Volume 50, Issue 8

The Independent Student Newspaper of the University of Toronto Mississauga since 1974

Issue 8 Volume 50 October 23 2023

themedium.ca

EN E W O LL A H

N O I IT D E

PHOTO BY LAURA TOVAR /THE MEDIUM

02

NEWS

EDITORIAL BOARD Editor-in-Chief Juliana Stacey editor@themedium.ca Managing Editors River Knott & Aidan Thompson managing@themedium.ca & managinginternal@themedium.ca News Larry Lau news@themedium.ca Opinion Kareena Kailass opinion@themedium.ca Features Prisha (Maneka) Nuckchady features@themedium.ca A&E Alisa Samuel arts@themedium.ca Sports Omar Khan sports@themedium.ca Photo Samira Karimova photos@themedium.ca Design Laura Tovar design@themedium.ca Copy Ricardo Jaroslav Valdes jaros@themedium.ca Maja Ting maja@themedium.ca Social Media & Online Belicia Chevolleau social@themedium.ca Video Nikolas Towsey video@themedium.ca

TO CONTRIBUTE & CONNECT: themedium.ca/contact @themediumUTM

@themediumUTM

@themediumUTM

@themediumUTM

@themessageUTM

@humansofUTM_

Editor | Larry Lau news@themedium.ca

A guide to UTM’s Halloween frights and festivities Many events to celebrate Halloween will take place at UTM, giving students the chance to experience thrills and frights alongside their friends and peers.

Larry Lau News Editor

A

midst the red and orange hue created by the falling leaves, the festive spirit of Halloween has returned once more to the University of Toronto Mississauga (UTM).

Hallo-Week, organized by the University of Toronto Mississauga Students’ Union (UTMSU), includes numerous events, some of which have already taken place.

The first event, the Halloween Haunt, occurred on October 21 at Canada’s Wonderland. Students could purchase discounted tickets to visit the amusement park—with bussing provided.

On October 25, the usual free breakfast saw a spooky makeover, turning into the Hallo-week Free Breakfast. In collaboration with the UTM Film Club, the UTMSU held Fright Night, where students watched Get Out, a psychological horror movie by Jordan Peele.

The Halloween Pub Night was held on October 26, from 8 p.m. to 1 a.m. at the Blind Duck Pub. Students were encouraged to wear costumes and compete in the costume competition. Featuring MC Vita Love, students celebrated the night with “spinechilling tunes” and drinks, including alco-

holic beverages for partygoers 19 and over.

Slated to take place during the week of October 29, there are two remaining events in Hallo-Week where students can experience the thrills and festivities of Halloween.

From 7 p.m. to 11 p.m. on October 30, students can visit the Student Centre for a night of frights at the Haunted House. On October 31, the Hallo-Fest will be held at the Student Centre Presentation Room from 12 p.m. to 4 p.m. Students may participate in a clubs carnival, paint pumpkins and masks, and partake in various other frightful activities.

Besides the UTMSU’s Hallo-Week, there are other Halloween-related events taking place at the university. The Medium spoke to Rosa Fragomeni, VP External of the Student Association for Geography and Environment (SAGE), through email to discuss the organization’s trick-or-treat event. The event started on October 23, and will conclude on October 31.

Interested students may pick up a special, themed bingo card at the SAGE office, located at DV3213 (in the William G. Davis Building). The card provides guidance on how students can visit participating professors’ office hour sessions, where they will have the chance to network, learn about work-study or research opportunity pro-

gram positions, or gain insight into their field of study. The backside of the card contains prompts to help students spark discussions with the professors.

Before departing the professors’ offices, students will receive candy and a sticker for their bingo card. Upon receiving three stickers, the student can enter a raffle to win prizes—a $20 Walmart gift card for first place, and a $5 Starbucks gift card for second and third places. “We look forward to seeing many more students with candy and a bingo card in hand as they walk around the GGE department in the Davis Building,” wrote Fragomeni.

The day of Halloween is fast approaching, and with the numerous events organized by various UTM student groups, students may look forward to experiencing the spooky festival alongside friends and peers.

PHOTO BY LAURA TOVAR /THE MEDIUM

Spooky News Briefs Larry Lau News Editor Accessible Trick-or-Treating in Canada Communities and organizations have collaborated to create specialized Halloween Villages across Canada as a part of Treat Accessibly, a campaign aiming towards “creating the world’s first accessible holiday tradition.”

The campaign was started back in 2017 and, by 2022, 150,000 homes partook in the accessible trick-or-treating events. The Treat Accessible Halloween Villages—which host Halloween festivities that are accessible for disabled children and their families—were held in nine Canadian cities for October 2023, including Halifax in Nova Scotia; Ottawa (Stittsville), Toronto, Hamilton, and Oakville in Ontario; Calgary, St. Albert, Edmonton in Alberta; and Surrey in British Columbia.

Haunted Festivities in the GTA For 20 nights between September 22 and October 29, spooky thrills, horrifying shows, and terrifying mazes returned to Canada’s Wonderland as part of its 18th annual Halloween Haunt. This year’s iteration featured three new mazes—named Dark Ride, Necropolis, and Trick or Treat Street—for a total of seven mazes throughout the amusement park. There were five “scare zones” where monsters spooked and frightened visitors.

Scare-free attractions were also made available for children and families.

From October 28 to 29, the Toronto Transit Commission (TTC) held its Halloween Fest, where Bay Lower Station—an abandoned station located under the currently operational Bay Station—was reopened to celebrate the spooky season. Two trains were parked at the station, each hosting a different attraction. One was the “‘Trick-or-Treat’ Train,” where children could partake in trickor-treating. The other was the “Haunted Subway Adventure” train, which was intended

for a more mature audience ready for scares and frights. Giveaways, TTC merchandise sales, and trivia were also held as part of the event.

Halloween Spending Trends According to the Halloween 2023 Shopping in Canada Survey conducted by the Retail Council of Canada and Caddle Inc., more Canadians intend to spend on Halloween this year. 57.1 per cent of survey respondents reported that they would be spending to celebrate the festivities, as compared to the Halloween 2022 Shopping in Canada Survey’s result of 44.9 per cent. Most Canadians are expecting to increase spending for Halloween this year, with 81.8 per cent of survey respondents anticipating spending more or at least as much as last year. This represents a slight decline when considering last year’s result was 86.4 per cent. There is also a larger portion of consumers intending to spend less than $50 on Halloween, representing 51.2 per cent of survey respondents this year as compared to last year’s 45.7 per cent.

03

Halloween 2023 Goal: More Treats than Tricks Cannabis candies pose a new threat to Halloween joy and children’s safety, with pediatric hospitalizations doubling in regions where edibles are legal.

