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MARCH 7, 2024 • VOLUME 76 • ISSUE 11 w MARTLET.CA @THEMARTLET @THEMARTLET

UVSS ELECTION

Meet the students running for lead director roles this election Voting starts March 13

Feb. 28 marked the start of this year’s UVSS election, and there is less than a week left before the voting period begins.

This year, almost 30 candidates are running to join the board, with 12 looking to take on full-time lead director roles. All Lead Director positions are opposed this election, with the exception of Director of Outreach and University Relations.

The Martlet caught up with each of the Lead Director candidates to learn about what they hope to accomplish if elected.

DIRECTOR OF CAMPAIGNS AND COMMUNITY RELATIONS

The Director of Campaigns and Community Relations is responsible for coordinating UVSS campaigns and working with different levels of government on key problems that students are facing. This position also represents the UVSS for external organizations, committees, and coalitions.

Prym Goodacre

Prym Goodacre is a fourth-year religion, culture, and society major minoring in Greek and Roman studies, who is currently part of the UVSS Campaigns Committee. Goodacre has been an active organizer in the local music scene for over five years, helping support young musicians and artists where other politicians and institutions have failed to do so.

If elected, Goodacre will focus on the most urgent needs of students, from housing, to transit, to student-led movements on campus. Considering the large student population, she believes that students have leverage that isn’t being utilized.

“I think a really important part of this position,” said Goodacre, “is empowering students to use their voices to effect change.”

Goodacre has done advocacy work for housing and transportation initiatives, and is a self-proclaimed nerd for zoning laws. She believes that pushing for better public transportation — including a light rail — will help make the lives of students better.

Unhappy with the state of food services on campus, Goodacre hopes to look into a non-profit model to make groceries available to students. Another area that Goodacre wants to focus on is UVic’s sexualized violence policy.

“The current model of UVic sexualized violence policy is incredibly damaging to survivors,” she said. “Students deserve better.”

Isabelle Easton

Isabelle Easton is a first-year political science and writing student. With an interest in whales, the ocean, and polar bear swims, Victoria was the perfect place to move to after growing up in Saskatchewan.

Easton believes that her experience with the Saskatchewan Youth Council will help her in this role and allow her to utilize the insight on policies that she has acquired. If elected, she plans on using a three-step program to tackle the most important issues students are facing, including housing, mental health support, and food security. These three steps are surveying, building, and governing.

“For the survey aspect, I'm planning to conduct surveys and research among the student body,” Easton said, “to impact the largest volume of UVic students.” After that, she hopes to build

relationships with non-profits and local organizations, creating more opportunities for UVic students to become involved in the broader community. Then, if elected, Easton plans on creating and maintaining a relationship with the local government to help give a voice to the student population in municipal decisions. She is hopeful that she can improve the attitude that some students have toward the UVSS, helping people realize that changes are being made to improve the student experience.

DIRECTOR OF EVENTS

The Director of Events is more than just a party planner. Their duties include planning and delivering a wide array of events throughout the year and collaborating with diverse partners on and off-campus. They also work closely with the UVSS communications and graphic design staff.

Sarah Buchanan

Sarah Buchanan is a third-year sociology student who is the current Director of Events for the UVSS. She moved here from Calgary at 17 and hasn’t looked back since. As an extrovert, she loves the community that she has built here in Victoria.

Buchanan has been planning community initiatives since before joining the UVSS, serving as a Director-at-Large before taking her current position.

“Something about running events just clicks with me. I'm so very proud of the work I've done both in public-facing events and in back-end advocacy, and the idea of one more year excites me to no end.”

One of Buchanan’s biggest accomplishments has been the free hot lunch program, and she hopes to increase its visibility and potentially its frequency too, to help alleviate some of the stress that rising food costs cause for students.

Buchanan helped put on Sexpo, and hopes to have the opportunity to make it even better. She’s also helped events like Slushfest or the clothing swaps see the light of day.

“I'm so proud of the work I've done, and I think I'd do great again next year.”

Artem Kuklev

Artem Kuklev is a third-year psychology student with aspirations of becoming a clinical psychologist. He has been actively involved with student leadership roles, having served as a student senator and club president.

“I decided to run for the position of Director of Events because I think currently the UVSS is not doing a good enough job,” said Kuklev. “I am deeply committed to enhancing the student experience at UVic. I recognize the importance of addressing key issues such as mental health support, inclusivity, and transparency within the UVSS.”

If elected, Kuklev hopes to organize events catered to the diverse UVic student body, with initiatives like free meals, academic success events, and career development events. He is committed to making improved accessibility to mental health support a priority, hoping to ensure that wait times are greatly reduced so that students can access these resources when they need them.

“I believe I am a strong candidate for the role of Director of Events due to my experience in student leadership, my passion for advocating for positive change, and my dedication to addressing the needs of the UVic student community.”

Bethany Shymko

The Martlet reached out to learn about Bethany Shymko’s Director of Events campaign and did not hear back before the time of publication.

“If elected, I am committed to cultivating this community spirit of success through more frequent events on a diverse array of high-traffic locations on campus,” reads

Shymko’s bio on the UVSS Elections website. “These events, such as free coffee or lawn games, will facilitate community togetherness and support.”

DIRECTOR OF FINANCE AND OPERATIONS

The Director of Finance and Operations manages all aspects of UVSS finances, including operations, services, marketing, and planning. They also coordinate the UVSS health plan, dental plan, U-Pass program, and act as the liaison between staff and the Board of Directors.

Khushi Wadhwa

Khushi Wadhwa is a fourth-year international student from India studying economics and minoring in business. She is the current Director of Finance and Operations for the UVSS, and before taking on this job, she was a marketing executive of multiple UVSS clubs and the president of the Young Women in Business club.

If re-elected, Wadhwa plans on creating a digital rewards app for the SUB, so any time you spend money at the SUB you’ll get rewards. She’s also planning to restructure student insurance to benefit students more and hopefully reduce student fees. This includes creating financial caps on services.

“My experiences serving students this year has been very rewarding and a wonderful experience overall,” Wadhwa said. “Supporting students directly or indirectly through my role, or being an active member of UVic Senate committees is something I love to do and would love to continue doing.”

Meher Tahiliani

Meher Tahiliani is a third-year business student from India. Though she has only been in Victoria for two years, she has grown to love this city and the people in it. After graduation, she’s planning on getting her Certified Public Accountant (CPA) designation to eventually work in wealth management. While she has not worked for the UVSS before, she currently works for the university as a Community Engaged Learning Assistant.

If elected, Tahiliani plans to increase financial literacy on campus, especially among international and exchange students who have limited access to these resources.

“I have been involved with other university-related clubs and programs but I realized that being in a Lead Director position will give me the chance to make an impact,” Tahiliani said. “Running [in] this election, and hopefully winning it, gives me the chance to transition from wanting change to causing change.”

Ryli Michalczuk

Ryli Michalczuk is an Economics major with a minor in music. While she has not previously worked for the UVSS, she is excited to get more involved through the election process. Despite this lack of experience, she has worked before with finances, marketing, and communications through running a non-profit in her hometown in Ontario.

