Issue 277 (April 2025)

Page 1


The University News

Recent round of visa cuts leaves SLU international students concerned and confused

International students at Saint Louis University are anxious about the future of their immigration status after the Trump administration revoked over 25 student visas in the St. Louis region this month.

That includes a “small number” of SLU students whose visas were cancelled unexpectedly, SLU spokesperson Clayton Berry confirmed in a statement to The University News.

Students at a number of other universities in the region also had their legal status changed, including at Southern Illinois University Edwardsville, Webster University and Washington University in St. Louis.

The reasons provided by the federal government for the revocations were “limited” or “unspecific,” Berry said. Local immigration attorneys said federal authorities revoked international students’ visas for “minor offenses” like traffic tickets or “for no reason at all,” according to reporting from the St. Louis Post Dispatch. Federal immigration agencies did not directly notify SLU about the visa cuts. Rather, students found out on their own by looking at their Student and Exchange Visitor Program (SEVIS) portal and reporting their status update to the university, Berry said.

An undergraduate student studying at SLU through an F-1 visa said the administration’s crackdown on international students is cruel and makes her feel unwelcome. The student requested anonymity out of fear that having her name in the media could make her a target.

“My family and I have put so much money, effort and hope into building a future through education in the U.S.,” the student said. “And now, visas are being revoked with no explanation. It feels like it’s happening at random; no one is telling us anything. That uncertainty is exhausting and deeply unfair.”

Despite this, the university continues to monitor student records on SEVIS and has told affected students to contact the Office of International Services (OIS) for guidance, Berry said.

“OIS is speaking with impacted students on an individual basis to understand each student’s specific circumstances and explain options available to them

Community mourns Pope Francis with mass Lauren Hutchens, Editor-in-Chief

St. Louis community members gathered beneath the vaulted ceiling of St. Francis Xavier College Church for a Memorial Mass to mourn the first Jesuit pontiff, Pope Francis, two days after his passing. The mass opened with the Regina Caeli prayer, which is read from Easter day to Pentecost, before acknowledging the Argentine Jesuit priest. Jorge Mario Bergoglio was the 266th pope to lead the Catholic Church and passed Easter Monday at the age of 88.

“I welcome you to our mass, and pray for Pope Francis, giving thanks to God for His loving and faithful service to the people of God,” said Susan Chawszczewski, Director of Campus Ministry. “Pope Francis, in his Easter message this year, stated, ‘On this day, I would like all of us to hope anew and to revive our trust in others, including those who are different than ourselves or who come from discrimination, bring unfamiliar customs, ways of life and ideas for all of us, are children of God.”

Francis’ health had been deteriorating for some time, and his death took place almost a month after he returned to the Vatican from being hospitalized for double pneumonia. Maureen Wangard, one of two Americans who met Francis in 2020 at the World Union of Catholic School Teachers Conference in Rome, said his health didn’t slow him down.

“Every step he took was a challenge, but he sat down and was very gracious. He smiled the entire time. And, I mean, we were there for well over an hour, and you figure he must do this several times a week, and yet, he looked very happy and spoke clearly,” Wangard said, the assistant director of graduate student initiatives at SLU.

Wangard’s meeting with Francis and Catholic representatives from around the world left her feeling as if she were a small part of something bigger. That was the influence he had, she said.

“I think the pope actually said, ‘You’re co-workers with the pope,’” Wangard said. “I had this sense of, yeah,

I do need to be inclusive, treat other people in a way that’s welcoming and in a way that I think it’s really important to see God in everyone.”

Francis’ influence stretched beyond Catholics. The memorial, well-attended by non-Catholics, was a testament to how he advocated for migrants, LGBTQ+ people and environmental policies. Sophomore Kaydence Davis said that Francis’ advocacy of these political issues garnered her support, even as someone who did not practice Catholicism.

“I really liked his views on same-sex marriage and homosexuality, and how open he was to it, and how it kind of moved forward the Roman Catholic Church,” Davis said.

Francis was well known for changing conversations within Catholicism on LGBTQ+ issues after saying, “Being homosexual is not a crime.” However, he

pinion

We are living in what many experts are calling a “male loneliness epidemic.” Surveys show that men, particularly younger men, report higher levels of isolation and lower rates of close friendships than ever before. While this crisis deserves attention, the solutions being offered by alpha male influencers and online communities dubbed manospheres are not just unhelpful, they are actively harmful.

In recent years, a disturbing subculture has gained traction across social platforms: the “manosphere.”

What began as loosely organized forums of selfdescribed “men’s rights activists” has evolved into a highly visible network of influencers, podcasters and online personalities who promote rigid, regressive notions of masculinity. These figures, from Andrew Tate to Joe Rogan, preach a worldview in which empathy is weakness, women are adversaries and the only currency of male value is dominance. At the heart of this rhetoric is the revival of the “alpha

How the British Empire indirectly caused today’s Israel-Palestine Conflict

Calla

On Oct. 7, 2023, the Palestinian terrorist group Hamas killed 1,200 Israeli civilians and injured 5,431 more. In retaliation, the Israeli government killed 47,450 Palestinians and injured 111,618 more. The attack on October 7 brought the Israel-Palestine conflict back into the world spotlight, and for many, it was their first time hearing about the issue. Though the history of the conflict began over 100 years ago, I have found that many make overhasty decisions when it comes to picking a side. People base these decisions on how the current conflict is depicted on our screens and in the news, without taking the time to research how and why the conflict became what it is today.

A few months ago, I was scrolling through TikTok when a video popped up on my “For You” page. In the

video, Palestinian protesters at Columbia University were asked to define Zionism, and they often did not know how to answer. In all fairness, neither did I. So, I did what any self-respecting history major would do and googled the definition. Though I did not know it at the time, that Google search would lead me down the biggest historical rabbit hole I had ever fallen in. I was Alice; JSTOR and YouTube were my wonderland.

Though the history of the Israel-Palestine issue is extensive, and while there are many aspects worth considering, what shocked me most was how interlaced the escalation in conflict was with the British Empire. In the early 20th century, the British Empire decided — without consulting the Palestinian people — to ReadmoreonB3,Israel-Palestine

Thirty-one years ago, “Riverdance” was born as a performance in the iconic “Eurovision” competition. Since then, it has transformed into an iconic display of Irish culture as a full theatrical performance that has set off on a tour to celebrate its 30th anniversary in the United States and the United Kingdom.

Samantha Felling, a member of the Irish dance troupe and graduate of Saint Louis University, discussed the excitement to bring the show to her hometown, a performance she feels is as important and valuable now as it was three decades ago.

Samantha Felling spoke with The University News’ Owen Herdrick on April 16. The following conversation has been edited for clarity and length.

If you could give me an elevator pitch on what ‘Riverdance’ is, what would that be?

Samantha Felling: It started at the Eurovision Song Contest in 1994, and that was the first time Irish dance kind of got a big stage to showcase on… it was seen as an actual performance piece, versus just kind of a traditional thing that people did at the pubs and back in Ireland. Riverdance itself is really just a celebration of Irish culture and music. [But] as much as there’s a lot of Irish dance and music, there’s also a flamenco dancer, there’s American tap dancers [and] there’s Eastern European folk dancers. We have a whole live band – it’s just a really high-energy show.

What does it mean to you to be reviving an old classic?

SF: The show itself is so iconic. So it’s been around for 30 years, and it maintains that same iconic music and choreography. We’ve just really upped the lighting up to the production, the graphics, the costumes and the whole cast now as well. It’s a whole new generation of Irish dancers in the cast. None of us were actually born when Riverdance first came into the scene. We haven’t known life without Riverdance, and we grew up watching Riverdance.

In what ways do you feel the story of ‘Riverdance’ is important today?

SF: The whole show is about people from different cultures and backgrounds coming together and sharing their culture and their history. It’s primarily an Irish dance and music show, but there’s a lot of back-andforth pieces between the Irish dancers and the tap dancers and the flamenco dancers and the Eastern European folk dancers. It’s a timeless show, and it’s a timeless story, because it’ll always be relevant to share your culture and your passion. There’s scenes in the show about Irish people immigrating to the United States – that’s a very relevant theme these days. It’s about kind of letting things go, moving on [and] losing people as they immigrate to the U.S., but still holding on to their family ties [and] cultural ties as they emigrate to a

Jack Cipfl, Assistant News Editor
Mariya Yasinovska, OpinionEditor
(Joe Rogan)
Comedian Joe Rogan, host of the popular long-form podcast, the Joe Rogan Experience, where he speaks about male rights and interviews guests such as Donald Trump, is pictured sitting at his podcast set.

inspired her and many others in the SLU community.

based on federal law, regulations and guidance,” Berry said . Before SLU student visas were revoked, the OIS hosted two informational events on April 8 and 9 to provide insights into recent federal law and policy changes for concerned international students.

