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Commentary, Opinion

How soap sparked controversy: Political ads must be handled with care

Advertisements that incorporate social and political commentary when selling a product have become increasingly popular in recent years. This has also lead to an increase in controversy. Recent advertisements such as the infamous Kendall Jenner Pepsi flop, in which Jenner uses a can of Pepsi to resolve a protest, and the more recent Dove attempt at diversity, where a black actress is shown as turning white when she removes her t-shirt, are key examples of ignorance and lack of sensitivity in corporate environments.

Statement ads, which branch off from the typical product-selling content that consumers are used to, are a smart way for brands to share their views and stand up for social issues. That said, companies and advertising agencies need to be aware of the implications of their advertisements and tread lightly when dealing with sensitive subject manner. This is not to say politically-charged advertisements should not be made; however, they need to be handled with care. Viewers must continue to hold companies accountable for the messages their advertisements send, and companies should continue to use political ads—good and bad—to incite conversation on important social issues.

In today’s materialistic society, using advertisements to display social commentary is a clever marketing tactic. As digital advertisements become shorter and more targeted towards individual consumers, companies use them to build a reputation as being aware of social issues, and to get people talking about their products. However, these companies must take measures to educate themselves about their own intended messages—and ensure that the outcome matches the intent.

Political advertisements are prone to many interpretations, further complicating the issue. Lola Ogunyemi, the actress in the Dove ad, did not initially think that the ad she acted in was racially insensitive, illustrating the ambiguity in determining an ad’s sensitivity. She affirms that “[she] is not just some silent victim of a mistaken beauty campaign,” suggesting that the ad is not overtly racist. However, she also notes that “advertisers need to look beyond the surface and consider the impact their images may have, specifically when it comes to marginalized groups of women.” Ads may not mean to be offensive, but advertisers must realize that their ads will be viewed in different ways by different people.

Viewers must continue to hold companies accountable for the messages their advertisements send, and companies should continue to use political ads—good and bad—to incite conversation on important social issues.

Likely, Dove is not going to face any massive decline in sales after this controversy, just as PepsiCo did not after its disastrous ad campaign. This isn’t the first time that Unilever, Dove’s parent company, has failed to recognize racist implications in one of its campaigns. As Lindsay Rittenhouse writes in AdWeek, this pattern suggests a lack of minority representation within advertising agencies and the companies that hire them. Hiring a more diverse range of individuals is one solution to preventing more ads like this from being released in the future. Although Dove insists that it “is committed to representing the beauty of diversity,” no one at its marketing agency detected the obvious undertones of racial bias.

Successful alternatives include advertisements such as Airbnb’s 30-second ad during the 2017 Super Bowl, which portrayed the diversity of its staff through the hashtag #weaccept, sending a powerful, concise message. Coca-Cola’s “America the Beautiful” Super Bowl ad showed the iconic song being sung in English, as well as languages like Hindi, Arabic, and Tagalog. While the ad received a backlash of a white nationalist nature, it masterfully communicated an important message about diversity in the current political context of the United States.

In today’s social and political climate such advertisements—when done well—are powerful; advertisements should reflect the society they are catering to, and advertising agencies must evolve their approach accordingly.

 

Sruthi is a U0 Civil Engineering student. Although her ultimate goals involve building bridges and saving the world, her current hobbies include watching TV, playing the violin, and trying to figure out how seven years worth of French language classes have suddenly left her since arriving in Montreal

 

 
Student Life

Pumpkin carving 101: Get crafty and reminiscent this Halloween

With Halloween less than a week away, it’s time to get serious about decorations—and pumpkins are at the top of the list. Carving pumpkins is a familiar tradition to many students, and goes back as far as the late 19th century, when Irish immigrants escaping the potato famine brought Jack O’Lanterns over to North America.

The story goes that hundreds of years ago, a man named ‘Stingy Jack’ fooled the Devil, and for that he was refused entry to both heaven and hell; instead, his spirit was doomed to roam the earth for all eternity. In order to see, Stingy Jack carved a turnip and put a piece of coal inside. Many years later, people all over the world have carried on this old tale, but with pumpkins in place of turnips.

Though university students might have abandoned their pumpkin carving adventures years ago, it’s a Halloween activity worth revisiting. While this time of year is generally packed with costume parties and apartment crawls, it can be fun to indulge in your 8-year old self and reminisce about simpler times. With a little apple cider and some friends, this activity can make for a laid-back-yet-fun celebration of All Hallows Eve.