If elected, Michalczuk wants to provide students with more budget transparency. She also aims to be a friendly face that students can approach with their ideas and thoughts regarding the UVSS and SUB. She hopes to work with students to budget for the clubs and events that are important to them. For marketing, Michalczuk wants to work closely with the businesses in the SUB to see what could be done differently, including new products that could be introduced. “I really want to communicate and contribute to my student community,” she said. “Hence my motivation for running for this position.”

DIRECTOR OF OUTREACH AND UNIVERSITY RELATIONS

The Director of Outreach and University Relations acts as the UVSS spokesperson to the student population and oversees the development and implementation of bylaws and policies. This job includes overseeing member outreach projects and programs, coordinating volunteers, and lobbying the UVic administration. This director also serves as the chair of UVSS Board of Directors meetings.

Bunni Williams

Bunni Williams grew up on the unceded territories of the Kwantlen, Katzie, and Semiahmoo Nations, and has lived on the unceded territories of the Lekwungen and WSÁNEC peoples for the past five years. During their time at UVic, they have been taking sociology and Indigenous studies. Williams has worked as the Gender Empowerment Centre representative for UVSS and is currently the Director of Student Affairs. Their plan, if elected, is to empower students within their community and to make a change on campus. They want to create avenues of communication with students so their work can be guided by the students.

“As Director of Outreach and University Relations, I see my role as a vessel [for] communication between student interests, the university, and other key powerful partners on campus and beyond that can motivate student advocacy on campus,” Williams said.

They have three main goals as Director of Outreach and Community Relations. They hope to lower prices of food on campus while improving quality, opening a thrift/freestore on campus, and updating the EQHR Sexualized Violence Response Policy to include off-campus incidents, since students that need access to these services live both on and off-campus.

“Students are loud with what they want,” Williams said. “I just need to hold the mic for them.”

DIRECTOR OF STUDENT AFFAIRS

The Director of Student Affairs is primarily responsible for acting as a contact between the UVSS Board of Directors and various student groups on campus. This includes supporting advocacy groups, clubs, and course unions by meeting with these organizations and reviewing UVSS policies that affect them. They are also the chair of the Advocacy Relations Committee as well as the Clubs and Course Union councils.

Jordan Cowan

Jordan Cowan is a fourth-year software engineering student, who is also on the varsity swim team. Cowan has always been active in his community, serving as president of his high school’s music program and taking on leadership roles within various sports teams.

“I enjoy collaborating with others [and] trying to create a better environment that accommodates everyone’s needs,” said Cowan, who decided to run in this year’s election to help the UVic community. “I like being organized in a professional space and keeping as many people happy and informed on their relevant issues as I can,” he added. If elected, Cowan hopes to focus on student engagement through the Director of Student Affairs role.

“Having started at UVic during COVID, I have felt firsthand the rift that can form between people and know how difficult it is to mend,” he said, emphasizing the importance of encouraging students to get involved with the UVSS and other organizations on campus.

By providing support and listening to concerns of student groups, including

advocacy groups, clubs, and course unions, Cowan believes he can help ensure that students’ concerns and voices are heard.

“Nobody should feel like they are on the outside looking in as the student body and our many groups continue to make decisions without their input being heard, considered, and addressed.”

Callum Carroll-Ireton

Callum Carroll-Ireton is a third-year student studying computer science and education. They are currently serving on the UVSS Board of Directors as the representative for the Pride Collective.

“I want to bring in space for more queerness and more STEM representation on the board,” said Carroll-Ireton. They decided to run after interacting with the Director of Student Affairs and learning that the role provides the opportunity to help students find community on campus.

“As the Director of Student Affairs I want to do everything in my power to enable students to build and engage with a thriving university community,” said Carroll-Ireton. “I want to do as much as I can to help to grow something beautiful in this place that I love.”

Their plan to increase student engagement with clubs includes increasing the visibility of student groups by creating a newsletter focusing on upcoming events and providing access to the UVSS Instagram for promotion. Carroll-Ireton also hopes to allow non-ratified clubs to book meeting spaces and provide more funding opportunities for clubs.

“Another part of making the community more accessible is flexibility and responsiveness,” added Carroll-Ireton. “Students will no longer have to choose between skipping class and getting funding for their club.”

Hemal Sharma

Hemal Sharma is a second-year political science student who has community leadership experience through work with the Calgary Sikh Society. Sharma also has experience in various on-campus positions and has worked as a food service worker and voting information officer.

“Student affairs particularly stood out to me as it is the role that can best support different student organizations and students directly,” said Sharma, who decided to run after hearing about the UVSS Board’s impact from a current director.

If elected, Sharma plans to focus on improving mental health support and access to other resources for students, as well as fostering inclusive spaces on campus by offering diversity and inclusivity workshops to staff and students. “This initiative will include creating safe spaces for dialogue and learning, aimed at fostering a deeper understanding and appreciation of our diverse student body, thereby ensuring everyone feels truly welcome and valued at UVic,” said Sharma.

Supporting student groups will also be a top priority, and Sharma plans to focus on improving the collaboration and communication between these organizations and the UVSS Board. “I aim to build a collaborative process where these organizations feel heard and have a real say in policies that will affect them and their members.”

Now that you’re familiar with the Lead Director positions and the students running for them, make sure to cast your vote this election. Voting starts at 9 a.m. March 18, and polls close at 3 p.m. March 20. Look out for voting booths throughout campus or cast your ballot online to have a say in who takes on these roles, as well as the Director-at-Large and the Director of International Student Relations positions. This year’s election also includes four referendum questions.

2 // MARCH 7, 2024

Duo app generates student complaints about inconvenience and accessibility

Multi-factor authentication will soon be required for all UVic accounts

Last year, UVic implemented a two-factor authentication (2FA), or multifactor authentication (MFA), system for employees and students through a third-party app called Duo. The roll out will make 2FA mandatory for everyone at UVic by March 2024. However, some students are questioning whether this app was the best choice.

According to a university spokesperson, MFA was implemented to protect the login credentials of students and staff from security threats such as malware and phishing scams. MFA is also required by UVic’s cybersecurity insurance providers.

One common complaint about Duo is how frequently it requires users to verify their login.

Moise Ruch, a fourth-year political science and business student, explained to the Martlet that using Duo to log into his UVic account once would be fine, but he sees re-authenticating once every week as unnecessary.

“I don’t think I realized that this would be an everyday part of my life trying to sign into my account,” said Zacharie Greenfield, another fourth-year political science student.

NEWS OPINIONS

The weekly time-out can also occur in the middle of class, forcing students to pull out their phones in order to access Brightspace. Another common issue with Duo is the phones themselves. Midori Ogasawara, an assistant professor in the department of sociology explained that in order to use MFA, you need to have the latest smartphone. If you don’t

have these devices, you don’t have access. Duo currently supports Android 11 and up and iOS 15 and up.

Not everyone has a smartphone that can run the Duo App, or a smartphone at all.