The university saw a sharp decrease in the number of international student enrollment, falling from around 1,300 in 2023-24 to just over 300 in the 202425 academic year. This decrease contributed to a $20 million budget deficit, which has forced major program cuts, restructuring and faculty layoffs.

The University News’ Ulaa Kuziez contributed to this report.

The undergraduate student said that while the OIS sent emails to international students and is trying to help, she “sometimes feel like the people there (OIS) are somehow unprepared.”

clarified later that this means homosexual people should not be criminalized legally and that there is a difference between a crime and a sin. In his clarification, he included that all sexual acts outside of marriage are a sin, but not a crime.

For others, Francis was impactful because he organized the “entire church to listen to one another, rather than announcing to Catholics how things are supposed to be,” Katie Jansen said, the parish life coordinator for St. Francis Xavier College Church.

“That’s part of my hope that his work will continue,” Jansen said. “I’m so grateful for the spaces he has created for us to discern the role of women in the Catholic Church, that the final document for the Synod on Synodality says that the discernment is open for the female diaconate, so female women possibly being deacons.”

Julia Erdlen, the liturgy coordinator with Campus Ministry, said she hopes the Spirit will keep working and leading people to better understand God and the love of God. Francis’ commitment to his Jesuit lifestyle

“There’s a way in which Francis, to me, feels like part of the family because of our Jesuit connection. That is, for those of us who work and are Jesuit educated – there’s a closeness we feel. Many people feel this to Francis, which is such a gift from him,” Erdlen said. Jesuits are a part of a Catholic religious order founded by St. Ignatius of Loyola. The order takes three vows: poverty, chastity and obedience, all of which Francis was known to embody. Francis was also the first pope since 1831 to take a vow of poverty.

“We witnessed the moral and intellectual rigor of the Ignatian tradition throughout his papacy – in his openness to multiple viewpoints, in his inclusion of lay people and women in the global Synod of Bishops, and in his emphasis on the importance of individual and collective discernment,” SLU’s President Fred Pestello’s wrote in an email to the community on April 21.

Pestello also praised Francis’ commitment to serving the poor, marginalized and migrants everywhere.

“I appreciate that younger people are interested in him. I think it really says a lot about who he is,” Wangard said. “He didn’t strike me as someone who sat in fear. Instead, he struck me as someone full of hope and full of joy. He’s really an amazing human being.”

Atlas Week invites SLU community to connect and celebrate for the 25th year, but program may be cut due to limited funds

Despiteuncertaintiesabouttheprogram’sfuture,theweekfeatured60+educationalandinteractiveevents

An excited crowd marched down Saint Louis University’s campus on April 11, waving colorful flags as a symbol of cultural pride. Those gathered to watch along West Pine Mall snapped pictures of the Parade of Nations, a beloved tradition that marks the end of Atlas Week.

Launched in 2001, the Atlas Program, housed in SLU’s Center for Global Citizenship (CGC), aims to “increase awareness of the global issues that confront us today in an effort not only to promote discussion but to inspire and inform action,” according to the program’s webpage. During the annual program, SLU community members and organizations sign up to host events in line with the week’s theme. Major parts of the planning are done by Atlas interns, who take a semester-long course to organize Atlas Week.

However, the program might be dissolved next year due to limited funding. Luella Loseille, who has run the program for about seven years, said she was informed in the fall of 2023 that Sam and Marilyn Fox decided to end donations to the Atlas fund after supporting the program for over 20 years. Loseille declined to comment on whether the potential cut of the program is related to federal policies targeting diversity programming on college campuses.

“...Atlas Week always tries to rise to the moment of [the] current global climate to serve the needs of the community. How we go about doing that in [the] future is still under discussion,” Loseille said. “But I believe initiatives such as Atlas Week are more important than ever before as it encourages all on how we should we approach global problems of injustice and inequity, from the local level to the global. How to become better global citizens that ‘set the world on fire.’”

The 2025 theme, “From Inequality to Justice: Transforming Global Health through Social Change,” explored the intersection of global health, culture and justice. From events showcasing various cultures to educational presentations and workshops, including a Signature Symposium with guest speaker Daniel E. Dawes, the 25th annual Atlas Week brought SLU and St. Louis community members together for over 60 events. A selection of events is featured below.

Parade of Nations and Billiken World Festival

As two concluding events of Atlas Week, the Parade of Nations signaled the start of the Billiken World Festival on April 11. Organized by the International Student Federation, the festival featured student performances and local vendors selling products like jewelry or offering henna. There was also cultural food from many St. Louis businesses.

Amal Rizvi, a 2025 Atlas Program Publicity intern,

said that hosting and attending events like the Billiken World Festival allowed her to see firsthand how powerful such spaces are, as they allow people to come together, celebrate their cultures and share their stories.

“SLU, while just a micro-community, reflects the diversity of the world around us, and Atlas Week made that global perspective feel present on campus,” Rizvi said. “These spaces are vital, and not just during Atlas Week, but throughout the year. I believe it’s our responsibility to continue creating and supporting opportunities like this that inspire connection, understanding, and cultural appreciation.”

Healing in Exile: Stories of Struggle and Strength in Palestine

Around a dozen gathered in the Chaifetz School of Business and listened to SLU seniors and 2025 Atlas Program Publicity interns Ansam Ayesh and Hoda Elbeshbeshy present on the humanitarian crisis in Gaza, Palestine. Ayesh and Elbeshbeshy highlighted the lack of necessities like shelter, hygiene, education and food that people living under siege in Gaza face on April 9.

Attendees also heard from Linda Badran and Maisoon Batghouti, volunteers from the St. Louis chapter of Heal Palestine, a non-political non-profit organization that helps Palestinian children rebuild their lives through health, education, aid and leadership.

To a small but attentive crowd, Badran and Batghouti moved the audience by describing their work with Palestinian children who have come to St. Louis from Gaza for medical treatment.

Badran and Batghouti both said that their efforts make a small impact when thousands of children need treatment, just like those they have worked with, such as 12-year-old Hadi Zaqout and 7-year-old Tala. Still, they said they are grateful for the impact they can make through Heal.

“For me, it’s an opportunity; I think that most people in this room can identify that they feel frustration at our inability to do anything. It’s a small way we can make a difference, we know that we’re impacting these families every day, it’s rewarding, it’s a limited reward, but it keeps us going,” Badran said. “There’s a purpose and a cause, and for Palestinians, just expressing their resilience, coming together, building a community, is everything in exile. It’s a lifeline, not just to these children but to future generations here as well.”

Palestinian Tatreez Art Workshop

Led by Amera Khalil, local small business owner of Stitched by Amera, the Palestinian Tatreez Workshop in the CGC on April 11 invited attendees to try the traditional Palestinian art form. A dozen attendees learned about the history and significance of the art before practicing stitching themselves.

According to informational cards provided by Khalil in the supply kits given to attendees, tatreez is an intricate form of Palestinian cross-stitch embroidery that tells stories of Palestinian perseverance, love, struggle and life. While patterns may vary from village to village, motifs of important events or nature are common across traditionally stitched dresses known as thobes. With a needle, colorful threads and an aida fabric, attendees learned to stitch coffee bean motifs, which Khalil said represent Palestinian hospitality.

For sophomore SLU student Sofia Ibrahim Prendiville, tatreez is more than just a craft. Prendiville said it represents a connecting experience for Palestinians in the diaspora, especially during difficult times.

“I started doing tatreez in a time when it felt like to be Palestinian was to experience heartbreak after heartbreak with so little of the joy that our culture can bring,” Prendiville said. “I needed to feel a connection to a homeland that felt so far away, so I picked up Wafa Ghanaim’s book Tatreez and Tea and learned the basics.”

First Nationalism Then Identity: The Case of Bosnian Muslims

Mirsad Kriještorac, Associate Professor of Political Science at Broward College, led a lecture for attendees in Davis-Shaughnessy Hall on April 11 to explore how historical roots, experiencing genocide and resistance led to the development of the distinct Bosniak identity for Bosnian Muslims.

