Latest News

Science & Technology

What is the best way to track ammonia pollution?

by José Moro on

More in Science & Technology:

Ammonia (NH₃) is an essential component of agricultural fertilizers, but can become an environmental pollutant. Roughly half of all nitrogen used in the agricultural industry escapes into the environment; 56 per cent ends up in water bodies and 44 per cent is released into the air, mostly as NH₃. The gas contributes to soil acidification, biodiversity loss, and various respiratory problems. Monitoring NH₃ is particularly difficult due to its high solubility and tendency to stick to surfaces.

A recent study published in Environmental Pollution provides a comprehensive comparison of sorbent materials for Passive Flux Samplers (PFS), a widely used tool in agriculture for estimating emission rates. The research establishes the groundwork for more accurate ammonia monitoring systems. 

In an interview with The Tribune, Angela Trivino Arevalo, lead author of this study and doctoral student in McGill’s Bioresource Engineering Department, detailed how the two-year research was conducted using PFS—a tool utilized in agriculture to estimate emission rates.

“The [PFS] is just a tube, and inside you can change the sorbent according to the gas that you want to target and capture. I am working with ammonia, but there are other samplers that can capture [other gasses]. The idea is that you can go to any farm to measure gas emission, […] and the PFS tries to gather data in a way that […] doesn’t ask the farmer too much work. You can then take the data […] to the lab to analyze what was captured.”

The measured mass obtained from the PFS is then converted into an emission rate. The two processes that determine PFS performance are aerodynamics, how freely air flows through the tube, and sorption, the material’s ability to trap molecules.

Although many materials can be used as sorbents, few studies have compared how these materials affect the PFS’s accuracy. Trivino Arevalo’s team used four materials— glass microfibre filters, glass beads, zeolite, and biochar—and attempted to identify which provided the most reliable NH₃ measurements.

“I love this research, because we are comparing materials that have different characteristics. We have zeolite, that is a material that we know has a big porosity, we have glass microfibre, that is something we use to analyze air, and glass beads [….] It’s not only interesting for the side of chemical and material development, but this knowledge is one specific area that develops something to measure air quality,” Trivino Arevalo said. 

Trivino Arevalo used a wind tunnel to examine how each sorbent affects airflow through the PFS. They measured inlet airflow, pressure drop, and internal air velocity at wind speeds of one to six m/s. From here, they calculated a K factor, a measure of thermal conductivity ranging from zero to one, that describes how wind speed relates to the air entering the PFS. The higher the K factor, the more efficiently airflow passes through the sampler.

Glass microfibre filters displayed the best aerodynamic behaviour, with the highest K factor of 0.61; zeolite and biochar performed moderately well, with scores of 0.58 and 0.59, respectively. Glass beads restricted airflow the most, with a K factor of 0.47. 

The study compared the sorption abilities of these materials. To determine the best overall sorbent, Trivino Arevalo used a scoring system that emphasized four areas: Data variability, aerodynamics, sorbent capacity—the ability for the sorbent inside the PFS to hold ammonia—and handling and practicality. Variability also played a major role in determining the best sorbent. Zeolite and biochar, despite having high capacities, showed inconsistent results due to their complex pore structures. Glass beads and microfibre filters provided lower detection limits for low-concentration sampling.

Sorption results showed zeolite had the longest breakthrough time of 103 minutes and the highest capacity, while glass microfibre filters and glass beads had lower capacities, meaning they saturated quickly. Trivino Arevalo’s research concluded that glass microfibre filters were the most effective sorbent materials for PFS usage. This material offered the most balanced combination of good aerodynamics and moderate capacity. 

Improved PFS performances are a step towards more accurate and reliable data related to ammonia emissions, which is an urgent priority as agriculture is increasingly subject to erratic climate changes. 

Hockey, Martlets, Sports

Martlets Hockey push league-leading Stingers to brink in gritty OT loss

by Jenna Payette on

More in Hockey:

On Nov. 14, McGill’s Martlets Hockey took to the ice at McConnell Arena and showcased a full-team effort, pushing the Réseau du sport étudiant du Québec (RSEQ)–leading Concordia Stingers to overtime in a hard-fought 2-1 loss. The effort marked a sharp turnaround from the Martlets’ earlier meetings with the Stingers this season—facing 5-0 and 2-0 defeats in October—signalling that the group is settling into a disciplined, structured identity. In front of a lively home crowd, McGill played with pace, physicality, and purpose, setting an early tone that carried through all three periods and into overtime.

“We had a really good week of practice, and we showed up tonight,” forward Mika Chang, U4 Engineering, shared in a post-game interview with The Tribune. “There was good energy on the bench the whole game.”

McGill opened aggressively, swarming Concordia’s zone for the first five minutes and keeping goalie Jordyn Verbeek under pressure. Their persistence paid off only 5 minutes and 33 seconds into the first period, when forward Anika Cormier buried a backhand upstairs to give the Martlets a 1-0 lead.

