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Album Reviews, Arts & Entertainment

The 1975’s new album is a triumph of genre-mixing tracks

by Sofia Stankovic on

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The 1975’s Being Funny in a Foreign Language is an eclectic new album that encapsulates the band’s shift into genre-mixing assortments. Filled with lively synth sounds—courtesy of star producer Jack Antonoff’s production—unlike The 1975’s previous work, the album abandons their alt-rock origins in favour of jazzier, pop notes. 

“The 1975” introduces the album: The eponymous track that appears on every album, but with different formulations on each to show the band’s musical progression. This version is quicker-paced, more beat-driven, and much longer than on previous albums, and features the entire band rather than isolated vocals.

Frontman Matty Healy’s quirky and thought-provoking lyrics are, as always, the highlight of the entry. With lyrics like ‘I like my men like I like my coffee / full of soy milk and so sweet it won’t offend anybody’ in “Part of the Band”, The 1975 retain their culturally relevant lyrics, while poking fun at their younger, socially conscious demographic. 

The 1975’s success has come largely from their bold lyrical prowess, but also from their collective chemistry, which has only improved in recent years. “Looking For Somebody (To Love)” is one of the album’s highlights, with its upbeat 80s rhythm forming a stark contrast to its dark lyrics. This juxtaposition is not only striking, but is quintessentially Matty Healy. One also can’t forget “About You” – the most enjoyable song of the album––featuring guitarist Adam Hann’s longtime partner Carly Holt. The tempo and lyrics are reminiscent of earlier The 1975 songs, such as “Inside Your Mind” (2018) and “Medicine” (2014). 

Some fans consider this album weaker than their earlier work due to its lack of catchy alternative ballads, which were largely the reason the band amassed such popularity. The album, however, is a tribute to the band’s personal rapport, as well as their appreciation towards their fans who have supported them through their musical evolution. The album is a must-listen for longtime fans, as well as new listeners looking to understand The 1975’s ever-changing discography.

Rating: 4/5 stars

Being Funny In a Foreign Language is now streaming on all streaming platforms.

McGill, News, The Tribune Explains

Tribune Explains: Teaching positions at McGill

by Lily Cason on

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McGill instructors can hold a variety of titles—Faculty Lecturer, Assistant Professor, and Associate Professor are just a few of the many positions that exist. There are tenure and tenure-track staff, contract academic staff, visiting academic staff, and Teaching Assistants (TAs) at the university. The McGill Tribune breaks down the different standings and what they mean.

What are tenure and tenure-track academic staff positions?

Academic tenure is a title that comes with prestige and job security. While tenured professors have already received this designation, tenure-track professors are seen as on the route to securing it. Within the tenure-track, one can be an Assistant Professor, an Associate Professor, or a Full Professor, and individuals move through the ranks in this order. Full Professors who hold their position for over five years, and who the university sees as having carried out their responsibilities, are afforded the additional honorific title of Emeritus. 

Staff must be considered for tenure by the sixth, fifth, and fourth year after appointment to these positions, respectively. Individuals may also apply for early consideration. Each department sets its own specific tenure requirements by which candidates are evaluated. Tenured and tenure-track employees are expected to teach and conduct research, along with performing other duties for the university, as outlined by their department chair.

What are contract academic staff positions?

Contract academic staff (CAS) are not eligible for tenure and can be either full- or part-time, on definite or indefinite term appointments, and ranked or unranked. 

Ranked positions include Faculty Lecturer, Senior Faculty Lecturer, Assistant Professor, Associate Professor, and Full Professor—instructors move up the ladder in that order. Ranked CAS are expected to have the same baseline qualifications as those in tenure and tenure-track positions, and must apply to be considered for promotion. 

Unranked CAS positions include Academic Associate or Senior Academic Associate, Adjunct Professor, Affiliate Member, Associate Member, and Professor of Practice. Notably, some unranked positions such as Course Lecturer and Instructor fall under the umbrella of the McGill Course Lecturers and Instructors Union (MCLIU), meaning they are governed by the union’s collective agreement rather than McGill’s Regulations Relating to the Employment of Contract Academic Staff.