Kriještorac’s book, First Nationalism, Then Identity: On Bosnian Muslims and Their Bosniak Identity, served as the basis of the lecture. The book focuses on Bosnian Muslims’ rare and years-long process of emerging as a nation and asserting their identity, especially under the consistent aggression they faced in the former Yugoslavia and during the Bosnian War.

“Facing the threat of genocide and under a UNimposed arms embargo, Bosniaks nevertheless defended the sovereignty of Bosnia and Herzegovina as a state and place for people of all backgrounds, honoring the multiethnic heritage of Bosnia and its traditions of interdependence and mutual respect,” said Patrick McCarthy, Associate Dean of University Libraries and Medical Center Library Director.

McCarthy, who organized this Atlas event, believes that Kriještorac’s presentation is especially relevant as SLU will become the new home for the Center for Bosnian Studies, which is relocating from Fontbonne University this summer.

The University News’ Ulaa Kuziez contributed to this report.

SLU history professors discuss where history and Trump’s contemporary politics meet

President Donald Trump’s administration is rolling out controversial policies nearly every day while the nation and the world attempt to keep up. The executive orders may seem unprecedented, but Saint Louis University history professors say they can be understood by learning from the politics of the past.

Assistant professor Torrie Hester and professors Lorrie Glover and Mark Ruff each bring unique viewpoints to the discussion regarding 1800s American History, U.S. citizenship and studies of the Cold War and World Wars, respectively. They spoke with The University News’ Andy Cullinane. The interview has been edited for length and clarity. Many critics argue that the Trump administration is challenging our country’s democratic norms. From a historian’s perspective, how does his approach to government compare to past presidents in terms of upholding or breaking democratic principles?

Lorri Glover: Well, I think it’s quite a radical turn away from tradition and interpretation of the law. The power that Elon Musk is exerting on a day-to-day basis on really intricate parts of the federal government is extraordinarily unusual. The transition in foreign policy is a result of about a 60 or 70-year turn. The larger cultural expressions of Trump as president are, to my mind, radically different compared to the whole long history of the presidency of the United States. If you go back to the first president, George Washington, he was extraordinarily concerned about upholding a particular kind of image of commitment to civic order. Are there any trends that the Make America Great Again (MAGA) movement is following that reflect past political groups in the U.S. or abroad? Do you notice anything about this movement based on historical fact?

LG: George Wallace, who was the governor of the state of Alabama in the 1960s, ran as a kind of alternative third-party candidate and had quite a rise to power on the national stage. He did not, of course, secure the presidency, but the condemnation of the media, the weaponization of white nationalist sentiment, even some of the language about “America first” is quite similar to George Wallace, who, again, was not successful in securing the presidency.

Torrie Hester: Make America Great is tricky, because if you are a person of color, if you’re African American, if you’re a woman or even a woman of color, going back in time doesn’t mean a great time for us. In a very polarized political environment, how important is civic education for creating an engaged and informed voting community? What improvements would you suggest for the current system of teaching U.S. history and politics?

LG: The significance of civic education to a representative democracy is hard to overestimate. The theory of Republican government is that citizens will reason together and choose elective officials who will reason together and try to pursue the greater common good of the country. And so, if we cannot reason together, if we can’t start with a foundation of facts about the contemporary world, about the past, and if we can’t engage in reasoned conversation with one another, then we’re outside the theoretical bounds of representative government. It seems to me, civic education is critical in our society today, even though the 21st-century “we the people” is very different from the 18th-century “we the people.” We can’t simply fall back on our origins because that doesn’t really fit our culture and our society today. Mark Ruff: We have to know how our governmental system functions. We have to know the basics: there are three branches of government. We have to know that the Founding Fathers intended the different branches to check and balance each other, and there were specific historical reasons why they wanted this. They were Continued on A3

(The University News / Nejla Hodzic) Flag bearers pause their march by the Clocktower during the Atlas Week Parade of Nations on April 11.
(The University News / Ulaa Kuziez) Saint Louis University’s Office of International Services in Des Peres Hall is a resource for international students, pictured on April 23, 2025.
(The University News / Lauren Hutchens)
St. Louis community members gathered to remeber the life of Pope Francis at a mass at St. Francis Xavier College Church on April 23, 2025.

also, for the most part, extremely opposed to the establishment of a particular religion. What do you think Americans misunderstand most about our history? How does that affect society today?

MR: I think there’s a very large civic ignorance about history; A lot of states have cut back [on] the teaching. The reality is that people teach history in very different ways. The way we teach history reflects our values in the present and where we seek to have the country go in the future.

LG: When I hear somebody say, “the founders said,” I always ask them to tell me who they’re talking about and when. You can’t go back to some iconic, clear, romantic [and] uncontested past and follow that. [This] also erases all of the other people who are shaping 18th century society, culture, law, communities and so on and so forth, because it’s blending them all into one body that is “the founders,” not giving them their own ideas and beliefs. And their ideas were evolving over time. If you asked James Madison in 1787 what he thought about a Bill of Rights, he would have said it’s unnecessary, counterproductive [and] probably dangerous… By 1790, he’s the architect of a Bill of Rights. So, even to say James Madison thought X about the Bill of Rights, you have to say, do you mean 1787 or 1790? This is a big difference, and that’s just one person and one topic. Have there been any times when someone who’s an unelected official has had as much power as Elon Musk has at the moment?

LG: Well, sure, but unelected officials usually go through a process of appointment and confirmation through the legislative branch. So, there have been plenty of people who were unelected who held positions of tremendous power in the government from the 18th century through the 21st [century]. But again, usually those people go through a pretty elaborate vetting process. Are there points in our history where we’ve seen this great of a divide in the two-party system?

LG: There was a tremendous divide in the election of 1800… [and] during the Civil War, when the Democratic Party led an attempt to overthrow the American Republic, that was undermined. And then there were tremendous divisions in the 1960s in the wake of the Civil Rights Act and the Voting Rights Act. We’re still in the wake of that history of that division and the realignment of the two national parties then. The degree to which the media has become politicized and radicalized is unusual in our history. That works against any kind of consensus and a building of trust, which is necessary for shared governance. Could you define the concept of “jus soli” and explain how birthright citizenship works?

TH: The U.S. practices two kinds of citizenship: Jus soli and jus sanguinis. Jus soli is if you’re born on U.S. soil. Jus sanguinis is birthright citizenship by transmission through parents. Jus soli and jus sanguinis citizenship are clearly rooted in the 14th Amendment which clarified that African Americans were citizens. It also had a broad effect, which meant that all people born on U.S. soil are U.S. citizens. This was tested during a particularly racist era of immigration policy called Chinese Exclusion in which immigration authorities thought that the 14th Amendment didn’t apply to people of Chinese descent.

In the case of Wong Kim Ark, eventually the Supreme Court said, even in spite of the terrible racism against people of Chinese descent, people born on U.S. soil, regardless of their race, were U.S. citizens. One of the misunderstandings about citizenship, or maybe something that people don’t puzzle through, is that in many ways, having birthright citizenship means that there is not an expanding group of stateless people in the United States. So in some ways, [birthright citizenship] prevents a caste system. If you’re born on U.S. soil, you might not have Jus Sanguinis citizenship through another nation. That would make you stateless. But the U.S. and its long commitment to Jus soli citizenship mean it’s not adding to stateless populations. And that is enormously good for not only the United States, but for the world. What matters in terms of today’s discussion of the 14th Amendment is that if Jus soli citizenship is restricted, it will create a class of vulnerable people. People often refer to the U.S. as a nation of immigrants. How does Trump’s hard stance on immigration compare to past U.S. immigration policies?

TH: Wave Two immigration [in the U.S] ends with a law called the Immigration Act of 1924. This law is an incredibly anti-immigrant, nativist [and] racist piece of legislation. In Wave Two, immigration authorities had two priorities: one, to get as many immigrants as possible into the country to do the labor. And then its smaller priority, two, was immigration enforcement, keeping out some of the racially restricted categories. In 1924, the Federal Government… puts restrictions on the number of people who can migrate from the Eastern Hemisphere, not the Western Hemisphere.

The United States has long been a place where immigrants have come for economic opportunities, fleeing persecution and death. Over the 20th century, the immigration enforcement has become much tougher. And so, the United States has this kind of contradictory history. On one hand, millions and millions of people have come to the United States and built good lives. Sometimes, though, if you’re an immigrant, especially an immigrant of color, it’s tough in the United States. You face all kinds of levels of racism.

