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Table of ConTenTs
Editorial 3
Reading Between the Lines
News 4
STM Crackdown on Homelessness
Activism as a Scapegoat
Emergency Protest for Gaza
Commentary 10
Culture 7
The Battle for the People’s Princess Privilege in The White Lotus Subliminal Storytelling in Severance Fine Words and Buttered Parsnips
Marketing Sustainability in Fashion
Misrepresentation in Movies
Maintaining Adult Friendships
The Loneliness Epidemic in Canada
Political Infiltration in Sports
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contributors
Auden Akinc, Margot Aloccio, Lisa Banti, Youmna El-Halabi, Selin Ho, Sena Ho, Sedef Kara, Isabelle Lim, Eva Marriott-Fabre, Shea McDonnell, India Mosca, Luxe Palmer, Nikhila Shanker, Eli Stoltzfus, Madeline Wong, Ben Yeoh, Christina Zha
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Reading Between The Lines
Our generation has never known the internet to be a place of sincerity. At the core of our experience with the internet, there has always been a layer of performativity, a glimmer of fakeness, and a whole lot of Photoshop. More recently, the internet’s fakeness has extended to how we perceive the world, surfacing as the “irony epidemic.” It was Ethel Cain who coined the term in a now-deleted Tumblr post where she discussed the outpouring of memes after the release of her latest album, Perverts. “There is such a loss of sincerity and everything has to be a joke at all times,” Cain states. In short, the irony epidemic is an overall lack of genuineness and meaningful engagement shown by people on the internet. To replace the deleted post, Cain posted a much lengthier explanation of her thoughts on the irony epidemic, wherein she expanded the concept to how people responded to her friends’ comments on police brutality with comments like “yasss” and “mothered.”
The lack of seriousness that Cain’s friend received regarding a weighty political matter parallels how meme culture drove the 2024 Kamala Harris presidential campaign. Soon after Harris was announced as Biden’s replacement for the Democratic nominee, and even before, she was being memed. Prior to the announcement of her campaign, social media was rife with memes of her laughing, dancing, and the iconic “we did it, Joe.” The virality of the memes only increased when she was running for President. During the summer of 2024, TikTok ran rampant with soundbites of Harris’ viral “You think you fell out of a coconut tree?” Video edits that merged brat by charli xcx with Harris’ campaign also flooded the internet. In a YouTube essay, Mina Le discusses the relevance of the ironic internet and the Harris campaign. Le points out that these videos didn’t do much for the campaign, despite generating a viral trend. These videos, mostly created by young people, didn’t include any of the tenets of the Harris campaign or communicate her goals as President. They solely memed her and removed her from the very important and dire context of the presidential race.
While it’s very easy to fault social media users, the platforms themselves are also to blame for the irony epidemic. Many different social media platforms like X (formerly known as Twitter), Instagram, and TikTok are algorithm-driven and value the content that gets the most
engagement. Often, that content isn’t the most genuine or sincere but rather the funniest or most reactionprovoking. Beyond the effect of the algorithms, the nature of these platforms often contribute to the atmosphere that fuels an ironic culture. Many social media platforms have shifted away from a chronological feed and 24-hour cycle, opting instead for feeds that constantly refresh and present content to the user as soon as they open the app, like TikTok’s For You page or Instagram’s feed. This kind of fast-paced atmosphere doesn’t allow time for critical thinking or true engagement with the content’s core message. Instead, it fuels the environment that favors quick memeing of moments before moving on to the next funniest thing.
The way we interact with each other on the internet has real consequences in our lives as well. Ever since lockdown, discourse around social media’s negative impact on young people’s mental states has exploded. However, the irony epidemic takes things further. Social media isn’t just affecting our moods, it also affects the way that we see the world. A deep seated sense of nihilism and existentialism on social media is ever present, seen in recurring corecore videos, even as users generate trends like hopecore to combat it. Here at McGill, we are no strangers to the irony epidemic. Instagram pages like Spotted McGill or the r/mcgill subreddit are full of anonymous students commenting on the lives of strangers, often taking on a mean-spirited tone for the sake of “humour.” Being in this constant state of cynicism makes us less empathetic towards the people around us.
Even though being chronically online is “in,” do not solely occupy digital spaces that perpetuate insincerity. You can be the change in these platforms, or you can seek calmer waters on PI.FYI, Pixelfed, and Spread. Though it seems like social media is here to stay, you have the ultimate say on its role in your life. To reduce screen time, you can set time limits, delete the apps, or set reminders to put your phone down. In your interactions on social media, take serious things seriously! There’s always a balance: sometimes it is appropriate to meme or poke fun at a situation, but a presidential race or political matter is not that time. It can be difficult to contend with heavy issues, but using humour to dismiss their significance is beneficial to no one and only offers short term relief, if any.
Lisa Banti Staff Writer
ONowhere to Go: STM Cracks Down on Homelessness
New policy forces unhoused individuals to keep moving, sparking backlash from advocacy groups
n March 13, the Société de transport de Montréal (STM) introduced a new policy aiming to prevent unhoused individuals from seeking refuge in metro stations. This directive requires individuals without housing to move continuously through the metro system, prohibiting them from remaining in one station for extended periods. The policy has sparked criticism from advocacy groups and community organizations, who argue it criminalizes homelessness rather than addressing its root causes.
This decision follows public consultations on homelessness
and social cohabitation in Montreal conducted by the Office de consultation publique de Montral (OCPM) in mid-February. These consultations underscored the complexity of addressing homelessness and emphasized the need for diversified, long-term solutions. Participants highlighted that there is no universal solution to these issues and recommended developing resources adapted to various needs, such as shelters accommodating couples, individuals with pets, and those exhibiting disruptive behaviors, to ensure better social integration and support for vulnerable populations. The STM claims the new measure is meant to “balance
the needs of all metro users” and “ensure stations remain accessible for transit purposes.” They have also cited safety concerns and increasing incidents of overcrowding in metro stations, particularly during colder months.
Advocacy groups have strongly condemned the move, arguing that it effectively displaces some of the city’s most vulnerable residents without offering viable alternatives.
Québec solidaire called on Legault to urge churches and community organizations to step in to provide additional shelter, but critics argue that relying on religious institutions is an inadequate systemic solution. Indigenous community advocates have pointed out that the number
of unhoused Indigenous people in Montreal is rising, a population which faces disproportionate struggles due to inadequate shelter resources and policing practices. Many activists argue that instead of displacement, Montreal needs long-term solutions, including more funding for shelters, transitional housing, and wraparound social services: comprehensive support progra ms that address multiple needs at once, such as mental health care, addiction treatment, job assistance, and case management to help individuals reintegrate into stable housing.
The STM’s policy has reignited a city-wide debate: should public spaces be made more accessible to
unhoused populations, or should other solutions be prioritized? As criticism mounts, the STM has yet to announce any plans to revise the policy or introduce alternative solutions for unhoused individuals who seek refuge in the metro.
Advocacy groups continue to call for emergency measures to support the city’s unhoused population, stressing that access to shelter remains a yearround issue. The debate over public space and homelessness in Montreal is far from over, with pressure on the city and the STM to provide meaningful solutions rather than temporary deterrents.
Activism as a Scapegoat
How the Trump administration plans to restructure higher education
Sena Ho Managing Editor
On March 7, the American Joint Task Force to Combat Anti-Semitism – which includes members from the Department of Justice (DOJ), the Department of Health and Human Services (HHS), Department of Education (ED), and the General Services Administration (GSA) – effectively threatens to cancel 400 million USD in federal grants to Columbia University. This decision, the task force claimed, was a result of the university’s alleged “inaction in the face of persistent harassment of Jewish students.”