Who are visiting staff?

Visiting academics are invited through an official letter from the Dean and are given a finite term at McGill, usually a maximum of one year. According to the Regulations Relating to Visiting Academic Appointments, both Visiting Professors and Visiting Scholars may sometimes engage in teaching activities. 

Who are Teaching Assistants?

TAs—current graduate students who aid a primary instructor by helping teach and grade—are yet another form of instructors. They are also contracted employees who are members of the Association of Graduate Students Employed at McGill (AGSEM).

What unions and associations exist?

Some of the teaching staff at McGill are unionized, while others are not. The MCLIU covers Course Lecturers and Instructors, along with some of the CAS; it does not cover tenure or tenure-track academic staff, visiting academic staff, or any ranked CAS. AGSEM covers TAs at the university. All other instructors fall under the umbrella of the McGill Association of University Teachers (MAUT), which is not a union. 

MCLIU and AGSEM each emphasized the importance and positive impacts of their collective agreement negotiations with McGill in statements to the Tribune, while still pointing to a need for further progress. Both mentioned that inflation is driving up the cost of living, which they believe must be reflected in their members’ salaries. Raad Jassim, MCLIU President, confirmed that the union is working toward achieving the same pay for McGill Course Lecturers as those at other institutions receive.

“We are trying to get to that level of fairness, of compensation and reflected benefits with it,” Jassim said. “We have been in the unfortunate current situation, inflation has hit us badly and we need to know that this will also be considered going forward.”

McGill, Montreal, News

Archeological work at the New Vic site dominates McGill Senate meeting

by Lily Cason on

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During the university’s second Senate meeting of the academic year on Oct. 19, senators discussed the Kanien’kehá:ka Kahnistensera’s (Mohawk Mothers) legal dispute with McGill over the New Vic Project and the university’s COVID-19 protocols. The meeting began with memorial tributes for professors who had passed away this year, followed by opening remarks from interim principal and vice-chancellor Christopher Manfredi. 

After Manfredi’s opening remarks, those gathered launched into a discussion session about McGill’s controversial archeological work on the New Vic site. 

Senator David Vaillancourt questioned why McGill’s archeological approach deviates from the Canadian Archeological Association’s (CAA) framework for investigating sites of potential unmarked graves, a concern the Kahnistensera have also raised. Deputy Provost (Student Life and Learning) Fabrice Labeau responded, justifying the archeological approach by claiming that the area under investigation may have Indigenous artifacts from pre-colonial times, but almost certainly does not have unmarked graves. 

“We are really looking at a place that is in front of the Hersey Pavilion, that is very far away from the Allen Memorial Hospital,” Labeau said. “The likelihood of unmarked graves in that area is very, very low [….] We also want to mention that the way the archeological search will be carried out later in other areas is not predetermined.”

Dicki Chhoyang, McGill’s Director of Stakeholder Relations, stressed that Quebec, not McGill, is responsible for the site and that McGill’s efforts to investigate the Mohawk Mothers’ claims are simply out of care for the Indigenous community.(The Mothers have repeatedly stated that their treatment from McGill has been hostile.)

“We spoke to the elected council of Kahnawake, communicated with Kanesatake, Akwesasne, Hurons-Wendat, Anishinabeg, the Assembly of First Nations,” Chhoyang said. “Then we reached out to all the elders, we explained to them, ‘we’re not officially responsible, but our community is very concerned, so in due diligence as a responsibility to them, we are reaching out to you. How would you like us to handle this?’”

Senator Margaret Levey countered Labeau and Chhoyang by pointing out the benefits for the university of complying with the CAA’s guidelines and collaborating with the Kahnistensera.

“Isn’t the advantage clear that it would be good publicity, that it would be a good step toward reconciliation?” Levey said.

Senators then briefly discussed COVID-19 policies. Senator Miranda Hickman expressed a desire for greater information and guidance from the university surrounding the pandemic, particularly in light of the dissolution of the Ad Hoc Advisory Committee on COVID Academic Planning and Policies. 

