although it was her first foray into the skating world, the sense of community was not lost on Wilson: “I didn't know anybody here, but everybody's really friendly. The vibes are great, you can connect with people here and bond over skating really easily.”
OOPS!... YOU DID IT AGAIN
The ever-changing perception of teenage pop stars
Words by Daisy Polowetzky
Art by Christina Mastellone | Designed by Abigail Aggarwala
“Shear Madness:
Bald Britney a Buzz Kill,” declared a 2007 cover of the New York Post . “Finally, Her Mom and Dad Lock Her Up!” exclaimed an early 2000s cover of OK! Magazine. As a young pop star in the early 2000s, Britney Spears weathered a media storm that plastered her private issues on magazine covers lining the shelves of every drugstore in America. The “Toxic” singer’s career highlights how female teenage pop stars were treated in the ‘90s and 2000s, and more importantly, how teenage girls—and their self-expression—are viewed by the American public.
Even without constantly having to dodge the flash of paparazzi cameras and dealing with every word you say being picked apart, being a teenage girl is hard. From what seems like the dawn of time, girls have had to face body-shaming, sexual harassment and sexism when entering teenage girlhood. And even when teen girls become women, the same problems persist.
Spears’s media-manufactured fall from grace illustrates just this. When Spears shaved her head in 2007, the hysteria that ensued was not just over the removal of Spears’s hair, but over a “set of paradoxical female norms that she [was] seen to be failing,” writes Dr. Milly Williamson, a professor at Goldsmiths, University of London.
When a woman’s physical appearance strays from the female “norm,” people’s gender stereotypes are threatened. In the same year, Spears was seen as committing “the ultimate female crime—bad mothering and the loss of custody of her two sons,” writes Williamson. Not even the princess of pop was spared from being deemed a “bad mommy.”
Because of the strict gender norms that dictated the lives of female teen pop stars in the '90s and early 2000s, it is hard to imagine Spears and her fellow pop icons being able to utter a word about anything other than their career, much less hot-button topics like politics.
Today’s pop stars, like Olivia Rodrigo, cement themselves in politics, using their platforms as a soapbox to talk about topics ranging from climate change to abortion to their young, predominantly female audiences.
in 2022, just one day after the United States Supreme Court overturned Roe v. Wade, Rodrigo brought British singer Lily Allen on stage to duet Allen’s 2009 hit, “Fuck You.” To introduce the song, Rodrigo spoke directly to the crowd, saying, “I wanted to dedicate this next song to the five members of the Supreme Court who have shown us that, at the end of the day, they truly don’t give a shit about freedom. This song goes out to the justices: Samuel Alito, Clarence Thomas, Neil Gorsuch, Amy Coney Barrett and Brett Kavanaugh. We hate you.” Rodrigo’s outspokenness is in sharp contrast to her pop predecessors like Taylor Swift, who, according to Time, spoke out about politics for the very first time in 2018 to endorse the Tennessee Senate Democratic candidate Phil Bredesen, more than 10 years after her career began.
The political issues plaguing Americans today existed long before Rodrigo was even born. The difference is that today, pop stars are seen as meaningful figures in political discourse, and their endorsements mean even more.
Although President Donald Trump defeated Vice President Kamala Harris in the 2024 presidential election, the impact of Harris's celebrity endorsements, like that of pop phenomenon Swift, should not be understated.
Just 24 hours after Swift announced her endorsement of Harris on her Instagram story, almost 340,000 people visited vote.gov through Swift’s link, according to the BBC. Swift’s influence on the Harris campaign represents a glimmer of hope that maybe, just maybe, female pop stars are beginning to be taken more seriously outside of their packaged personalities.
This is not to say that female pop stars today are free of ridicule, though.
In October of 2020, a paparazzi photo of then 18-year-old Billie Eilish went viral on Twitter. And although a deadly pandemic was raging throughout the U.S., people on the internet were more outraged that Eilish was wearing a tank top and sweat shorts instead of her usual baggy outfit. One 29-year-old man wrote, “In 10 months Billie Eilish has developed a mid-30’s wine mom body,” according to Business Insider This discourse is a startling reminder that young women in the spotlight and their bodies continue to be seen as objects of discussion, rather than bodies that are allowed to change, evolve and be imperfect.