As a hub for student activism in America, particularly regarding proPalestinian resistance on campus, Columbia University has been the first of many higher education institutions in the U.S. targeted by the Trump administration. For example, on March 20, Trump announced the suspension of 175 million USD in federal funding to the University of Pennsylvania for allowing transgender women to participate in women’s sports. The Trump administration has also called for an investigation into the University of California (UC) system in
the wake of allegations of antisemitism. As a result of these threats, the UC system has also banned ‘diversity statements’ from their faculty hiring process amidst a federal crackdown on diversity, equity, and inclusion (DEI) programs, showcasing how the Trump administration’s goals will leave lasting impacts on both students and staff.
The cuts in Columbia’s federal funding mark the first of many initiatives that the U.S. government is taking in stripping private and public institutions of their autonomy, in curriculum, admissions, and hiring processes. Critically, it has also created a shift in the exercise of First Amendment rights in spaces where free thought has traditionally been welcomed. As the number of campus protests has exploded in the past year –with over 3,000 protests logged by Harvard University Ash Center’s Nonviolent Action Lab – the Trump administration is adamant to control many of the country’s leading universities. Trump has carefully crafted a route to justify restrictions on free speech, such as by equating pro-Palestinian activism with anti-semitism, setting a dangerous precedent for future leaders.
Amid the protests at Columbia, Trump dispatched federal agents from the Department of Homeland
Security (DHS) into two university residences, as revealed in an email sent out to students from the Interim President Katrina Armstrong on March 13. These agents, alongside U.S. Immigration and Customs Enforcement (ICE) officers, had been assigned with arrest warrants, one for Columbia graduate Mahmoud Khalil, his detention being met with massive outcry across the country. Following his arrest, Trump vowed to deport proPalestinian activists, claiming that they support Hamas and are antisemitic. Despite the extreme circumstances that students across the country have been met with, protestors have refused to back down.
Universities across Canada and the U.S. have already been experiencing massive budget cuts, curtailing many PhD programs and even rescinding acceptances, as reported at the University of Pennsylvania. Now, with the threat of additional cuts looming over American universities, higher education has become an instrument to Trump’s agenda to lead the country down a path of anti-intellectualism. As demonstrated earlier by the UC system’s banning of ‘diversity statements’ (despite California being a forerunner of readjusting to restore diversity in its admissions
after the banning of affirmative action in the 90s), universities have preemptively changed their policies to align with the Trump administration’s values in order to protect themselves against retaliation.
The many arguments that Trump has used to silence or control universities, such as punishing antisemitism due to anti-war protests, have been used as scapegoats for their broader mission of destroying “wokeness” in the U.S. In 2021, J.D. Vance declared that “the universities are the enemy.”
This was not just an empty statement, as indicated by Trump’s recent executive order to shut down the Department of Education. Along the campaign trail, Trump and the Republican Party argued that the department should be under state control and that it has become dominated by liberal ideology. This antiwoke agenda is a symptom of the accelerating democratic backslide in the U.S., as well what many scholars deem to be an element of a developing fascist regime. In its self-declared war against “woke” culture, the Trump administration has actually been fighting against political opposition, resistant strains of thought, and values that do not directly align with its own.
On Friday, Columbia
The many arguments that Trump has used to silence or control universities... have been used as scapegoats to their broader mission of destroying “wokeness” in the U.S.
announced that it would concede to the requests from the federal government, which includes placing the Middle East, South Asian, and African Studies department under academic receivership, making protest rules on campus more strict, and increasing law enforcement authority. In the coming year, more and more universities will have to face a decision to either retain their institutional independence or to make concessions to the Trump administration and fundamentally restructure university policy.
Columbia University protests during its first encampment in April 2024.
Selin Ho | Visuals Contributor
Montreal Stands in Solidarity with Gaza
Emergency protest after breach of ceasefire
Youmna El-Halabi Commentary Editor
Two months ago, Montreal residents were sharing Knafeh plates in front of the U.S. consulate on St. Catherine Street, celebrating the recently announced ceasefire between Israel and Hamas.
On March 18, they flooded the streets again, at the same starting point. But the general sentiment wasn’t joy: it was outrage.
Early Tuesday morning, the clock read 2:10 AM when the people of Gaza woke up to the deafening sound of air strikes — sounds they didn’t think they would have to endure any more.
Israeli raids targeted the northern, central, and southern governorates of Gaza. According to Al Jazeera Arabic, Israeli tanks also shelled the town of Abasan in Khan Younis. The world awoke to Israeli Prime Minister Benjamin Netanyahu’s announcing that the war on Gaza had resumed.
By Tuesday afternoon, Gaza time, the Palestinian Health Ministry reported “404 martyrs and 562 injuries arrived at Gaza Strip hospitals so far,” adding that “a number of victims are still under the rubble.”
This continuation of brutal attacks comes two weeks after Netanyahu blocked aid from entering Gaza, just as Gazans were preparing to celebrate the holy month of Ramadan.
As of March 21, the rising toll of martyrs has reached nearly 600, with the majority of
casualties being children.
The Islamic resistance group Hamas stated that “Netanyahu and his extremist government are making a decision to overturn the ceasefire agreement, exposing prisoners in Gaza to an unknown fate.” They called on people in Arab and Islamic nations, as well as the “free people of the world,” to take to the streets to protest the assault.
On Tuesday afternoon, at exactly 5:00 PM, Montreal4Palestine (M4P)
The Palestinian Health Ministry reported “404 martyrs and 562 injuries arrived at Gaza Strip hospitals so far.”
rallied up Montreal residents in front of the U.S. consulate in response to this call. They expressed their frustration and anger concerning the escalation.
“Brothers and sisters, we are standing here today as a show of dignity, because we cannot just stay at home, and watch as these atrocities happen,” said one of M4P’s chanters. “I am fasting, and many of you are fasting right now, but that doesn’t stop us [from showing up]. Whether
we’re fasting, whether it’s cold, whether it’s raining, we will continue to resist, we will continue to fight, because that’s what Gaza teaches us.”
“Today marks day 528 of the ongoing genocide in Gaza,” stated one of M4P’s organizers, noting that while the ceasefire technically went into effect on January 19, the aggression never stopped. “Only one truth stands clear: this is not a war on Gaza, this is an American-backed genocide. The Zionist enemy’s renewed aggression is not an isolated event. It is part of an ongoing war of extermination, targeting our people, targeting our cause, [and] targeting our resistance.”
Reports have suggested the Israeli government alerted the White House before launching the attacks, completely breaching the ceasefire agreement. U.S. President Donald Trump purportedly gave a green light to Israel’s moves.
“This is not ignorance, this is complicity!” continued the organizer. “The United States has once again proven that it is not a broker of peace, but a partner in war crimes, and genocide. Because with every bomb that falls, every child under the rubble, every mother holding her dying baby, they all bear the fingerprints of American weapons.”
Montreal residents’, rejoicing only a few months back, now carried the weight of dozens of news headlines reporting rising death tolls. People screamed
“shame!” in condemnation of the attacks, affirming the message of M4P’s organizer’s speech.
One speaker took the mic to say her piece in French, listing previous U.S. acts in complicity with Israeli aggression and violence towards Palestinians: “On December 6, 2017, Trump, then also President, recognized Jerusalem as the capital of the so-called State of Israel. And yesterday, he gave the green light to resume attacks on Gaza. So to try to separate the U.S.’s actions from what is happening in Gaza is to veil your face and deny that the so-called State of Israel is nothing more than an American colonial project.”