I think that that is a deep part of this country’s history. So, is it a nation of immigrants? Yes. Is antiimmigrant racism new? No. Do you have any of your own questions, comments, or concerns influenced by your expertise in this area that you think students should be informed about regarding our current state of government?

MR: History doesn’t usually repeat itself exactly, but it rhymes.

LG: One of the reasons why the Constitution was so controversial was because it created a powerful chief executive, and people were deeply worried about one person having authority over a standing army, you know, to have the power of a veto. It was a radical shift from the governments of the states and the Confederation Congress. We trusted George Washington to set the right example, and he was very committed to doing that. But, one of the things that concerns me most is [that] the imbalance of the legislative and executive branches has gotten completely off balance. The degree to which the U.S. Congress is simply either capitulating to Trump’s policies or refusing to even discuss them and not talking to their constituents about what’s going on, that concerns me a great deal.

Beloved English professor Ruth Evans announces retirement after 15 years

the second floor of

every

“If there are any you see that you want, please take them,” Evans said, gesturing to the double-stacked volumes that line the walls. “I have so many more at home.”

She sits comfortably at the center of it all, surrounded by decades of academic work, draped in another one of her famously stylish outfits; equal parts elegance and edge, paired with a Ph.D. in Middle English. For students and faculty alike, her departure marks the end of an era at Saint Louis University.

“I always thought academics were glamorous,” Evans said, laughing. “Not everyone does, I know … but the life of the mind, to me, is still the most exciting one there is.”

Evans, who has taught English at SLU since 2009, is retiring at the end of this semester. Her specialties — medieval literature, feminist theory and the history of the English language — have helped shape the department’s identity, while her leadership roles extended far beyond the classroom. During her time at SLU, she served as president of the Faculty Senate, helped advance inclusive university policies and mentored dozens of graduate students.

“I think three words to describe her would be brilliant, warm and a fashion icon,” said Grace Bahru, a junior political science major currently taking Evans’ “Encountering English” and previously took her “Writing Sex in the Middle Ages” course. “When she talks, I want to fully listen and take it in. She just has so much to give.”

In class, Evans is both demanding and empowering.

“I really had to put my time into her class,” Bahru said. “But I know I became a better writer because of it.”

Bahru recalled sharing a personal experience while reading “Citizen” by Claudia Rankine, a book of poetry about racism and microaggressions. “She had given me the space to share something I don’t usually talk about,” Bahru said. “Not even intentionally … it’s just the way she creates the classroom.”

Ellen Crowell, associate professor of English and a longtime colleague, said Evans’ presence as a teacher reaches beyond the curriculum.

“She engages the imaginations of students at every level,” Crowell said. “Her deep knowledge of Middle English and the origins of English words helps students understand the language they speak in ways they’ve never thought about before. And the way she reads [Geoffrey] Chaucer aloud … students are always amazed. It’s like it’s both foreign and familiar at the same time.”

Originally from South London, Evans earned her Ph.D. at the University of Leeds and taught at Cardiff and Stirling Universities before coming to SLU. She was recruited to teach medieval literature and feminism and quickly became an influential presence across departments and campus communities.

Alongside her teaching and leadership roles, Evans is a widely published scholar. She co-edited “Medieval Cultural Studies: Essays in Honour of Stephen Knight” and has authored numerous essays exploring feminist theory, medieval manuscripts and representations of gender and sexuality. Her research often bridges

centuries, connecting medieval texts to contemporary conversations about identity, expression and power.

In addition to her formal work, she is an active member of five reading groups, including one on Latin led by Joan Hart-Hasler, associate professor of Classics.

“She’s a keen, skilled and engaging contributor,” Hart-Hasler said. “Kind, smart, congenial … and generous.”

Evans’ colleagues also noted her contributions as Faculty Senate president.

“She implemented new policies and procedures that made the Senate a far superior representative body,” Hart-Hasler said.

Ellen Crowell, colleague and professor, agrees. “She initiated an anonymous question box where faculty could send in concerns and she would find answers. She made everyone feel heard,” Crowell said.

Outside of academia, Evans is known just as much for her impeccable style as for her intellect.

Bahru put it simply: “Her outfits were just the cherry on top. She used fashion to express her personality… and it always worked.”

Looking back, Evans said she will miss the classroom most. Not just for academics, but for the insight students bring.

“It’s that moment when a student says something that I’ve never thought of, and suddenly I have to go home and read something new,” Evans said. “That’s the joy of teaching. You’re always learning.”

Though retiring, Evans doesn’t plan on slowing down. She’ll continue her research, stay involved with her reading groups and mentor a Ph.D. student through completion. She is also considering a move and hopes to travel more.

“There comes a point where you think, I want to enjoy this next stage of life while I’m still healthy,” Evans said. “And I want to do it before I become too old and decrepit to enjoy it.”

Despite stepping back from formal teaching, Evans said her curiosity isn’t going anywhere.

“I’ll still be reading. I’ll still be studying language. I’ll still be in love with ideas,” she said. For students like Bahru, the impact of Evans’ teaching reaches beyond the classroom.

“She’s one of the rare professors that students truly admire,” Bahru said. “It’s not just about academics. You leave her class with more confidence in who you are.” Her colleagues share that admiration, as Crowell echoes that sentiment.

“She’s a renaissance scholar,” Crowell said. “She teaches medieval lit and sexuality studies. She reads theory and contemporary literature. Any topic… she’s already thought about it. She’s constantly expanding her sense of where her ideas fit into the world and she helps the rest of us do that too.”

The news of her retirement has come as a surprise to some students and colleagues.

“I don’t think I’ve even processed it,” Crowell said. “We’re losing something huge.”

Still, Evans is leaving her mark in every direction: in language, in literature, in feminism and in the people who got to learn from her.

“She’s the professor you wish you had more time with,” Bahru said. “The kind you wish every department had. The kind you don’t forget.”

Saint Louis University’s Museum of Contemporary Religious Art will close in 2026

Saint Louis University’s Museum of Contemporary Religious Art (MOCRA) will close its doors in May 2026 after 33 years on campus.

MOCRA, which exhibits contemporary art with interfaith themes, will continue operations until the end of the 2025-26 academic year. The museum displays art that expresses issues, themes and reflections of differing religious or spiritual beliefs. According to a SLU news release published on March 19, the closing is part “of ongoing efforts to align resources with strategic priorities and ensure Saint Louis University’s long-term financial sustainability.”

Daniel Brinker, has served the museum for 30 years and has been its director since 2019. As director, he is responsible for the museum’s operations which he said face financial concerns despite university funding.

“The real challenge is that funding has been basically stagnant for a number of years, whereas costs and expenses keep going up,” Brinker said.

As one of three museums in SLU’s Museums and Libraries department, MOCRA has been funded by the university. In addition, MOCRA receives money from donors and grants such as the Regional Arts Council of St. Louis to support events, exhibitions and operational costs.

It is one of the latest departments to face cuts as a result of the university’s $20 million budget deficit announced last September.

“We recognize that the difficult decision to close MOCRA next year will bring a range of emotions for many in our community who have been moved and inspired by its exhibitions, collections and educational programs and the conversations they sparked,” said Jennifer Nutefall, dean of University Libraries and Museums, in the March 19 statement.

When asked about the museum’s operational costs, Brinker declined to provide details, deferring the question to Nutefall, who could not be reached for

Valerie

comment.

Established in 1993 by Terrence Dempsey, S.J., MOCRA showcases religious multimedia contemporary art by an international community of artists and hosts class visits, lectures, symposiums and performances. The MOCRA blog and MOCRA Voices — the museum’s podcast — facilitate conversations with contemporary artists and provide context for displayed art pieces. The museum has displayed permanent works and exhibitions, such as Andy Warhol’s Silver Clouds, over the past 46 years.

Some students and faculty in SLU’s visual and performing arts department did not expect the museum to close. Skye Gabbard, a senior studying studio art, was not aware of the closing and described how her art classes do not regularly visit MOCRA.

“There are already so few things at SLU that represent the arts,” Gabbard said. “It’s disheartening to see the arts at SLU decrease in scope while we have to continue paying for our own art supplies and fees on top of paying for tuition.”

Olubukola (Bukky) Gbadegesin, an associate professor with joint appointments in the department of African American studies and the department of visual

and performing arts, visits MOCRA with her students and for her own scholarship purposes. Gbadegesin was also surprised to learn of MOCRA’s closing, especially because she said the decision came without consulting stakeholders within SLU and the St. Louis community.