Karine Alhakim Associate News Editor

T

he joy and thrill of Halloween have always been accompanied by a few parental concerns. While concerns about strangers and unfamiliar neighborhoods have long dominated the list, a newer concern has emerged recently: the consumption of cannabis candies among children.

Back in Winnipeg last year, a woman was accused of distributing cannabis candies to children during the Halloween festivities. She has since pleaded guilty. The increasing popularity and legality of cannabis edibles have led to numerous cases where children mistakenly consume these products, believing them to be regular candy.

According to a CTV news article, pediatric hospitalizations due to cannabis poisoning have doubled in regions where edibles have been legalized. While cannabis consumption in moderate amounts may not have severe impacts on adults, children— with their developing brains and smaller body masses—are more vulnerable to adverse effects.

The Ontario Government’s Ministry of Health recognizes a range of symptoms of cannabis poisoning, including dizziness, rapid heartbeat, hallucinations, and even seizures. Beyond the immediate health risks, there are concerns about the long-term impacts of early cannabis exposure on developing brains.

Similarly, there are concerns that certain individuals are at a greater risk of suffering from various mental health issues—such as anxiety and depression—due to cannabis consumption. It is easier for users to succumb to cannabis poisoning through cannabis ingestion—by eating edibles, for example, as opposed to cannabis inhalation—ingestion via vaping or smoking cannabis.

Regulations are in place to safeguard the public from accidental cannabis usage. The standardized cannabis symbol must be present on the packaging of cannabis products, and containers for these products must be child-proof. The packaging must include health warnings and is subject to limitations on colouring and branding that could attract the eyes of children.

For individuals and parents who want to ensure their candies are free from cannabis, a few precautions can be taken. Notably, parents should inspect all candies before allowing children to consume their Halloween treats. Anything that looks unfamiliar, lacks clear branding, or appears to have been tampered with should be set aside. Parents may also educate themselves on the signs of cannabis poisoning in children, such as vomiting and confusion, among others. Any suspected cannabis poisoning should be reported to poison centres, medical professionals, and the police immediately to reduce the harm done.

As the hauntingly delightful night of Halloween approaches each year, it becomes imperative for all stakeholders to prioritize children’s safety above all else, ensuring that the night remains filled with more treats than tricks.

04

OPINION

Editor | Kareena Kailass opinion@themedium.ca

Why everyone should take a bit of a break Taking a break may not seem intuitive, but it may be the best thing you can do for yourself and your academic performance.

The Medium

It’s prime midterm season. We know how spooky that can be. This time of the year, it’s easy to get caught up in all the stress of studying or getting theperfect grades (or the grades that GPA Calculators say we need in order to maintain a certain average). We all recognize how important school is, and studying is just a regular part of being a good student. However, we also know how much stress can take over at times like this. During this midterm season, we wanted to talk about self-care. During times like these, it can be difficult to think about putting yourself first. Often, if feels as though your responsibilities outweigh the need for you to think about your own well-being. We at The Medium want to remind you that it’s totally okay–actually, we encourage you—to take some time for your mental health. Even if you don’t have time to take a designated “mental health day,” per say, just getting up from your desk for a bit to take a quick afternoon stroll or spending some time with family and friends can make all the difference in your mindset going back to your work. Taking a break can help you feel refreshed, re-energized, and ready to get back to all your memorizing or reading!

No part of this decision has been made lightly, and every aspect of it has been guided by empathy, compassion, and respect. There are many nuances that have informed our decision, and each has been heavily considered in the process. We’ve spent the last two weeks trying to figure out what would be best for our writers, our editorial staff, and the UTM community. We have spoken extensively to members of our editorial team and members of our wider academic community in order to inform our decision as best we can.

This is a decision made independently from precedents set by previous mastheads. We understand that this is a decision that you may not agree with, and we do respect this and welcome discourse surrounding the decision. We have made the choice that we felt would promote a safe and inclusive space for the entirety of the UTM community.

Additionally, we’d like to encourage you, our readers, to continue to educate yourselves and keep updated on what’s going on in the world around us. As university students, it’s our duty to read, scrutinize, and question; it is imperative that we are aware of and understand the intricacies and social implications of sensitive news coverage to avoid the inadvertent spread of misinformation.

If you have questions, comments, or concerns about this decision, don’t hesitate to email us with your thoughts. We are a small team, we are constantly learning, and that is all thanks to you, our readers.

Boo! Did my costume scare you?

Cracking the whip on my iconic Indiana Jones costume Karissa Harrypersad Contributor

M

y most memorable Halloween costume was inspired by one of my favourite movies of all time. It all started during Halloween 2022, the year that I searched endlessly online for a last-minute costume to buy. The costumes did not satisfy my taste in fashion—they were made of the cheap materials. I remember deciding to take a break from Halloween shopping to watch one of my favorite movies: Indiana Jones and the Temple of Doom (1984). Then it hit me: I should dress up as my favourite archaeologist, Indiana Jones. I already had some of the pieces of clothing with the notable Indiana Jones colour scheme, I just needed to go shopping for a couple more things to complete my iconic outfit.

When I finally put my outfit together, adorned my Indiana Jones hat, and attached my whip to my belt, it took my breath away. It was amazing how these accessories could transform me into a cinematic hero.

Having the chance to express myself as a character from one of my favourite childhood series made me hold this costume dearest to my heart. It was my most fun and creative costume—it added a layer of depth and authenticity to my Halloween experience that will always be memorable. I wasn’t just mimicking a character; I was paying homage to a film that had touched my heart many years ago. It was a tribute to the character, Indiana Jones, and my favorite actor, Harrison Ford.

PHOTO BY MATTHEW JANOWSKI COURTESY OF KARISSA HARRYPERSAD

05 101 (plus 1 more) Dalmatians Tia Cummins Contributor

W

hen I was around six years old, my costume of choice was a dalmatian. Whether this choice was because I enjoyed 101 Dalmatians or just really wanted to dress up as a dog is unknown. Either way, it led to me suiting up in a big one-piece costume with a huge dog face on top of my head. Since I grew up in Winnipeg, Manitoba, by the time Halloween rolled around, the weather had already started to shift towards the winter season. Some years, it got so cold that we would even get a few centimetres of snow as all the kids went around knocking on doors trick-or-treating. This made it quite frustrating for a kid who only wanted to show off their fun costume but constantly had to wear a winter jacket, boots, and gloves overtop. I always got upset about this situation, but it was different this year. Since my costume was a little baggy, I was able to hide my jacket underneath it, allowing all my spots to shine. Although my chunky boots and thick gloves still stood out, they didn’t outshine the huge smile on my face knowing I could wear my costume with pride. Even the large dog head on top of my own acted as a sort of hat, keeping me toasty warm the entire time I collected my winnings in chocolates.