Carving a pumpkin isn’t rocket science, but it’s good to have a plan. Here are six simple steps to get the carving started.

Step 1: Pick your pumpkin

Whether you find yourself on a farm picking your own pumpkin or you stop by the grocery store on the corner of your street, the most important qualities to look out for when choosing your pumpkin are its size and colour. Aim for a large and light pumpkin—it’ll be easier to design with more surface area, and easier to carve thanks to how hollow it is. In terms of colour, the lighter the pumpkin is, the softer its flesh, meaning carving won’t turn into a strenuous task.

Step 2: Get ready to get creative

By now, you have your pumpkin and you’re sitting at home with it—it’s time to prepare your work space. To limit the mess you are about to make, put some newspaper down wherever you plan to channel your creativity. Gather your tools of choice. It’s easiest to carve with a serrated knife, since it can cut through the skin of a pumpkin quickly and efficiently.

Step 3: Clean out the insides

Next, cut a circle around the stem of the pumpkin. Make it wide enough so that your hand, as well as a spoon, can reach in and scrape out the insides. Once the top is off, start scraping! As you pull out the gooey insides, keep in mind that you can either compost them or save the seeds to roast. Either way, it’s resourceful and waste free.

Step 5: Carve away

After you’ve cleaned out the pumpkin’s insides, it’s time to design. This can be the hardest part, but there are steps you can take to make it easier. As a rule of thumb, tracing and cutting straight lines makes for an easy cut. If you’re looking to be a bit more creative, though, you can print out free stencils online and trace a design. To do this, you’ll need paper and thumb tacks. Use the thumb tacks to pin down the corners of the design, and then poke small holes with them in the pumpkin to trace where you will be cutting. After you are done carving, rub some Vaseline or diluted lemon juice on the exposed parts of the pumpkin to stop the areas from turning brown.

Keep in mind that cutting through a pumpkin is not your only option—from glitter to spray paint, there are many ways to turn make a gourd glamourous. You can use stencils to paint designs onto your pumpkin, or glue to add embellishments like glitter, flowers, and sequins.

Step 6: Get lit

Once your pumpkin is carved and clean, pick a spot to display its spookiness, and light it up. Though it’s standard to light pumpkins using candles, battery-powered string lights can serve as a safer alternative. Wrap the lights around a mason jar or similar vessel, and set it in the centre of the pumpkin.

Student Life

Summers in Montreal might now involve a pool on Mount Royal

In 2014, the city of Montreal closed the public pool behind the Royal Victoria Hospital (RVH). Three summers later, mayoral candidate Valerie Plante committed to revamping the old pool and opening it up again within the next year, should she be elected.

“With this project, we have the opportunity to offer the downtown population a new green space on Mount Royal, as well as a public swimming pool, arguably the most beautiful on the island of Montreal," Plante said while campaigning on Oct. 4. “We’ve already promised to green the mountain by planting trees, and this morning we are pledging to make it more of a family environment."

Though many rumours circulated as to why the pool closed in 2014—including after the death of a 67 year-old man—there is no known single reason. The McGill University Health Centre (MUHC) insists that alcohol and drug use were not the reasons for it shutting down. Instead, they cite a lack of resources to continue operating it, especially since the hospital was set to relocate. They were also concerned about crowds that occasionally broke in after-hours. After the pool’s closure to the public, McGill announced that it intended to use the pool for both academic and community purposes, but the area was instead left completely vacant.

Initially, the pool was built at the MUHC for patient physiotherapy and rehabilitation. In 2004, however, the Centre opened it to the public. However, as it quickly gained popularity among locals and tourists alike, security at the hospital could no longer handle the people who visited RVH purely for the pool. Despite the lack of proper regulations and funding, the decision to close the pool still came as a disappointment to many.

In the event that the pool reopens next year it would likely be built in the currently unused parking lot on the Pins avenue side of the hospital, near McTavish street. Rather than catering solely to crowds who enjoy unruly alcohol-filled parties, Plante hopes this pool will be more family oriented. Projet Montreal has also proposed installing a public park in the area, also contingent upon Plante winning the election.

Given its location on Mount Royal—one of the most iconic spots in Montreal—the pool is likely to attract lots of tourists once again. However, this time its purpose is strictly entertainment for the public, meaning the administrating and regulating of the pool will reign in control; the fun during crazy summer days is highly unlikely to be broken by mishaps or accidents.