The period intensified with heavy board battles and smart body play, culminating in a major penalty awarded to Concordia for a hit on McGill forward Taylor Garcia, who left the game and did not return. McGill carried their resulting five-minute power play into the second period, but could not extend their lead.

“[Garcia] was having a good game, so that one’s going to hurt for sure,” Head Coach Alyssa Cecere said, in an interview with The Tribune. “It’s a tough loss, physically and for the team.”

Garcia’s teammates agreed. 

“She’s a big contributing forward for us, and a huge personality,” defender Meganne Chailler, U3 Education, expressed in an interview with The Tribune. “But we came together to play for her.”

The game’s second period showcased McGill’s defensive discipline. The Martlets blocked shots, clogged lanes, and disrupted multiple Concordia scoring chances, with defenders Hailey Neil and Bridget O’Hare standing out.

McGill nearly extended their lead on a partial break by Jordyn Watson, but with just 0.2 seconds left, Concordia’s Emilie Lussier pounced on a loose puck in the slot and beat McGill goaltender Jade Rivard-Coulombe, tying the game 1-1.

Despite the goal, the Martlets refused to let up.

“We set the tone early, and we just kept building off each other’s energy,” Chailler said. “Getting that first goal gave us a lot of momentum.”

The game’s final 20 minutes overflowed with resilience. McGill’s forecheck created turnovers, their defensive group played with poise, and the pace grew end-to-end. Chailler and Cormier disrupted Concordia’s rushes and cleared the puck under pressure.

With 20 seconds left, McGill called a timeout to prepare for a defensive-zone draw. In the game’s ensuing final moments, Rivard-Coulombe made a spectacular chest save through traffic, ensuring the Martlets secured one of two possible points before entering extra time.

“Jade had a very good game,” Cecere said. “She’s our last line of defence, and for her to have a solid performance like that is really encouraging.”

Four-on-four overtime was frantic—full of end-to-end rushes and scrappy net-front battles. Ultimately, Concordia’s Ekaterina Pelowich shovelled in a traffic-filled goal with 36 seconds remaining, handing the Stingers a 2-1 victory.

But the Martlets still walked off with their heads high.

“We’ve improved tremendously since the start of the season,” Cecere said. “There’s a lot to be excited about with this group.”

For Chang, the game underscored the growing parity in the league. 

“The league is much closer this year,” she said. “Everyone can beat everyone. It’s good to see.”

Women’s hockey is gaining momentum and visibility as the Professional Women’s Hockey League opens up career opportunities, showing RSEQ players a viable post-university path in hockey.

“There’s absolutely a different buzz,” Cecere said. “It’s awesome to see how far the game has come. There’s just a little more jump and urgency in everyone’s play now. A lot of these young women want to get to that level, and it’s really cool to see what they’re capable of.”The Martlets faced off for a second time against the Stingers on Nov. 16, again losing 2-1 in overtime to Concordia. With 15 games left, McGill now looks to turn the page—with confidence—into the rest of their regular season.

McGill, News, The Tribune Explains

The Tribune Explains: Departmental strikes for Palestine

by Sofia Vidinovski on

More in McGill:

In the November 2023 Students’ Society of McGill University (SSMU) Fall Referendum, 78.7 per cent (5,974 voters) of SSMU constituents voted in favour of the Policy Against Genocide in Palestine. Undergraduates also voted to go on strike for Palestine through the SSMU in April 2025 and October 2025. 

Now, in November 2025, students are organizing departmental strikes for Palestine, calling on McGill to divest from companies complicit in the genocide in Palestine, drop disciplinary charges against students involved in pro-Palestine advocacy, and end its research partnerships with Israeli institutions contributing to the oppression of Palestinians. 

As of Nov. 17, 19 departments at McGill have voted to strike or are in the strike decision-making process. The Tribune explains the logistics of these strikes.

Why are departments striking? 

McGill University invests approximately $73 million CAD of its endowment into various companies that are directly linked to Israel’s genocide in Gaza, including Lockheed Martin and Airbus. McGill also participates in exchange programs with Israeli institutions, such as the Technion-Israel Institute of Technology, which develops military technology used by the Israel Defense Forces. Furthermore, McGill campus security has heavily policed pro-Palestine student activists over the last two years, which is why disciplinary immunity for these students is at the core of student strikes for Palestine.

What is the process of getting a departmental strike approved?

Each department has its own constitution that dictates how it can strike. Typically, to vote on a motion to strike, departments must hold a general assembly (GA) that meets a certain minimum number of departmental members—referred to as quorum—to ensure the GA is representative. If a GA meets quorum, departmental members can discuss motions concerning a strike, make amendments, and then vote for or against the strike motion. If the majority of students at the GA vote for the motion, the whole department is considered on strike.