“It is often hard to keep tabs on what’s happening around COVID-related issues […] and especially hard to tune into collective wisdom and best practices, as we all have to make ad hoc decisions in response to what is happening,” Hickman said. 

Associate Provost (Equity and Academic Policies) Angela Campbell responded that the committee on COVID-19-related issues was always meant to be temporary and that no revival of the committee is being considered at this time.

Campbell later presented the new Regulations on Academic Staff Grievances and Disciplinary Procedures, which she had outlined at the Sept. 21 Senate meeting. The Senate approved these regulations.

Moment of the meeting:

During his opening remarks, Manfredi affirmed the University’s commitment to working with the re-elected Coalition Avenir Québec (CAQ) government, and specifically the Minister of Education, to advance joint goals.

Soundbite:

“McGill here has an opportunity to model a form of collaboration and peacemaking in the process of developing the New Vic [….] It seems collaborating with the Mothers would be far less expensive, time-consuming than a court case, and it’s difficult to understand why McGill is so certain that no remains will be found, why they would not choose to hear the Mothers.” 

— Senator Ipek Türeli, Faculty of Engineering, on the New Vic project

Basketball, Sports

Three NBA players to fill the shoes of Lebron James and Kevin Durant this 2022-2023 season

by Nate Northfield on

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Oct. 18 represented not only the start of the 2022-2023 NBA season, but a new era of basketball. The 2021-2022 season saw 22-year-old point guard and shooting guard Luka Doncic lead the Dallas Mavericks to the Conference Finals, only to lose to the unmatched depth of the Golden State Warriors. Just a round later, fans were treated to veteran-like poise from Boston Celtics forward-guard Jayson Tatum, who confidently led his team to victory in a historically competitive Eastern Conference. The prowess of these young players is beginning to overshadow the legacies of greats like Kevin Durant and Lebron James. Despite their notoriety and reign of dominance, it is time for new stars to shine. The McGill Tribune presents our picks for three potential players to fill the shoes of Durant and James this upcoming season.

Luka Doncic: 

The Slovenian sniper has the deep arsenal and pure dominance it takes to be the next man up. At 23 years old, Luka Doncic became the youngest Mavericks player to reach 5,000 points and is the only NBA player in history to record 30 points, 12 rebounds, and 15 assists in under 30 minutes. With a remarkable 27-point first half in game six of last year’s Western Conference Semi-Final, Doncic gave his team the opportunity they needed for a game seven win against the defending Western champs, the Phoenix Suns. 

Despite all signs pointing to a promising career, the absence of Jalen Brunson, who equalized the Mavericks’ offence with an average 21.6 points per game in the playoffs, could be a barrier to the Mavs’ development of a consistent rhythm. This year will be a true test of whether or not Doncic has the leadership qualities to lead a middling Mavs offence on a deep playoff run. 

Ja Morant: 

‘Ja’-dropping highlights, dynamism, and an unstoppable combination of energy and youth—these are the qualities that best describe Ja Morant. Last season, the young point guard earned his first All-Star and All-NBA selection. Morant was able to prove his clear prowess with the impressive feat of joining Kobe Bryant and Lebron James as one of the only players to record multiple 45-point games before the age of 23. But Morant’s success did not end with the regular season as he carried the Memphis Grizzlies to their first series win in eight years.  

Morant’s most encouraging honour last year was his Most Improved Player award. Morant upgraded his field goal percentage from 44.9 to 49.3, along with his points per game from 19.1 to 27.4 in 2020-21. If Morant can continue to refine his game, a run for the title could be in order for the Grizzlies.

Jayson Tatum: 

Tatum has developed into one of the game’s most dangerous and prolific shot creators. The Duke Blue Devils alumnus made the greatest statement of his young career with a trip to the 2022 NBA finals. Tatum was the definition of a torch carrier for last season’s Celtics team, proven by his All-NBA honours and ranking as sixth in an extremely competitive MVP race. With the acquisition of Malcolm Brogdon, the Celtics are in a prime position to make another run at the title, as Brogdon’s shooting and playmaking should provide the much-needed offensive aid for Tatum. 