“This museum contributes so much to what makes SLU unique in the arts and among other Jesuit universities and colleges,” Gbadegesin said. “Its loss would be a huge disservice for the arts at SLU and for SLU’s unique place in the St. Louis art community.”

The museum’s permanent pieces will join Saint Louis University Museum of Art’s (SLUMA) collections, although the exact way is unclear. Currently on display are works such as “Triptych: Eleventh, Twelfth, and Thirteenth Stations of the Cross for Latin America – La Pasin” by Michael Tracy and “Mother and Child” by Romare Bearden.

“There are major moves in contemporary art that are exploring spirituality,” Brinker said. “As a vital aspect of contemporary artistic practice, it is my hope that what MOCRA has done will be available in many ways so others can take inspiration and build upon these themes.”

In the next 15 months, Brinker said MOCRA

plans to continue its mission of sharing visual, artistic explorations of religion. “Continuum (Continued): Figuration and Abstraction in the MOCRA collection,” an exhibition displaying spiritual dimensions through the human body and abstraction, will be open to the public until May 15.

MOCRA is also hosting a public conversation on May 3 titled “Meditations: Black Expression, Creativity, and the Spirit — Live!” that invites artists around the country to discuss the intersection of spirituality, abstraction and the artistic practices of Black artists.

An exhibition titled “To See this Place: Awakening to Our Common Home,” will open in the fall semester. Brinker said MOCRA has a unique thematic focus that opens the floor for artists to discuss spirituality through art. For over 30 years, he said the museum has offered an important way to showcase the “diverse, challenging and vital ways that artists are engaging with spirituality and religion.”

“MOCRA is one of the first contemporary art museums with an interfaith focus,” Brinker said. “There are preconceptions with how contemporary artists engage with spirituality and religion in their work, causing contemporary religious art to go unnoticed.” Brinker indicated SLU’s other museum’s, SLUMA, McNamee Gallery in the Samuel Cupples House museum and SLU’s VPA department as other resources that also explore interfaith in contemporary art. The MOCRA website also lists other museums, galleries and university art programs that showcase spiritual themes.

“I’ll always treasure my interactions with visitors, whether that be a class visit or individual conversation,” Brinker said. “There’s moments where I can see when someone’s connecting with a work of art, and I can see a spark in their eye, and I can tell that they are beginning to engage with the work. That’s been a really rewarding part of my job here.”

On
Adorjan Hall, in an office where books crowd
shelf and the window offers a view of the historic Moolah building, English professor Ruth Evans prepares to say goodbye.
(The University News / Valerie Rosqueta) The interior of Saint Louis University’s Museum of Contemporary Religious Art (MOCRA) on March 24, 2025.
(The University News / Ulaa Kuziez) From left: Assistant professor of history Torrie Hester, history professor Lorrie Glover and history professor Mark Ruff.

I watched every Game 1 of the first round of the NBA Playoffs.

Los Angeles Lakers vs Minnesota Timberwolves

The Timberwolves pushed past a sloppy start to steal Game 1. The Lakers’ small-ball lineup is not as effective due to the size the Timberwolves have on the defensive end, even with Rudy Gobert not seeing extended minutes (which seems to happen every year during the playoffs). Coaching adjustments will be the deciding factor in this series.

New York Knicks vs Detroit Pistons

Cade Cunningham has to play a lot better for the Pistons to have any chance in this series. It’s unprecedented for a team to go on a 21-0 run in a playoff game; the Pistons’ role players are the only guys that showed up. The combination of OG Anunoby’s lockdown defense on Cade, Karl-Anthony Towns’ dominance on the offensive end, and Tom Thibodeau

Herearemythoughtsoneachseriesinthreesentences

trusting his bench has me thinking the Knicks could make a deep run.

Denver Nuggets vs Los Angeles Clippers

James Harden and Kawhi Leonard started off the game just as good as they have in the playoffs before.

The Nuggets grinded out a comeback and proved that sometimes having the best player in a series is enough to win a game. Stylistically, these teams match up really well, so the rest of this series will definitely be a chess match.

Milwaukee Bucks vs Indiana Pacers

Giannis Antetokounmpo looked dominant as always, but he simply needed help. Pascal Siakam and Myles Turner were great for the Pacers in a game that they had to make a few adjustments due to the Bucks changing their defensive looks. Seeing Damian Lillard

and Tyrese Haliburton talking trash post-game makes me hope this series goes to seven games.

Oklahoma City Thunder vs Memphis Grizzlies

One of the most lopsided playoff games I’ve ever watched. Shai Gilgeous-Alexander didn’t even have to play well, it was a “by committee” performance out of the Thunder. The Grizzlies have to make more shots if they want a chance to steal a game against a team as talented as OKC.

Boston Celtics vs Orlando Magic Paolo Banchero and Franz Wagner combining for nine turnovers is a recipe for disaster. The Celtics’ two all-stars, Jayson Tatum and Jaylen Brown, took a backseat to a Derrick White 30-point performance. It’s hard to believe any team in the Eastern Conference will be able to beat the Celtics in a seven-game series.

Cleveland Cavaliers vs Miami Heat

The Cavaliers never really let this game get close. They are better than the Heat at pretty much every position, and are expected to sweep. At this point, the Cavaliers just have to hope the Celtics and Bucks series go as long as possible so they can have the advantage of rest.

Houston Rockets vs Golden State Warriors Stephen Curry and Jimmy Butler both played very efficiently. This series really comes down to whether this younger Rockets team is ready to take a step up against a very experienced Warriors roster. It will be interesting to see if Houston has what it takes to settle into this series.

Unrivaled: The three-on-three Women’s Basketball League looks to the future after first successful season

The concept of three-on-three basketball is relatively new in the sports realm, first appearing in the Tokyo Olympics in 2021. The American women’s team have already proved their dominance in the sport, taking home medals at both of the two only Olympics since the sport was introduced to the Games. After the women earned gold in Tokyo and bronze in Paris, it became clear that this concept was of interest to both high-level players and dedicated basketball fans.

Unrivaled is a three-on-three women’s basketball league aimed at allowing Women’s National Basketball Association (WNBA) players to play during the offseason without having to go overseas to do so. The league currently includes six teams, with six players on each team.

Unrivaled was co-founded by three-time Olympic gold medalist Breanna Stewart and two-time Olympic gold medalist and O’Fallon, Missouri native, Napheesa Collier. These two women were teammates and National Champions at the University of Connecticut during their college careers before collaborating to start the league.

The first season of play in the Unrivaled league brought unprecedented success, exceeding both financial and viewer expectations. Beginning in January 2025, the nine-week season was broadcast on TNT and Max and averaged 221,000 viewers per regular season game. The league also brought in $27 million in revenue, which includes aspects such as ticket and merchandise sales.

Unrivaled gained a multitude of influential investors leading up to and during its inaugural season. Standout names include soccer player and two-time Olympic medalist, Alex Morgan, along with current National Basketball Association (NBA) Golden State Warriors star, Steph Curry.

Along with investors, Unrivaled gained sponsorships from popular brands throughout the first season, including State Farm, Miller Lite, Under Armour and many others. The relationship between the league and Under Armour expanded to include the creation and sale of jerseys later in the season, which sold out in less than an hour after being dropped.

The ability of Unrivaled to draw support from a crowd of renowned athletes as well as from popular brands shows the potential for growth of the league

and demonstrates the increasing popularity of women’s sports.

The rapid success of Unrivaled can be partially attributed to the well-known names that have been signed to play, bringing greater attention and more viewers to the league. These players include the 2023 NCAA Champion with LSU and current Chicago Sky forward, Angel Reese, as well as the 2021 NCAA Champion with Stanford and current Los Angeles Sparks forward, Cameron Brink.

Additionally, both Stewart and Collier play in the league that they co-founded. The mix of college stars, WNBA standouts and Olympic champions makes for a league of high-energy and well-experienced players.

Alex Bazzell, husband of Collier, is the current president of Unrivaled and is a known trainer in the college, NBA and WNBA world. Looking back on the first season of the league, Bazzell recognizes the success that they had, but also looks forward to the future and aims to build on what has already been established.

“I think for us, we’re obviously excited about what we did in year one. We have to continue to be aggressive and be innovative in ways that just increase our ability to drive value, both to the players, the fans, and our shareholders,” Bazzell told Forbes.

Bazzell has expressed ideas about how he hopes to expand Unrivaled in the future. Currently, the league plays at Wayfair Arena in Miami, which seats 850 fans.