What departments are going on strike? Which departments did not vote to strike at their GAs?

The undergraduate departments going on strike in the Faculty of Arts are Anthropology, Art History & Communication Studies, East Asian Studies, English, Environment (Arts), Gender, Sexuality, Feminist, and Social Justice Studies, Geography, International Development Studies, Liberal Arts, Philosophy, Sociology, South Asian Studies, and World Islamic and Middle East Studies. The Faculty of Science’s striking undergraduate departments are Atmospheric and Oceanic Sciences, Earth and Planetary Sciences, Physics, and Physiology. Additionally, Macdonald Campus Agricultural and Environmental Science students are striking, as well as the Computer Science Undergraduate Society.

The departments of Education, History, Linguistics, Mathematics and Statistics, and Religious Studies did not meet the quorum needed to vote for a strike. The departments awaiting GAs to vote on striking are Anatomy and Cell Biology, Biology, Economics (Arts), Neuroscience, Political Science, the Caribbean and Latin American Studies and Hispanic Studies Association and the Electrical, Computer & Software Engineering Students’ Society.

Rather than go on strike, the Faculty of Science Department of Pharmacology passed a motion affirming its solidarity with Palestine and instating a plan to donate 15 per cent of its Winter 2026 proceeds to relief efforts in Gaza through a humanitarian aid organization to be selected by members of the department.

What is the difference between hard picketing and soft picketing?

Departments have announced, via their Instagrams, the unique picketing strategies they will be using during the strike. While hard picketing involves protestors physically blockading classrooms, most departments choose a soft picketing strategy where protestors stand outside classrooms and discourage attendance and participation.

How long will the strike last? What will it look like?

The strikes will occur during the week of Nov. 17 to Nov. 21, with the specific range of dates depending on the department. The strikes call on students to refrain from attending all classes, conferences, labs, and office hours held by their department. Students are still permitted, within the boundaries of the strike, to attend class to take assessments and exams that they cannot miss. 

There will be activities, such as workshops and film screenings, for students to participate in during the strike, hosted by Students for Palestine’s Honour and Resistance at McGill. 

To keep up with the current status of departmental strikes on campus, visit the strike progress tracker.

Arts & Entertainment, Film and TV

‘Nirvanna The Band The Show The Movie’ The Review 

by Gregor McCall on

More in Arts & Entertainment:

If you’ve never heard of Nirvanna The Band The Show, don’t fret, you’re not living under a rock. The cult web series turned television show, now turned feature film, is neither about the grunge-rock group fronted by Kurt Cobain, nor is it really about a band or show—in any traditional sense, at least. 

Debuting in 2007 as an independent web series, the show is a mockumentary-style comedy starring co-creators Matt Johnson and Jay McCarroll. The pair play (semi-)fictionalized versions of themselves: Two ‘man-children’ best-friends and roommates stuck in their 90s Canadian childhood. Members of the eponymous ‘Nirvanna the Band,’ Matt and Jay dream of playing a show at The Rivoli—a small Toronto music venue, restaurant, and bar. The only problem? Neither of the pair knows how to book it. Instead, the two craft a seemingly never-ending series of schemes, each more absurd and intricate than the last, to hopefully earn them their deserved spot on stage at the Queen Street music club. 

Nirvanna The Band inverts, then breaks, then upends all of the traditional rules of storytelling in the visual medium. Reminiscent of comedies like Just for Laughs Gags and Borat, the only two actors in a given scene are often Johnson and McCarroll themselves. Nearly everyone else, from extras to people who play pivotal roles in the plot, are real people, unaware that the duo’s preposterous actions are in service of an even more ludicrous story. Yet such conventions are still never scripture for Johnson and McCarroll. Sometimes, side characters that the audience once thought to be ordinary Torontonians return, ready to up the ante. From arson to robbery to general public nuisances, Nirvanna The Band keeps the audience in both shock and awe, wondering exactly what’s real, what’s scripted, and what’s somewhere in between. 

The latest installation amplifies these themes up to 11. It would be inadequate to say that it simply breaks the fourth wall. Rather, Johnson and McCarroll completely shatter it, forcing the audience to question whether it ever existed at all. As a paragon of metafictional filmmaking, the pair repeatedly acknowledge that they’re in a movie, often talking to the camera operators themselves and showing them on camera. Carrying on the long tradition of intertextual storytelling, the film abounds with references to icons of 90s culture and Canadian nostalgia, often incorporating and interpolating pieces of those beloved and heavily copyrighted materials themselves. In fact, the central plot device of the story is one big reference to, or parody of, Back to the Future. At one point, Johnson speaks directly to the camera, acknowledging just what a copyright nightmare the film will be for distribution. 