PHOTO BY JULIET CUMMINS COURTESY OF TIA CUMMINS

The impersonator Cristina Pincente Contributor

H

alloween is a holiday I have always held close to my heart. For me, Halloween is a chance to be creative and think out of the box. My love for dressing up has always been steady; what took it to the next level was when I began making my own costumes. After watching a DIY YouTube video in grade seven, I created a costume of Olaf from Disney’s Frozen. I made my own tulle skirt, glued on buttons, and created the lovable character’s face from felt on a white beanie. The costume came out so well that when I wore it to school, parents approached me asking if their child dressed as Elsa or Anna could take a picture with me.

PHOTO BY A FORTINOS WORKER COURTESY OF CRISTINA PINCENTE

From that Halloween on, the holiday became about showcasing my artistic abilities. My love for Halloween has carried into my parttime job, where I am notorious for dressing up as my coworkers. This began with my co-worker in the pizza department, a baker named Paul, who was my first victim of impersonation. This is only humorous if you know what he looks like. He is a 65-year-old man with white hair and a moustache, blue eyes, glasses, and a big belly. The costume caused such a ruckus in the store that I continued dressing up as other workers over my years there. To this day, I am well recognized by co-workers, friends, and family for my notorious costumes, so I encourage everyone to think outside the box and be creative on Halloween.

My first Halloween: A spooktacular experience Zainab Khalil Contributor

H

alloween was a foreign concept until I moved to the United States. Being a foreigner, and an older one at that, I decided on something basic: a classic white sheet with cut-out eye holes.

My first Halloween in the US was special. Our neighbourhood transformed with lights and spooky decorations on people’s houses and front yards which harmonized beautifully with the colourful fall leaves. Spider webs, carved pumpkins, and spooky projections gave the air a haunting yet comforting feeling. What truly struck me was the sense of community. Families decked out in a variety of costumes knocking from door-to-door to get candies and treats. After sharing sweets with neighbourhood kids, I set out with my younger siblings to do the same. There was a nostalgic, almost cinematic feel that brought back memories of childhood western movies and Halloween specials.

That night, I understood that Halloween wasn’t only about costumes and sweets. It was about shared moments, thrilling experiences, and the warmth of togetherness. My ghost costume allowed me to become part of the holiday and learn that embracing a new culture could be as effortless and enjoyable as drifting through the night in a simple bedsheet with holes.

06

From ghastly waste to green treats: A sustainable Halloween guide The environmental horror story of Halloween and what can be done to celebrate sustainably.

Mashiyat Ahmed Associate Opinion Editor

T

he real skeleton in the closet from a single night of festivity is the scary amount of waste generated by the frighteningly large annual Halloween spend on cheap merchandise, single use wrappers, and non-biodegradable plastics. Canadian landfills are trembling in fear in anticipation of the incoming piles of methane-generating Halloween trash.

Many institutions and organizations have highlighted the exorbitant funds allocated toward our treasured Halloween festivities. The Retail Council of Canada reported in their “Halloween 2022 Shopping in Canada Survey” that 45 per cent of Canadians celebrate Halloween and of this number, 54 per cent spent more than C$50 each. According to a report, that’s a ghastly C$1.64 billion dollars being spent on costumes, candy, pumpkins and spooky decorations—most of which find their way into the garbage.

Whilst orange and black may be the traditional Halloween colors, it’s high time we add green to the list; we need to eliminate wasteful tricks and offer our planet biodegradable treats instead.

Although I am part of the 45 per cent that celebrate Halloween, as someone who is passionate about protecting the world we live in I am haunted by this festival’s impact on our environment.

A London-based environmental study group reports that in the United Kingdom, Halloween generates 2,000 tonnes of plastic waste, which is the same as dumping 83 million plastic bottles. In the US, another 5.4 million kilograms of textile waste is produced for costumes and decorations, and it is estimated that every trick-or-treater generates 500 grams of waste. Added together, the worldwide numbers are terrifying. Then, there’s the nightmare of the one billion pounds of wasted pumpkins waiting to decompose and contribute to global warming—food waste for thought to keep you up like a vampire at night.

However, there is still hope for us. We can make a positive difference toward solving this problem starting right now. Here is a list of things you can do to make more eco-friendly choices as you enjoy the hocus pocus season: 1.

Make costumes from recycled materials. Buy them from second-hand stores, exchange with friends, or maybe it’s time to use that awful pink dress in your closet that

is appropriate for no other occasion and go out as Barbie. Avoid purchasing cheap nonrecyclable plastic costumes from the big box stores. Check out HGTV for a list of 100 DIY “budget friendly” costumes. When you are done, don’t place them in the trash—instead, find a way to reuse or repurpose them.

options.

2.

Don’t be scared to get in touch with your creative side and make your own decorations. Consult Pinterest for a list of Halloween decor from recycled materials and make it a family event. Use items from the garage or neighbourhood recycling heap. Don’t have a heap? Then start one at your local community center, clubhouse, or common room. If you must buy decorations, buy good quality ones that you can store and reuse annually.

6.

Only use energy efficient LED lights for home decor.

3.

Use homemade reusable containers for trick-or-treating. Just attach a string to an old reusable container at home and personalize it with your name and you’ve got your candy bucket. Or, recycle an old t-shirt and design your own bag.

5.

Compost your used pumpkins, roast the seeds for a snack, or use the filling for home cooking, like baking a pumpkin pie.

The Food Network has a list of 50 great recipes to help you get started.

7.

Have zero-waste Halloween parties.

Only use reusable cutlery, prioritize composting any food waste, and encourage carpooling to get to the venue.

By adopting these simple waste management practices, we can celebrate our spooktacular events without giving the environment a scare as well.

ILLUSTRATION BY AURORA PICCIOTTOLI /THE MEDIUM

4.

Purchase candies that use less wrapping, or opt for those packaged with biodegradable wrappers such as paper or cardboard. If the candy uses any type of recyclable sustainable packaging, such as Smarties, SunMaid Raisins, and Nerds, then they are great

The psychoanalysis behind horror A Freudian understanding of the disturbing allure of horror media.

Lina Tupak-Karim Contributor

B

etween the shadowy blinds of the aestheticization of horror lies repressed anxieties and fears. What is horror? It is defined as “a painful and intense fear, dread, or dismay” or as an “intense aversion or repugnance.” As a genre, then, content should elicit similar sentiments.