Many hecklers tried to disrupt the demonstration, yelling out obscenities at the chanters. They were met with M4P’s popular chant that goes,
“All the Zionists are racist. All the Zionists are the terrorists,” to the beat of White Stripes’ “Seven Nation Army.” The chant has been a crowd favourite, used as rebuttal whenever Zionists attempt to cause chaos and invalidate the peaceful protest.
“They have tried and failed to crush our resistance, they have bombed our hospitals, they have wiped entire families,” said M4P’s organizer. “But they have not, and they will not, break our people and our resistance.”
Prior to the resumption of the war in Gaza, U.S. aggressions on Yemen have escalated, with the U.S. bombing Sanaa — the capital city controlled by the Houthis — and its surrounding areas, as well
as the northern governorate of Saada and the port of Hodeidah. The U.S. government claimed to have been targeting Houthi leaders, their attacks resulting in the death of 53 people so far, including children, and nearly 100 injured.
Abdul Malik al Houthi, the leader of the Houthi movement, stated that the U.S. and Israel were “seeking to impose the equation of permissibility on the region and its people.”
“We will respond to the American enemy with missile strikes and targeting its warships and naval vessels,” he said.
The Houthis have been launching attacks on shipping containers along the maritime corridor in the Red Sea since 2023, in solidarity with Gaza, and had stopped when the ceasefire was announced in January.
However, ever since the breach of truce, and the Israeli blockade of aid, they resumed attacks. They have declared they will not stop until aid deliveries in Gaza are allowed back in. They have also carried out a missile attack on Ben Gurion airport in Tel Aviv. Hamas also launched three rockets into the city, their first counterattack since Israel’s breach of ceasefire. No casualties were reported.
Youmna El Halabi | Visuals Contributor
The Battle for the People’s Princess
Anora v. Elisabeth Sparkle: Oscar Smackdown?
Isabelle Lim Staff Writer
The Oscars have historically been the birthplace of discourse and viral memes, whether they are about the films themselves, their cast and crew, or the “deservingness” of the eventual winners. From Adrian Brody throwing gum on the floor to the songwriters of “El Mal” from the movie Emilia Perez (2024) singing during their acceptance speech, you might already be familiar with some of the mainstream celebrity drama around the 97th Academy Awards, which fell on March 2. However, if you’re a regular Letterboxd user, you might be familiar with a larger point of contention: the victory of Anora (2024) protagonist, Mikey Madison, and not TheSubstance(2024) acting veteran Demi Moore.
Over the course of the acting season, both Moore and Madison had taken home neck-and-neck victories for their work: the former secured the Golden Globe, Critics’ Choice Award, and Screen Actors’ Guild Award for Best Actress, while the latter won at the BAFTAs and the Independent Choice Awards. Still, when Madison edged out Moore for Best Actress at the Oscars, many took to social media to voice their opinions on Madison’s unprecedented win, with The Substance supporters vehemently claiming that Moore had been “robbed” or “snubbed.”
The Academy Awards are not the Olympics, where there is a clear definition of “winner” and “loser,” or first and second place.
The Substance was undoubtedly one of the most unique films in this year’s Oscars line-up, featuring substantial shares of body horror,
female rage, and a mysterious substance known as — you guessed it! — TheSubstance. Coralie Fargeat’s second feature film sees Demi Moore as Elisabeth Sparkle, a television personality who resorts to sinister measures to regain her previous relevance upon being dropped from her long-held television host role. Demi Moore delivers a visceral performance teeming with the deep-seated jealousy of watching the “younger, more beautiful, more perfect” version of herself, Sue (played by Margaret Qualley), flourish where she once did. The intensity of her anguish mounts as the movie builds towards its unforgettable climax, featuring 36,000 gallons of fake blood and a grotesque, inhuman amalgamation of both Elisabeth and Sue’s characters, that was met with audible gasps when I watched it in theatres. Moore reportedly endured four to five hour stints in hair and makeup donning prosthetics for various scenes in the film, which secured the Oscar for Best Makeup & Hairstyling.
In comparison, Anora’s plot seems far less complicated, though no less layered. Mikey Madison plays the eponymous Anora (or Ani), a sex worker who finds herself in a fairytale-turned-disaster when her husband’s Russian oligarch family catches wind of their elopement. Madison spent six months learning to pole dance for her role (which is much harder than it looks). She recalls being “covered head to toe in bruises” to the point that they incorporated a line about it into the script. Moreover, she had to learn Russian for the film, as well as work with a dialect coach and move to Brighton Bay before filming to match her accent to those of its inhabitants.
The main argument posited by The Substance diehards is that Moore’s performance in The Substance was more outwardly complex and impressive than Madison’s in Anora Admittedly, the physicality of Anora is less pronounced than that of The Substance, which required intense physical acting to solidify its genretypical body horror elements. That being said, this stance diminishes the physical efforts Madison did invest into her role. In fact, the fact that she underwent so much training for small nuances in her role exemplifies
her meticulous characterisation and performance. It also speaks volumes about the often unsung physical labour required of exotic dancers.
Beyond the quality of their performances, a rampant sentiment regarding Madison’s victory was that it “proved the point of The Substance,” which was that older women would always lose to fresher faces on the scene. Additionally, some expressed that Moore deserved the award “because Madison would have more opportunities to win it in future,” while Moore was less likely to because of her age.
Firstly, this sentiment is categorically untrue, considering the fact that the average age of the last 20 Best Actress winners is 43 years old, and the Academy has historically favoured older actresses. Secondly, such a viewpoint is reductive of both Moore and Madison’s impressive performances. It inherently shoehorns Moore into the box of the “old” woman, discrediting her performance, all the while belittling Madison’s win into one she took home simply because she is a younger actress. There is nothing wrong with thinking that Moore gave a better performance. However, the idea that Madison’s win reinforces The Substance’s message
Eva Mariott-Fabre | Visuals Editor
swings so far left that it goes right in terms of its anti-ageism stance. To say that Moore was more deserving of the title of Best Actress because of her age is more patronising than empowering.
All interpretations of art hold value. Engaging in film discourse is all well and good and in fact encouraged — however, it still has to be done critically. Much of the hate directed to Moore and Madison focused on comparing them in terms of their age and looks (misogynistic precepts of a woman’s worth, by the way, what a coincidence) rather than their actual acting ability, which needlessly pit them against one another despite both actresses’ mutual recognitions of each other’s work. It only makes for a shallow and cheap argument to degrade one party and diminish their efforts in support of another, whether or not you agree with the outcome.
There needs to be a reframing in our perception of these awards.
The Academy Awards are not the Olympics, where there is a clear definition of “winner” and “loser,” or first and second place. The Best Actress title was not a competition between Moore and Madison alone — there were other equally deserving candidates. Fernanda Torres also
delivered an emotionally rich and phenomenal performance in I’m Still Here (2024); in fact, she was slated by the NewYorkTimesto win Best Actress. Thus, one’s attainment of an Oscar, unlike, say, the 100-metre sprint, is not determined by any clear metric other than a majority vote. Moore and Torres, and every other nominee in the Best Actress category, didn’t “lose” in the sense that their performances were definitely worse than Madison’s; Madison just happened to win the Academy’s majority vote.
Personally, I would have been happy with any result, though I had my official bets placed on Madison (after oscillating back and forth between options, might I add). In the end, the Academy works in mysterious ways. They’ve made good decisions, bad decisions, and everything in between — ultimately, they are beyond our control as mere viewers. What we all can do is sit back and enjoy the movies that come out year after year for what they are, rather than what they win. And no matter what people say, you don’t have to agree with the Oscars. Create a Letterboxd account or something. Leave your own review.