To Stefanie Weighell, U0 Arts, revamping the old pool sounds like a swell idea.  

"I think [installing a pool] would be a very good thing to have for the city [to do], considering there's not many pools around,” Weighell said. “However, I wouldn't vote solely for a candidate just for that, because politicians make a lot of promises and you never know if they're true. So, while I am excited that that could be a possibility, it just almost seems too good to be true."

The final decision on whether or not the plans will come to fruition will be made after the elections, which occur on Nov. 5. Until then, here’s to making it through the winter.

News, SSMU

SSMU General Assembly ratifies Board of Directors

On Oct. 23, The Students’ Society of McGill University (SSMU) Fall 2017 General Assembly (GA) ratified the SSMU members of the SSMU Board of Directors. The GA also passed motions that urge McGill to become involved in the Institute of International Education’s Syria Consortium, mandate SSMU to develop an action plan for clubs affected by the building closure, take steps to limit selling bottled water on campus, provide regular updates about the Society’s sustainability policy, and condemn Dalhousie University’s disciplinary actions against student leader Masuma Asad Khan.

Assembly also voted on whether or not to add a motion of no confidence in SSMU President Muna Tojiboeva to the agenda, but this motion failed, reaching only a simple majority, not the required two-thirds majority. Initially, the number of SSMU members present at the GA was approximately 200, with only 100 members necessary to meet quorum.

 

Ratification of the 2017-2018 SSMU Board of Directors

The ratification of the Board of Directors (BoD) was conducted by a separate vote for each Board member after a motion to split the ratification process carried. Of the 10 nominated directors, seven were ratified for year-long terms beginning on Nov. 15. The nominations of three members—Noah Lew, Josephine Wright O’Manique, and Alexander Scheffel—failed to be ratified.

The failure of Lew’s ratification prompted a large portion of the students present to exit the ballroom in protest. Tojiboeva later expressed her belief that anti-semitic discrimination had played a part in the Assembly’s decision.

“I think it’s very disappointing that, as a school, we would vote against a member [Lew] only on the basis that people recognize his last name, and on the basis that he’s Jewish,” Tojiboeva said. “I think it’s quite shocking that in the 21st century such an elite institution would still go with that [racial prejudice].”

In an interview with The McGill Tribune, SSMU Vice-President (VP) External Connor Spencer cited the board’s decision to suspend VP Finance Arisha Khan as her reason for voting against Lew’s ratification. Lew already serves as a member-at-large on the BoD.

“I’m very concerned about how [Khan’s] suspension was decided,” Spencer said. “From what was said at [SSMU] Legislative Council by the different directors, it made me worried about [having] members on the board of directors who are not officers, that the students very clearly distrust.”

 

Motion for a Concrete Action Plan regarding Club Displacement

Players’ Theatre Technical Director Nadine Pelaez moved a motion mandating SSMU to develop a concrete action plan regarding club displacement in light of the SSMU building closure. The motion passed.

Players’, an independent student-run non-profit, is Montreal’s oldest English-speaking black box theatre. Pelaez expressed her concerns over the theatre’s ability to find a new space sufficient for their needs

“We feel kind of abandoned by SSMU, ” Pelaez said. “We already scheduled four shows in the spring, and we had to sit down with a director, who was excited about her show and tell her that we don’t think we can put it on. ”

 

President expresses desire to reconcile after failed motion of no confidence

Members also raised questions over the sincerity of Tojiboeva’s stated intention to repair her relationship with the rest of the executive team and membership in light of allegations of a lack of transparency. In an interview with the Tribune following the GA, Tojiboeva discussed her plans to overcome these rifts.

“We’re going to be engaging in talks about that, trying to reconcile our differences and move forward,” Tojiboeva said.

Spencer noted Tojiboeva’s lack of action to resolve differences among the executives thus far.

“Every attempt I’ve made [to reconcile] has been shot down,” Spencer said. “I’m waiting for someone else to propose solutions [….] It’s up to the president now to decide how she’s going to move forward with the team, because she’s the team leader and it’s ultimately up to her to decide where we go next, [and] multiple members have put forward solutions that have not been taken up.”

Khan also cited Tojiboeva’s failure to take reconciliatory actions.