Tatum’s got the skill, size, and ability it takes to ascend in the modern NBA. Perhaps his only potential setback is his performance in clutch scenarios—Tatum was held to only 13 points in 40 minutes during game six of last year’s NBA Finals. If Tatum wants to rise to greatness, he’s going to need to do better than 21.5 points per game in the NBA finals and learn to embrace the spotlight.

Off the Board, Opinion

Reclaiming the value in being “undecided”

by Anoushka Oke on

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If you ask any of my friends at McGill, they would tell you that I have switched around my majors and minors eight times since the beginning of my degree. I started as an Environment & Development and International Development Studies (IDS) double major with a History minor. Throughout my three semesters at McGill, I have made countless changes to my second major—changing IDS to History, then Economics, then Geography, and even considering Statistics. It was not over yet—my next decision was to drop the second major entirely in favour of a minor in Management—and flip-flop the domain of my Environment major between Environment & Development and Economics & the Earth’s Environment. My minor underwent similar changes before I decided on Economics. 

It was a long and gruelling journey until I finally felt confident in settling on a major in Economics & the Earth’s Environment with minors in Management and Economics. I questioned myself so many times, aimlessly browsing websites about career prospects, and eventually taking a bunch of classes that, while interesting, now count for none of my requirements and are further extending my degree. Looking back, I wish that I had allowed myself a little more flexibility in deciding on a degree plan.

There is a lot of anxiety surrounding the big question: What’s your major? And when will I decide on the perfect one? Picking the “wrong” major can make people feel unprepared for their future, making them miserable throughout undergrad as they are stuck in classes that they do not enjoy or find useful. As a result, students often feel extreme pressure to get it right on the first try, fearing the consequences of idling too long. 

Upon starting university, many people plan their degree around their career aspirations. But how many 17 and 18-year-olds fresh out of high school truly know what kind of career they want to pursue in the ‘real world’? Though there are some students who find their ideal path early on, many students do not have the same luck. High schoolers are just not as exposed to all of the career possibilities and life experiences that college students are, especially if their high school has a weak advising program. Furthermore, many students—like myself—attended high schools where class structures took a ‘Common Core’ form, where there are relatively few options for students to dive deeper into specialized topics to see how much they enjoy them. Beyond the broad knowledge acquired from ‘general-education’ style classes, many high-school students are not exposed to diverse areas of study. For example, somebody who enjoyed general chemistry in high school will not necessarily enjoy pursuing a chemistry major when classes get more difficult and in-depth, especially if they later find that it does not align with their career goals.

Most universities offer their students the option of starting their degrees as undecided, but only 20 to 50 per cent of students make the decision to do so. Many students pick a major upon entering undergrad, taking the risk that they will be one of the 50 to 70 per cent of students studied who change their major at least once. Rather than picking a major and struggling to complete its requirements while attempting to figure out what interests them, students might benefit from going in undecided, taking specialized classes in fields that pique their interest, and then picking a major once they have a more informed picture of what each field of study has to offer.

Stressing about taking classes for the programs I picked early on made it all the more difficult to gauge my enjoyment in a class or interest in a subject. Had I gone into university with an undeclared major—or at least without a concrete decision—it would have been easier for me to discover what I had a passion for and what I wanted to pursue further. Now, I rest easy knowing that I have settled on a degree plan that I am content with… or have I?

Laughing Matters, Letters to the Editor, Opinion

Letter to the Editor: Responding to The T on Campus

by Harry North on

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I’ve decided to go on holiday to the Opinion section this week. I would have preferred Barbados or Mexico, but alas, no flights. Normally I write restaurant reviews in the Student Life section, which is awfully fun. But this week, I’m reviewing your hot takes on campus. 

Let’s not overthink this. For a take to be hot, it just needs to be controversial. Plain and simple, at least when you first hear it. Extra points if you make me laugh and minus points if you try too hard. Trying too hard is inherently unfunny, plus no one likes a try-hard. I’ll also comment on how accurate it is as well. The sweet spot, and I’m doubtful we will find this in the first go, is a take which makes you go something like: “Have you gone mental…wait a minute, that’s brilliant.” So, without further ado, what’s the T?