Spears, Rodrigo, Swift and Eilish all have one thing in common: they made their careers as teenage pop stars, putting them in a position to
NOT YOUR TEENAGE DREAM
Breaking down the Hollywood teen girl archetypes
Words by Caroline Erskine
Art by Marina Lee | Designed by Ailani Wong
It's the beginning of another record-breaking Hollywood movie, cue the slow-motion female hallway strut: hair bouncing, eyes smoldering and every boy's head turning down the hallway. She’s the queen bee or the misunderstood loner, and she exists entirely for the male gaze.
Different teen girl archetypes have been perpetuated by the media for decades, and the result is Hollywood becoming less of a reflection of reality and more of a fantasy built by men for their consumption. Whether she’s a villain, a prize or an object of desire, teen girls rarely get to be just girls. Instead, they fit neatly into familiar molds.
Take the “mean girl” trope, for example. Regina George in Mean Girls and Cher in Clueless are rich and hot, designed to be admired, punished and ultimately taken down.
Then there’s the “manic pixie dream girl,” like Ramona Flowers in Scott Pilgrim vs. the World, or Margo in Paper Towns . This girl is mysterious, effortlessly cool and entirely dedicated to changing the life of a lackluster male protagonist. She exists to be adored, not understood.
Another overdone trope is the "not like other girls" girl. Characters like Bella Swan in Twilight and Kat Stratford in 10 Things I Hate About You they read books, listen to The Smiths and are endlessly validated for being different from the "shallow" girls around them. The problem? Their identity is built on putting other girls down, even if they aren't doing it themselves.
Of course, you can’t forget about the oversexualized teen. From Megan Fox in Jennifer’s Body to the endless hyper-stylized women of Euphoria, these characters are teenage in age only—framed, dressed and filmed for an adult male audience, making them more fantasy than person.
“You have men behind the camera representing teen girl experiences,” said Syracuse University film professor Evan Bode. “They're not actually representing those experiences. Often, they're representing how they see them, what they think
of teen girls, how they understand them.”
The male gaze ensures these characters are consumable—either sexy, pitiable or easy to dismiss. Meanwhile, boys get to be goofy, crude and authentically awkward in films like Superbad and Napoleon Dynamite, while girls are either polished or punished for sexual pleasure.
The film industry has far to go, but with the gradual inclusion of women in Hollywood some movies are starting to get it right. A new wave of films, with women at the helm, are rejecting Hollywood’s fantasy and allowing teen girls to be messy, multidimensional and real.
Greta Gerwig’s Lady Bird gives us an authentic, imperfect protagonist who is selfish, insecure and deeply relatable. The film rejects the idea that a teenage girl must be likable to be worthy of a story.
Olivia Wilde’s Booksmart lets teen girls be hilarious, ambitious and unapologetic, with friendship taking center stage instead of men’s desires. Emma Seligman’s Bottoms delivers chaotic, queer, teen girl energy with a storyline that is completely uninterested in male approval.
“There's no one singular teen girl experience,” Bode said, “because every person's experience of adolescence is different.” That’s what these films get right—they don’t flatten teen girls into one-dimensional fantasies. They let them be loud, insecure, weird and whole.
Hollywood is overdue for a major shift. White male voices have dominated the industry for so long that it has completely shifted much of society's perception of the teen girl experience. When portrayals of that experience are so limited and so incorrect, it not only perpetuates stereotypes but impacts young girls who don't see any representation of themselves on screen.
"Filmmakers have a really important obligation to think about the impact of the stories that we're telling and why we're telling them and who's given opportunities to tell what stories," Bode said.
SELLING LOLITA
Teen girls don’t just run the world, they run the economy
Words by Jaymee Hinz
Art by Ita Kim | Designed by Megan Radakovich
In modern society, what is “in” is decided by teenage girls. The boy-band wars, Disney Channel and Bratz dolls—true watershed moments for global culture—were carried by young girls' hearts (and wallets).
Even if you aren’t amongst this demographic, their influence is noticeable. A 2024 GALE survey with over 2,000 participants found that 97% of respondents’ economic behaviors and cultural attitudes shifted thanks to teenage girls, despite most people not even living with one.