What evokes a sense of horror? A common theme in horror involves strange, otherworldly creatures, like vampires; another theme includes madness and death, while others concern cults and devilry. What makes these themes frightening? And perhaps more importantly, why do we consume media illustrating them? I think the field of psychoanalysis—while often regarded in the public as too eccentric to take seriously—offers some plausible answers.

What is horror?

In his 1919 essay, “The Uncanny,” Austrian neurologist Sigmund Freud—the founder of psychoanalysis—explores past notions of understanding regarding “the uncanny” and addresses their shortcomings. Most notably, he draws from German philosopher Friedrich Wilhelm Joseph Schelling’s grasp of the term— “the uncanny” refers to that which

should have stayed hidden but “has become visible”—and adjusts it.

Central to the Freudian understanding of the term is a quality of duality. That which is uncanny is simultaneously familiar and foreign. Freud specifies that things causing dread or fear are not necessarily uncanny— the presence of anxiety is a critical element, too.

Why do we consume horror?

Freud references a defence mechanism called “repetition compulsion”—the unconscious tendency to compulsively replicate negative circumstances and emotions from the past—and argues that it is strong enough to supersede the “pleasure-principle”—the aversion to pain and the seeking of pleasure.

That which reminds us of our unconscious compulsion to repeat is uncanny. In this regard, consuming horror media is our brain’s way of engaging in a defence mechanism.

We consume metaphors for what, in infantile psychology, we have come to dread.

Ira Levin’s Rosemary’s Baby is a classic horror novel. The story follows newlyweds Rosemary and Guy as they move into their dream apartment and encounter odd neighbours.

Before long, Rosemary becomes pregnant and begins suspecting those around her of wanting to harm her. Indeed, it is revealed

that her neighbours and husband are in a satanic cult and strive to snatch her baby to sacrifice him to Lucifer.

This novel is a thrilling story. Following the vein of repetition compulsion, why might it appeal to certain people? Rosemary’s Baby is about cults and devilry. One possible explanation, following the Freudian mode of thought, is that it taps into some form of religious trauma, whether that’s on a collective level—in which the culture as a whole is recovering from centuries of religious fanaticism—or an individual level—in which an individual experienced substantial religious expectations as a child.

We repress what makes us nervous. But what goes down always comes up—what is repressed will always manifest in one way or another. Here is the element of duality necessary for a Freudian reading: the cultism in Rosemary’s Baby serves as a metaphor for religious trauma, whether cultural or individual, and engaging with this metaphor provides both a sense of dread and familiarity.

The very existence of cults depends on their remaining camouflaged—when Rosemary discovers the cult and their intentions, whether at the beginning when their behaviour elicited suspicions, or toward the end when it was overt, that is when the horror element of the story sets in.

More applicable to culture in general might be sublimation—the defence mechanism that channels anxieties and fears into socially acceptable means of engaging with them. As such, horror media consumption might be a mode of accessing emotions and thoughts otherwise too complex to address—such as the unease we might experience in engaging with people different from ourselves which manifests in media about vampires and zombies, for instance. What is more socially acceptable in a consumerist culture than media consumption?

Horror is a spellbinding genre with riveting implications for cultural and individual psychology. I believe that psychoanalysis, while certainly peculiar and unorthodox, offers some interesting theories as to why we love dread.

PHOTO BY LAURA TOVAR /THE MEDIUM

07

features

Editor | Prisha (Maneka) Nuckchady features@themedium.ca

The Medium’s Spooky Stories Snake the Drain River Knott Managing Editor

The bathroom sink wasn’t draining, again. I spat out my toothpaste with a resigned groan and leaned over the counter to peer down the drain. I couldn’t see very far into the dark pipe as a cluster of bubbles shone up at me from about three—maybe four—inches inside the drain.

I figured that there was some kind of blockage underneath the suds, so I fished around in the bathroom drawer for the drain auger and fed the rusted drain snake into the pipe. It was no use; I couldn’t get the thing past those dark shiny bubbles blocking up the plumbing. The auger pressed up against something soft, squishy, but unyielding. Strange, I thought, that usually works.

This must be a different problem than before.

I grabbed a flashlight from my storage closet, switched it on, and brought it into the bathroom. I shone the light into the drain and peered over the counter again. In a fraction of a second, the bubbles ceased their shining, transforming into little black beady orbs. I then jumped back, as I heard a horrible struggle coming from beneath the dark bubbles, a scratching, clawing, desperate set of sounds echoing loudly within the pipes, then followed a series of bangs as something heavy fell deep into the twists and turns of the plumbing below.

Panicked, I stuffed the drain tightly with toilet paper, no sewer rat makes sounds like that—nothing makes sounds like that. I called the landlord to get a real plumber to come down and fix whatever was ruining my sink once and for all. He told me that his plumber didn’t work on weekends, so I would have to wait for her until Monday. There was nothing left to do but kick around the apartment until then.

On Sunday evening, I sat alone on my living room couch, tired eyes fixed to the flickering television lighting up the dim room. By 11:30 p.m., the soft mutterings of old re-runs had lulled me to sleep.

Tip-tap, tip… tip-tap, hsss, tap-tap.

I awoke a few hours later to little tapping sounds. As I stirred, the sounds abruptly stopped. I scanned the room but saw nothing out of the ordinary. I got up from the couch to fetch a glass of water from the kitchen. Upon my return to the living room, I paused, despite the darkness of the room, I could make out something long, black, and covered in fibres protruding from behind the couch. After freezing for a moment, I took a step forward.

Hissssss, tip-tap.

I stopped, watching in horror as the mysterious appendage extended further out from behind the couch.

“A… a tail?” I thought to myself. Had some feral raccoon found its way into my home?

If only I were so lucky. Slack-jawed, I watched as a second and then a third hairy appendage slipped out from behind the couch.

Without warning, the beast revealed itself in full form, skuttling loudly and quickly onto the ceiling, beady eyes staring down at me. A spider, a spider the size of a cat—a big cat. It had long black fangs that shone the same way that its eyes did.

I stumbled out of the living room and into my bedroom and started stuffing my duffle bag with clothes before running to the door.

Realizing I had left my medication lying on the bathroom counter, I darted down the hall, into the bathroom, and stuffed the lid onto the open pill bottle. Throwing the bottle into my bag, I ran back down the hall, into the corridor, down the stairs, and into the street.

I couldn’t go back home and risk running into that monster again. So, I booked a hotel for two nights. I got under the warm, fresh, hotel sheets, and slept for a long while.

When I awoke, the sun was shining, and last night’s affairs seemed like a dream or a distant memory. I slowly sipped coffee, nibbled on breakfast, brushed my teeth, and fetched the bottle of pills from my bag. I twisted off the lid and glanced into the bottle, where my pills had once been, there was nothing but little black beady orbs shining up at me, sinisterly.