The White Lotus and the Spectacle of Privilege
Luxury, power, and the illusion of escape
Lisa Banti Staff Writer
Few TV shows manage to both captivate and deeply unsettle audiences quite like HBO’s The WhiteLotus. What started as a limited series set in a Hawaiian luxury resort quickly evolved into a razor-sharp social satire — equal parts murder mystery, character study, and cultural critique. With its opulent settings, eerily cheerful theme song, and deeply flawed (but highly watchable) characters, The White Lotus has become more than just appointment television. It’s a fullblown phenomenon.
Now in its third season, The White Lotushas taken viewers from the pristine beaches of Hawaii (Season 1) to the dramatic Sicilian coastline (Season 2), and now to the lush landscapes of Thailand (Season 3). The latest season began airing on February 16, 2025, with new episodes releasing every Sunday at 9 PM (ET/ PT) on HBO. Currently, the series is at Episode 5, with the next installment set to drop on March 23. This season will run for a total of eight episodes, continuing its tradition of intrigue, satire, and biting social commentary.
At first glance, The White Lotus is structured like a classic whodunit. Each season opens with a body, then
Margot Aloccio Culture Contributor
What if you could separate your work life from your personal one — not just figuratively, but surgically? This unsettling premise is at the heartofSeverance,thehitAppleTV+series that has captivated audiences since its debutinearly2022.Blendingpsychological thriller, dark comedy, and corporate satire, Severance resonates deeply with viewers, tapping into collective anxieties about workplace control, identity, and modern isolation. Its recent second season rekindles conversations about the show itself, alongside that of TV consumption nowadays generally.
Created by Dan Erickson and directed by Ben Stiller, Severance introduces viewers to Lumon Industries, an unsettling and cryptic corporation offering employees a radical solution to work-life balance. Through a procedure known as “severance,” workers undergo
rewinds to the events leading up to the inevitable demise. But where traditional murder mysteries focus on the crime itself, creator Mike White uses the structure as a backdrop for something far more sinister: the slow, inevitable unraveling of the ultra-privileged.
The show lays bare the absurdity of extreme wealth: not just in its excess, but in how its characters navigate the world. Their entitlement, transactional relationships, and petty betrayals are on full display, wrapped in a glossy vacation package. Unlike Succession, which invites audiences to revel in the messiness of the rich, TheWhiteLotusasks us to laugh at them, cringe with them, and recognize the emptiness behind their curated lifestyles.
Part of what makes The White Lotus so watchable is its visual appeal. The sprawling resorts, the infinity pools, the effortless linen ensembles. It’s aspirational, even as it satirizes the very people who can afford it. Shows that explore wealth with a critical eye (Triangle of Sadness, The Menu , and others) have been gaining traction, and TheWhiteLotusfits neatly into this cultural moment, where audiences are both fascinated by and repulsed by extreme privilege.
Yet, the show isn’t just about money. It’s also about power. And in The White Lotus, power is a closed loop. The wealthy stumble, they scheme, they self-
a surgical intervention that creates two distinct versions of themselves: an “Innie,” who exists only in the office, and an “Outie,” who knows nothing about their work life. This concept struck a nerve in an era where remote work has blurred the boundaries between personal and professional spheres, especially resonating in post-lockdown culture.
Severance thrives on its stellar cast.
Adam Scott’s haunted Mark seeks solace on Lumon’s severed floor, while Patricia Arquette’s eerie Cobel, John Turturro’s tragic Irving, and Christopher Walken’s poignant Burt add multiple layers of emotional depth. With valuable performances from Britt Lower and Zach Cherry, the ensemble makes you root for their characters as they navigate Lumon’s uncanny workplace.
Stiller’s direction heightens the series’ tension through precise framing, sterile design, and disorienting angles, reinforcing Lumon’s claustrophobic, dreamlike feel. The show’s striking visual identity — on
destruct, but they rarely suffer any real consequences. The resort staff, the locals, the ones who exist outside the bubble of privilege? They’re the ones left picking up the pieces. It’s a brutal, but effective, reminder that no matter how much drama unfolds, the system remains intact.
Tourism serves as the show’s most biting critique. Season 1 explores tensions between wealthy tourists and Hawaiian locals. Season 2 layers in European colonial history, using Sicily’s grand architecture as a backdrop for modern exploitation.
Now, with Season 3 set in Thailand, the show delves into Western tourism’s impact on local cultures, highlighting the unseen costs of luxury travel.
It challenges viewers to think: What are these vacations really about? Escape? Reinvention? Or just another indulgence thatleaveslocalstodealwiththeaftermath?
A major factor in The White Lotus’ success is its ability to blend established talent with breakout stars. Season 3 has drawn special attention with the acting debut of Lisa from BLACKPINK, a landmark moment for K-pop fans. The Thai-set season has also introduced new A-list talent, reinforcing the show’s ability to generate buzz both in Hollywood and internationally.
Meanwhile, Season 2, set in Italy, remains a fan favorite, with many
considering it the best season so far. A significant reason? Theo James. His performance as the effortlessly charming, yet deeply toxic, Cameron had audiences both fascinated and (let’s be honest) thirsting for more. His role, along with the season’s layered exploration of relationships and power dynamics, solidified its reputation as TheWhiteLotusat its peak.
Beyond wealth, The White Lotus masterfully unpacks relationships — romantic, familial, and otherwise. Whether it’s a Gen Z heiress debating social justice with her parents in Season 1, or a betrayed wife plotting revenge in Season 2, the show revels in exposing manipulation, delusion, and shifting power dynamics.
It also skewers gender and sexual politics. The men — ranging from rich boomers to insecure finance bros — wield power in both overt and insidious
ways. Meanwhile, the women — some cunning, some naive, some desperately trying to outmaneuver the game — struggle within cycles of expectation. TheWhiteLotusoffers no easy answers, but it does make one thing clear: even in paradise, power imbalances remain, and no one escapes unscathed.
In the end, The White Lotus is more than just a beautifully shot, impeccably acted prestige drama. It’s a conversation starter. It forces audiences to confront uncomfortable truths about class, privilege, and the fantasies we buy into about happiness and morality. And yet, somehow, it remains wildly entertaining.
As Season 3 continues, one thing is certain: We’ll keep watching, analyzing, and debating every twist, character arc, and ridiculously lavish hotel suite. Because in The White Lotus, the only thing more intoxicating than wealth is the mess it leaves behind.
Subliminal Storytelling in Severance
A cultural phenomenon redefining work-life balance
par with its cast — brands Lumon as a villain through its distinct colour palette. The typography, logo, and corporate design subtly convey meaning through subliminal visuals rather than explicit dialogue. Division and duality permeate every shot, mirroring both the literal severance and Mark’s internal conflict.
The sterile white hallways, minimalist office decor, and retro-inspired technology create an aesthetic that feels suspended in time — both futuristic and deeply nostalgic. Beyond visual symbols, production set designer Jeremy Hindle likens the mysterious, secluded office to a playground, carrying forward the idea that the severed employees are being raised like “little children.” Hindle worked closely with set decorator Andrew Baseman to grasp the threatening atmosphere of Lumon’s aesthetic. As he explains, “the managers are raising them in this work environment,” one that is evocative of midcentury American office designs by Dieter Rams, Marc Newson, or Ricardo Fasanello, with accessories that seem to outlive their time. Each element is thought through to spark the audience’s recognition of the object while twisting it enough to render it unfamiliar. Hindle notes, “We made a computer that, if it ever came out in the real world, no one would believe them. We recognize some aspects of it, and some not at all.” With both a touchscreen and a trackball, the computer’s contradictions are meant to baffle and amuse, for it to eventually “look like a toy,” Baseman adds. It creates the alluring “nostalgic novelty” of the series, weaving past familiarity into an uncanny future.