Sarah Roberts, an art history graduate student, explained that she lost access to her UVic account when she lost her phone. The Help Desk was closed for

a holiday at the time, and as a result, Roberts had to wait a few days before getting back into her account. Although she had a back up phone to use, the device was too old to run the Duo app. While the Duo app is UVic’s suggested MFA service, there are alternative options. Students can use a third-party app (such as Google Authenticator or Microsoft Authenticator), a physical

Duo hardware token, or a set of backup sign-in codes. All students interviewed were unaware of these options.

Duo was chosen because it passed UVic’s Privacy Impact Assessment. According to the university, Duo is also “the industry leader in higher education because it supports the most diverse set of services, technologies, and devices out of all 2FA providers available.”

The Duo mobile app uses a pseudonymized mobile data analytics provider to gather data on how users use the app and a pseudonymized crash report service. According to the website, it cannot ‘see’ what users do in other apps, and users can disable this feature on Duo v3.24 if they choose. While some see it as a hassle, political science student Greenfield emphasizes the importance of protecting students’ accounts. “There is very valuable information about what you’re studying, where your finances are coming from, all these sorts of things can compile to draw an image about you,” Greenfield told the Martlet. “In today’s world, algorithmic data programs can infer things about you that could shock people thoroughly.”

The moral blind spot: The curious case of our mistreatment of conscious creatures
Three reasons a plant-based diet should be the moral baseline for modern society
SENYA NORMAN CONTRIBUTING WRITER

One question I always hear from people when I tell them I don’t eat animals or their by-products is whether I’m doing it for the environment, my health, or for ethical reasons. While all these reasons and more justify the discontinuation of animal exploitation, the simplest and most compelling is the moral argument.

The moral argument that I will describe has no specific origin, but has been built up over many years of thinking and has been influenced by many philosophers and academics in moral philosophy, such as Ed Winters, Sam Harris, Steven Pinker, and William MacAskill. The moral argument against animal exploitation for human consumption and recreation relies on three premises that follow each other chronologically; each premise relies on the preceding premise to establish moral consistency.

PREMISE ONE: ANIMALS DESERVE MORAL CONSIDERATION

We as humans can observe that animals are in fact conscious, which means they have an experience of the world. We can easily tell animals of the same species apart by their different personalities and we can see that animals have a preference to live and not be harmed or killed. We can understand that cutting the throat of an animal and cutting the stalk of a broccoli are two very different actions with different moral consequences. In fact, the meta-cognitive abilities of humans give us moral autonomy and a unique perspective in the

animal kingdom. We can make moral judgments that other animals can not and choose between killing a conscious animal or pulling a carrot out of the ground.

PREMISE TWO: WE SHOULD AIM TO REDUCE ANIMAL SUFFERING AND DEATH

If we believe that animals deserve moral consideration, we should aim to reduce animal suffering and death wherever pragmatically possible. This follows the same moral logic that we should not do things simply because we can or because they feel good.

For example, someone shouldn’t harm their dog simply because they are angry or annoyed. In fact, if we discovered that an individual enjoys harming their dog, we would and should remove that dog from the dangerous environment. Moreover, we would consider that person morally reprehensible and they might even be charged with a crime.

The thinking that creates this foundational moral logic can be followed through with any other animal. We are all conscious and we all have an experience of the world. In fact, if we put the brains of different mammals, including humans, next to each other we all share

the exact same brain structures with variations in size and folding. We even share 60 per cent of our genetic makeup with chickens and our brains evolved from a shared ancestor. Although consciousness is an extremely elusive concept and science has yet to uncover all its mysteries, most experts agree that consciousness emerges from the brain. Therefore, with the understanding that our brains are either nearly identical to some animals or very similar and evolved from the brains of shared ancestors of other animals, it’s scientifically reasonable to attribute conscious experience to them and thus, aim to reduce their suffering.

PREMISE

THREE: A PLANTBASED DIET REDUCES ANIMAL SUFFERING AND DEATH

A plant-based diet reduces a large amount of animal suffering and death and has no negative consequences for our modern existence. In the aim of reducing animal death and suffering, this would be the most morally consistent way of eating. Humans are heterotrophic mammals and we must obtain our energy from external sources. This means that any form of consumption will come at some cost to other organisms, but we have a moral responsibility to reduce that cost as much as practically possible. Given that a plant-based diet causes the least amount of suffering to animals, such a diet should be the moral baseline for modern societies.

The strangest part about all of this is that few people would claim that they morally prefer an animal to die over a potato to be pulled out of the ground;. People generally agree with the moral reasoning against animal exploitation. Most people form close connections with animals, would never hurt one willingly, and would always choose to save a life over taking one. In contrast, we needlessly kill millions of innocent animals every day. How is it that we can show so much compassion, care, and kindness to an animal in one moment and in the next have them served up dead on our plates?

This perplexing phenomenon is what I’ve come to call our “moral blind spot.”

NEWS 4 // MARCH 7, 2024
Photo via University of Illinois Chicago. Illustration by Frankie Ho.

Anti-aging ideals are lying to you Looking young doesn't have to be important

When you think of aging, what image pops to mind? Retirement homes? An old lady with her cats? Wrinkles and crow's feet? Maybe it just brings a sense of dread or a feeling of apprehension.

Anti-aging is a very present conversation these days. In my experience, it’s come up many times with friends and in social circles.

Whether it’s Botox, anti-aging creams, or anti-wrinkle straws, many products and procedures meant to slow down or hide the effects of getting older are marketed to audiences of all ages. More and more people are buying into this marketing.

In my opinion, most of these products are trying to fix a problem that doesn’t exist. Aging is a natural process that happens to everyone and is a part of life. It isn’t painful nor is it wrong, so why try to stop it? The very simple answer is the pressure of living up to beauty standards.

This pressure to stay young and therefore “beautiful” has always existed, especially for women. It’s no secret that women are harshly judged by their looks. Beauty standards in general are rooted in the image of youth, as the standard is often clear,

smooth skin, big eyes, and a glowy complexion.

These ideals are spread by celebrities, media, and tabloid articles with phrases like, “she looks good for her age” and “unproblematic people age better.”

We often see images of older women that have been edited to get rid of wrinkles. Online, women are put down for looking “too old”, while others get

applauded for still looking young. Our culture tells us we are more valuable if we adhere to these standards of looking young, so it makes sense for young girls to want to get a head start on preventing aging and older women to try to get rid of any signs of aging.

This effect is amplified by online spheres like TikTok. The people who do get the procedures or products rave

about it online, influencing others to try it out. Dr. Sheila Farhang, a dermatologist in Arizona, said in a New York Times article that young people ask her about Botox purely because they have FOMO since their peers were using it.

TikTok and other social media platforms create a form of mass consumption. We feel the need to fit in with the new cool thing, whether it be a certain water bottle or style of clothing. It’s no wonder that Botox, like other trends, has become a way to fit in with the masses. Because of this, getting Botox and using age-delaying products has become so normalized that no one bats an eye when 20-yearolds say they want preventative Botox injections.

“You’re going to get a cosmetic procedure for the same reason you wear makeup: because every other woman is,” wrote the staff of Time Magazine in a piece called “Nip. Tuck. Or else.” The article was written in 2015, and at the time, anti-aging procedures were mainly associated with celebrities. These days, a future where most women get plastic surgery to fit in doesn’t seem so unimaginable.