08 Movie Night Juliana Stacey Editor-in-Chief

“Okay, he’s in bed. Fire it up!” Dad whispers as he shuts my little brother’s bedroom door. The upstairs landing creaks as he tiptoes down to the main floor. I move from my usual spot on the couch and slide the DVD into the Xbox. The TV springs to life.

“Your brother just went to sleep. Can you turn it down?” Mom asks. I race to the remote and lower the volume, just enough so that the sound doesn’t carry up to my brother’s bedroom.

Dad walks into the room balancing three bowls of freshly popped popcorn in his arms. Mom curls up in her favourite corner of the couch with the red-and-white checkered blanket we always fight over. The fireplace under the TV crackles, fizzling from a lack of attention.

“I can’t believe you agreed to watch this, Mom.” I smile. Dad and I are total horror movie junkies and have been begging her to watch one on Film Friday for months. He introduced me to Child’s Play at the age of 12, and from there, I was hooked. Normally we watch horror movies after Mom has gone to bed for the night, but after much coaxing and bribery with snacks, she agreed to switch up the normal routine of a comedy or a TV show.

“If I don’t like it, I’ll go read, and you two can finish it.” Mom glances at me as she scatters pieces of popcorn on the floor for our dog to munch on.

“It’s only rated 14A. It’ll be fine.”

The TV switches from an endless stream of commercials to the main menu. The name Annabelle in tattered red lettering appears on the screen. I press play and grab the less-coveted black blanket that sits on the ottoman. I nestle myself back into the beige cloth couch. Eerie music plays as the screen fades to black.

“I don’t think I like this. Maybe we should choose something else.” Dad hugs a pillow. I smile.

“What’s wrong with you? You love horror movies. Plus, the movie isn’t even rated R. Even Mom is brave enough to watch it.” I say, intermittently licking the cheese powder from my popcorn off my fingers.

“Hey! I don’t have to watch this with you. I wanted to watch that new Jumanji movie.” Mom pouts. The screen diverts to a paragraph detailing the history of dolls.

“I’m telling you; I don’t like this.” Dad squirms, curling his knee up and wrapping one arm around his raised leg.

“Isn’t that uncomfortable?” I stare at his pretzeled position.

“It’s alright. At least the dolls won’t get me this way. My leg is a shield.”

“Okay then. Whatever you say.” I shake my head and shift my attention to the TV, where we’re being introduced to the unfortunate pregnant lady at the movie’s centre. We watch as she shakes her husband awake, letting him know that there are screams coming from next door. …

Our room falls silent.

The woman on the screen inches to the window.

Dad grimaces and pulls the pillow up over his face just enough for his eyes to peek over the edge.

A gust of air blows the curtains in her face. The music swells to emulate it.

Dad’s bowl of popcorn flies upwards as he gasps, the bowl clattering as it hits the floor.

“You’ve got to be kidding me. There were scarier scenes in Finding Nemo!” Popcorn spills all over my lap as my body shakes with laughter. Mom tries to hide her smile.

“It’s not funny! I just wasn’t ready for that, okay?” Dad recoils into the blankets. We all turn our attention back to the movie, trying to piece together what we’ve missed.

The woman is in an office, across the hallway from her baby’s nursery. A sewing machine rattles on its own in the corner of the room. She runs to turn it off. As she moves, a little girl is revealed to be standing in front of the crib where her baby sleeps. She wears a flowy white nightgown, her hands neatly placed at her sides. The little girl giggles. Her face sinks. She rotates on her heels.

“Who are you?” She stammers. The door to the hallway begins to close. The little girl darts towards the main character. She slams into the door. The innocent-looking little girl has now transformed into a haggard woman. Her eyes are empty black pools, devoid of all feeling. Wiry black hair dances as she moves across the room. The skin on her face is grey. It droops off her bones in long rolls, like the face of an English bulldog, but definitely not anywhere near that realm of cute. Her stomach is hollowed out, blood seeping out of the hole. She lunges.

Dad shoots up from his seat. “That’s it! Finish it without me. I can’t sit through this anymore.

I’ll be downstairs if you need me.” He slinks off into the basement.

I pause the movie and turn to Mom. “I didn’t think it was that bad. Do you think something’s wrong?” Mom moves as though she’s going to get up, but I shake my head.

“I’m sure he’s fine. He’s just being dramatic. We watched Sinister last week, and it was much worse than this. People’s heads were ripped off with lawn mowers. I’m sure he’s fine.” Mom hesitates, stands, then retreats into the couch. She pulls the blankets back up to cover her whole body. We return to the movie, where the main character is backed into a corner. …

“Good night, Mom.” I wave as I make my way up the stairs.

The upstairs landing is almost pitch black. I pull my phone out of my jean pocket so that I can use its flashlight feature. I reach my door and push it open. The light from my phone illuminates my bedroom’s parquet flooring. My free hand fumbles up the side of my wall, searching for the switch. The flashlight hits something other than the floor, a glint of light reflecting into my eyes. I glance over. In the midst of darkness, I see black hair. Curly, wiry black hair.

I turn on the light.

Standing in the middle of my bedroom floor is a classic Victorian doll, complete with a stitched-up face and hollowed-out eye sockets. The phone light centres in on the abysses that are carved out where the eyes should be. Wiry black hair puffs out of her skull. Her white, flowy nightgown is met with a lifeless, grey complexion. My heart stops, and I raise my hands to cover my mouth. I know I can’t scream. My brother is asleep. I can’t wake him up. My body compensates by sending a stream of tears down my face. I hold my breath and slowly back out of the room. Pressure builds up in my skull as I’m overcome with a full-face case of blushing fear.

Giggles echo behind me. I turn to see Dad, standing at the bottom of the stairs. His face is bright red from laughter.

“I thought you weren’t scared.” He convulses as he struggles for air, moving his hands to clutch his stomach. I employ the rail as a crutch, pulling myself over to see him.

“I… I… I hate you.” I shuffle to my mother’s bedroom. There is no way I will sleep in my room tonight.

“Are you okay honey?” Mom, who is already snuggled into bed, places a tissue in the crease of her book, closes it, and sets it on her bedside table.

“Uh huh.”

“Movie get to you?”

“Uh huh.” I slip myself into the bed, wrap myself in the covers, and bury my head under a pillow.

Mom flips off the lamp next to her bed. Dad can have the couch tonight.

09

Arts

Editor | Alisa Samuel arts@themedium.ca

Cutting-Edge Horror: Five Cult Classic Slasher Films These originals make for a chilling and memorable Halloween movie marathon night!