“No amount of finance bro money can save you from the amount of therapy you will need.” 

Very funny. I’m glad you got that off your chest. Is this a hot take? Or did you just get your heart broken by a finance bro? The funny thing about finance bros at McGill is they’re not even proper finance bros yet—they’re wannabe finance bros, still under parental supervision with their pacifiers in, which is even funnier. They want to be taken seriously, like they’re important and busy, but really they can’t even get their balance sheets balancing properly yet. 

It’s probably unfair to assume every wannabe finance bro will end up like Christian Bale in American Psycho. And finance bros do get the brunt of the jokes, so this take is not particularly hot, nor funny. 

Now here’s a question: Who do you dislike more between finance bros and frat boys? Easy— frat boys, every day of the week. Frat boys are the backwash of the McGill community. Sorry finance bros, I know you love a case comp. 

Hotness-barometer: 1/5

Accuracy: 2.5/5

“We should be able to smoke in front of McLennan.”

So, bear in mind most people who loiter outside McLennan have probably been struck with this inspiration at least once—it’s probably a stretch to say this is a hot take. And, frankly, no, you shouldn’t. If everyone was allowed to smoke outside McLennan, it’d be a puffing orgy! 

Hotness-barometer: 2/5 

Accuracy: 2/5

“Wearing a backpack is so embarrassing, please invest in a different bag”

Oh, you definitely carry a tote bag. And let me guess, you thrifted it. I guess this take is beginning to turn up the heat, I’ll give you that. I wear a backpack, or a rucksack as I like to call it. And what can I say: They’re so wonderfully ergonomic and easy to carry. What’s so embarrassing about that? Okay, maybe I do sound like a loser when I say it like that. There is, however, one small problem with your take: Only sorority girls and finance bros believe in it. And having an opinion that aligns with them? Now that’s embarrassing. 

Hotness-barometer: 4/5

Accuracy: 2/5

“You can definitely trust the person next to you to look after your stuff.”

If this is sarcastic then this is utterly brilliant. What’s that? You’re being serious? Really? Oh no. Well, this is barely a take then. It’s McGill after all, everyone’s squeaky clean here. That being said, I bloody well hope this take is true because I’ve left my stuff to grab a Kit Kat. 

Do watch out though if you’re next to someone with a Concordia laptop sticker. Before you know it, you’ll be in a bidding war for your own laptop on Ebay.

Editorial, Opinion

Hockey culture must be dismantled from the bottom up

by The McGill Tribune Editorial Board on

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Content warning: Mentions of sexual violence, hazing, and sexism

On Oct. 11, Hockey Canada CEO Scott Smith and the entire board of directors resigned from their positions after weeks of scrutiny over the organization’s handling of sexual assault allegations. Several major sponsors like Tim Hortons and the Bank of Nova Scotia have suspended their endorsements, while other companies like Canadian Tire have permanently ended their relationship with the governing body. Some of these sponsors welcomed the group resignation as a first step in amending the culture of sexual violence and silencing of survivors, but this occurrence is no more than an exodus of shame. To truly address the violence that takes place under Hockey Canada’s purview, the organization, as well as hockey fans, must reckon with their role in encouraging, excusing, and covering up toxic male behaviour. Rebuilding hockey culture must be an effort from the bottom up.

Despite pleas from fans to keep sports separate from politics, it is impossible to insulate hockey from the outside world for the simple reason that players are real people and do not live in a vacuum. Canadian identity is deeply entwined with the culture of ice hockey. This culture, however, has long served as a determinant of insiders and outsiders within Canadian society— it excludes racialized minorities and women and, ultimately, promotes a code of silence between white cisgender men. 

It is no surprise that a sport that prides itself on its exclusivity functions like a boys’ club. The narrative of the hometown hero thrusts young players into local stardom, and often protects them from the consequences of their actions. In hockey, the most praised players are often those who play aggressively, and it is apparent that this attitude travels far beyond matches. Championing players as commodities—characters who exist purely to play the game and entertain—further contributes to this illusion of untouchability that enables their behaviour. But the culture of sexual violence in hockey is not only perpetrated by players. In fact, players themselves are often survivors of hazing, sexual assault, abusive coaches, and a permissive institution. The cycle of violence is self-fulfilling, and its effects echo beyond the ice rink. 