Nevertheless, Neon picked up the film in March 2025 after it debuted earlier that month at South by Southwest, where it won a coveted Audience Award. This is hardly Johnson’s first directing success, following his previous critically acclaimed film, BlackBerry, starring Glenn Howerton of It’s Always Sunny in Philadelphia and Canadian comedy mainstay Jay Baruchel. McCarroll composed the film’s score. Up next on Johnson’s directorial plate is a reported Anthony Bourdain biopic starring Dominic Sessa of The Holdovers. Although Nirvanna The Band The Show The Movie is not yet in wide release, Johnson and McCarroll hosted an advanced screening at Montreal’s Cinema du Musée in October as part of a promotional tour for the film. 

Though Nirvanna The Band The Show The Movie ups the stakes like never before, it never jumps the proverbial shark. The stunts are crazier, the antics more inane, and the legal trouble the two must surely be in, brazen. But it never forgets its roots. The Rivoli is still the unattainable MacGuffin driving the plot, and the two best friends are still the wacky, goofy, mischief-makers fans fell in love with in 2007. 

Nirvanna The Band The Show The Movie is set for theatrical release in February 2026.

Off the Board, Opinion

Learning to live and love through art

by Annabella Lawlor on

More in Off the Board:

I cannot count the number of times I’ve remarked, “That changed my life.” It’s an exorbitant phrase, one that apparently—so I’ve been told—shouldn’t be used so casually when discussing art. I toss it around with nonchalance, proclaiming it at any mention of works that I adore. Accusations of recency bias have thus hounded me, my incessant passion denounced a diminishment of true artistic merit or simply something impossible to feel at every artistic turn. 

There’s also the allegation of the phrase’s hyperbole: Do I exaggerate? Do I announce everything as my new ‘favourite’ to construct my changing preferences as an illusion of progress? If only it were so simple.

Art—music, film, writing, visual culture, and everything in between—has meant so much to me for as long as I can remember. It has taught me to fall in love with life, through the ways it thrills and warps and wounds and inspires. For me, the statement, “That changed my life,” is never an exaggeration. That is what art is for. 

A few years ago, I read Richard Powers’ novel The Overstory, and—you heard it here first—it changed my life. Growing up in Northern California, I was constantly surrounded by the landscapes of towering trees; douglas fir, eucalyptus, and redwoods cascade through the sweeping turns of my childhood memory. Powers’ book sets its narrative within these familiar environments, weaving together the enduring presence of trees with human existence, as humanity sowed its harmful roots into the earth. I’d go through my days thinking about the trees’ witnessing eyes as I rode the MUNI bus through Golden Gate Park. The storms that washed branches and logs into the street as obstructions became a reflection of the trees’ ubiquitous becoming and death. It was an embarrassing realization, really, taking for granted something that so often surrounded me. 

The Overstory made a mark on me. It demonstrated that artistic narratives had the power to infuse intense emotions into even the most common part of everyday life. Powers’ environmental novel transformed the way I saw my home, my childhood, and the trees in my garden whose shadows grew alongside me.

Art makes visible within me the emotions I would have never known were present. Music, especially, confronts its audience with intimacies of the artist’s mind, for its power is to harness sincerity and intention through an auditory soundscape. Magnificent songwriting elucidates this navigation of emotion and life: Joni Mitchell’s sombre Blue and Kara Jackson’s reflective Why Does the Earth Give Us People to Love? are exquisite records that colour my perceptions of experiencing love and loss as a young person.

Unpalatable art also makes me love the world, in all of its complex states. Art isn’t just beautiful, nor does it have to be, as it demonstrates all the facets of our complicated world. It can be putrid and vitriolic; still and smooth; boisterous and unforgiving. It is anything the artist could possibly want it to be. Being shown this sense of interiority through art is what makes one feel less alone in our increasingly fragmented world.

The twanging teardrops of Bill Callahan’s melody in “To Be Of Use” are aching, haunting listeners with its sorrowful soundscape. Singing of his desires for purpose—almost to the point of commodified surrender—Callahan’s self-portrait is far from enjoyable. And yet, it lingers constantly in my mind with its uncompromising tenderness.

Creation puts a mirror to our reality as an intimate exploration of humanity’s endlessness. We experience so much in accessing art; it’s a privileged glimpse into our own interior lives that we could never begin to comprehend without it. For me, the creation of melody, visual art, or fictive narrative makes tangible the complicated nature of my own existence. In living within the worlds constructed by artistic visions, I come closer to finding myself in what feels like an unrelenting vastness.
It’s difficult to fully encapsulate into words all that art can do for a person. However seemingly minuscule its effects, it’s never wrong to proudly proclaim its influence on one’s personhood. “That changed my life” is never an exaggeration if it did, in fact, change your life. Through art, we know so many lives—first and foremost, our own.