Although Bazzell has mentioned wanting to increase the in-person audience for games, he is consistent in his goal for fans to continue to have an intimate and unique experience when attending Unrivaled games.

One way that Bazzell is thinking of executing this idea is by creating a “touring” model of game play, where games would be played in different areas of the country, giving fans the opportunity to attend games without having to travel to Miami. Bazzell has also hinted at the idea of increasing the number of roster spots past 36, which could bring more big names and greater influence to Unrivaled.

After a very successful first season, Unrivaled looks forward to the future and the opportunity to capitalize on the attention the league has drawn thus far. Going into Season 2, Unrivaled will continue to prioritize the fan experience and grow the popularity of women’s sports.

Sports betting: Legal underage gambling takes college campuses by storm

Over the past semester, in addition to the Protestant guy who stands in front of the crosswalk trying to convince people to repent for their sins, Grand Boulevard has been home to a brand-new entity. Taped to a solitary white fold-out table lies a poster with an equally vague and intriguing question: “Talk for $$$ (~5 minutes)”.

This simple statement should fire red flags across every person’s mind. Years of “stranger danger” talks have initiated an automatic withdrawal from this situation. But when you’re a struggling college student dealing with massive loans, any money can be good money. What very few know, however, is that this quick money is a slippery slope. A downward slide filled with debt, addiction, and major potential consequences called sports betting.

Sports betting, or the action of predicting certain events occurring during sports games and wagering money on these events to happen, has been a popular activity in the current zeitgeist. The 2024 Presidential Election ballot here in Missouri included an amendment to legalize sports betting, a proposal that narrowly passed with 51% approval from voters within the state.

Since this moment, any Missourian with a phone or television has been bombarded with advertisements from popular sports books like Underdog and PrizePicks. These companies are paying every celebrity millions to advertise and offering insane looking deals that would entice even the most skeptical of sports fans. And one market that has been hit extremely hard has been that of young, impressionable college students.

Currently, the national minimum age for sports betting is 21 years old, but it seems to be changing. Legislation is being introduced across the country to allow sports gambling online, and to lower the legal age, state by state. In the past, sports betting was an action that could only be done in sportsbooks, which were actual buildings people had to go to and place bets through a bookie.

However, the invention of online sportsbooks, like FanDuel and DraftKings, has made the process of signing up and betting using their apps incredibly easy. Long gone are the days of going to the horse track to bet on the races, now replaced by wannabe analysts shouting about how to ensure your “parlays hit” and your “spread is realistic”.

Speaking of these parlays, they are a big way online

gambling sites have been able to take advantage of gullible people. Parlays involve making multiple bets, where several actions would need to occur during a specific sporting event, but it would lead to a much larger payout. The actions can be as basic as “one team winning” or as specific as “this specific player will score 20 points and 4 rebounds.”

While these events are less likely to occur, or ‘hit’, they would have payouts that could potentially multiply a person’s money by a hundredfold. These parlays were originally touted as the new way to hit it rich, but just like most gambling practices, the house tends to win. Parlays have such low odds because they are so unlikely to hit, which means the actual sports betting companies will end up taking all the money. In the rare moments that people actually do win a parlay, the companies still leave with more.

Popular sportsbooks like FanDuel and DraftKings reported record profits at the end of 2024, with the online sports betting industry recording revenues over $10 billion, cutting massively into the profits of brickand-mortar sportsbooks.

A silver lining of these online betting sites and apps has been an increase in coverage for many lesserseen sports. With people being able to bet on any sport under the sun, this meant less-viewed sports outside of basketball, football, and soccer became more popular, simply from people putting more money into these sports.

This increase in viewership was also reflected in women’s sports, with women’s basketball and soccer recording massive turnouts with large betting pools in the past few years.

While sports betting isn’t outwardly illegal, it can be extremely dangerous, especially for younger demographics, the exact ones being targeted with these online gambling sites. By promising these children that they could potentially “make it big” by just putting in a few dollars, they lead them down a slippery slope filled with debt and addictions.

That is the ultimate goal of these mysterious tables at Grand Crossing. They say they will give students cash, but only when they put money into these gambling apps. And when the money is in there, the most dangerous idea they could have is “what’s the worst that could happen?”

Softball extends conference winning streak to 12 games

The Saint Louis University (SLU) Softball team extended its conference winning streak to 12 games on April 18 against the George Mason Patriots, setting a program record.

The streak began on March 29 against the St. Joseph’s Hawks, with an 8-3 win. Throughout the streak, SLU has outscored conference opponents 70-17, securing shutouts in half of the games.

With a 14-5 conference record, Saint Louis has risen to the top of the Atlantic 10 (A10) standings. They currently sit two games ahead of the Dayton Flyers.

The Bills are second in the league in fielding percentage, while holding the second-lowest earned run average. During this streak, they have allowed only 1.42 runs per game.

That defense is enough to put the team into championship contention, but paired with an offense that has scored 3 runs or more in each game during this streak, the Billikens are a monster of a matchup.

A10 fielders are allowing 7.17 hits per game against the Billikens. SLU’s superstar slugger Abby Mallo totaled 15 during the streak. Mallo leads the conference in Runners Batted In (RBIs) with 55, 20 of which came in this streak. Almost one-third of SLU’s RBIs during this stretch have come off Mallo’s bat.

First baseman Jane Kaniecki spoke about the team’s emotions surrounding SLU’s program-record streak.

“It’s been awesome, we have the staff to do it. They’re really willing to go the distance,” Kaniecki told ESPN+’s Colin Suhre. “And then our offense can work. It gives our offense the comfort to be able to do our thing and not have to press and look to score runs”.

Of course, the Billikens still score runs, at a clip of 5 per game, leading the A10. Against conference opponents, SLU’s average increases to 5.16 runs scored per game. SLU will host their penultimate conference series starting on April 26 against St. Bonaventure.

Freddie Freeman. Mookie Betts. Teoscar Hernandez. Tommy Edman. Yoshinobu Yamamoto. Roki Sasaki. Blake Snell. Tyler Glasnow. Clayton Kershaw.

And Shohei Ohtani (the hitter and the pitcher).

Let that roster sink in. Or don’t – they’ve probably burned your team at some point already.

With a half-billion-dollar payroll, a lineup seemingly built on MLB the Show and a stranglehold on baseball’s future, the 2025 Dodgers aren’t just dominant – they’re redefining what it means to compete at the Major League level.

According to most analysts, based on their earlyseason performance, the Los Angeles Dodgers are once again the most dominant and disciplined team in Major League Baseball, a fact as fascinating as it is unsettling. The reigning World Series Champions may be even stronger than the squad that convincingly took down the New York Yankees in five games last October.

As of April 23, the Dodgers sit at 16-8, a game behind the surging San Diego Padres in the National League (NL) West – and are coming off an 11-10 extrainning heartbreaking loss against the Chicago Cubs. That’s what makes them even more terrifying: they can collapse on a Tuesday and look invincible again by Friday.

Before the first games of 2025 were even played, MLB Network analysts and everyday fans casually speculated whether the Dodgers could break the alltime single-season win record. The record of 116 wins is currently held by both the 1906 Chicago Cubs and the 2001 Seattle Mariners. The general consensus is that they will not only make a run at the record, they might obliterate it. If they want it, that is.

The Dodgers have the best roster in professional baseball – and it’s not particularly close. Despite playing in arguably the toughest division in the sport, their sights seem set more on securing another pennant or world title than simply clinching the NL West — a title they’ve claimed in 11 of the last 12 seasons.

hosts Unity Week dodgeball tournament

Approximately 140 SLU students took part in the Fraternity and Sorority Life’s (FSL) dodgeball tournament on April 2. Phi Mu and Alpha Delta Gamma (ADG) won the tournament, defeating Delta Gamma (DG) and Beta Theta Pi (Beta) 2-1 in a hardfought nail-biter championship series.

ADG President, Griffin Burk, scored the final out of the tournament. His teammate, Michael Brenner spoke about what playing alongside Burk is like.

“Burk is an amazing teammate. That’s our president so he’s always there cheering us on. It’s great,” Brenner said postgame.

Burk spoke highly of both his ADG and Phi Mu teammates.

“It’s teamwork, it’s what it’s all about,” Burk said.

“We were coordinated, collaborative and it showed”.