The incomparable media engagement and spending habits of teenage girls are especially enticing for marketing teams, as corporations with female-oriented brands milk this farm of infinite, constantly replenishing cash cows for all their worth.
Recently, marketers have expanded their scope: cultivating an audience of teenage girls invested
in typically masculine products through crossover connections. One unavoidable example is the NFL’s integration of musical megastar Taylor Swift into broadcasts and advertisements. This is all thanks to her boyfriend, Travis Kelce, star tight end in the NFL. Another fascinating promotion comes courtesy of “e.l.f. UP!,” a videogame on the everpopular Roblox platform sponsored by cosmetics brand Eyes Lips Face.
Make no mistake, these collaborations are practically goldmines. The last two Super Bowls hold the record of most watched television broadcasts of all time thanks to Swift’s attendance wildly inflating viewership of females aged 1824 by 24%. Her presence in larger football media garnered the NFL’s greatest regular season female viewership in 2023. As for “e.l.f UP!,” the game surpassed 10 million plays during its short
availability as e.l.f’s sales ballooned by 49% compared to the previous quarter.
This doesn’t come without some backlash. There is typically misogynistic pushback when women are included in male-dominated spaces, with opposers crying that companies are “going woke” and “pandering” to women when no demand exists. This is invalidated by basic marketing philosophy, as noted by Beth Egan, a professor of advertising at Syracuse University.
“Advertising seeks to capitalize on audiences where a need exists, not trying to create one where it doesn't,” she said.
Ultimately, the devious nature of targeted advertising lies in that capitalistic mindset. Advertisers manipulate societal expectations of femininity to market to young, impressionable women reliably. The content of these advertisements often embraces traditional gender roles, shamelessly plastic feminism and impossible beauty standards.
Not to mention, these idealized portrayals of women are notably white and hetero-normative.
Simone Biles, gymnastics icon and female empowerment figure, is married to Chicago Bears’ linebacker Jonathan Owens. Despite regularly attending televised games, the NFL rarely utilizes her status to drum up female engagement. While the WNBA’s popular rise is encouraging, media outlets centering their coverage on Caitlin Clark while ignoring the league’s majority black, queer player base.
The capitalistic impulses driving this exploitation don’t just drain the wallets of overindulgent parents but also reinforce a hegemonistic worldview most teenagers will take at face value. Blaming the actions of children at such a formative stage of life is simply not the answer. As smarter consumers, we must find avenues for teens to safely explore their identities—ones kept firmly away from the hands of money-grubbing industries.
WHO RUN THE WORLD?
Fan girls, that’s who
Words by Annabel Adams
Art by Emmet Kobasa | Designed by Emma Coyer
Since the dawn of popular culture, armies of teenage girls have stood behind their “favs.”
“Beatlemania” shocked the U.K. and U.S. in the 1960s. Writers and media professionals used the term to describe girls’ excitement surrounding the Beatles. British journalist, Paul Johnson, went as far as calling these fans “the least fortunate of their generation, the dull, the idle, the failures,” in a New Statesman essay. Girls were similarly patronized for their reactions to Elvis and Frank Sinatra.
These artists have two important things in common. One, they are musical icons and household names. Two, they had the undying support of teenage girls.
“Teenage girls are key to cultural relevance,” said Michelle Santosuosso, a music industry professional and Bandier professor at Syracuse University.
Companies even shift their entire branding to cater to teenage girls. Santosuosso explained how Stanley cups were mint green water bottles for blue-collar men, whereas now, they come in pastel pink since young women will pay $50 apiece.
“Women are responsible for 75% of discretionary spending,” Santosuosso said.
That includes water bottles, merchandise and concert tickets. Taylor Swift’s “Eras Tour” generated over $5 billion in consumer spending as estimated by QuestionPro. The tour boosted the local economies that it passed through by reviving tourism spots that suffered because of COVID-19, according to CNN .
And when girls cannot afford concert tickets, they log onto X and form communities—or fandoms—for their favorite artists. Fandoms run streaming parties, where users loop songs on
Spotify or music videos from YouTube on multiple devices to increase listening figures.