“I don’t think there are [any attempts at reconciliation],” Khan said. “I can say that no steps have been taken and it’s kind of clear that there isn’t a willingness to admit wrongs. I’m not about to go into personal attacks [….] We could respond to every single thing that she said, but that’s not conducive to creating a healthy work environment, and its not conducive to shame your executives. I don’t know what we’re doing in terms of any steps [….] I’m hoping that we can [reconcile].”

Student Life

Common campus sightings, decoded

Alex is spotted walking up rue university toward Milton Gates at 9 p.m.. He is holding an extra large Tim Horton’s cup and a bag of timbits.

What it means: Alex has not started studying for his exam, and it is now the night before. Alex will be spending a long night in McLennan.

 

 

There’s one empty carrel on the 6th floor of McLennan. There’s a folder sitting on the desk of the carrel.

What it means: That seat is not for you, it’s for Sally’s friend, who won’t be here for another three hours. Try the 5th floor.

 

 

It’s a brisk October day, and every seat is filled in your recorded 500-person Political Science lecture.

What it means: You forget your midterm was today. Good luck!

 

 

Beatrice is selling a “GENTLY USED” textbook on the McGill textbook exchange.

What it means: Beatrice did not open that textbook at all over the course of the semester, and she’s now reselling it in order to update her fall wardrobe.

 

 

You have a paper deadline for November 10th at midnight on your course syllabus.

What it means: Nov. 10 will be a long day. You’ll wake up early in the morning to begin your paper, skip all of your classes, and procrastinate all day until you eventually submit the assignment at 11:59 p.m.

 

 

 

A swarm of young students exits Leacock, most of which with samosa in hand.

What it means: Class just ended in Leacock 132, and there happened to be a Samosa sale going on in Leacock lobby. Don’t try to get one—the samosas are now completely gone.

 

 

Brian, a person from your Frosh group that you shared a few shots with on the bus to beach day, walking through the Y-Intersection.

What it means: You and Brian will avoid eye contact and will pretend not to know each other.

 
Illustrations by Arshaaq Jiffry for The McGill Tribune
Art, Arts & Entertainment

Parisian Laundry’s latest exhibition juxtaposes the visceral with the downright bizarre

Joseph Tisiga’s IBC: Dystopic Autonomy, on display at the Parisian Laundry gallery until Nov. 20, is a complex play on primitivism, where the contemporary meets the mythological in a series of watercolour paintings and un-stretched canvases mounted on AstroTurf. For a portion of the work displayed within the exhibition, Tisiga juxtaposes conventional Western perceptions of First Nations culture with beloved Archie Comics characters, interacting in a way that is reminiscent of a dystopian cross-cultural exchange. Scenes include Jughead sitting beside a first nations chief narrating an unknown tale, Veronica teaching a native woman the nuances of preparing a bowl of cereal, and Archie—excited and shirtless—discovering a fur covered wigwam, or variation on the traditional teepee. There is a sense of intentional timelessness to the paintings, where the boundaries between setting and reality blur in loose and often scrabbled brushstrokes, thus forcing viewers to confront the relationship between past and present, visceral and animated.

The larger portion of Tisiga’s exhibition is a series of 16 watercolour paintings that describe a personal interpretation of a Kaska folk legend, where a mythological, human-consuming beast is disguised in a collection of urban, and somewhat misleading, objects. It might be lurking in the flaming graffiti in Exercise is Vitalm, or in the ominous striped man come to collect a spiritual tithe in Appears Self Evident. Perhaps the monster resides in the ghoulish scarecrow leering from its post in Trespassers Menaced by Psychosis. Altogether, the paintings present uncomfortable glimpses of human nudity and scenes of impossible context through a heavy-handed use of what is generally considered a delicate medium. The often ambiguous subject matter forces viewers to engage in an interpretive role, where they must make sense of the intricate narrative and open-ended titles while mulling over a glass of wine generously provided by the gallery.

In Anima Animus Paradis explores the role of theatre in the industrial gallery space, using curtains and three-dimensional positioning of his canvases to interact with the viewers, whom Paradis might otherwise call ‘puppeteers.’ His series of eight paintings, accompanied by a rotating sculptural head that encourages continual, circular viewing of the work, depict amorphous and genderless figures. The figures are representationally abstract and painted on colourful backgrounds, encouraging a distorted understanding of depth and texture within their dreamlike quality—others shed any semblance of humanity and instead simply use compositions of line and shape. Displayed in the basement of the gallery, where viewers can access the room through a narrow passageway of exposed brick, the paintings appear tucked away—a forgotten theater for the intrepid to discover in the bowels of the building.  