Phi Mu/ADG’s toughest competition came in the final round, against DG/Beta, who were led by dynamic duo Sam Van Cleve and Cooper Bergstrom. Van Cleve and Bergstrom combined for over 80 outs across the span of the tournament, with more than 20 catches between them.

“[Bergstrom] is the first kid I met at SLU 101, and

The most overpowered ballclub in MLB history

Yoshinobu Yamamoto has already made good on the hype, striking out 38 over 29 innings with a ridiculous 0.93 ERA. Dodgers manager Dave Roberts recently called him “the best pitcher in baseball.”

Perhaps the most outrageous element of this team, or front office, is its payroll. Sitting at an estimated $390 million, their total payroll is likely to exceed $500 million. Los Angeles spent an estimated $445.5 million this offseason – an incomprehensible number.

For comparison, the St. Louis Cardinals spent zero dollars, yes, you read that right – not a single penny in free agency. A true disgrace to the city of St. Louis and a blatant insult to the supposedly “best fans in baseball.” But somehow, the blame falls on the fans, as records continue to be set for the worst attendance in the history of Busch Stadium III. Maybe the Savannah Bananas will bring fans back to the seats when they come to town in July, following

ever since then, we’ve had a special bond together,” Van Cleve said. “We’ve gotten used to each other, and we were able to carry that over onto the court today.”

“You can’t say we didn’t go out there and fight. This meant a lot to us. Those DG girls put it all out on the floor,” Bergstrom said after the final.

Other tournament standouts include Leonardo Cecere and Aleigha Schnable.

Cecere was a defensive anchor for Kappa Delta (KD), Delta Phi Omega (DPO) and Phi Kappa Tau (Phi Tau). The team forced multiple overtimes in their firstround series against DG/Beta. Cecere

their April reschedule. But circus acts and stunt baseball aside, it’s time to take a serious look at what makes this Dodgers roster so terrifyingly effective, top to bottom, they’re built like a dynasty in motion. It’s not just that they have All-Stars, it’s that their All-Stars play multiple positions, hit for power and average, and casually carry MVP-caliber résumés.

Mookie Betts and Freddie Freeman remain two of the most consistent and complete players in the game. Shohei Ohtani is doing things no one alive has ever seen before – and now, he doesn’t even have to pitch this year if he doesn’t want to, thanks to a rotation stacked with aces like Yamamoto, Glasnow, Snell and the ageless Clayton Kershaw. That said, the rotation isn’t invincible. Blake Snell was recently scratched from a bullpen session and shut down with shoulder discomfort, putting a slight crack in LA’s otherwise untouchable armor. Roki Sasaki hasn’t even found his true groove yet. Then there’s Will Smith, Max Muncy and Teoscar Hernández lurking in the middle of the order like a second wave of artillery.

The Dodgers didn’t just build a starting lineup, they have assembled a galaxy. They have done it with such precision and foresight that even when one piece falters, the machine doesn’t – it merely reloads. Bob Costas, the legendary color commentator, once said during Stephen Strasburg’s debut, “From up here, the game’s a rumor.” He was talking about the surreal view from the broadcast booth, but honestly, that line might as well apply to the rest of Major League Baseball looking up at the Dodgers. Because unless the league steps in with a salary cap, or at the very least, a salary floor, competitive balance might soon become just that: a rumor. The Dodgers aren’t just winning – they’re redefining what it means to compete, while the rest of the league scrambles to keep up with a team that seems like it was built in a baseball lab.

Nivindee Fernando PhotographyEditor

In a pop culture world that is overrun with superheroes and villains, “Invincible” is something very, very different. While Marvel and DC dominate the field, Image Comics managed to break the mold with their own spin on the “Evil Superman” trope, creating something so much richer than its contemporaries. A series about the true moral quandaries of fighting evil. A series about balancing real life with an innate responsibility to do good. A series that truly creates a new and welldeveloped world of rich and complex characters. A series that is:

Based on the 2003 best-selling indie comic book series of the same name, “Invincible” was the brainchild of “Walking Dead” creator Robert Kirkman, along with the help of Amazon Prime Video. Originally greenlit in 2017, the series went through multiple iterations, even dipping into a potential live-action production. The show that we know of today didn’t find proper footing until around 2020, when pedigreed actors Steven Yeun and J. K. Simmons joined the voice cast.

“Invincible” is set in a typical world of superheroes and villains, where teenager Mark Grayson (Steven Yeun), son of Omni-man (JK Simmons), discovers he has powers and must learn to become a superhero while balancing school and his own life, with dark threats looming closer than he knows.

While the premise of the show may sound very similar to many other superhero shows and movies, it stands out in two key ways: gratuitous violence and grounded characters. A key point of this show is that Invincible is a terrible superhero at first. He ends most episodes drenched in blood and clinging to life, but each of these experiences teaches him how to be a better superhero, just like everyone around him. Seeing actual growth like this is truly rare in superhero movies these days, turning “Invincible” into a uniquely grounded story.

Grayson isn’t the only that has this maturation story, however. He is surrounded by a plethora of different heroes, villains and civilians, all trying their best to survive in a thoroughly complex world, making the show an immediate hit with fans.

Audiences came into season 3 of “Invincible” with very little faith. Season 2 had been, by all means, a massive disappointment. Coming almost three years after the first season’s release on Prime Video, the show had amassed millions of fans during the COVID-19 pandemic, but Amazon had failed to properly capitalize on its popularity in that gap.

When the second season was finally released in 2024, several questions were raised. A new art style had been incorporated, but there had also been a visible drop in overall animation quality.

Many of the action scenes felt slower, and there was a dizzying amount of reused art, making the three-yearlong break seem even less reasonable. To make things worse, there was a season break halfway through, which lasted almost six months, further frustrating fans. All of

U Arts & Life

these compounded issues left watchers even less sure of the validity of a third season, but, thankfully, Kirkman and Prime listened to the outcry.

Season 3 of the show begins much faster, making it clear very quickly that changes were being applied and fans were being properly understood. A large focus of this season is exploring the gray areas of being a superhero. Some of the best superhero stories have come from discussing and debating the moral quandaries of “doing the right thing.” Mark takes on the villains and problems of this season, debating if his current plan of punching bad guys and throwing them in jail really works.

This line of questioning continues throughout each episode, helping to flesh out new characters and further develop the regular supporting cast. Cecil Stedman (Walton Goggins) and the Global Defense Agency especially come to a head with Mark on this debate. With both sides so stubborn, they’re unable to listen to the other, even when neither of them are right.

Goggins’ character Stedman was a standout this season, with special episodes even dedicated to his origins, showing how he became the harsh, stoic leader of the world’s premier superhero agency, and how he developed his moral and ethical gray areas. They better flesh out him as a person and help the audience better relate to his young stoicism which slowly turns into the common cynicism he is known for.

Another big star of the season is Rex Splode (Jason Mantzoukas), a surprising star to come out of the chaos this year. His character over the past 2 seasons was somewhat annoying, mainly antagonizing Invincible and Atom Eve, not being a big help in any fights or moral debates. He did, however, turn a new leaf this year, turning into a more mature and compassionate person. He goes on a one-man apology tour, showing us that this rude man is truly just a kind-hearted hero inside, making him easy to root for.

Despite all the improvements this season, there was one apparent problem with this season: the decreasing quality of animation. While the show is fully animated, many of the slower scenes will merely have characters stay still, almost locked into place, with only their mouths moving. For many of the fights, the actions are slow, and sometimes poorly drawn. While the show did poke fun at this issue in season 2, there was no redeeming moment this year, making the drops in quality frustrating at times.

While this problem can become annoying, the animation redeems itself in the final episode, “I Thought You’d Never Shut Up.” This episode is nonstop action, with Invincible fighting the massive threat that is Conquest (Jeffrey Dean Morgan), a Viltrumite with the sole purpose of destruction. While most of the season had Mark struggling with a few villains, Conquest was an extreme challenge of a higher degree. The animation and fight choreography for this episode are amazing, with over 40 minutes of battles across the entire world, with special tag-ins from various villains and heroes.

This season was clearly an improvement and, hopefully, will mean that the show is becoming better and better. Invincible maintains its reputation as a dark, grounded superhero show, and with more exciting things to come, the sky’s the limit.

Riverdance

Continued from A1

U.S., but still holding on to their family ties [and] cultural ties as they emigrate to a new place. So, I think those kinds of themes throughout the story are always timeless.

What is your favorite moment in the show?