Active efforts to cover up sexual violence plague the leagues under Hockey Canada’s jurisdiction. The organization used player fees to set up a previously unknown multi-million dollar fund to settle sexual assault cases. For Hockey Canada, money has the ultimate power to absolve players and coaches of their crimes. Ironically, money is what is propelling the downfall of the organization. The loss of major sponsors is a significant move that reflects companies’ interests in protecting consumer support by distancing their brand from this scandal. It seems that good corporate citizenship, or companies’ efforts to align themselves with ethical standards, is one of the only ways to induce institutional progress or, at minimum, dialogue. An exclusive focus on the power of companies, however, disregards the fact that hockey’s demoralizing culture of hazing, misogyny, and rape starts as soon as kids lace up their first pair of skates. The future of hockey in Canada must prioritize bottom-up initiatives and should be wary of corporations’ fronts of allyship. 


If Hockey Canada truly wants to address the misogynistic culture it has allowed to fester, it must allocate significant resources to consent training starting with young players. As soon as a new board of directors is formed, the organization must also implement a policy to handle sexual assault allegations—a key element to holding perpetrators and enablers accountable. This reckoning should also extend into other parts of Canadian society, notably college campuses. McGill’s recent revision to its sexual violence policy is a step forward in centering survivors and is cause for optimism. But, just as in professional leagues, true change will only be reflected when rape culture is dismantled. From allowing professors with sexual misconduct allegations to teach and the men’s varsity hockey team to receive no formal consent training, McGill needs to actively participate in the change and require the Athletics department to take a hands-on approach to tackling rape culture. The “boys will be boys” culture is pervasive in both Hockey Canada and on campus. Men at McGill and in Canadian society must reject the infantilization that absolves them and embody non-violent manhood.

Arts & Entertainment, Books

‘Scenes from the Underground’ centres queer rave culture around the world

by Suzanna Graham on

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McGill alumnus Gabriel Cholette (MA ‘17)  started his writing career by publishing true vignette-style stories about queer sex and party culture on an anonymous Instagram account for his friends. The vignettes range in length from a single sentence to a three-page whirlwind, with settings from Montreal to Berlin, but all take place in the queer underground rave scene. Cholette wrote about these experiences from 2017 to 2018, as he was going to various clubs and parties. Since then, Cholette has taken ownership of his zesty prose and intriguing stories through the composure of his 2021 memoir Les Carnets de l’Underground. On Oct. 4, local Montreal publisher House of Anansi released an English edition—translated by Elina Taillon—titled Scenes from the Underground. 

The vignettes are paired with illustrator Jacob Pyne’s risqué drawings, depicting nudity, intimacy, sexy Furby costumes, to name a few. Cholette and Pyne’s creative partnership began where every good relationship starts—on Grindr. Together, the two perfected a beautifully chaotic method of storytelling: Pyne’s image sets the tone for Cholette’s vignette, showing the reader whether the story features anonymous sex, the calm of next-day hangovers, or friendships formed in the ecstasy of a rave. 

Cholette’s Instagram bio requests, “[d]on’t send this to my mother,” which has since become a joke—Cholette’s mom is one of his biggest fans. While originally insecure about publicly releasing his work under his name, Cholette let go of these fears after noticing a separation between his underground life and above-ground life as a creative writing professor at l’Université de Montréal.

“At first I [wrote] anonymous[ly] because it was kind of a big step for me to come up with those stories publicly,” Cholette said in an interview with The McGill Tribune. “[What changed was that] I received a lot of messages from people who are really excited with the way I talk about [these topics].”

Cholette’s storytelling is refreshingly frank. Despite the hazy imagery of young people enjoying shadowy, sweaty clubs with pumping bass music, Cholette doesn’t shy away from the dark side of this world. Many of the final stories describe hangovers and the effects of bad trips, like vertigo, from drug mixing. Nonetheless, Cholette’s intentions are neither to demonize nor praise the raving community. 