Science & Technology

Immortal time bias: A source for inaccuracies in cancer prevention research

by Guillaume Delgado on

More in Science & Technology:

Cancer is one of the leading causes of death, and as such, cancer treatment and prevention research has been a large focus of medical professionals worldwide. Over the past few decades, several studies have proposed that metformin—a medication widely used for type II diabetes management—is a potential preventative measure for cancer. 

Unfortunately, the truth is not so glamorous. A recent study published in the Journal of Clinical Epidemiology and led by Samy Suissa, a professor in McGill’s Departments of Epidemiology and Biostatistics and Medicine, sought to put misleading claims about metformin to rest. 

“Many studies were appearing reporting that metformin, a treatment for diabetes, could lower the rates of several different cancers,” Suissa wrote to The Tribune. “What got us interested in this issue is that the reported reductions in cancer in these studies were spectacular, simply too good to be true.”

But what caused the misinformed results from these studies in the first place? Suissa traced the misleading results to a study error known as ‘immortal time bias,’ which can inflate the perceived effectiveness of a drug. He pointed to misinformation surrounding metformin and breast cancer as an example.

“Immortal time bias occurs when follow-up of breast cancer patients starts before they initiate metformin treatment. So those that receive metformin are ‘immortal’ between the start of cancer and the start of metformin; they must be alive to receive the metformin.” Suissa wrote. “The problem with immortal time bias is that all these studies started at breast cancer, but then looked at metformin use in the future, thus inherently giving a survival advantage to the women who start metformin.”

In other words, not every breast cancer patient survives long enough to actually reach the point of beginning metformin medicine. However, researchers may retroactively look at metformin use in breast cancer, and not account for the time in the interim when patients stayed alive while not using metformin. In this case, it could seem as though the metformin had a hand in treating the cancer, when in reality it was only useful for those who were able to live long enough to reach the point of taking it. This bias mischaracterizes the effectiveness of metformin as a breast cancer treatment.

Most earlier studies on metformin were observational, with no randomization occurring, and researchers only monitored the health progression of their patients without intervening. As such, Suissa stressed the importance of randomized trials—when participants are distributed by chance into different treatment groups—for producing accurate, unbiased results.

“Many scientists started to conduct randomized trials of metformin as a treatment for cancer, with the largest involving 3,600 women with breast cancer,” Suissa wrote. “Half received the usual treatment for breast cancer along with metformin, while the other half received the usual treatment. They were followed for more than five years and the study found no benefit for the metformin group.” 

Suissa has already begun examining potential misinformation in other major pharmaceutical drugs, and emphasized that both observational and randomized trials are necessary to reduce medical and scientific misinformation.

“Many such flawed studies are now appearing in many medical journals on the potential extracurricular benefits of GLP1 receptor agonists, the family of drugs that the popular Ozempic belongs to,” Suissa wrote. “The studies are also suggesting that these drugs are very effective at reducing all kinds of diseases, including cancer [….] Before expensive randomized trials are undertaken to test this hypothesis, we are undertaking properly done observational studies using rapid cutting-edge methods to confirm that the hypothesis is tenable. We wish to ensure that any time-consuming randomized trials are based on solid data and avoid a repetition of the metformin failure.”

Suissa’s studies will prevent future misinformation regarding drugs such as Ozempic. This will ensure that Ozempic and similar pharmaceuticals are only prescribed for conditions that they are completely able to alleviate or prevent.

Montreal, News

Protestors rally against police brutality and impunity

by Armen Erzingatzian on

More in Montreal:

Content warning: Police brutality, racial violence

Despite freezing rain, a group of approximately 50 protestors rallied in Montreal’s Philips Square at 3:00 p.m. on Nov. 9 to march with the Defund the Police Coalition to denounce instances of police brutality in Greater Montreal this year.

On Sept. 21, 15-year-old Afghan-Canadian Nooran Rezayi was with his friends when an individual called 911, telling emergency services that a group armed with weapons was at the intersection of rue Joseph-Daigneault and rue de Monaco in Saint-Hubert. Officers with the Service de police de l’agglomération de Longueil (SPAL) arrived ten minutes later. Within 58 seconds, one of these officers—whose identity remains unknown—shot Rezayi twice, killing him.

In another act of police violence, on March 30, Latinx man Abisay Cruz was killed by Service de police de la Ville de Montréal (SPVM) officers, who were responding to a call regarding a person in crisis. While three officers handcuffed Cruz, one of them forced his knee into Cruz’s upper back. In a video captured during the altercation, Cruz can be heard yelling, “I’m going to die.” Moments later, he lost consciousness. After being transported to a hospital, Cruz was declared dead. His death is currently under investigation by the Bureau des enquêtes indépendantes (BEI).