On top of that, Botox and skincare aren't cheap. A typical Botox session costs around $200–300, and for most

Why Glee needs to make a comeback

procedures the patient needs to come back every 10 months for another round. Skincare products can run up to and even over $250, with high-end anti-aging creams costing hundreds of dollars. Companies producing these products are making millions each year off the back of women’s insecurities.

Without fear of appearing old from wrinkles or smile lines, these companies wouldn’t thrive the way they do. These worries are created and pushed into women’s minds until they are willing to pay to get rid of them.

The truth about aging is that it’s not up to us, it’s based on a person’s environment and genetics. We have little control over it, and that’s the way it should be.

Aging is not a bad thing. On the contrary, signs of aging show a life well lived. Smile lines and wrinkly skin are products of the sun, smiling, laughing, and expressing the range of human emotions. Aging paints our life on our skin. I think it is a privilege to be able to age and it shouldn’t be taken for granted, nor should we try to stop it.

With rising LGBTQ+ hate, we need Glee 's unapologetic characters now more than ever

A Christian abstinence club leader gets pregnant. A loud and proud gay man doesn’t change for anyone, even when the world tells him not to be different. An annoying, yet talented loser believes in herself when no one else does. These are just a few characters from William McKinley High School.

Glee was more than just a silly show about teenagers breaking out into cringy musical numbers — it was a cultural phenomenon. The show brought a new age of inclusivity. There were teenagers from every walk of life, including Artie, who became disabled after an accident; Becky, Sue Sylvester's right hand woman who just happened to have down syndrome; and Unique, one of the first transgender characters on TV.

It also showcased not just straight romances, like Rachel and Finn’s, but broadcasted both gay and lesbian relationships. It even had a double gay wedding. This show brought representation to the screen in an age where LGBTQ+ content was hard to come by.

LETTER

While there is no research to prove that Glee caused more LGBTQ+ acceptance in society, there was a shift in public opinion of gay marriage while it was airing. In a 2009 study published by Pew Reaserch Center, only 37 per cent of the American respondants supported gay marriage, but in 2015, 57 per cent supported it.

Even though Glee probably wasn’t the sole reason why there was this change in public favour, it’s no shock that representation matters. During the time when Glee first aired, there was a lack of LGBTQ+ representation in mainstream media. But by 2015 there were 58 recurring LGBTQ+ characters across mainstream television, compared to 25 in 2009. I know that Glee didn’t cause this jump in representation, but in my opinion, it paved a way for more representation in the media.

If you are too young to remember or just didn’t care at the time, Glee was extremely popular in the early 2010s. At its height, Glee brought in 10 million views per week in the U.S. alone. The first six albums from the show were all certified triple platinum and hit number one in the States. Glee Live! In Concert!, which toured across America, Canada,

England, and Ireland, was ranked 16th in 2011’s top concerts and made over $40 million. It was right behind Justin Bieber, just to give perspective. Even though it’s been almost 10 years since this musical-comedy show last aired its final episode, the remnants still haunt us to this day. The most recent example is “Rose Turn” sung by Kurt Hummel (Chris Colfer) that is in almost every video on my for you page . Glee is still relevant to this day.

I know I can’t write a Glee piece without addressing the elephant in the room, the tragedies that happened off-camera. Mark Salling, who played the loveable

The illusion of freedom in the humanities

character Puck, died by suicide after pleading guilty to two child pornography charges. Beloved Victoria-raised actor Cory Monteith, who played Finn, passed away in 2013 and Naya Rivera, who played Santana, died in 2020. All these tragedies have sparked rumours of the “Glee Curse.”

The “Glee Curse” name is ominous and has caused backlash online. I think it adds an extra layer to rewatching the shows. While I can’t say the same for the death of Salling, it brings some comfort to know a part of Monteith and Rivera will live on throughout the show.

Recently, it feels like not much has

changed in terms of LGBTQ+ acceptance since 2009. In America, there has been a rise of anti-LGBTQ+ extremism which has led to violence against the queer community. Between June 2022 and April 2023, GLAAD reported 356 incidents of hate, which coincides with the legislation targeting the LGBTQ+ community. Canada is no different with LGBTQ+ hate attacks rising nearly 60 per cent between 2019–2021.

This hate directed to my community makes me nostalgic for the days where change felt in reach. Seeing a gay man be completely himself even after being relentlessly bullied or two cheerleaders being able to fall in love gave me teenage me hope that I could be in love or be myself like they were. While I am out and accepted now, it’s hard not to let outside perspective get me down at times.

Glee did make an impact on our society. I miss feeling that the world can change again, and I wish Glee would make a comeback. Not just for the Olivia Rodrigo covers (those would slap), but because I need a show that has unapologetic characters being themselves. I want to see the New Directions making it to nationals one last time.

It is a cliché in present discourse that university humanities courses teach one not what to think but how to think. In the years since first I entered higher education, the best of my professors have found ways to hold to that, despite the immensity of their epistemic power.

More often, however, I have observed a more pernicious phenomenon. One enters a course having the value of one’s own thoughts and contributions emphasized, but this is usually little more than a smokescreen to make students feel free as they join their culturally osmosed assumptions to the didactic process, reverse engineer the thoughts they were meant to have, and are rewarded for it. Worse than an explicitly enforced conclusion is the illusion of freedom, the joyful colonization of the mind which one accepts with all its comforts. Yet if ever there was a place to be made uncomfortable by the pains of knowledge, it is university.

The solution? Seek the negation of your innermost assumptions, looking constantly for the strongest and fullest counterargument to the glib assurances of your own heart and those around you. You are wrong, dear reader, but fear not. Correct yourself, then be wrong again.

NEWS MARCH 7, 2024 // 5 OPINIONS
NORA TRÉPANIER CONTRIBUTING WRITER
Illustration by Chloe Latour. Photo via Disneyplus.com.

Long awaited returns: How the repatriation of treasures in B.C. creates ripples of change

"To hold it and examine it right now up close - you can almost see how the weaver was weaving," says Aay Aay, Haida artist and repatriation coordinator.
HANNAH LINK
SENIOR STAFF WRITER

Adrenaline pumped through Lorilee’s body as she prepared for what she thought would be a meeting full of tension. It was October of 2015, right after Orange Shirt Day, and she was in a room in the Cornett Building at the University of Victoria with her parents and an anthropology professor who she had never met.

The unveiling of a painting was about to take place. It was created by her father, Jim Wastasecoot, during his time at MacKay Residential School in Dauphin, Manitoba. He had not seen it since and had no idea what he had painted at just 10 years old. The painting had arrived at UVic through her father’s art teacher Robet Aller, whose collection ended up at the university upon his death. Little did Lorilee know that this moment would be a central one in her career.

Today, Lorilee Wastasecoot is the curator of Indigenous engagement at UVic’s Legacy Gallery. She came into this role through the help of her mentor, Andrea Walsh, an anthropology professor — the same one who unveiled that painting. Together, the two women have worked to repatriate hundreds of lost paintings from residential schools across Canada. Now, Lorilee is working towards the repatriation of more items found in the Legacy Gallery’s collection.