On a more personal note, I found the exhibition provided a unique—albeit somewhat confusing—addition to a Thursday night that might have otherwise been spent huddled over books in the library. I often feel that students view art with the overarching bias that comes with knowing a big name; when one hears Rembrandt and Degas, there is no confusion as to whether or not the painting might be considered ‘good.’ Going into the exhibition without context or an understanding of what I was undertaking presented a blank slate for viewing the paintings and allowed my emotional and visual experience to be completely unique to me as the viewer. Admittedly, many of the paintings were unsettling. But as I walked out the doors of the gallery, I knew that I had come to know that feeling without the aid of museum descriptions or social expectations.

 

News, PGSS

PGSS to join the Coalition Régionale de Montréal

On Oct. 18, the Post-Graduate Students’ Society (PGSS) Council met for the fourth time this semester, where they voted to join the Coalition Régionale de Montréal (CREM), a student advocacy group with more than 260,000 student members from universities across Montreal. The new Chief Returning Officer (CRO) for the Secretary-General by-elections Andréanne St-Gelais also detailed the steps of the electoral process, and Equity Commissioner Emil Briones reported on PGSS’s involvement in actions against sexual violence. Other notable announcements included Lorna MacEachern’s presentation on the myPath Individual Development Plan, Patrick Visintini’s discussion of the Legal Information Clinic’s services, and Krista Houser’s introduction to the McGill Office of Sustainability.  

Legislative Council votes to join the Coalition régionale étudiante de Montréal

External Affairs Officer Hocine Slimani put forth a motion for PGSS to join CREM. The nonprofit was formed in 2017 at the beginning of the municipal electoral campaign, and aims to support student needs at the metropolitan level by bringing their demands to the attention of political parties and candidates in the upcoming municipal election.

“The PGSS would like to formally assist and participate in [CREM’s] meetings,” Slimani said. “The executive committee already referred it, so they’re inclined to go for it.”

The majority of CREM’s demands focus on Montreal’s public transport system, with five of eight of their goals relating to the expansion of the public transit system and student discounts. The group also strives to raise awareness of students’ struggles to find affordable housing and of the lack of youth representation in the city’s governing bodies.

The motion to join CREM passed with one vote against and four abstentions.

By-election for Secretary-General announcement

Following former PGSS secretary-general Jacob Lavigne’s resignation on Oct. 2, CRO St-Gelais announced the details of the upcoming by-election for his replacement.

The call for candidate nominations is open until Oct. 27, with nomination forms available on the PGSS website. The mandatory candidates’ meeting will take place on Oct. 26 at 6 p.m. at Thomson House, and the CRO will release the meeting’s location via email prior to it.

“We’re waiting to see if there’s going to be people interested who nominate themselves,” St-Gelais said. “[At the] information session for candidates, […] we’ll know how many people are interested.”

Campaigning will take place from Oct. 28 to Nov. 4, culminating in elections from Nov. 5 to 11. The new Secretary-General’s term will begin on Nov. 12.

Equity Commissioner reports on McGill’s Policy against Sexual Violence

Equity Commissioner Emil Briones updated council on PGSS’s current research into sexual violence on campus. Briones gave notice of the appointment of Sara Mahboob (LLM ‘08), a doctoral candidate at McGill’s Faculty of Law, to the Ad-Hoc panel to conduct a campus study of sexual violence. Following concerns that Briones’ seat on the panel constituted a conflict of interest, Mahboob was nominated to take his place as an observer of the panel’s activities.

“There was a concern brought up two council meetings ago that I sat on the […] panel […] and that the chair of that committee [Dr. Shaheen Shariff] is one of my graduate supervisors,” Briones said. “I found someone who had the time to sit on that committee as a delegate instead of myself [….] Her scholarship very much speaks to the context of this work so that’s pretty exciting.”

The Equity Commissioner asked that PGSS Council attendees fill out Dr. Shaheen Shariff’s survey on student experiences with sexual violences and with McGill’s Policy against Sexual Violence. The data coming out of the resource project will serve to inform the development of PGSS’s sexual violence policy.

Briones and Member Services Officer JennyAnn Pura have also secured an observer seat for PGSS on the implementation committee of the sexual violence policy. As an aside, Briones also expressed his support for all those triggered by the current social media activity around sexual violence and harassment, such as the #MeToo movement and references to sexual violence stemming from the Harvey Weinstein scandal. He reminded students that the McGill campus has resources for them and that part of his role as Equity Commissioner is to help direct those in need to these services.