Protesters at the rally directly called out the BEI, Quebec’s police watchdog that investigates potential misconduct. Since its implementation in 2016, zero of the 52 BEI cases concerning police officers who have fatally shot civilians have resulted in charges against an officer. Quebec’s Ligue des droits et libertés has questioned the BEI’s independence, citing its reliance on police services in initiating its investigations, and the fact that the majority of BEI staff come from the policing sector. 

One of the speakers at the rally discussed a recent provincial decision allowing police officers to remain silent and withhold information during BEI investigations. 

“The Court of Appeal of Quebec decided that it was more important to protect the right to silence than the right of the public to information,” the speaker stated. “The police officer who killed Nooran told himself that in Quebec, you can kill anyone, anyhow, as a police officer, because the system is behind you.”

The SPAL, responsible for Reyazi’s killing, has been held in high public regard recently as a reformed, community-oriented police organization. In an interview with The Tribune, an individual at the rally who wished to remain anonymous spoke about these reforms. 

“We’ve seen that not only are they not effective, but they are used by the police to justify further killings, imprisonment, [and] surveillance,” the attendee said. “We [need] to move towards mutual aid. We [need] to move towards systemic changes that eliminate the conditions that lead to […] crime in the first place.”

Another individual, who wished to go unnamed, commented on their experiences with police violence at previous protests.

“You can’t expect the police to police themselves,” they shared, in an interview with The Tribune. “I was forcibly pushed by an [(SPVM)] police officer at the March 15 protest [against police brutality]. I could have been seriously injured [….] My cameras were damaged.”

The individual added that rallies are an important way of fighting police repression and making the cause visible.

“Excessive force shouldn’t happen at all [….] When police brutalize [protestors] and people see that, it has a dissuading effect [on protest attendance],” they said. “We have to put pressure on our politicians.”

In recent times, there has been an increase in heavy and often violent police presence on McGill’s downtown campus, such as SPVM’s presence at Independent Jewish Voices’ peaceful celebration of Sukkot in October, at Association of Graduate Students Employed at McGill (AGSEM) protests in 2024, and at pro-Palestinian protests throughout 2024 and 2025. 

A 2019 report commissioned by the City of Montreal found systemic bias in street checks performed by Montreal police; compared to white people of the same age, Indigenous, Black and Arab people between ages 15 to 24 were four to five times more likely to be targeted by checks. In 2024, the Black Coalition of Quebec filed a $171 million CAD class-action lawsuit alleging that the City of Montreal was responsible for systemic racial profiling within its police force; a Quebec Superior Court judge agreed.

Some quotes in this article have been translated from French.

McGill, News

Senate passes amended Student Code of Conduct following months of deliberation

by Nell Pollak on

More in McGill:

The McGill Senate convened on Nov. 12 for its third meeting of the academic year. Senators engaged in debate over proposed revisions to McGill’s Code of Student Conduct and Disciplinary Procedures, ultimately passing an amended version that removed Board of Governors (BoG) oversight from the Committee on Student Discipline (CSD), which implements the Code.

The meeting began with memorial tributes to Professor Erika Giselle, librarian Tatiana Bedjanian, and Professor Deborah Danoff. McGill’s President and Vice-Chancellor Deep Saini then discussed Quebec’s multi-year Immigration Plan for 2026-2029, which will maintain existing international student quotas. Saini expressed disappointment that the provincial government did not exclude graduate students from these quotas or reopen the Quebec Experience Program pathway to permanent residency for recent graduates, as McGill had recommended.

Most of the session focused on proposed revisions to the Code of Student Conduct, presented by Interim Deputy Provost of Student Life and Learning, Angela Campbell. Campbell emphasized that the Code’s revisions aimed to reflect deliberate consultation, engagement, and compromise with the McGill community.

However, Jérémy Boulanger-Bonnelly, assistant professor in the Faculty of Law, immediately moved to amend the proposed code, explaining why he sought to remove any references to BoG involvement from the document.

“This amendment […] would give the Board of Governors a veto over the appointment of members of the CSD,” Senator Boulanger-Bonnelly said. “The Board has consistently failed to justify in any compelling manner [why these changes are necessary].”

BoG Chair Maryse Bertrand defended the Board’s involvement, citing numerous incidents involving ‘angry mobs’ on campus that have prompted concern from McGill’s administration.

“The Board has heard complaints […] from students who would rather spend their entire semester attending remotely, rather than face what they call a hostile or poisonous atmosphere in their faculties,” Bertrand stated. “The Board cannot and will not do nothing in the face of these new and unprecedented disruptions.”

Boulanger-Bonnelly’s amendment, which would remove Board involvement from CSD appointments, passed narrowly with 38 votes in favour, 34 against, and 6 abstentions. He then proposed a second amendment to maintain the Code’s current ‘knowingly’ intent standard—which requires proof that a student was aware their conduct would cause the specific result they are being penalized for—rather than the newly proposed ‘unreasonableness’ standard, which only requires that student conduct seriously deviate from what a ‘reasonable’ person would do for them to receive discipline. 