Severance’s impact has been amplified by its weekly episode release schedule. At a time when binge-watching dominates the streaming landscape, Severance’s deliberate slow-burn storytelling has reminded audiences of the unique power of anticipation. Like iconic series such as Lost (2004) or Breaking Bad (2008), Severance thrives on weekly discussions, theories, and social media buzz, allowing viewers to digest each twist and revelation without quickly moving forward. This return to weekly scheduling has fostered a communal experience reminiscent of appointment television in the late ‘90s and early 2000s. Viewers gather online to analyze plot points, dissect clues, and debate the show’s layered mysteries. The result is a heightened sense of engagement that binge-watching often bypasses. By ‘forcing’ viewers to wait, Severance leverages suspense as a powerful storytelling tool, extending its cultural impact far beyond the confines of each episode.
Beyond its visual attraction and release strategies, Severance speaks to broader social anxieties, depicting corporate control, identity fragmentation, and emotional detachment. Its mirroring of contemporary struggles such as burnout, workplace surveillance, and the desire for escapism is evocative of the audience’s routine. As viewers grapple with these themes in their own lives, Severanceoffers a chilling yet oddly cathartic reflection on the costs of separating our professional and personal selves. Thus, by blending sharp commentary with captivating storytelling, Severancehas secured its place not just as a critical darling but as a cultural touchstone.
As Apple TV+ continues to expand its presence, Severance stands as a powerful reminder that great television thrives on patience, intrigue, and the conversations that happen in between.
Severance’s success is emblematic of Apple TV+’s strategic rise in the competitive streaming landscape. Since its launch in 2019, Apple TV+ has carved out a niche by focusing on prestige and storydriven content rather than sheer quantity. While Netflix and Amazon Prime continue to dominate in terms of volume, Apple TV+ has steadily built a reputation for high-quality originals that resonate with critics and audiences alike.
Shows like The Morning Show , Ted Lasso,Shrinking , and SlowHorseshave all earned critical acclaim, solidifying Apple TV+ as a serious contender. The platform’s emphasis on storytelling over content saturation has allowed it to cultivate a curated library of standout series. Recently, Apple TV+’s growing presence has been further cemented by major award nominations such as the BAFTAs or the Critics Choice Awards, even recording 72 Emmy Award nominations in 2024, becoming the best-ever Emmy showing in history. To date, Apple Original films, documentaries, and series have earned 515 wins and 2,308 award nominations.
With Severance, Apple TV+ has tapped into a cultural zeitgeist, proving that meticulous storytelling can still thrive in an era defined by instant gratification. The show’s success highlights the platform’s ability to produce thought-provoking content that lingers long after the credits roll.
Eva Mariott-Fabre | Visuals Editor
Nikhila Shanker | Visuals Editor
Fine Words and Buttered Parsnips
Gerts Café: Turning Over a New Leaf
Luxe Palmer
Copy Editor
Welcome to Fine Words and Buttered Parsnips, a column of meandering culinary sensibilities, investigating the world of food and fare from a plethora of perspectives.
Gerts Café is a cafe by students and for students. After a hiatus beginning at the end of the last school year, the institution has returned, reincarnated in an even grander format. Gerts Café (henceforth Gerts, not to be confused with the bar of the same name) has moved from the basement of the SSMU building to a dedicated space on the first floor. From the lovingly named plants lining the shelves to the adorable figurine mascots hiding in the corners of the menu, Gerts sets itself apart from other campus businesses with its care and attention to detail in every aspect — from its products, to its customer service, to the jazz playing from the speakers. Its experienced baristas have created a true community, chatting with customers while frothing oat milk and whisking matcha at expert speed. In conversation, barista Youssef Hamoda mentioned the harmonious and collaborative working environment fostered at Gerts. The baristas have agency, from choosing the music to crafting additions to the menu. The curated cozy atmosphere is equally matched by the products offered.
Cappuccino: For a student café, Gerts offers a surprisingly mature and thoughtful cappuccino. The espresso used is the Kittel Signature Blend, a crowd-pleasing medium roast that still retains its intrigue and complexity. The tasting notes identify “milk chocolate, peanut butter, [and] red fruit,” all of which are in attendance. Many basic, one-note espresso blends cite these three notes as a catch-all, parading around as something more interesting than actuality. Kittel does the profile justice, with each note clearly picked out and presented harmoniously. The espresso’s bright start gives way to a powdery chocolate, rooted in a roasty but not burnt or bitter note (you won’t find any “Charbucks” here). There
Marketing Sustainability
Greenwashing in Fashion Weeks
Aurélien Lechantre Staff Writer
is a slight floral note that appears as a whisper at the end of the sip, evocative of the “red fruit” noted in the blend description. You can distinctly pick up the woody peanut butter as it cools, landing in the middle of the palette. As far as the actual crafting of the cappuccino goes, I tip my hat to the baristas. The classic (and deceptively tricky) latte art was the cherry (literally) on top of a beautifully creamy and well-executed microfoam.
Lavender London Fog : Recommended by Hamoda, the lavender London fog puts a springtime twist on the warming drink. The eponymous lavender syrup brings out the distinctive floral notes in the Earl Grey tea without being too cloying or sweet. I have encountered lavender-flavoured items that taste like biting into a Lush bath bomb; this is not the case. The black tea perfectly balances the lavender, while the milk cuts out any bitterness.
Walnut Brownie: Gerts doesn’t try to reinvent the wheel; their rendition of the brownie is humble, executed with care and attention to detail. The large slice is generously encrusted with walnuts, both on top and embedded within — you truly get your money’s worth. That being said, if you don’t definitively enjoy walnuts, you may be displeased at how prominent the flavour is. The brownie isn’t overly rich or sweet, which allows the flavour of the chocolate and walnuts to shine. The slice is perfectly moist, striking a balance between a more structured, cakelike crumb and a fudgy, denser brownie. It pairs wonderfully with the coffee, to no one’s surprise.
Gerts Café holds no pretensions of being a postmodern fourth-wave indie coffee house, nor does it fall to the wayside of cheap drip coffee and baked-from-frozen pastries. Their menu has succeeded in catering to a wide array of palettes and taste preferences without losing intrigue and complexity of flavours. Gerts has pulled an impressive feat in curating a cozy, picture-perfect atmosphere and providing highquality goods at a startlingly affordable price point.
Responsible for eight per cent of total greenhouse gas emissions, the fashion industry as it is today is deeply polluting and “cannot sustain itself,” according to Sustainable Fashion Week UK. The industry creates vast amounts of waste, such as the 39,000 tons of clothing dumped in the Atacama desert each year. Fast fashion and rapidly changing fashion trends set a terrible example for responsible and sustainable industry and consumer behaviours. The fashion industry also holds the record for both the highest water consumption and the highest creation of waste water worldwide, as it is responsible for the generation of about 20 per cent of the world’s waste water. Fashion weeks, such as those in New York, Paris, and Milan, embody this idea of pollution and waste in their very essence. A “spectacle of excess,” these events attract tourists from all over the world, necessitating dozens of transcontinental flights. Building one-off runway shows that generate colossal waste, they are criticized as the least sustainable aspect of the industry. However, the last few years have been witness to the emergence of sustainable fashion weeks, extolling eco-friendly practices, promoting sustainability in the sector, and attempting to be more sustainable themselves.