Santosuosso presented the idea of “authentic” artists versus artists who are “manufactured for teenage girls” by the industry. Artists like Chappell Roan are just being themselves and audiences tap into that. However, some bands—or brands—like One Direction are curated for teenage girls.
This manufacturing contributes to the criticism against female fanbases, implying they have shallow taste in art. Yet the people making these claims are the same industry titans feeding brands to girls.
“It has to have some authenticity in appeal, especially with the teen girls from Gen Z who have finely tuned bullshit detectors and can smell when something is being marketed to them,” Santosuosso said.
Brett Keegan, a teaching assistant and graduate student at SU who specializes in fandom studies, discussed how the term “fangirl” is historically sexist as well. Fan is short for fanatic, or someone who is hysterical about something. Hysteria was once a psychological disorder, stemming from the Greek word “hystera,” meaning uterus. This suggests an inherent link between women and manic behavior, villainizing women’s interests. Even their nickname is diminishing.
Teenage girls face a vicious cycle of being fed advertising tactics, so that brands can reap the benefits of a strong female fanbase while being attacked for their interests and shut out from anything that is not stereotypically for them.
While it may seem like there is no way to win, teenage girls continue to be the backbone of popular culture—and perhaps even the economy.
THE GAPS OF GIRLHOOD
Media representation of girlhood isn’t reflective of all girls
Words by Hannah Peters & Kaitlyn Paige | Art by Emmet Kobasa | Designed by Megan Radakovich
Over the last couple of years, with the release of films such as Barbie and major pop culture phenomena like Taylor Swift’s “Eras Tour,” there has been an increase in discussions centered around the role of media within female friendships and relationships, and the overall teenage experience.
Some of the experiences, according to SU freshman Sophie Kelly, are often centered around boy bands, sleepovers and the color pink, as seen in the media we consume while growing up.
This media representation can have a direct influence on us, whether we realize it or not. Throughout his research, psychologist Dr. Kevin Nadal emphasizes the importance of representation within media during adolescence as it “can serve as opportunities for minoritized people to find community and support.” Positive media representation allows for further affirmation of identities, which is crucial as we grow up and find ourselves.
Unfortunately, in many forms of media today, especially in film, television and social media, not all identities are widely represented. It seems as if—at least according to Hollywood—to experience teenage girlhood, you must be either white, straight or gender-conforming, to name a few key characteristics.
When you take a look at some of the most popular media centered around coming of age or teenage girlhood, it tends to be told from the perspective of a teenage girl who is white, middle to upper class, straight and cisgender, ultimately leaving out characters of color or queer identities.
Ariam Meseret, who is Black, felt as if the lack of positive representation for women of color in the media resulted in her rarely finding a character that depicted both her identity and individual interests.
“I think I grew up suppressing a lot of feelings, especially about sexuality and stuff like that,” said SU freshman Maeve Daly when asked about media representation growing up. “When I started to understand that part of myself, I didn’t really have a ton of people to look up to in the media that were going through what I was.”
A report completed by San Diego State University’s Center for the Study of Women in Television found that across all genres around 70% of female protagonists in films were white, a statistic that has remained consistent over the past decade. A study from GLAAD reported that 28% of modern films, across all genres, featured a character identifying as LGBTQ+ with over 50% of those characters not being a main character.
While these statistics might seem jarring, especially to those of highly-represented identities, when you look at the highest-grossing, or the most popular films over the last couple of decades, a wide variety of identities are rarely present.
A 2024 article published by Entertainment Weekly, listed 20 of the best teenage girl coming-of-age films featuring household films like Lady Bird, The Virgin Suicides and Thirteen. No films featuring an LGBTQ+ main character were included and only three films featuring a main character of color were featured.
Out of those with a character of color, one was the 2009 film Precious, which follows the story of a Black teenager living in Harlem, who is subjected to discrimination, racism, physical, mental and sexual abuse. Rather than experiencing the typical girlhood often seen in other films, stories of Black characters like Precious solely focus on the character’s trauma, demonstrating that the mainstream media continues to have a limited mindset when it comes to the representation of all teenage girls.