If you know anyone who is emotionally triggered or going through a hard time there are resources on campus here for that,” Briones said. “I certainly can be supportive in that way. If there are students coming to you with these kinds of concerns please know that my […] door is never closed to people.”

Student Life

How to keep houseplants alive during the busiest time of the year

It’s easy to forget about houseplants amid midterms, essays, and deadlines. On Oct. 19, the Concordia Greenhouse, in partnership with permaculture specialist Jonah Neumark, hosted a Houseplant Care 101 workshop to guide attendees through the basics of keeping houseplants alive and well. Neumark heads Neumark Design, a permaculture design and implementation company based in Montreal, and runs a plant nursery. The session covered how to provide proper lighting, water, soil, and fertilizers for plants, as well as combatting pests and diseases. Afterward, The McGill Tribune spoke with Neumark about the ins and outs of houseplant care and how to keep them healthy and happy, all while managing a busy student schedule.

 

The McGill Tribune (MT): Do you have any tips for first-time gardeners?

Jonah Neumark (JN): Follow a few basic rules. Water properly, give [houseplants] the proper lighting conditions, repot the plant[s], and keep them in good quality, aerated soil [….] Do basic research on the type of plant you have, the soil and light needs. [Consider] if it needs very arid conditions or wet conditions. [Is it] a tropical plant that needs to stay indoors, or is it a harsh plant that needs a cold dormancy?

 

MT: Many students are busy and don’t have time to care for their houseplants. What type of plant requires the least amount of care?

JN: Succulents and cacti for sure are very, very low maintenance. They’re very tolerant of dry conditions. You want to let the soil dry out almost completely. That is the one that requires the least amount of water. And it grows slowly, so you are repotting less often. Non-cacti that I recommend that are similar to cacti, in terms of aesthetic and type of plant, [are] the oxalis. It has a triangular red leaf and flowers beautifully. Honestly, I’ve had one since I was young in my parents’ house, and it must have gotten wilted to the point where all the leaves dried and died and had not been repotted in many years, but it still survived and flowered.

 

MT: What’s the difference between annual and perennial plants?

JN: An annual is a plant that only survives for one year, whereas a perennial survives for multiple years. You also have biannual plants which survive for two years and tri-annual plants which survive for three years.

 

MT: Are there good reasons to buy an annual even if it’s likely going to die?

JN: Many vegetables are annuals. They’re useful, productive plants, but that’s it. I find way too many people plant annual flowers [….] People often plant things like impatiens around the borders of their garden. They’re really pretty, but there are many perennials that are [just] as pretty. I think [people buy annuals more] because of landscaping and plant nursery industries [promoting them] in order to have resales.

 

MT: What are the best practices for watering houseplants?

JN: Pour in [more than just] a little bit of water. Take them to the bathtub or outside or put a tray underneath to catch the water, and saturate them fully with up to four waterings, flushing them each time so that the water comes out the bottom. The idea is that every time you water, you want to make sure the entire volume of soil is fully saturated. Water once, wait five or 10 minutes, and water it again [up to four times].

 

MT: No one like bugs in their apartment. Can pests be an issue for houseplants?

JN: There are diseases [that can affect them]. There are fungal diseases, and then there are things like mildew and rust. Then there’s pests. For mildew, you would use baking soda or sulfur [to get rid of it]. For most common insects, [such as] whitefly, aphids, mealybugs, insecticidal soap takes care of it.

Baseball, Sports

2017 World Series preview

 

LA Dodgers
 

 

 

Houston Astros
 

 

 

The final matchup felt inevitable as the season chugged along. Tonight, Oct. 24, a pair of 100-game winners will face off in the World Series for the first time since 1970 as two of the best teams in baseball take centre stage—the National League champions Los Angeles Dodgers against the American League champions Houston Astros.

 

Los Angeles Dodgers

Strengths: Depth, depth, and more depth

Weaknesses: Regular season inconsistency

At one point this season, the Dodgers looked unstoppable. In the best 50 game stretch since 1912, spanning from June until August, the Dodgers won 43 games and lost just seven times. At another point, they looked quite the opposite, during a stretch in which they lost 11 in a row and 16 out of 17. The good news for L.A. baseball fans is that right now the 7-1 postseason juggernaut looks a lot more like the former stretch than the latter.