In the past two years, UVic has begun the work of building a dedicated repatriation framework. This framework helps to facilitate the crucial and meticulous process of returning items to their homelands. The university is not alone in this journey — institutions across the province and beyond now have dedicated plans, policies, and procedures for repatriation.

The return of precious objects can have rippling effects on the communities whose items are returned, as they piece together the creations of their ancestors.

Repatriation is a term to describe the rightful return of Indigenous objects to their communities of origin, often from institutions that obtained them without consent. This concept has gained attention in B.C. recently, especially with the publishing of the Truth and Reconciliation Comission’s Calls to Action in 2015. In response to call #67, the Canadian Museums Association (CMA) released a 128-page document titled “Moved to Action”(MTA) in September of 2022, which details specific strategies and guidelines for museums to further their repatriation processes.

In many cases, repatriation has been unfolding at museums in B.C. for years, and this document is another aide in that process. At UVic, its release was another push forward in the creation of a repatriation framework.

Building a framework can mean different things at different institutions. UVic writing

professor and volunteer member of the Legacy Galleries’ Collections and Acquisitions Committee, Lee Henderson, explained that repatriation was not always at the forefront of the group. He said that the main goal of the committee was to sift through donations and to work with artists and collectors interested in pitching pieces to join the collection.

The committee began to discuss repatriation efforts in November of 2021, and has steadily been planning its growth since then. Led by Wastasecoot, the team has begun identifying items to repatriate from the thousands of pieces in the collection.

“It’s quite a task, to research the provenance of all of these different objects and discover which ones may merit [repatriation],” said Henderson, adding that time and funding from the university are crucial in making this process as efficient as possible.

He also noted that the process is a careful one, which requires slow and delicate actions. “Every step should be meaningful, and [this] repair work can’t be superficial. If it takes a year to bring [an object] back to a community, that seems like very meaningful time spent.”

The release of the MTA may have been used as a catalyst for the start of this project at UVic and as an explanation for the importance of the work, but it is clear that repatriation has been on the minds of

museum workers for far longer.

Wastasecoot explained that creating a support system has been the first step in building a dedicated repatriation framework at UVic. She said that the committee is Indigenous-led and emphasized that they are still in the beginning stage of the project.

“We are taking this very, very seriously,” she said. “We really want to start doing more of these types of repatriations, but it is a process that we want to do carefully and very thoughtfully.”

Repatriations often take a long time, according to Wastescoot. This is because of the thorough nature of the work and the number of Indigenous items in the collection.

“It’s a big process, but people have been doing this type of work for decades, and [proper repatriation] is not really an option anymore. We really need to get going on this work. We want to do it carefully, but we’re also [saying], ‘Let’s move this process along,’” she said.

Wastasecoot uses the term repatriation but prefers the “rematriation” when speaking about these efforts because of the process’ ties to women. “A lot of this work is led by Indigenous women.” She emphasised that the return of items is the final step in the process, but the process itself involves lots of care: relationship building, thoughtfulness, and “being aware of how these items have left and come back into the lives of Indigenous people.”

In July of 2023, UVic released its Institutional Accountability Plan and Report, which contains key information about efforts of reconciliation on and off campus. They explain that the university is “in the beginning stages of developing guidelines on how [to] care for its Indigenous art collection more respectfully, which may include rematriation / repatriation, and is developing guidelines for the commission and presentation of Indigenous art on campus.”

On top of this, the report highlights Wastasecoot’s role at the Legacy Gallery, and explains that her role as curator of Indigenous art and engagement was created to honour articles set out in the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP). Many of these articles call upon governments to allow Indigenous peoples the rights to maintain and interact with their cultures themselves.

UVic is far from the only post secondary institution that has been working on repatriation. At The University of British Columbia’s Museum of Anthropology (the UBC MOA), it has been a decades-long process.

The museum’s director, Dr. Susan Rowley, explained that she relies on the UBC-wide framework that sets out dedicated rules around Indigenous processes, much like UVic’s report. Rowley also sees UBC’s Indigenous Strategic Plan as another “critical component.”

6 // MARCH 7, 2024
Photo by Michael Vader.

In 2001, the MOA’s first formal repatriation policy was introduced and guided by UBC’s policies, specifically one titled “Deaccessioning Policy,” which outlines the university’s policy towards repatriation.

At the individual museum level, the focus of policies shifts to look more at specific measures that can respect each community in the best way possible.

“We’re talking about reconciliation, reparation, return, restoring. We’re talking about health and wellness in communities,” said Rowley.

Rowley’s work has also been influenced by the CMA’s MTA. “[It’s] an incredibly valuable document that we all need to read and implement,” she said.

No policy changes have been made as a result of the document, partly because of its recent release and also because of an ongoing construction project at the MOA. Rowley looks forward to what the MTA can provide for her work going forward. “We take these policy documents really seriously, and the CMA Moved to Action is another in a suite of those important documents.”

At the Royal B.C. Museum (RBCM), respecting all angles of a repatriation journey is crucial. Janet Hanuse, vice president of engagement and declaration of rights on Indigenous Peoples Act (DRIPA) implementation, explained that this can often be a nuanced process.

One notable instance of repatriation at the museum was the return of a totem pole that belongs to the Nuxalk Nation, where differences between governmental and hereditary wishes caused some initial tension. According to museum records, the pole was purchased by a British ethnographer named Charles F. Newcombe in 1913 and brought to the RBCM to be displayed.

Located where the Bella Coola River meets the Pacific Ocean and tucked in between the Coast Mountains, Nuxlalk is a nation with thousands of years of history. Like many nations across the province, it has both a chief and council elected under the provisions of the Indian Act, and a hereditary chief chosen using traditional Indigenous governance systems.

Hanuse explained that the RBCM’s approach to repatriation has changed significantly in the past years, from one where only governments were involved to one where honouring hereditary wishes is a priority.

This was a crucial part of the repatriation process for the Nuxalk pole, because hereditary Chief Snuxyaltwa was at odds with the Nation about how the pole return should take place. The repatriation steps began in 2019, when Snuxyaltwa put in a request to have the pole returned.

The museum stepped out of the process to let the two come to a decision, and eventually asked the Nation to provide Snuxyaltwa with a Band Council Resolution

(BCR) in order to resolve the issue. This would allow the Chief to work directly with the museum while maintaining the necessary legalities.

Hanuse explained that Snuxyaltwa was originally unhappy with the need for a BCR because he felt that traditional laws should supersede colonial ones.

“It took them a little while to arrive at their own agreement with that, and then they did,” she said. “The Nation [signed] a BCR to give us permission to speak directly with the Chief, and then we were able to begin our process with him.”

After years of logistics and formal approvals, the pole was ceremoniously removed from the museum and was returned home early last year after more than a century away.

Hanuse has only been in her role for just over a year, but she is passionate about repatriating in the most careful way possible.

“It’s scary because the colonial structures are structures that we have been dependent on our entire lives — including Chief Snuxyaltwa — everybody. None of us really know how to do this in this way, but we know how not to do it. We know what feels wrong.”