Karissa Harrypersad Contributor

This year gave us remakes, sequels, and prequels of horror movies that nobody asked for. The original movies are cult classics because they have captivated audiences for decades through bonechilling narratives with creepy imagery that leave you wanting more. Here are five slasher films that have stood the test of time.

1.

Halloween (Dir. John Carpenter, 1978)

You’ve heard the Halloween theme song, but have you ever watched the movie? With 13 total movies in the franchise, I’d like to take you back to the first one that started it all. The 1978 Halloween is an iconic film that pioneered the essential backdrop for a slasher movie: a masked killer chasing unsuspecting victims in a suspenseful game of cat-and-mouse. It innovated cinematography and suspenseful storytelling through every scene. This original cult classic is significant because it is arguably one of the most remarkable and influential horror movies ever produced. To grasp the roots of the slasher genre and experience the only “Halloween” you’ll need, step into the world of Michael Myers who provides a killer experience that has solidified its place in cinematic history.

2.

A Nightmare on Elm Street (Dir. Wes Craven, 1984)

After watching the nightmares in this movie, you’ll be scared to sleep. Wes Craven wrote, directed, and created this film—and with it came the slasher character that was distinct from other killers of the time: Freddy Krueger. Freddy is an iconic antagonist and different from the others’ tropes since; in slumber, he enters your dreams to torture you. The film elevated its genre by blending reality and nightmares ultimately creating an uncanny sense of dread.

3.

Friday the 13th (Dir. Sean S. Cunningham, 1980)

The beginning of the Jason Voorhees saga, Friday the 13th (1980) was written by Victor Miller and directed by Sean S. Cunningham. It left an incredible mark on the horror genre and gained praise for its cinematography and unique storyline, which started the summer camp killer trope. Our main slasher and Halloween costume icon is Jason Voorhees, who murders teens at a summer camp he drowned in. This movie was inspired by John Carpenter’s Halloween. You can see the similarities between the films’ main killers. However, Friday the 13th is visually stunning and more of a rollercoaster that rides into its iconic, critical plot twist which was missing in its sequels and remakes.

4. Texas Chainsaw Massacre (Dir. Tobe Hooper, 1974) Tobe Hooper, the creator, director, and writer of Texas Chainsaw Massacre, redefined the boundaries of the horror genre. Based on true events, the movie dives into uncharted territory with its raw intensity and gritty realism. There are nine films in total, with various reboots, remakes, and prequels that span the course of almost five decades. None compare to the original movie. The film’s main antagonist, Leatherface, has become a symbol of horror. Prepare for an unsettling journey that reshapes cinematic terror and reminds us why it’s a significant piece in the puzzle of slasher horror’s evolution.

5.

Scream (Dir. Wes Craven, 1996)

This is another cult classic slasher film written and directed by Wes Craven. The original movie was meant to be a parody of other horror films but became a cult classic instead. Currently, there are six movies in the franchise with hints of a seventh on its way. However, none can compare to the original because it was an innovative idea for its period. By blending self-awareness with genuine scares, the film serves as a satire and homage to horror tropes. It reinvigorated the genre by seamlessly merging humour and horror. Scream revived interest in slashers while inspiring a new wave of self-referential horror films.

ILLUSTRATION BY AURORA PICCIOTTOLI/THE MEDIUM

10

Horror on Health: Does watching movies make us sick?

Scary movies throughout the years have had negative psychological effects on their audiences.

Paige France Contributor

R

esearch suggests the 1973 acclaimed horror movie The Exorcist is a psychiatric hazard to viewers. An adaption of a novel from 1971, the film tells a story, in shocking scenes and with experimental music, about a demonically possessed girl.

Two years after its release, The Journal of Nervous and Mental Disease reported on findings of traumatic neurosis in four people who watched the movie. Traumatic neurosis is a mental disturbance that arises after emotional shock. The study also observed, in some cases, psychosis.

One person, an 18-year-old former Marine, shakily watched The Exorcist in theatres and returned home to then worry about being possessed by the devil. He heard creaky noises, ate less, and abused alcohol and drugs to destroy his memory of the film. Another young man was referred to a psychiatric outpatient centre one month after his viewing. He was having dreams of the devil, was convinced his wife was cheating on him, and complained of persistent insomnia.

found, similarly through case studies, that compulsive viewership of horror films can lead to an onset of mental problems.

One 20-year-old male patient experienced symptoms of anxiety and depression for under a six-month duration after watching the film Hannibal (2001) and started treatment to rid his mind of obsessive ruminations surrounding the film.

As popularity in horror films increases, areas of macabre and occult and their effects on the human body are gradually becoming subjects of research interest. Trauma following moviewatching is relatively unreported and has been dismissed in the past as a result of repressed personal events. But as the German Philosopher Friedrich Nietzsche once said: “There is more wisdom in your body than in your deepest philosophy.”

The other two cases documented examples of suicidal ideation, consideration of hospitalization, extreme guilt for past decisions, the belief that family members were possessed, and demands of assistance from either the church or psychiatric clinics. All four patients demonstrated similar symptoms within one day of viewing, including insomnia, hyperactivity, excitability, decreased appetite, loss of impulse control, paranoia, and reduced sexual functioning.

According to Healthline, while our brains register the threats in film as fabricated, our bodies do not. Tension, fear, and shock cause a rush of autonomic nervous system hormones—such as norepinephrine, cortisol, and adrenaline—into the body, causing pupil dilation, racing heart rates, and bodily tension. The most noticeable side effect is sleeplessness. Loss of sleep can affect how our brains process emotions, and in turn, intensify negative emotions. Ninety per cent of people with depression experience sleep issues, and in older adults, this increases the risk of suicidal thoughts. More than three consecutive nights without sleep have been found to cause perceptual distortions, delusions, and hallucinations.

Over four decades later, an article from European Psychiatric

There is, however, a way to watch scary movies this Hallow-

een season: understanding your tolerance and watching within it. Try opting for subgenres that give you the least bodily distress, such as Black Swan (2010) for psychological thriller lovers or Human Centipede (2009) to satisfy your gore craving.

Another tip is to be very aware of the effects of binge consumption of horror. A study in the Journal of Clinical Sleep Medicine found that binge-watching can have the ability to disrupt sleep, regardless of the genre. Watching movies with the lights on helps your body make the distinction between real life and fiction. Lastly, buddying up while watching can help us feel more tethered to reality. Cuddling is useful in managing fear and increasing feelings of protection.

ILLUSTRATION BY BEATRIZ SIMAS/ THE MEDIUM

Associate Professor Mairi Cowan on her book The Possession of Barbe Hallay A look into the past led UTM Professor Mairi Cowan into a “precarious” world of demons and witches.