On the surface, the team’s success might be attributed to its massive payroll. However, this notion is false. Many of the team’s stars are homegrown talents or prospects acquired in trades for former Dodgers stars like Dee Gordon. The team is spending over one third of its payroll on players who no longer wear the Dodgers uniform.

Only a team with immense depth could overcome such a financial burden. Luckily, depth is the Dodgers’ calling card, especially in the starting rotation. Led by Clayton Kershaw, the rotation goes four deep, while its fifth option, Kenta Maeda, has joined forces with a dynamite bullpen to lock things down in the postseason.

The offence hopes to get star shortstop Corey Seager back from injury, but in his absence they’ve more than managed. The Dodgers scored 28 runs over the five NLCS games, thanks to key contributions from outfielders Chris Taylor and Yasiel Puig, and third baseman Justin Turner. The man at the hot corner is near the greatest all-time in postseason history among players with at least 100 plate appearances. His career playoff on-base percentage of 0.481 places him second in MLB history—between Hall-of-Famers Lou Gehrig and Babe Ruth. Now, that’s good company.

 

Houston Astros

Strengths: Explosive offense, middle infield, Justin Verlander

Weaknesses: Middle relief

The Astros were Sports Illustrated’s pick to win the 2017 World Series—three years ago. Houston is finally in the Fall Classic after a methodical tank and rebuild that saw the team lose 416 games over four seasons from 2011 to 2014.

Second baseman Jose Altuve and shortstop Carlos Correa lead the way for the deep Astros offence: The former is a leading American League MVP candidate after a fantastic all-around campaign, while the latter hit 0.315 on his way to solidifying his place among the game’s best shortstops.

On the pitching side, Justin Verlander carried Houston on his back through two dominant ALCS starts. Meanwhile, lefty Dallas Keuchel co-stars to give the Astros a dominant one-two punch. Beyond those two, it’s going to be a matter of mix-and-match for manager A.J. Hinch.

The Astros will take an all-hands-on-deck approach with its bullpen, much like in the decisive ALCS Game 7, where every pitcher on the roster was ready to be called upon. Lance McCullers, Jr.—typically a starting pitcher—threw his devastating curveball 24 times in a row to close out Game 7 against the Yankees. The middle relief has struggled for the Astros of late, but if McCullers, Brad Peacock, and Ken Giles can step it up and lead the way behind the starting corps, the Astros will be in great shape to compete with the National League’s best team. The Astros were tremendous all year, and they’ve earned their spotlight in the Fall Classic.

 

Prediction: Dodgers in 7

The Dodgers look positioned to keep on rolling through to the end of October, as their depth will finally overpower Houston in a fantastic series. When all is said and done, Clayton Kershaw and company will raise the World Series trophy for the Los Angeles crew.

Arts & Entertainment, Film and TV

The Tribune team takes on Montreal’s Festival du Nouveau Cinéma

This past October marked the 46th iteration of Montreal’s annual Festival du Nouveau Cinéma (FNC). Decades into its existence, the festival is continuing to grow; this year, FNC managed to secure the premiere of big name films, most notably Blade Runner 2049. The McGill Tribune looks at what succeeded, and what fell short.

'Call Me By Your Name'

Call Me By Your Name is a gay coming-of-age story, the aura of which I can compare only to some pleasant summer memory. Elio (Timothée Chalamet) is the precocious son of an academic (Michael Stuhlbarg) living in a small town villa in 1980s Italy. Oliver (Armie Hammer), an American grad student, moves in to study with the professor. Elio and Oliver’s first meetings are awkward as their respective Italian and American sensibilities clearly clash. Soon, however, a passionate relationship blossoms between them.

Luca Guadagi’s (A Bigger Splash) masterful direction depicts their lovely life in rural Italy, conveying bottomless nostalgia without being overbearing. This can also be credited to James Ivory’s screenplay.

Chalamet astounds, projecting equal parts naivety and intellectual fortitude, and Stuhlbarg’s singularly tender speech to Elio near the film’s closing is a highlight. Hammer, however, is the real star here; his presence is overwhelming from the moment he meets the family.

The film manages to eschew most clichés that plague queer cinema: There is no enemy, and no one is trying to pry the two apart. Instead, we get the sense that Elio and Oliver possess absolute freedom. They can wake up and decide to bike through the countryside, or swim in scenic rivers.