For example, the London Fashion Week, in collaboration with the Copenhagen Fashion Week (CPHFW), developed a sustainability requirements framework for participating brands. For Cecilie Thorsmark, CEO of the CPHFW, Fashion Week may “drive positive change within the industry.” Indeed, fashion weeks have long surpassed their role as simple commercial venues.
As the major communication events for the whole fashion sector, they have become “highly symbolic public spectacles” reaching a large audience, and thus a platform for activism and political expression.
In light of this, Vivienne Westwood advocated for environmental causes through their Homo Loquax runway show at the London Fashion Week of 2019.
On the other hand, these “sustainable” fashion shows seem awfully similar to everything done before. They remain first and foremost a business and an investment that brands make. The New York Fashion Week, rising in attendance in the past few years, saw the cost of running a fashion show explode, with numbers
going from the $300,000 spent by Willy Chavarria to $400,000 by Collina Strada.
This brings to mind the danger of greenwashing, a term first coined by Jay Westerveld in 1986 that describes when brands make exaggerated or misleading claims about how environmentally friendly their products or services are. In fact, some think the efforts brands make are, at best, superficial. These accusations may be well-informed: only a few weeks ago, the Danish Consumer Council and Tanja Gotthardsen, an anti-greenwashing expert, filed a complaint against the Copenhagen Fashion Week concerning their sustainability framework. They describe the standards set as abysmally low and not always respected, violating Danish sustainability laws on many points. To this point, Tanja Gotthardsen says, “It made me question whether the requirements were being enforced at all!” Despite the sustainability leadership role the CPHFW seemed to aspire to, sustainability requirements have been used more as a promotional asset for years than as a genuine endeavour. Sustainable fashion itself also leads to many controversies. With a project to put vintage and upcycling back to the front of the stage, Gabriela Hearst, an ethical fashion designer from Uruguay, put up on this year’s Paris Fashion Week runway a mink coat made from repurposed pythons skins and schappe (leftover fiber from silk cocoons processing). This fuelled the eternal debate between the use of real fur – deemed unethical and cruel – as opposed to the use of synthetic fur, which is highly polluting and impossible to recycle.
Despite this rather grim portrait, there are glimmers of hope within the fashion industry. Some brands, like Stella McCartney, have adopted eco-friendly practices
at every stage of production and seem to understand sustainability more and more as a conviction instead of a marketing opportunity. The brand, created in 2001, always incorporated a sustainable and ethical policy.
If traditional fashion weeks have been accused of greenwashing, the emergence of numerous new fashion weeks is not so alarming. These new fashion weeks appear far from western fashion centers, bringing to light not only muchneeded ideals but also alternate visions of the fashion industry as a whole. In August 2024, the Costa Rica Fashion Week highlighted eco-friendly fashion through the designer Mauricio Alpizar and his clothes made from acacia fibers. In November 2024, the Sao Paulo Fashion Week revolved around the idea of “slow fashion.” In Nigeria, the Lagos Fashion Week focused on designers from underserved areas and sustainability, with 20 per cent of all products of the fashion shows being recycled or locally sourced.
This testifies to a larger embrace of sustainability in Africa, with Fashion Weeks in Accra, South Africa, or Kenya with the Tribal Chic Nairobi. The African fashion industry does not only follow trends coming from the fashion capitals of London, Paris, or New York, but also creates new trends, giving hope for the rise of new visions of fashion that better respect the environment. This not only improves sustainability in fashion in general, but also reinstates cultural diversity in Fashion and the creative power of Africa, Asia and South America as on par with Europe and North America.
From São Paulo to Lagos, these fashion weeks are enhancing diversity in the fashion world and setting the example for the necessary revolution that the rest of the industry needs to undergo.
Eva Marriott-Fabre | Visuals Editor
White Ideas, Black Stories
Analyzing misrepresentation and prejudice in film through Spike Lee’s Bamboozled
Shea McDonnell
Commentary Contributor
In the recent stream of award-winning films, those depicting marginalized groups are frequently championed. Some of the most groundbreaking films of the last three decades, like Moonlight and Roma, have been headed by marginalized peoples created for marginalized audiences. Yet, there is an equal amount of marginalized representation made by non-marginalized writers and directors, such as Emilia Perez and Green Book The first of these two films has come under fire for the misrepresentation of Latino peoples, the overt bigotry of the leading actress, and the lack of Latino voices on the project; the latter for its passive representation of Black people in a narrative many detract as outdated.
I am particularly interested in Green Book and its controversy over the depiction of Black characters. My question is: what’s the problem with writing about marginalized people as a non-marginalized person? More specifically to this article, what’s the issue with white people writing about Black stories?
Since the advent of film, Black people have been pivotal in the evolution of the medium and the boom of Hollywood — for the wrong reasons. Represented in tropes like the domineering brute, the servile fool, or loud mouthed comic relief, Black people have been made passive in a film industry fueled by white supremacy. Even as Black people across North America fought for equality in the mid-twentieth century, their narratives in film remained stagnant. As Black culture gained traction through music,
art, and politics, Hollywood continued to reinforce the status quo, aimed at fulfilling the cultural curiosity of an “Othered,” or foreign, Black society. Whether it be the era of Blacksploitation or slavedramas like Roots, Black people continued to have their agency denied and be subject to white exoticisation. Even with Black creators seeing success throughout the industry, film studios only wanted to further the image of Black people that white audiences were used to.
Cut to 1999, director Spike Lee is disillusioned with Hollywood and mainstream media. Ever since 1989, when his film Do The Right Thing was snubbed at the Academy Awards and Driving Miss Daisy won Best Picture instead, Lee believed the industry only wanted to see Black people in traditional racist stereotypes. Black filmmaking had seen a boom during the period, with the cultural zeitgeist of gangster rap and slavery dramas like The Secret Diary of Desmond Pfeiffer. However, Lee saw Hollywood twisting old negative racial stereotypes into new forms of neo-minstrelsy.
The previous ten years had seen the release of Soul Man, a comedy about a white kid dressing up in black face to secure a college scholarship; the rise of Quentin Tarantino and his co-opting of the N-word and black struggles; and the popularization of films like Boyz n the Hood, depicting gang violence between young Black men. Even as Lee made a name for himself with Malcolm X and Jungle Fever, all the accolades and money were being tossed to projects about Black tragedy or passivity. From his malaise, Lee would create his 1999 masterpiece, Bamboozled
The film’s premise centers on Pierre Delacroix (Damon Wayans):
What’s the problem with writing about marginalized people as a non-marginalized person? More specifically to this article, what’s the issue with white people writing about Black stories?
“Spike
an astute Black TV executive struggling to launch a successful Black series centered on positivity. He is juxtaposed against his woefully misguided white boss, Mr. Dunwitty (Michael Rappaport), who is arguably a reference to Tarantino. Fuelled by Dunwitty’s desire for a “real” Black show, Delacroix sets out to make the most offensively racist show imaginable, to get himself fired and ruin Dunwitty’s reputation. Recruiting two homeless street performers, Delacroix pitches “Mantan: The New Millennium Minstrel Show” to great amusement from Dunwitty. What ensues is a mix of Mel Brooks’ The Producers and Sidney Lumet’s Network, involving the minstrel show’s meteoric rise and spiral into insanity as both Delacroix and the performers grapple with their dehumanization. Lee’s characters — Delacroix, Manray/ Mantan, Womack/Sleep n’ Eat, and Sloan Hopkins — portray different feelings and insecurities about Black struggle, from poverty to family, to performative blackness and self-hatred. Yet, what truly furthers the movie’s message is how Mantan gets approved, produced, and catapulted into stardom.