CHARRED, DEFACED & BLOWN OUT
How CHAR is carving spaces for noisier music in the SU scene
Words by Caroline Erskine and Jaymee Hinz
Photo by Brenna Desmond | Designed by Abigail Aggarwala
CHAR is the much-needed antithesis to Syracuse University’s music scene: four relentless vagabonds—Vijay Tandon, Brunon Kaminski, Gavin Casey and Vito Vetere—playing whatever resonates.
The band thrives on sonic experimentation, blending shoegaze, noise and post-hardcore into one cohesive package. Typical CHAR tracks contain multiple transitions from atmospheric, ethereal guitar passages to punishing blast beats, guttural screams and visceral shredding—an experience like no other.
CHAR’s constant evolution instigated the creation of Defacer, a separate band founded by the group’s bassist, Tandon, which also includes CHAR members Kaminski and Casey.
Incorporating metalcore’s crunchier textures and grindcore’s frenetic energy, Defacer is a distinct entity hellbent on annihilating unsuspecting pitgoers. We’d recommend earplugs and riot shields.
Despite the consistently warm reception at shows, CHAR and their heavier contemporaries lack recognition from campus outlets. Praise is typically reserved for accessible, indie-adjacent singer-songwriters. This reality doesn’t faze
the group, however, since they are content with internal growth and the hardcore scene’s support.
“Singer-songwriters and pop artists here have that kind of built-in university network, and it is a bit harder as a heavier band to kind of cross into that,” CHAR drummer, Casey, said. “But it’s not like we are seeking that out. We’re just trying to carve another niche for ourselves.”
The band’s respect for Syracuse’s hardcore historic scene is also evident, as they willingly co-sign their non-campus affiliated counterparts and refuse to boast that they brought hardcore to the area.
“I’ll play with Quantifier until I die,” CHAR guitarist and vocalist, Kaminski, said about the local hardcore band.
Still, Tandon revealed that SU’s lack of space for heavier music is a personal driving factor for both bands.
“I want to show Syracuse University students, who have never heard hardcore, that they might fuck with it in a live context,” Tandon said.
CHAR aren’t the progenitors of Syracuse hardcore—which they’ll happily admit—but their presence within SU’s music landscape ensures heavy music a seat at the table.
JERK ’S DIAGNOSIS: BIEBER FEVER
Can he make us Believe again?
Words by Janai Berrocal | Art by Kate Tang
At this point, most people have probably seen Justin Bieber’s iconic mugshot. But before he became a rebellious teen, he was just a young singer from Canada trying to make it in the music industry.
18 years ago, a 12-year-old Bieber posted a YouTube video covering Ne-Yo’s “So Sick.” What he didn’t know then, was this video would change his life forever, skyrocketing him from a small-town kid to one of the biggest pop stars in the world.
Since taking a break from touring in 2022 to focus on his health, Bieber has not made new music, leaving his fans desperate for something fresh. That was, until now. With a newly emerged photo of him in a recording studio, the question has sparked—is this the time Justin Bieber makes his comeback?
After being discovered by talent manager Scooter Braun and signed by Island Records in 2008, Bieber’s career took off. In four years, Bieber received a Grammy nomination for Best New Artist while also releasing six songs that would achieve platinum record certifications. At 16, he became the youngest person to sell out Madison Square Garden for his “My World Tour.” Young girls around the world were obsessed with Bieber, getting their hands on Bieber-themed dolls, posters, calendars, CDs and more.
Soon after releasing his second compilation album Journals, Bieber hit a low point when he was arrested for driving under the influence while street racing in Miami. At only 18 years old, Bieber had to complete five days of community service, attend an anger-management class
and complete a DUI education program, among other orders.
But Theo Cateforis, a professor specializing in pop music at Syracuse University, says this type of breakdown is common in the industry, citing Lindsay Lohan as an example.
“If you’ve been told you are kind of famous and creative, maybe that emboldens you to try certain things. Maybe that gives you a sense of privilege, in a way, to act out,” Cateforis said.
Despite having such a young fanbase, Cateforis explained that Bieber did not lose much credibility as an artist after his arrest because he didn’t have much in the first place. However, he did become an object of ridicule.
“People saw him as a kind of white privilege. A famous teen who felt he could get away with things,” Cateforis said.
So, if the Biebs does release music someday soon, we’ll keep that smiley mugshot in mind and so should you.