Supporters argued the lower standard for punishment could discourage freedom of expression and assembly, particularly for protest-related offences. The Senate defeated the amendment in a majority vote.

After a failed motion by Vice-President Administration and Finance Fabrice Labeau to postpone the vote on whether to adopt the new Code indefinitely, the Senate heard final comments on the revised Code.

Saini warned that the updated Code may be read as a breach of power by McGill’s administration.

“[The amended Code] could be interpreted as the Senate overriding the statutes and […] seeking to regulate the authority of the [BoG],” he said.

In response, Catherine Lu, professor in the Department of Political Science, emphasized that the Senate did not intend to cause any conflict with the Board of Governors by amending the Code.

“I really would resist any kind of interpretation that somehow made this about winning or losing, because we’re all going to win or lose based on credible, convincing arguments,” she stated. 

Ultimately, the revised Code of Student Conduct passed with 44 votes in favour and 18 abstentions. 

Moment of the meeting: Associate Professor in the Faculty of Engineering, Ipek Türeli, read a statement from her Palestinian colleague in McGill’s Faculty of Medicine and Health Sciences, who described experiencing anti-Palestinian racism on campus and called on the university to recognize its role as a silent witness to violence.

Soundbite: “I came here in support of my colleague, Senator Boulanger-Bonnelly’s, motions. I got the result that I wanted on the first motion. I didn’t get the result that I wanted on the second motion. On a balance, I’m going to vote for the Code [….] I’m prepared to respect the work that was done.”—Víctor Muñiz-Fraticelli, associate professor in the Faculty of Law, on navigating disagreement through the Senate’s democratic process and on avoiding postponing a vote on the Code.

Arts & Entertainment, Dance, Music, Pop Rhetoric

KATSEYE represent exploitation masked as progress

by Sophia Angela Zhang on

More in Arts & Entertainment:

Since their 2023 debut, KATSEYE have skyrocketed into the mainstream. After a year of silence, the group resurfaced in 2025 with their second EP, Beautiful Chaos. Their hyperpop sound, paired with intricate choreography, marks a departure from their previous K-pop-inspired, teen girl music and aesthetic. Fans often celebrate KATSEYE as a symbol of empowerment, but the group’s carefully manufactured image raises questions about how much agency the members actually hold.

The group was created by HYBE—the South Korean entertainment giant behind BTS and TXT—and the American record label GEFFEN. KATSEYE’s formation was documented in Netflix’s Pop Star Academy: KATSEYE, which explains how a handful of trainees went through an intensive training and development program, packed with singing, dancing, and performance lessons. After over a year of rankings and monthly evaluations, 20 girls were selected by the producers to advance to the global survival show, The Debut: Dream Academy. The finalists were pitted against each other in a popularity contest for a spot in the six-member group. The final group consists of Daniela Avanzini, from Atlanta with a Cuban and Venezuelan background; Lara Rajagopalan, from LA with Indian roots; Manon Bannerman, from Switzerland, born to Swiss-Italian and Ghanaian parents; Megan Skiendiel, from Hawaii with Chinese ancestry; Sophia Laforteza, from the Philippines; and Yoonchae Jeung, the only member born and raised in Korea.

From the start, KATSEYE’s most marketable quality has been its diversity. The six girls come from diverse ethnic and national backgrounds, attracting a broad international audience as each member proudly embraces their cultural identity. HYBExGEFFEN have co-opted the demands for diversity—a significant absence in K-pop—to expand their global reach. The members’ different backgrounds are marketed as proof of progressiveness, instead of addressing the industry’s exploitative power imbalances, tokenistic use of diversity, and beauty standards imposed on female idols.

Though KATSEYE were designed to globalize the K-pop methodology by stripping the Korean from K-pop, their popularity is built not only on talent but also on the immense corporate machinery shaping their every move. The KATSEYE brand, which is centred on inclusivity, is a facade for capitalist greed—exploiting the hard work and pain of the girls who make up the group.

On their second EP, KATSEYE embraced more mature sounds and visuals. Their image, like countless other girl groups, is inseparable from the commodification of the female body. “Gnarly,” the lead single of their EP, was the catalyst for this provocative rebranding. The music video and song are meant to be off-putting and ‘cringey,’ while refusing to shy away from the sexual innuendos. With the choreography incorporating twerking, porn soundbites inserted into the soundtrack, and a visual of bees having sexual intercourse, it is clear that the members’ sex appeal is a crucial selling point of the group. This serves as a reminder that the talented girls who make up KATSEYE are merely employees whose songs are written and choreographed by professionals, whose outfits are chosen by stylists, and whose image is crafted by executives. This commodification of sex becomes more unsettling upon realizing that the youngest member of the group, Yoonchae, is still 17 years old. 