The fictional TV network, CSN, is entirely white with Delacroix as its only Black writer. Delacroix is Harvardeducated and very obedient to his white superiors, despite harboring a deep hatred for their ignorance. His main concern is working towards a big paycheck. He is a diversity hire, appointed by CSN to meet the need for a new, funny Black TV show – a trend Lee was very keen on in the late 90s – under the supervision of his boss Dunwitty. Dunwitty
under CC BY-SA 3.0. Liscence at https://creativecommons.org/licenses/by-sa/3.0/
is an obvious victim of corporatized, misinformed race-consciousness; he has posters of black athletes and actors in his office, he argues with Delacroix that he’s “more Black” than him because he’s married to a Black woman, he rejects projects of Delacroix as “not Black enough,” and throws around the N-word willy-nilly.
When Delacroix runs the idea for his minstrel show in the Caucasian writers room, they are hesitant, feigning their progressivism and tolerance — but they eventually fold with Delacroix’s insistence of “satire” and his identity as a Black writer. Ultimately, blatant displays of racism cause concern in this media order. But as Lee shows, they end up being accommodated by whites under the guise of Black representation. As long as a Black person is okay with it, they won’t mind.
Bamboozled was always seen as a heavy-handed, if not angry, film. Admittedly, the premise of a full-blown minstrel show being adopted by a major network shocked many audiences and critics alike. The film tackles a handful of Black insecurities and cultural stigma in a disparate narrative that varies from raucous laughter to discomforting silence: audiences were overwhelmed.
Yet, in the context of Spike Lee and his experience with Hollywood, the massive shift towards tragic Black stories wasn’t too different from the era of Hollywood that demeaned Black people through minstrelsy. The premise of a minstrel show being put on TV
could only exist with non-Black writers and execs like Dunwitty, just as it did during the early 20th century. If we relate Bamboozled to recent films like Emilia Perez, turning to Spike Lee reveals the pitfalls of misrepresentation in film and how its insidious implications plague progress overall for marginalized peoples.
In the same way the producers of EmiliaPerezmisconstrued the trans community, Bamboozled acts as a blunt, glaring example of misrepresentation in a seemingly enlightened media order. In a zeitgeist that focuses on trans issues, there’s a vacuum for mainstream media to tell and profit off of them. Just as Black issues were exploited with Blacksploitation and the gangster films of Spike Lee’s era, contemporary trans issues are under the same scrutiny with the release of Emilia Perez. The identity politics of both pieces highlights the importance of tolerance versus understanding. While the racial fetishism of Dunwitty could count as “tolerance,” it stems from a complete lack of understanding: an understanding that is, moreover, specific to the marginalized group, rather than being co-opted for the non marginalized as well. It’s this understanding that’s lost on the nearly all-French directing team of Emilia Perez; feigning tolerance, the movie falls flat because of their misunderstanding.
(Special thanks to the Black Student Network for their screening of Bamboozled this past February.)
Lee” by Hans Reitzema. Licensed
Adulting Through Life
Maintaining adult friendships in and beyond college
Sedef Kara Commentary Contributor
Adulting.
I used to love that word back in the day. Fantasizing about how we would do whatever we wanted without adult supervision, no curfew. How we would meet up with friends whenever, however, and wherever we wanted.
Of course, I still love this word. It helps me romanticize all the new responsibilities that adulthood brings. Even though I love the friendships I made in adulthood, some part of me will always miss how things were before.
So how do I deal with this?
The constant change and transformation in life and in friendships. Obviously, not by being pessimistic. I try to analyse the transformation and adapt myself to it. Live in the moment. Once, a good friend told me that we can never cherish the moment if we always commemorate the past and obsess about the future. Let me dig a bit deeper. I’m sitting in class with all my friends, talking about our library crushes, yapping about a previous drunk night out, complaining about exams… You have no idea if this is about college or high school right? See, that’s the thing. This description could be applied to any time that you want. What makes an experience an experience is the way you look at it.
In fact, as an international student, I was met with even more transformation in my life. If nothing, I shifted from speaking my native language everyday to speaking English all the time. Yet, it has been psychologically proven that people tend to not use their native language when talking about difficult situations — so I might say this helped me, after all. By leaving my comfort zone, I met amazing people
Most importantly, if you keep on loving [your friends], maintaining adult friendships becomes a gift rather than a burden.
India Mosca Visuals Contributor
who I never would’ve met if I stayed in my hometown. Back in the day, I would never have imagined sitting in class, as a girl hailing all the way from Istanbul, and casually conversing with a girl from Sydney about how our professor’s hair makes him look like the guy from When Harry MetSally
All of this is great. Meeting new people, being exposed to different cultures, conversing in different languages yet laughing at the same jokes: the glory of college. Well, what happens to those people that you used to go to McDonald’s with after school, where you would get some fries, dip them in McFlurries, and talk for hours with about your day? Nothing, and yet everything. They are still there. Only a phone call, a snap, or a text message away. You may not drop by their house spontaneously during your week anymore, but now you have an apartment in London with a bestie who you can surprise spontaneously. You may not be able to grab a coffee every day, but now you have someone to FaceTime whenever you go to class. It is always hard to adjust to change. But as psychological research shows, the impact of change is strongly correlated with how one feels about said change. So, we do actually control how we are affected by changes to our friendships. As long as you keep updating your besties about Situationship #13, calling them when you miss them, acknowledging each other’s presence even if you haven’t managed to pick up the phone during finals season — and most importantly, if you keep on loving them, maintaining adult friendships becomes a gift rather than a burden.
Alone Together
The case for a Canadian Minister of Loneliness
Madeleine Wong, Christina Zha, Ben Yeoh Commentary Contributors
Loneliness can affect anyone. It can shorten your lifespan as much as smoking 15 cigarettes a day and costs the healthcare system billions every year. As public health and epidemiology students at McGill, we see loneliness as our problem. A Minister of Loneliness is the antidote.
One in ten Canadians reported always or often feeling lonely. Among youth aged 15 to 24, almost one quarter experienced frequent loneliness, while 14 per cent of adults aged 75 and older reported feeling lonely. The lasting impact of COVID-19 on mental health has made loneliness an even more pressing issue. According to Vivek Murthy — former U.S. Surgeon General and co-chair of the Commission on Social Connection for the World Health Organization (WHO) — social isolation and loneliness has an impact on health conditions ranging from cardiovascular disease, to cancer, to Alzheimer’s.
Loneliness also impacts education and the economy. Lonely youth are more likely to drop out of university. Isolated employees tend to report lower job satisfaction and higher absenteeism. Older adults incur greater medical costs. These widespread consequences make loneliness a public health issue.
Luckily, this is preventable. A review of 28 psychological interventions suggested one-onone support, group programs, and phone applications with psychosocial and behavioral techniques are effective in reducing chronic loneliness. However, most of the current evidence is for individual-level interventions, which are difficult to scale up. Systemic strategies are crucial for managing loneliness on a national level.
The UK has recognized loneliness as a population health concern. In 2018, the Department for Digital, Culture, Media & Sport (DCMS) added loneliness to its portfolio. The department launched a green social prescribing program where healthcare professionals refer patients to nature-based activities. These include local walks, community gardening projects, and outdoor arts and cultural activities. From April 2021 to March 2023, over 8,500 referrals were made, with interim evaluations showing improvements in participants’ mental health. In collaboration with the Department for Transport, the DCSM also
made transport more accessible for disabled and older people. Policies now allow non-profits to apply for a community bus permit instead of a full operator’s license, helping to expand transport services that support social connection.