She also said that, though it is an important document, the principles in the CMA’s MTA are already “an innate practice.”

“I think that my approach actually deviates from the document [and moves] a little bit further towards selfdetermination,” said Hanuse, explaining that respecting hereditary law is of top priority for her.

At another university across the continent, repatriation has been taking place for nearly 30 years. Harvard University’s Peabody Museum of Archaeology and Ethnology is active in the United States repatriation scene, and has been involved with the return of Indigenous items from across the country.

Kara Schneiderman, director of collections, explained that the 1990 enactment of the Native American Graves Protection and Repatriation Act (NAGPRA) was critical to repatriation efforts at Peabody, but only within the United States.

“We had a repatriation program that was limited to NAGPRA compliance, but we had started to think beyond that,” said Schneiderman.

Last year, the Peabody Museum was involved in its first ever international repatriation. A totem pole from the Gitxaała Nation was returned in April after being held in Massachusetts since the end of the 19th century.

The community of Lax Klan sits on Dolphin Island, tucked in and amongst the larger islands that shelter the inside passage, across from Haida Gwaii. Just a two-hour boat ride away from Prince Rupert, most of its residents belong to the Gitxaała Nation.

Gitxaała lost its pole when it was sold to a collector from a New England fishing company, after having been cut into pieces by members of the Nation in order to hide its existence from Christian missionaries.

Dustin Johnson, language and culture manager at Gitxaała, said that the pole was once over 50-feet tall. “My ancestors saved this 12-foot section of it, and it was intentionally repurposed as an interior house post,” said Johnson. He also explained that the sale was made under duress during a time of colonial genocide.

“[The Gitxaała people] finally did [sell it] because of the pressure from the missionaries, because of our ‘heathen ways’ and ‘worshiping the devil’ and all of this religious propaganda,” said Johnson.

The pole arrived in Boston and was displayed at a local wharf named “T-Wharf.” Lights were crudely installed inside the pole so that the eyes of its animals glowed. The Boston Globe even published a story in 1906 that accused the pole of possessing “hoodoo” that wreaked havoc in the shipyard.

In 1917, the museum’s director C.C. Willoughby asked for the pole to be transferred to the Peabody Museum, and it was kept there until Glixaała contacted the institution in Spring of 2021.

Part of what allowed this repatriation to happen is the fact that the Peabody Museum has an extensive online record of the objects in their collection. When the Glixaała Nation set out to work on a dedicated repatriation project, they were able to use Peabody’s website to find the pole that they were looking for, said Meredith Vasta, collections steward at the museum.

“I really love that the Peabody has invested a lot of time and energy and resources into an online database for communities like them to use,” she said.

Vasta said she has worked at other museums where accuracy was put before speed when it came to having detailed collections online and available to the public.

“I was so happy that the Peabody was willing to have some spelling errors … just so that it’s out there,” she said. “People can search and find things, and I think that’s how these [repatriation] moments happen.”

When the pole arrived home, a feast was held for Glixaała Nation citizens to mark the important moment for the community.

“This project has really taken up a lot of my work, and we’ve had very [emotionally] challenging meetings,” said Johnson. “It’s a new thing for our people … applying our traditional law to bringing home our cultural treasures.”

The act of receiving back an item, whether it be a piece of art or literal ancestral remains, can bring up many emotions. Repatriation is not the simple return of an object, it is a conversation

between people that can often leave Indigenous people with reopened wounds.

“It’s not all smiles and positivity — it brings back a lot of really dark things,” said Wastasecoot, adding that it is a process that requires care and compassion.

And repatriation means more to communities than just the return of an object. For many, the repatriation of pieces can allow them to further their careers in art, like Aay Aay who works as a repatriation coordinator at the Haida Gwaii Museum in Skidegate.

On top of his museum work, Aay Aay is a weaver who has benefited from holding repatriated objects. Most recently, the museum had a child’s robe returned back to the island.

“To hold it and examine it right up close — you can almost see how the weaver was weaving.” He says that by looking at pieces this way, many of which have been on hundred-year journeys around the world, artists like himself can further their practices and techniques.

James McGuire, the collections coordinator who works alongside Aay Aay, explained that the museum often hosts artists to interact with items in the museum so that they can study the pieces and learn from them. He’s also watched Aay Aay interact with these pieces and could see him absorb weaving information firsthand.

“His learning was expanded because he was able to touch items that either we visited in museums because of our relationships or that we repatriated,” said McGuire.

Through their work, Aay Aay and McGuire orchestrate the return of Haida

items, but have also helped build a database for members of the community to learn more about themselves through the once lost objects of their ancestors.

“There is no bigger joy [than what] you see in peoples’ eyes when they realize that this museum is here for them to touch and hold their [ancestors’] things,” said McGuire.

Lorilee knows exactly what it is to hold her ancestors’ things. As a new student at UVic when she first saw her dad’s painting, Lorilee felt unsure of her place in the world. Far from home and farther from finding a path she wanted to follow, the project with Andrea helped her to carve her feelings into a career full of promise.

The painting that she was so nervous to see was in fact a painting of her father, surrounded by his parents and little sister. It was a snapshot in time, a glimpse of what was on his mind while he was away from his home, his family, and his culture.

For Wastasecoot, the unveiling was of more than just a painting. It was the unveiling of a world that she knew could turn pain and loss into power. And for thousands more across the continent, repatriation is only the beginning in a new era of Indigenous sovereignty.

MARCH 7, 2024 // 7
Photo by Hannah Link. Photo coutesy of Lorilee Wastasecoot.

Fat Sisters Vintage: Victoria's first

With the continued increase of clothing prices, many people are opting to thrift their wardrobes to avoid these costs. But this is not a possibility for everyone.

Shopping as a plus size person is already quite challenging, with many stores only carrying up to a size 14 or XXL, but finding secondhand plus size clothing can be almost impossible. However, two sisters have taken it upon themselves to help fill this gap in Victoria.

If you’re searching for affordable plus size clothing, look no further than Fat Sisters Vintage. The new shop is Victoria’s first and only plus size consignment store, run by sisters Brenna and Erika. They initially began in September 2023 as an online plus size consignment shop, which they ran out of Brenna’s apartment.

“We just wanted to make it better for people who look like us,” Erika explained in an interview with Chek News following the opening of their new storefront on Fort Street in early February.

Fat Sisters Vintage has a wonderful, welcoming atmosphere the moment you step through the door with bright, colorful clothes

lining the walls. It is a comfortable and inclusive space, which are few and far between for plus size people when it comes to shopping. They have a great selection of clothes in various styles and sizes, as well as bags, shoes, and a variety of other accessories. They also carry handmade goods from several local makers and small businesses. While the limited plus size

clothes in other thrift stores are often overpriced, Fat Sisters Vintage has a wide selection of reasonably priced items. Carrying sizes 1X to 6X, Fat Sisters Vintage is the perfect sustainable option for anyone looking for affordable plus size clothing. Brenna and Erika have created a beautifully curated collection of plus size items, introducing a much-needed inclusive option to Victoria’s

thrifting community.