“For this book, I was really trying to give this positive approach to [rave culture] because in the media, the only thing we talk about is the abuse, and I think it’s important to give [it] another life,” Cholette explained. “I think we can criticize [raving] and [its] capitalized culture and for sure it adds another layer of [demonization] in a community that’s already marginalized [….] But for me, it was finally my way of having a community and making links with others.”

At the core of each vignette is Cholette’s message of appreciating the people he’s found in the rave world. Amidst the clubs, drugs, and multilingual friends, he nails his portrayal of strong 2SLGBTQIA+ community bonds that connect queer people all over the world. No matter how demonized these raving communities are, there is solace in those spaces where cishet people do not dare to go. 

Between sexting and alcohol-induced escapades, there are—as Cholette affectionately calls them—his “goblins” who flit in and out of each story, showing up the next morning and always offering a safe couch to crash on. As with all communities, there are bad experiences and bad people. But for Cholette, the ultimate goal is to destroy the shame associated with this culture and show the community found in the underground. 

“If you don’t talk about [the culture] necessarily positively with people, they […] start having these two lives, one that they can talk about in public and one that they cannot talk about in public,” Cholette said. “What I was trying to destroy with my book is [that] you can talk about [this culture] with your mom, you can talk about it at school and it won’t make a difference—it doesn’t make you a bad person.”

“For gay people, it’s like you do your coming out and you go out of the closet but then it’s easy for us to go back in the closet.”

Scenes from the Underground is available in bookstores and online.

Arts & Entertainment, Books, Film and TV, Music

What we liked this fall reading break

by Amalia Mairet, Millie Roberts, Ella Gomes, Isobel Bray, Kellie Elrick on

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As the second official Fall Reading Week comes to a close and McGill students are thrust back into the throes of midterm season, downtime can feel like a fleeting dream. For students who have time to read non-academic books or for those looking for a new study soundtrack, here are some highlights from members of the Arts & Entertainment team. 

Pre Pleasure by Julia Jacklin 

Amalia Mairet

(juliajacklin.com)

Although Julia Jacklin’s new album was released in late August, October is the ideal season for Pre Pleasure. Her third record is an intimate, confessional experience with a dreamy but drum-heavy sound that Pitchfork classified as “understated rock.” The vocals are soft but deliberate, compelling you to listen carefully—whether it’s in an airport boarding line or on a walk to class. Autumn is a season of change and patience, the perfect time to listen to Jacklin meticulously unravel relationships with her younger self, mother, unnamed lovers, and friends, with a flawless instrumental backdrop throughout. If nothing else, tune into “Ignore Tenderness” for the uncomfortably honest first verse about reconnecting with her sexuality, and stay for the vocal swell that lifts masterfully into the chorus.

“The Midnight Club” 

Millie Roberts

(bloody-disgusting.com)

An ominous Victorian manor deep in the woods, ghosts, cultish rituals, and a group of teenagers looking to solve an ancient mystery: All of these classic horror tropes are embraced in The Midnight Club. The Netflix series takes place in an eerie youth hospice for those diagnosed with a terminal illness, where eight teenagers meet every night and share ghost stories to reconcile their pasts with whatever future they have left. The newest addition, Ilonka (Iman Benson), hopes to find a paranormal cure by uncovering the history of the hospice’s dark secrets. The Midnight Club is a valuable addition to Mike Flanagan’s horror universe, yet it doesn’t reach the evocative heights of its predecessors, such as The Haunting of Hill House. Despite this, it remains a worthy Halloween season watch for those looking for a moderate scare. 

Derry Girls, Season 3 

Ella Gomes

(abc.net.au)

Released on Netflix on Oct. 7, the third and final season of Derry Girls serves as a hilarious, heartwarming conclusion to the beloved Channel 4 series. The show follows teenager Erin and her group of friends in Northern Ireland as they navigate Catholic school, eccentric family members, and outrageous predicaments, all while living through the Troubles. Despite taking place in a period plagued by sadness and loss, the show maintains a light-hearted tone—the protagonists are mischievous and spirited, experiencing the same milestones and shenanigans seen in any other coming-of-age sitcom. The series’ final bow leaves viewers with both a warm heart and a burst lung as they watch Erin and her friends grow into their own while Northern Ireland undergoes significant political reformation.