Not much happens in a larger, conflict-oriented sense—a fact reflected in Guadagni’s relatively static camera. What the camera chooses to highlight with its singular grace is Elio’s self-discovery, an arch so potent and affecting that a wave of disappointment crashes upon us as the lights turn on and we realize our time with these characters has come to an end, like the most beguiling of dreams.

 

 

'The Killing of a Sacred Deer'

The Killing of a Sacred Deer opens with Schubert’s grandiose Stabat Mater, and an extreme close-up of a human heart mid-operation, followed by a conversation about wristwatch straps. Within minutes, director Yorgos Lanthimos sets the tone for the film: Darkly eccentric, fearlessly macabre, and meticulously choreographed. However, underneath its spectacle, and despite some incredible performances, The Killing of a Sacred Deer falls short in depth and emotional resonance.

Colin Farrell plays a successful cardiologist, husband to his wife of 16 years (Nicole Kidman), and father of two children (Raffey Cassidy and Sunny Suljic). His seemingly-idyllic life is torn to shreds with the arrival of oddball teenager Martin (Barry Keoghan), and he is forced to make a choice with life-or-death consequences.

The Killing of a Sacred Deer is stunning and brutal—a masterclass in arthouse filmmaking, but its cold-heartedness and maddening horror make it truly difficult to sit through. The deadpan distance between the characters, while clearly intentional, leaves viewers floundering in an emotional void, offering no window for investment. When The Killing of a Sacred Deer reaches its fierce final act, there is little to do but watch the horrific action play out with the same cool indifference as its characters, a frustrating and hollow payoff after being trapped in a two-hour nightmare.

 

 

'The Square'

I’m not being facetious when I say that the most impressive thing about The Square is that writer-director Ruben Östlund (Force Majeure) managed to stretch its stale premise out over an interminable two-and-a-half hours.

Claes Bang stars as Christian, a cosmopolitan curator at a contemporary museum in Stockholm. In an attempt to revive his museum’s waning attendance, Christian acquires a new exhibit called “The Square”. At a staff meeting, however, he is told by two press relations people—the kind of guys who would describe themselves as “influencers”—that market research indicates a ridiculous advertisement campaign is needed in order to turn a profit. It’s at around this point that the film begins to cave in. Beautiful cinematography and an exhilarating set piece aren’t enough to distract from the picture’s most apparent issue: A lack of subtlety.

Whether it’s the lampooning of the commoditization of art, the homeless people resting on the museum’s steps, the janitor who accidentally cleans up an experimental piece of art featuring dirt, or—I kid you not—the bonobo who can draw, we are spoon-fed with such frequency that the satire loses its sharpness. By the end of act one it is apparent that the film has beef with the elitist contemporary art scene. Östlund continues to belabour this point until the film moves from thought-provoking to thought-domineering. The film ends up resembling one of the pretentious, overwrought, and clumsy pieces that Christian would install at his museum—the kind of piece that Östlund would sneer at.

 

https://www.youtube.com/watch?v=zKDPrpJEGBY

 

'Wonderstruck'

Please ignore the trailer that pops up when searching “Wonderstruck trailer” on YouTube. Todd Haynes’ newest feature has so much more to offer than its protagonists turning corners and children’s choruses singing David Bowie songs. Where the trailer promises a children’s movie—and a clichéd one at that—Haynes delivers a brilliantly nuanced film about childhood.

Adapted from Brian Selznick’s graphic novel of the same name, Wonderstruck juxtaposes the temporally distinct experiences of two runaway deaf children in New York City. The first, starring Oakes Fegley (Pete’s Dragon), moves from an incandescent, Stranger Things-esque ‘70s Minnesota home setting, to the ever-loving sunbaked streets of Harlem, New York. Complimenting these sensuous flashes of colour is a black-and-white take on the Big Apple of the ‘20s, starring formerly-unknown deaf actress Millicent Simmonds. Flighty, effervescent, and whimsical, this twin tale takes its cues from Charlie Chaplin-era silent film.

Intimately tied together from the start with an inventive use of cross-cuts, the two stories share much more than their characters’ disability. Lost in societies not built to accommodate their needs, Haynes’ two protagonists’ experiences of marginality fit well within the larger agenda of his filmography. Wonderstruck, though not a “children’s movie” per se, prizes a childlike innocence and honesty above all else. Powerful without being overbearing, Haynes’ latest is rousing, empathetic cinema at its finest.

 

 

 

 

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