Yusuf Larizza-Ali Staff Writer

O

n October 26, 2023, the University of Toronto Mississauga’s (UTM) ninth annual Celebration of Books took place. It was cohosted by the UTM Library to honour recent scholarly monographs from its graduates and faculty. The Medium got the chance to speak to UTM History Associate Professor Mairi Cowan about her book titled The Possession of Barbe Hallay: Diabolical Arts and Daily Life in Early Canada, which was showcased at the event. The book is a study in the social and religious history of New France.

The Medium: What can you tell us about The Possession of Barbe Hallay: Diabolical Arts and Daily Life in Early Canada?

Mairi Cowan: Thank you for your interest in my research! This book is very suitable for Spooky Season, I think. It’s a microhistory of bewitchment and demonic possession in seventeenth-century New France. “Microhistory” is a historical approach that examines something on a small scale to address big questions.

It looks up close at a specific event or person or place, with great attention to detail, and considers what the evidence about this one thing can tell us about the wider historical context.

In my book, the object of study is a demonic infestation caused by a witch. Well, to be more

precise, the object of study is what people in New France during the seventeenth century believed was a demonic infestation caused by a witch. Some of the inhabitants in Québec started to report strange signs and manifestations. Barbe Hallay, a teenaged domestic servant, said she saw frightening spectres, and soon she acted as if she were being possessed by a malevolent spirit. The Possession of Barbe Hallay is about what happened to Barbe Hallay, why people thought she was bewitched, how this seemingly small case is connected to larger themes in history, and what we as historians can really know about the past.

TM: What does the practice of demonology and witchcraft in this Québec settlement where Hallay lived reveal about the everyday experiences and general anxieties in New France?

MC: Belief in witchcraft was quite normal for settlers in early Canada, so was the fear of demonic forces. And we can learn a lot about people’s experiences and anxieties through what they were saying about witches and demons. For my book, I analyzed how people in the seventeenth century tried to diagnose what was wrong (including their attempts to discern whether they were facing a real supernatural

possession rather than illness or fraud), why a local miller was accused of being a witch, and which treatments succeeded in ending the demonic torments. A lot of the book is about the everyday lives of ordinary people who do not normally leave a mark on the historical record.

I talk about where they travelled and what they ate and how they practised medicine and why they were confused about the coldness of Canadian winters. But the book is also about larger historical forces, too. In trying to understand what Barbe Hallay and those around her thought was happening, I also needed to learn about colonialism and imperialism, early modern Catholicism and ancient regime French society, even environmental history and the history of astronomy. Looking at both everyday lives and larger themes helped me see how New France was connected to wider developments in North America and Europe. The colony was shaped by forces beyond the colonists’ control, and often beyond their understanding. These colonists were anxious about a lot of things. What came through very clearly to me was that New France was precarious as a colonial project, and the colonists themselves knew it.

TM: What is the significance to you, personally, of having this book showcased at the UTM Annual Celebration Of Books?

MC: A scholarly book takes a lot of time and energy to create. I first came across the story of Barbe Hallay’s possession about ten years ago, and since then I’ve worked with archivists, librarians, historians, and students to understand the world I encountered. I’m very pleased that UTM is celebrating research in its community.

TM: Do you have any final comments you’d like to share?

MC: About the topics discussed in my book, I guess I’d like to add here a note of encouragement to follow your curiosity in your research.

This project started when I was on vacation in Québec City and reading the letters of a nun who had lived there hundreds of years ago. I became curious to know more about her account of a mysterious bewitchment, and this curiosity led me in a lot of different directions.

In following my curiosity, I certainly learned more than I could have expected when choosing my vacation reading, and now I hope that other people will enjoy reading about my findings.

11

The fun of The Five Faces for Evelyn Frost Translated by Steven McCarthy and directed by Anita La Selva, Theatre Erindale’s first production of the 2023-24 season signifies unity in the digital age.

Avery McMillan Theatre Erindale Correspondent

A

s stated in the program description, The Five Faces of Evelyn Frost is a “play about social media and human relationships.” It explores the effect that online content has on people when indiscriminately shared and how interaction is therefore shaped by digital technology.

With an ensemble cast of five actors from the University of Toronto Mississauga (UTM), fast-paced dialogue, and the use of hundreds of projected images in over an hour, Five Faces is an engaging and relevant theatrical experience. Theatre Erindale’s production enhances the outrageous discontinuity of online personas through every element.

Amidst the text and photos, which are just like the content that we regularly encounter on social media, the performers bring a face and being onstage. The fullness of their lives may not be rendered visible through social media. However, the performers’ interpretations of their characters and the insertion of personality in the live performance makes empathy from the audience possible, particularly as their content becomes increasingly extreme.

As One, Jenae Fairclough powerfully presents curating what others see online and deriving worth from social media without question. Vivi Valo portrays Two as performatively lonely and has notable comedic delivery. Meaghan Dias, Maya Lerman, and Andrew Easterling complete the cast as the individualistic Three, pretentious Four, and nonchalant Five respectively.

I will not spoil the contents of the projected photographs, most of which brought non-stop laughter from the opening night audience. The onslaught of well-timed photos alternating between two framed screens are integral to the intermedial performance and part of their effect is the constant unexpectedness, even for someone who has read the play.

In the production, the photos support the meaning of the play itself by extending themes from the script. References in the text and photos similarly invite audience interaction. Like the characters, we often understand ourselves through what we know. Equally, the contrast between the quality of the design onstage and of the photos highlights the different ways in which performance is curated live and digitally.

Leslie Wright (set and projection design), Michelle Vanderheyden (costume design), Mike Slater (lighting design), and Joseph Taylor (sound and projection design) delivered impressive theatrical design that supported the overall production. The quantity of projection cues cannot be understated. Stage manager Laura Grandfield must be credited for what would imaginably be a tough show to call.

While Anita La Selva’s fun take on Five Faces was somewhat surprising given the palpable despair in the post-dramatic text, it was effective in bringing the audience into the exhilaration of the five faces as they display their content. Simultaneously, the photos maintain an awareness for the fact of performance. They speak to the ridiculousness of these characters pausing for photos, documenting these moments, and manufacturing events.

Overall, as situations become glamorized, sensationalized, and exploited for the sake of generating content (an act that garners attention from creator and consumer for profit), the characters are depersonalized to the point that they remain nameless. I would argue that tragically, the performativity does not release. This is part of the production’s impact.

With the laughter and excitement of those around me, the medium of satirical theatrical experience felt like an environment in which it was possible to grapple with our relationships with social media. Particularly now, theatre as part of a collective, the present audience can act as a site to safely experience complexity.