The UK Office for National Statistics has developed two measures of loneliness. These metrics are now part of the UK Public Health Outcomes Framework and are included in 11 government surveys to better understand loneliness prevalence.
Japan followed the UK’s lead by creating its own Minister for Loneliness and Isolation, working alongside with their British counterpart to share data on the impact of loneliness, exchange policy ideas, and raise global awareness.
In Canada, there’s no unified framework to define and measure loneliness. Various initiatives attempt to tackle loneliness, including the Keeping Connected Program, the GenWell Project, and Canadian Red Cross’s Friendly Calls Program. But their impact remains fragmented. We need a national strategy to unify efforts.
“Loneliness and isolation doesn’t only affect people who may be considered a senior,” said Bill VanGorder, interim chief policy officer of the Canadian Association of Retired Persons, when asked about the possibility of a Canadian Minister of Loneliness. “If that’s what it takes to address the impact of isolation and loneliness on Canadians ... A minister would make sure that programs are in place to ease these issues [and] other parts of the government would be accountable to them.”
It’s time for Canada to take this public health problem seriously by adopting a national strategy to unify fragmented efforts, aligning with global leaders like the WHO, the UK, and Japan. Without bold action, we risk falling further behind. We must add loneliness to the government portfolio to ensure it is taken seriously. Madeleine Wong and Christina Zha are MSc public health students at McGill University. Ben Yeoh is a MScepidemiologystudentatMcGill University who researches urban greenspaceandyouthloneliness.
Without bold action, we risk falling further behind. We must add loneliness to the government portfolio to ensure it is taken seriously.
Nikhila Shanker | Visuals Editor
The tension is so thick you can almost cut it with a knife. A sold-out stadium helplessly watches in overtime. Almost unable to keep up with the speed of the play, the announcer stutters, “Waiting … Connor McDavid…” The puck glides, his stick winds; it flexes. The stadium goes dead silent as 21,000 fans all hold their breaths in unison. Then, SLAP! In the blink of an eye, the puck slices through the air. “Connor McDavid…” the announcer continues. The puck whizzes by one defender, then another. The goalie reaches blindly. “Connor McDavid … SCORES! Connor McDavid wins it for Canada!” The stadium erupts as the announcer, fully drowned out by the deafening noise of the audience, finishes his playby-play. The week-long Four Nations tournament is finally over, and Canada is going home with the championship trophy.
The collective sigh of relief that Canada released after the recent Four Nations FaceOff victory highlights how significant this specific game was. Played during the tense geopolitical reality of strained Canada-U.S. relations, the game was not only a historic sports event but also held political symbolism as well.
With U.S. President Donald Trump spewing divisive rhetoric, levying various threats, and imposing economic tariffs, many Canadians feel dismayed — so this decisive win on the ice feels like a political victory as well.
Even before the championship round, the game was politically heated. In the two games the U.S. played against Finland and Canada at the Bell Centre in Montreal on February 13 and 15, spectators booed the American national anthem. In the game against Canada where this happened, the American players immediately responded by initiating four separate fights on the ice within the first nine seconds of the game. While this was largely a performative move to entertain emotional Canadian fans, it speaks to a deeper phenomenon of politics infiltrating sports. The visual appearance of the fights, with one jersey bearing the U.S. flag and the other the Canadian flag, shadowed the image of combatants in opposing uniforms confronting one another. It brings a physical dimension to the current political narrative of the Canada-U.S. conflict, which for now has remained mostly verbal.
This issue of sports becoming politically charged is nothing new. In fact, the stage of a sporting function serves as the perfect platform for political advertising, whether through protest, propaganda, or any other means of expression. Sporting events, especially those carried out in large venues, congregate enormous crowds of people who
Political Infiltration in Sports
How tense Canada-U.S. relations are manifested on the ice
political actors can address and potentially influence. Mobilizing such large groups of people can be a costly logistical challenge; infiltrating an existing assembly is more efficient, even if politics holds little to no relevance to the function. What matters is the mass of impressionable ears in attendance.
Political infiltration can pose a plethora of problems, and I personally find it an extreme irritant. Fundamentally, sports leagues are critical agents of civil society that unify people from all walks of life around a shared common interest: a passion for sports. This includes people who hold different religious convictions, political beliefs, and social opinions. Allowing politics into this space can have the opposite effect, sowing division
Eli Kashuba Commentary Contributor
and conflict rather than unity and collaboration. For this reason, I believe that politics should be left out of sports altogether, and political activists, regardless of what they are championing, should not be allowed to hijack sports gatherings.
This is not to say that individual athletes should be censored from expressing their personal beliefs or political opinions, as that is their fundamental right. Rather, I argue that others should not exploit their craft to spread a political message. For instance, returning to the Canada-U.S. matchup in the Four-Nations tournament, both teams had the political stresses of their respective nations placed on them, when, in reality, they probably just wanted to get out on
the ice and play some good hockey.
The recent research on “football hooliganism” and the far-right influence of football fan clubs in Europe provides a clear image of how politics can destroy sporting environments. Many of these far-right fan clubs, often composed of young, reckless men, simply seek to stir up trouble by spewing racist rhetoric and instigating violence at games. For them, soccer stadiums become a battleground where they can spread their ideology. However, this is not merely a far-right issue. For instance, in their book Fan Culture in European Football and the Influence of Left Wing Ideology, sports researchers David and Peter Kennedy highlight the far left’s use of soccer infrastructure to advocate
Auden
their ideological convictions. In either case, politics steals attention from the athletes and ultimately threatens the unifying nature of sports.
Similarly, there is a tendency for authoritarian regimes to steal the limelight from major sports gatherings to draw attention to themselves. For instance, political scientists from the realist school of thought would argue that hosting global assemblies like the Olympics allows states to garner global prestige by positively advertising themselves to the world regardless of human rights violations. Most blatantly, the 1936 Summer Olympic Games held in Berlin were hijacked by Hitler to spread Nazi propaganda while his concentration camps hid behind the shadows of the Olympic stadium. Political actors rely on major sporting events — especially those with a global reach — to distract the general public from their harmful policies.
Today, we see an eerily similar pattern of behaviour from President Trump. In February, he made headlines for being the first sitting president to attend the Super Bowl. Just a few days later, the presidential motorcade drove laps around the Daytona 500 track before the actual NASCAR race began. During his campaign in June 2024, Trump visited the Ultimate Fighting Championship (UFC) 302, where he immediately became the centre of attention. Then again, after winning the election, he returned for UFC 309 in Madison Square Garden, where he had an elaborate video tribute tantamount to political propaganda played for him on the jumbotron. In all fairness, Trump was well-known as a sports enthusiast long before he entered the political sphere, so these grandiose excursions aren’t out of character. Nonetheless, we should be wary of political meddling in our sports and entertainment industries.
The Four Nations Face-Off, wherein the geopolitical tensions between Canada and the US influenced the atmosphere and conduct of the games, was ultimately a testament to why we must ensure sports settings are apolitical. Sports is a venue for uniting people, not a platform to sow division. Amidst the politically charged context of US-Canada relations, the Four Nations tournament was an excellent opportunity for Canadians and Americans to unite around their mutual love of hockey. Moving forward, regardless of our political landscape, let’s resist political actors that seek to sow division and instead embrace opportunities to unite.
Contributor
Akinc | Visuals