Fat Sisters Vintage accepts plus size clothing for consignment and offers 50 per cent of the item’s sale price. Beyond consignment, Fat Sisters Vintage also takes donations of clothes starting at size 1X, which are given to various local charities, including Our Place Society, 1Up Single Parent Resource Centre, and the Native Friendship Centre. The store is not exclusively for

women or femme-presenting people either. Fat Sisters accepts clothing for all genders. In their interview with Chek news, the sisters note that “this store is for anybody. Women, men, they/ thems, Two-Spirit individuals, like anybody.”

Fat Sisters Vintage is an excellent addition to the other vintage and second-hand stores on Fort, including The Vend, Luna Collective, and Botched.

“Shopping or consigning with us means that you’ll have more opportunities to feel excited instead of embarrassed when you need something new to wear,” the sisters explain on their website. “When you walk into our shop we know you’ll find beautiful options in your size.”

Fat Sisters Vintage is open Wednesday to Saturday from 12–6 p.m. and Sunday from 12–5 p.m. You can also order online, with options to pick up your order in store or have it shipped to you.

CULTURE 8 // MARCH 7, 2024
plus size consignment store New local business offers an affordable and inclusive option for plus size people KIERA CLARK CONTRIBUTING WRITER
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CULTURE

Tsukino-Con's long-awaited return to UVic The beloved celebration of Japanese culture and animation is back on campus

Fans of Japanese animation and culture rejoiced last month as TsukinoCon made a return to UVic after a four-year-long hiatus. This convention, which brings thousands of anime fans to campus, took place from Feb. 23–25 in the Engineering and Computer Science Building, the Bob Wright Building, and the Elliot Building.

The first Tsukino-Con happened in 2010 as a continuation of its predecessor, Kei-Kon, which ran for seven years and ended in 2009. The convention hasn’t run on campus since 2020, but returned this year to the delight of anime fans in Victoria.

The name Tsukino-Con translates to “convention of the moon” inspired by both UVic’s Ring Road and the main protagonist of the anime Sailor Moon. This year's theme was “The Beach Episode,” so the mascots (Luna, Nox, and their animal companion Hoshi) were drawn in beach attire. The appearance of the mascots changes each year with the theme of the convention, which is voted on and pitched by the staff and volunteers.

Attendees come with their passion and love of anime, manga, Japanese culture, cosplay, and anything related to that field for an exciting experience run by a diverse group of volunteers and staff. The convention features all

sorts of entertainment for a diverse audience, ranging from all-ages to 18 plus programming.

Contests were an integral part of the convention. The cosplay contest, where participants showcase their craftiness and acting skills, drew the biggest crowd this year. Of course, there was also the swimsuit showdown, described by Nyanko Pankotanko, Tsukino-Con’s head of programming, as “kind of like cosplay burlesque.” Finally there was Walkoff: Tsukino Taisen 2, whose sign-up sheet directed

participants to “think 'RuPaul's Drag Race' but more Anime!”

Competitors dressed up as and acted like their favorite characters, taking on their personality, signature catchphrases, and more.

For further entertainment, the talent show and the lip-sync battle featured dramatic, dance, and vocal performances on stage by attendees. Anime cover songs were also played live by the band Time Skip. Trivia shows tested attendees’ knowledge of anime and videogame music and offered many opportunities to win prizes.

Attendees could also take a break from programming to play video games on one of the many consoles and arcade machines in the games room or watch some animation in the viewing room.

This year, the vendor hall featured 60 artists and vendors from all over, ranging in a variety of items from 2D prints, 3D sculptures, clothing, and more. Many artists took commission — based work if attendees wanted something specific.

Special guest appearances are common at Tsukino-Con. This year,

the Seiryu Guild joined live from Japan and around the world discussing their work animating motion capture models for virtual streamers (Vtubers, for short).

Traditional Japanese culture was also at the forefront of the convention. Kimono specialist Hitomi Harama ran a panel discussing the history of kimonos and how to wear one. Chris Tooley, a local sword expert in laido, also had a panel.

Industry celebrities were spotted as well. Autograph sessions were offered by the American voiceover artists Kyle McCarley and Ben Diskin, whose work has been featured in video games and animation such as BlazBlue: Cross Tag Battle and the Elder Scrolls Online

The real saviors of the event were the kind folks at the cosplay repair station. They ran panels on the fundamentals of making costumes and provided an integral service fixing cosplays and props quickly and safely throughout the event.

If any of these events interest you, make sure to join in on the fun next year!

MARCH 7, 2024 // 9
SAXENA CONTRIBUTING WRITER
NEHA
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Illustration by Neha Saxena.

If you’re on the weird side of water bottle TikTok like I am or have heard about the insane Stanley cup craze, it might come as no surprise that I need to write an astrology piece on it. Unlike my previous astrology articles, this time, I’m not holding back. This Pisces season has beaten me down and I’m going to take it out on you guys.

ARIES (MARCH 21–APRIL 19)

How much water have you had today, Aries? One sip? You guys need to grow up and actually drink some damn water. Because of your aversion to hydration, I have given you guys the TikTok sensation “Air Up.” If you aren’t familiar with it, it’s a water bottle you can load scented pods into to make it seem like you flavored the water using only smell. Throw in that watermelon pod and drink up, Aries.

TAURUS (APRIL 20–MAY 20)

Taurus, you guys are boujee, whether

GEMINI (MAY 21–JUNE 20)

Okay, this one is basic. It’s no surprise that the twin sign is Owala. These come with two spouts. Either sip through the straw or chug through the hole. This, along with the funky colour combos, just screams Gemini.

CANCER (JUNE 21–JULY 22)

I hope this isn’t taken as an insult because I mean it as a compliment, but you guys are a mason jar. It’s classy, it’s cool, and it gives artistic vibes. I see Cancers as the people that walk around with the old spaghetti sauce jars with a crochet snuggies on them. You guys don’t need your emotional support water bottle — you need your old emotional support Classico jar.

LEO (JULY 23–AUG. 22)

You guys are the infamous Stanley cup, tumbler edition. With all of the “special edition” Stanley cups that have come out, you’d think everyone would call them overrated, but these things have an insane cult following.

you meet a surfer, one of these is always nearby. Just hear me out: this water bottle gives me Virgo vibes. Maybe it’s from growing up in a rock

one, just like you Libras. Sorry, this might be disappointing, but there’s not much more I can say on this. If you see the water bottle you’d get it.

guys are also Stanley cups. Not the trendy ones, but the camping ones that nobody talks about. This isn’t to say that nobody cares about you, Capricorns, but you’ve been known to be forgotten in a crowd!

AQUARIUS (JAN. 20–FEB.

I know you guys aren’t going to like this, but I don’t care. It’s my article. You guys are a plastic cup. Not like a solo cup or anything, but the cool, thrifted plastic cups. I know. “A plastic cup? What the hell?” Other than the vibes you give off, I have no other explanation for this decision. I just saw a Shrek the Third cup on Facebook Marketplace and Aquarius was the first sign I thought of. But I’ll throw you guys a bone. I can see you guys as the cool plastic cups from the 60/70/80s in your grandparents cabinet. The ones that may or may not have lead

PISCES (FEB. 19–MARCH 20)

I’m not going to lie: at first I called you guys sippy cups. I figured that was too mean, so instead I’m giving you the Kikkerland Fish Flask. You guys are ruled by a fish, plus (sorry to stereotype) you guys are partiers.