In contrast to digital media companies working to profit from our lasting, disembodied attention through user-generated content, Five Faces is an engaging and finite 75 minutes. Having affordable professional theatre on our campus is something that we can take advantage of. Much like The Beatles’ song that plays in the show, “Come Together,” experience live performance and engage with social media in new ways. I must continue to emphasize: it is fun.

Of ethical questions on what is depicted online and onstage, I had reservations simply from reading Five Faces. Characters who represent many aspects of human experience for attention on platforms, where the reach of attention is primarily determined by what other users engage with, could produce similar harm onstage as it does online. That said, in the theatre, my experience was different.

I found Theatre Erindale’s Five Faces funny and beautiful and deeply sad. The performance brought an experience of social media into the theatre. In this way, it is a play that may resonate widely as digital technology seems so omnipresent, mediating so many of our experiences and the identities we proclaim. The plays lack of resolution makes me wonder how we might intervene, and whether it is possible.

La Selva’s directorial choices show care for the audience experience, bring an affective trajectory to the stage, and lend to dynamic ensemble work. These are trademark qualities that I appreciated in previous Theatre Erindale productions with her direction.

Running until November 4, 2023, The Five Faces for Evelyn Frost is the first of four mainstage and two studio productions presented as part of the UTM/Sheridan Theatre + Drama Studies program this year. Buy tickets through the UTM website.

PHOTO BY THEATER ERINDALE COURTESY OF MIKE SLATER

12

sports & health

Editor | Omar Khan sports@themedium.ca

The power of the pumpkin The nutritional benefits and history of pumpkins.

Yusuf Larizza-Ali Contributor

The pumpkin is closely affiliated with Halloween both as a food item and as the iconic jacko’-lantern. The term “jack-o’-lantern” has a few different origins, one of them being an old Irish religious legend, where a turnip was carved rather than the traditional pumpkin. In the story, a man named Jack is unable to enter hell because of a cunning deal he made with the Devil, but he is unable to enter heaven because of his manipulative ways. Instead, his soul wanders around the earth with a lantern made from a turnip, and this is where the name comes from.

The pumpkin is classified as a fruit due to having flesh, seeds, and a peel, and Dr. Jenkins appreciates the fact that this plant food attracts extra attention around Halloween. “I think the fact that it’s now being put on the front porch […] and carved into all sorts of different facial shapes has […] been part of its appeal,” he states, adding, “[It is fortunate] that people have taken a plant food and made it the object of this particular feast. And the seeds do contain some protein [similarly to] the seeds of other [similar plant] foods.” With the cultural significance and nutritional benefits, we now have two reasons to run to the nearest pumpkin patch this Halloween.

For Halloween in the 1700s, people used turnips, beets, and potatoes as jack-o’-lanterns to ward off evil spirits. However, the Irish potato famine sparked widespread Irish immigration to the United States and created a demand for a new vegetable. The pumpkin was discovered to be the ideal shape and size for jack-o’-lanterns since they’re much easier to carve.

But a pumpkin can be used for more than a Halloween scare!

The Medium spoke with Dr. David Jenkins from the Department Of Nutritional Sciences at U of T about the nutritional benefits of pumpkins. Dr. Jenkins researches plant-based diets and plant proteins and has worked with the food industry to encourage consumers to increase their intake of plant-based foods.

While Dr. Jenkins doesn’t think that the pumpkin “has tremendously secret health benefits that aren’t common to a lot of other plant foods,” he states that “it is low fat and it’s a plantbased food—so it will have a certain amount of vitamins and minerals that would be useful. It’s a traditional food that people eat at this time of year […] along with other squashes and foods that are similar in nature. These have been part of a healthy human diet for probably thousands of years.’’ He adds, “It’s not uncommon in most tuber-like foods to have a mixture of nutrients [and] starchy fibres [which] benefit […] human metabolism.”

New Potentials Scottie Barnes shines as the Toronto Raptors blaze through the preseason.

Justyn Aleluia Columnist

T

he Toronto Raptors are back in NBA action this week after a scorching start to their preseason. The Raptors won their first three preseason games, and the stats show that it isn’t just a fluke.

The Raps started with a 112-99 win against the Sacramento Kings, where new head coach Darko Rajakovic debuted the Raptor’s new starting lineup. As expected, Pascal Siakam is back as the team’s starting power forward alongside OG Anunoby at small forward and Jakob Poeltl at centre.

The guard position is where things look different this year, as Scottie Barnes looks to be the new starting guard for the Raptors alongside newly acquired Denis Schroder. The new squad showed no signs of rustiness in their first game. Barnes led the starters with 15 points and seven rebounds, while Gary Trent Jr. sunk 22 points along with three steals off the bench.

The next game against Australia’s Cairns Taipans proved no different. Scottie Barnes dropped another 14 points with a block, two steals, four assists, five rebounds, and a promising 66 per cent accuracy score from three-point range.

If Barnes, who has struggled with his three-point shot thus far in his career, can maintain a steady efficiency from beyond the arch, he will be a serious threat in the league. The Raptors lack a star player, but the front office is banking on Barnes developing into one. The Raptors reportedly

made him “untouchable” in trade talks for superstars Kevin Durant and Damian Lillard.

Their third preseason win against the Chicago Bulls may have just showcased why this was the case. Barnes dropped 22 points with an absurd four blocks, two steals, six rebounds, and three assists. The 22-year-old point forward did it all on both sides of the court, showing flashes of his potential throughout the game. Throughout the three preseason games, Barnes is averaging 17 points, six rebounds, nearly four assists, one steal, and one block while shooting at a whopping 50 per cent from the three-point range.

Barnes isn’t the only one shining so far. Rajakovic shared high praise for new Raptor Jalen McDaniels: “I really like his defense, his ability to get deflections, ability to get over the screens, to change shots. […] I think that he can be a very good cutter, especially inside of our system. […] I think he’s already a really good player, but I expect him to take it to another level.”

Rookie Gradey Dick hasn’t given fans what they expected so far. A sharpshooter in college, Dick averaged only six points in preseason action on 33% field-goal percentage. His performance shouldn’t be alarming, though. Dick needs more time to adjust to the NBA skill level, and he has already shown some glimpses of doing so in his limited playing time. Dick should take a bench role this year, and if he can shoot even close to as well as promised, the Raptors will be very happy.

Fans have a lot to look forward to this season. How will the new squad play together? Will Scottie Barnes take a leap to stardom? How will Darko Rajakovic’s new coaching tactics fair for the team? Can the Raptors contend this season? All the answers will come as the Raptors kick off their season at home on Wednesday, October 25, against the Minnesota Timberwolves.