The Inheritance Games by Jennifer Lynn Barnes 

Isobel Bray

(leslibraires.ca)

The Inheritance Games book trilogy follows the seemingly ordinary Avery Grambs, a teenager who inherits the entire estate of Tobias Hawthorne—a billionaire she’s never met. The catch? To receive her inheritance, Avery must move into the enormous, secret-passage-filled Hawthorne House, where every room showcases Tobias’ love of puzzles and riddles. Unfortunately, Tobias Hawthorne’s family, including his four young grandsons, also live in Hawthorne House. With both help and hindrance from the Hawthorne family, Avery starts to piece together her role in the dead billionaire’s games. I found Barnes’ writing style to be easy to read and engage with; her narrative structure lets the audience in on just enough to feel like they are solving the mystery along with Avery. A twisty, entertaining, and fast-paced plot with well-developed characters make these books great escapist reads for a fall day. 

Jonny Appleseed by Joshua Whitehead

Kellie Elrick

(goodreads.com)

This acclaimed novel follows the titular Two-Spirit/Indigiqueer and NDN glitter princess as he tries to find his way home. Poignant and retrospective, the story moves fluidly through time to explore sex, lost love, colonialism, family, and identity. At the novel’s beginning, Jonny has left his childhood on the reserve for city life in Winnipeg, making ends meet as a cybersex worker to fund his ticket home. In the seven days leading up to his stepfather’s funeral, the reader is launched into an achingly raw journey into the past. The stream-of-consciousness narrative is steeped in nostalgia, flowing melodically before intermittently shocking the reader back into the present with stark one-liners. Jonny’s story is highly timely but also intrinsically timeless, as Whitehead articulates first love, desire, guilt, and evolving identity in a way so deeply personal the reader can’t help but feel a part of the story. 

Album Reviews, Arts & Entertainment

Alvvays embrace expansive shoegaze in a bold development of their sound

by Yash Zodgekar on

More in Album Reviews:

Though it took Alvvays five years to produce the follow-up to 2017’s Antisocialites, their third record Blue Rev proves to be worth the wait. The band grappled with several setbacks in the album’s production, including the theft of their early demo tapes, the destruction of their equipment in a basement flood, and the replacement of their rhythm section. Yet this hardly stopped them from producing a record that boldly innovates by building on their indie-pop foundations. 

Blue Rev sees the band take their catchy musical formula and throw it through a hazy, dream-pop-inspired filter: Soundscapes drip with fuzzy and distorted guitars, vintage synthesizers provide sparkly counterpoints, and drums with heavy reverb deepen out the sonic palette. The result is a richer, more all-encompassing sound than that of their previous material. 

Yet amongst this expansion, Alvvays maintain a clinical songwriting approach. Songs rarely exceed three minutes, wasting no time in quickly presenting a memorable hook. Blue Rev is also as emotionally cathartic as ever, with themes of suburban, often unrequited, love, afforded greater poignance and warmth by lead singer Molly Rankin’s increasingly bold vocal delivery. 

Opener ‘Pharmacist’ concentrates an inordinate amount of pop goodness across its two-minute runtime. ‘After the Earthquake’ begins with jangly, Johnny Marr-esque guitar riffs, which then make way for a breakneck, pop-punk inspired second half. Meanwhile, ‘Very Online Guy’ is an exercise in 80s synth pop and influencer satire which works against all odds. 

Blue Rev’s only weakness is that some of its material is more compelling than others. Moments like the alternative rock homage on ‘Lottery Noises’, or the semi-cliched refrain of always waiting on ‘Bored in Bristol’ see the album tire towards its tail end. Nevertheless, this is a more than fair price to pay in exchange for a strong 14-song tracklist by a band willing to traverse new territory, making Blue Rev a wholly satisfying pop experience. 


Blue Rev is available to stream on all streaming platforms, and Alvvays are touring North America from October to December.

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