Their corporate partnerships reinforce this dynamic, especially their recent collaboration with GAP. The “Better in Denim” ad campaign presents a dichotomy between the ideal of global cooperation that KATSEYE embodies and the very product they promote: A fast-fashion company built on an underpaid, exploited workforce with high environmental costs. With new sponsorship, partnerships, and ad campaigns every other month, KATSEYE increasingly serves corporate interests. Their racialized bodies are treated as marketable assets, revealing the moral decay embedded within the global pop music industry.

Ultimately, KATSEYE represent the contradiction of global pop: A celebration of womanhood, diversity, and hard work, all while constrained by the structures of capitalism and the male gaze. The success of this girl group proves that diversity is not enough to dismantle these systems of oppression. KATSEYE shine on the global stage, but its brilliance only reveals how much of pop’s empowerment is scripted.

Basketball, Behind the Bench, Sports

Canadian talent shines in 2025-2026 NCAA women’s basketball

by Ivanna Zhang on

More in Basketball:

The highly anticipated National Collegiate Athletic Association (NCAA) college basketball campaign resumed on Nov. 1. With a six-month-long off-season, NCAA fans are eager to return to the craziness that defines Division I (D1) college basketball in the United States. 

With the public rise of star players in the Women’s National Basketball Association (WNBA) like Caitlin Clark and Paige Bueckers, NCAA women’s basketball has also seen a recent increase in viewership and popularity. According to ESPN, the 2024-2025 women’s NCAA season finished with 8.5 billion total minutes of viewership, the second-most on record. 

Amid rising interest and investment in women’s collegiate-level athletics, the NCAA has also seen a surge of Canadian women’s basketball players. The league offers players competitive and professional opportunities—such as playing for historically significant schools, gaining exposure to WNBA scouts, and securing name, image, and likeness deals—that provide athletes with additional income. However, major league success is not guaranteed for NCAA athletes, who must navigate intense pressures both on and off the court. 

This season, more than 150 Canadian women student-athletes are playing D1 basketball in the NCAA. Here are five players to pay extra attention to during the 2025-2026 season.

Cassandre Prosper

Prosper, a six-foot-three guard from Montreal, is returning for her final season with the University of Notre Dame Fighting Irish. Last season, she was one of only two athletes to appear in all 34 of the team’s games, showcasing her reliability and consistency on the court. So far this year, Prosper has averaged 19.0 points with a field goal percentage of 66.7 per cent, making it her best season yet. Beyond college basketball, Prosper has also represented Canada at multiple levels—U17, U19, and on the senior Canadian national team—earning a bronze medal with Team Canada at the 2023 Fédération Internationale de Basketball (FIBA) AmeriCup.

Toby Fournier 

Fournier is looking to build on her impressive momentum as she enters her second season with the Duke University Blue Devils. The 10th-ranked prospect in the ESPNW 2024 class, the Toronto-born forward made an immediate impact in her freshman year, earning the title of Atlantic Coast Conference Rookie of the Year as she led the Blue Devils in scoring, field goal percentage, and free throws made. She also helped Team Canada earn a bronze medal in the 2023 FIBA U19 World Championship. In Duke’s dominant home opener this season, Fournier put on another standout performance, scoring 27 points—just one shy of her career high.

Jasmine Bascoe

Bascoe, a five-foot-seven guard from Milton, Ontario, began her basketball journey at King’s Christian Collegiate. She committed to Villanova University’s Wildcats last year, averaging 16.2 points a game. Bascoe’s stellar performance earned her All-BIG EAST First Team honours, and she was selected as a member of the All-BIG EAST Freshman Team. Under her leadership, the Wildcats have opened their 2025-2026 season with a 2–2 record, signalling a promising year ahead.

Sisi Eleko

This Montreal-born, six-foot-two forward played basketball at Saint-Laurent High School and New Hope Academy before committing to Canisius University in 2022. Eleko quickly became a standout player and earned a spot in the All-Metro Atlantic Athletic Conference team. Seeking new challenges and opportunities for growth, Eleko transferred to Eastern Michigan University last year, where she made an immediate impact. Starting in 27 of 28 games, Eleko led the Eastern Michigan Eagles, averaging 17.9 points and 10.1 rebounds per game.

Delaney Gibb

Earning the title of unanimous Big 12 Freshman of the Year last season, Albertan Gibb hopes to continue her success with the Brigham Young University Cougars this year. Like many of the standout Canadians making an impact in the NCAA, Gibb has also represented Canada across multiple youth levels of the national women’s program; she shared the court with Prosper as teammates during the 2023 FIBA Americup. The Cougars have pounced on this season with a 3–0 start. Gibb’s leadership will be key as they look to maintain this early success.

1 … 36 37 38 39 40 … 1,363

Read the latest issue

Read the latest issue