MARCH 7, 2024 // 11 HUMOUR
What water bottle are you based on your astrology sign? Are you the famous Stanley tumbler or a plastic cup?
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Photo via saratov.myhistorypark.ru.

1. Window covering

2. "Get out of here!"

3. Australian marsupial

4. MMA and boxing heavyweight Francis _____

5. B.C. town where the LNG pipeline ends

6. __ and behold

7. David Bowie's second wife

8. Island visited in Gulliver's Travels

9. Where you might hide all your junk

10. Author _._. Lewis

11. Someone from Edmonton or Calgary

12. Spitting onomatopoeia

13. Fad

18. Sex Education Actor ___ Butterfield

20. Medical study of cancer

25. Canada, States, and Mexico abbr.

30. The S of FANBOYS

31. Battlestar

32. "Welcome to the Black Parade" band abbr.

33. I'm going to stand __ ____

35. Nautical Lonely Island song

40. Hank Hill's wife

42. Movies like Frozen or Kung-Fu Panda

43. Mentor of the Ninja Turtles

45. How fast digital information is processed

46. Clone of the character Bizarro from Superman

47. Twilight genre abbr.

50. Kind of tiger from India

52. Room where a TV is usually kept

53. Not after

54. To get or win something at the end of a long process

55. Not yet final abbr.

62. A large stack of cash

ACROSS

2. What animal Pepé Le Pew is

6. Purple flowers also known as syringa 11. Appropriate or suitable

14. Type of dog that the Queen had

15. Deliberately leaves out

16. Opposite of a fling abbr.

17. Missy Elliot and Skrillex song that has a Pokémon-like name

19. Fashion that stands apart from the mainstream

20. Double-reed woodwind instrument 21. Canadian singer ______ Morrissette

22. Notable library in Dublin abbr.

23. Like convenience store signs

24. Two-word term of endearment for a close male friend

26. Microchip abbr.

27. People with good social standing have it

28. CRA certificate saying you filed your taxes abbr.

29. Type of snake that killed Cleopatra

31. Award given annually to the best video game

32. One thousandth of a metre

34. You can drink cranberry juice to try to clear one up

36. "Or" in French

37. _ __ mode

38. Common suffix

39. Elected Canadian politician abbr.

41. Birds of prey have them

44. Digital colour system abbr.

46. TV show ___ 101

48. Annoy or bother persistently

49. It goes great in a sandwich with J

51. How Albert Hoffman famously got home after discovering and testing LSD

55. It can carry school supplies or groceries

56. Ambulance worker abbr.

57. Hamilton creator __-Manuel Miranda

58. Third largest city in B.C.

59. Kind of grade you don't want

60. It's a double helix

61. Type of water filtration system abbr.

62. Magic: The Gathering publisher abbr.

63. Common Reddit judgment abbr.

64. Urban hub abbr.

65. Egyptian sun god

66. Region

67. __ shading, a technique to mimic hand-drawn animation

68. Achievement of winning all major entertainment awards abbr.

69. Text slang for "dead"

70. Sixty minutes abbr.

12 // MAY 25, 2023 FUN STUFF Newsroom 250.721.8361 | Business 250.721.8359 | martlet.ca | @TheMartlet | Facebook.com/themartlet The Martlet Publishing Society is an incorporated B.C. society and operates based on our Statement of Principles. We strive to act as an agent of constructive social change and will not publish racist, sexist, homophobic or otherwise oppressive copy. Our paper is written and published on the unceded lands of the Lekwungen peoples, and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. EDITOR-IN-CHIEF Ashlee Levy edit@martlet.ca OPERATIONS MANAGER Anna Alva business@martlet.ca DESIGN DIRECTOR Sie Douglas-Fish design@martlet.ca SENIOR STAFF WRITERS Kristen de Jager, Sydney Lobe VOLUNTEER STAFF WRITER Brianna Bock SENIOR STAFF EDITOR Yo'ad Eilon-Heiber VOLUNTEER STAFF EDITORS Julien Johnston-Brew, Hannah Seaton CONTRIBUTORS Cooper Anderson, Sage Blackwell, Kiera Clark, Mary MacLeod, Aidan Nelson-Sandmark, Sarah Roberts, Paul Voll VOLUME 76 ISSUE 2
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8, 2024 SEE THIS ISSUE'S CROSSWORD ANSWERS MARTLET.CA/CROSSWORD Newsroom 250.721.8361 | Business 250.721.8359 | martlet.ca | @TheMartlet | Facebook.com/themartlet The Martlet Publishing Society is an incorporated B.C. society and operates based on our Statement of Principles. We strive to act as an agent of constructive social change and will not publish racist, sexist, homophobic or otherwise oppressive copy. Our paper is written and published on the unceded lands of the Lekwungen peoples, and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. EDITOR-IN-CHIEF Ashlee Levy edit@martlet.ca OPERATIONS MANAGER Anna Alva business@martlet.ca DESIGN DIRECTOR Sie Douglas-Fish design@martlet.ca SENIOR STAFF WRITERS Kristen de Jager, Sydney Lobe VOLUNTEER STAFF WRITER Brianna Bock SENIOR STAFF EDITOR Yo'ad Eilon-Heiber VOLUNTEER STAFF EDITORS Julien Johnston-Brew, Hannah Seaton CONTRIBUTORS Cooper Anderson, Sage Blackwell, Kiera Clark, Mary MacLeod, Aidan Nelson-Sandmark, Sarah Roberts, Paul Voll Newsroom 250.721.8361 | Business 250.721.8359 | martlet.ca | @TheMartlet The Martlet Publishing Society is an incorporated B.C. society and operates based on our Statement of Principles. We strive to act as an agent of constructive social change and will not publish racist, sexist, homophobic or otherwise oppressive copy. Our paper is written and published on the unceded lands of the Lekwungen peoples, and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. EDITOR-IN-CHIEF Ashlee Levy edit@martlet.ca OPERATIONS MANAGER Anna Alva business@martlet.ca DESIGN DIRECTOR Sage Blackwell design@martlet.ca STAFF ILLUSTRATOR Chloe Latour SENIOR STAFF WRITERS Atum Beckett, Hannah Link, Sydney Lobe, Melody Powers VOLUNTEER STAFF WRITER Brianna Bock SENIOR STAFF EDITORS Christian Romanowski, Rowan Watts VOLUNTEER STAFF EDITORS Julien Johnston-Brew, Hannah Seaton CONTRIBUTORS Star Alipour-kashi, Kiera Clark, Isabelle Easton, Frankie Ho, Senya Norman, Calista Phillips, Neha Saxena, Nora Trépanier, Susannah Rebar, Alice Zavio, Cover photo by Michael Vader VOLUME 76 ISSUE 11
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