SF: I think I have two favorite moments. The first is walking on stage for the very first time in the show. The music is really ethereal. It’s really dark and moody and

How does it feel to bring this play to your hometown, a city with such deep Irish roots?

SF: I was raised in St. Louis and then obviously went to SLU as well, so I have such close ties to St. Louis. All

‘Sinners’: Greedy vampires, fiery ballads and horrifying southern history

In an age of constant superhero movies, B-grade action flicks and dystopian zombie films, there is one thing Hollywood has seen more often than anything: vampires. These monsters have been ingrained in our popular culture since the beginning of the 21st century, starting with the hot boy craze that was the ‘’Twilight’’ series and even more recently, the 2024 gothic horror “Nosferatu.” Audiences have witnessed sexy vampires, snaggle-toothed vampires and even cartoon vampires running hotels. But, they’ve never seen vampires with real historical and societal context, that is, until “Sinners.”

From the director of the Academy Awardwinning Marvel movie, “Black Panther,” Ryan Coogler’s latest film enters the monster-action-horror zeitgeist. “Sinners,” a period piece action-horror taking place deep in 1930s segregationist Mississippi, stars Michael B. Jordan in a dual role as twins Smoke and Stack.

These twins have returned to the Mississippi Delta after years in Chicago, with the hopes of starting a juke joint to spread their music to the many Black people in their racially divided hometown,no matter who they have to lie to and steal from to do it. But they, regrettably, fail to understand that more supernatural elements are at play, and as night falls, they must work to defeat the monsters at their door.

“Sinners” is truly a film with two clean points, each with their own themes: narratives and goals. The first half of the film focuses on Smoke and Stack’s return to Clarksdale, where viewers are transported to the segregated South, using phenomenal realism for immersion. Everyone’s accents, uniforms and the settings are extremely well researched, and we follow the twins as they go around their town, setting up for their juke joint, leading up to a climactic show with everyone meeting for the massive party. The first half is extremely fascinating to watch, with audiences able to see the true struggles of the people of the time.

The second half takes a much more supernatural center, with a larger focus being placed on the actual joint and the subsequent battles between the humans and the vampires. We see how the guests at the joint slowly begin to understand that there are dark and evil elements outside the bar. We see how the party parishioners shift from happiness to pure horror, which helps to make the audience fall into a similar mindset. This turns the second act of the film into a tense battle, without any true hint of who will survive. There is even a special end-credits scene that ties up the film quite beautifully, delivering even more emotional storytelling after the credits have begun rolling.

A key element in this film is its historical setting. Taking place during the Jim-Crow era in the Deep South, it manages to tackle many historical ideas with references to several key elements like the Ku Klux Klan and their hidden regimes, the interconnected histories of early African Americans and Asian Americans, as well as the early fights between African religion and musical creativity. These elements all add together to create an extremely realistic period piece with so much more for audiences to learn about after leaving the theater.

A standout performance in this film was Mile Caton as Sammie “Preacher Boy” Moore, the cousin (and budding musician) of Smoke and Stack, whose prowess is so amazing that supernatural forces want it for themselves. In just his first acting role, Caton explodes on screen, playing the young musician torn between his family and his music with a level of emotion rarely even seen in established actors. Every scene of his in this movie is well-acted and filled with passion, making his future in the industry an exciting one.

The film is also elevated by the stellar soundtrack by Ludwig Göransson. The Swedish composer masterfully combines historically accurate blues music with several genres and styles throughout history, including guitar rock and electronic synths. The soundtrack and score

If a class were ever taught about Colson Whitehead, the acclaimed author says it would be titled “The Sorrow and the Pain.” That is because writing often feels miserable, Whitehead told a full house at The Sheldon Concert Hall on April 9. But when the two-time Pulitzer Prize-winning writer comes up with a surprising way to describe a character, imagines a new setting or simply writes an amusing joke, however, he is reminded of why he loves to write. “I realized as a 27-year-old that there’s nothing else I could do that would make me complete,” Whitehead said. “So I can sit around in my underwear feeling bad for myself, or write the next book.”

He received the 2025 St. Louis Literary Award, presented annually by the Saint Louis University Libraries. It joins his illustrious collection of accolades, including the National Book Award, the Carnegie Medal for Fiction and the Anisfield-Wolf Book Award. He is the author of several acclaimed works of fiction and nonfiction, including “The Intuitionist,” “Sag Harbor,” “The Noble Hustle,” “The Nickel Boys,” “Harlem Shuffle” and “The Underground Railroad,” this year’s SLU Campus Read book.

Whitehead joins a list of notable award recipients, including Jamaica Kincaid, Arundhati Roy and Margaret Atwood. St. Louis Literary Award Executive Director Ted Ibur announced at the ceremony that elebrated writer Jhumpa Lahiri will receive the 2026 award next spring.

Ibur said celebrating Whitehead’s creative work is especially important during a time of uncertain funding and support for the arts.

“Creative expressions bring us together, just as good art often does, and it allows us to see one another more clearly and remind us of what we share, even in the face of our differences,” Ibur said. “The work of artists like Colson Whitehead, it’s not just powerful, it’s essential.” Colson Whitehead spoke with The University News’s Ulaa Kuziez and The Kiln Project’s Ruth Bouman on April 9. The following conversation has been edited for clarity and length. Find the full article at unewsonline. com. Whitehead as a writer

Ruth Bouman: Saint Louis University is a Jesuit university, and SLU students often deal with the process of discernment, especially as it relates to vocation. What was your journey to being a writer like?

CW: I wanted to write from a very young age, from like fifth or sixth grade. My mom would buy all the big bestsellers, and they would circulate around my sisters’ rooms, and then me and my brother’s room. So Stephen King; I remember reading this very thick Stephen King book when I was like 10. And I love Marvel Comics, X-Men, Fantastic Four, Spider-Man. And it seemed like if you’re a writer, you can just make up these weird, crazy worlds, stories about vampires, robots, killer robots.

UK: What is it about writing between genres so easily, so fluidly, what does that afford you as a writer?

CW: It’s not easy. I mean, I spend a lot of time trying to figure out what I can take from the horror genre in “Zone One.” It is really just having a lot of different

tastes. No one just reads crime thrillers, no one just reads romances. And I think the fun part of my job is that if I keep going, I get to write in all these different forms that I personally enjoy. And part of the fun and challenge is figuring out how to make them work for me. On the writing process

RB: And that challenge is very real. Writing is often described in painful terms. How do you move past this point of pain or writer’s block, or however you want to describe that?

CW: Well, you have to experience that in order to get to the other side. So, I’m working on the third book in this trilogy now, and I’m having trouble. I’m distracted by the news and having trouble getting some traction, but I know eventually, one day, I’ll wake up, and it will click, and I’ll power through the last 100 pages. That’s how it always works. I sort of shut off my brain and don’t work at all – and then one day, I’ll be ready to attack the project with vigor and purpose, hopefully. So, if it was easy, it wouldn’t be worth doing. No one else can write it for you. It’s your book. So you have to accept that no one else is going to figure out how the scene works, how the sentence works, what the ending is, except you. So you have to find that drive early on as an artist.

RB: Talking a little bit about character creation, you mentioned a little bit of research you did for “The Underground Railroad.” I’m curious how, when you’re writing that historical fiction, what does your research entail?

CW: I had the idea: Wouldn’t it be weird if the Underground Railroad was a real train? I was in my mid40s. I had not read anything about slavery in 25 years since college, so I had to go back. In terms of making the world sound real to readers at this moment, what’s the language that people used 150 years ago? What were the nouns and verbs that they used that we don’t use now? What’d they wear? So I’m pulling in different things, and definitely with “Underground” and “Nickel Boys” and the Ray Carney stories, first-person accounts are very useful. Getting slang attitudes towards the world, I find that I find a lot of useful vocabulary and attitudes from reading memoirs, slave narratives, newspaper reports that are coming out contemporaneously.

UK: Some of your writing is characterized by telling imaginative stories about the past, but a lot of readers are reading them and connecting them to the present. So it seems like you have your finger on the pulse without actually knowing what’s happening in the future. Do you have any future predictions?

CW: Yeah, I think the powerful will get richer and escape punishment, the innocent and the powerless will continue to suffer, the fight between regressive and progressive ideals will continue, and great stretches of bleak incidents will continue, periodically interrupted by brief moments of safety and peace.

UK: Do you feel a sense of urgency to write about that? Those moments of bleakness and those moments of peace?

CW: No, I’m always picking a project that’s just

are extremely ambitious, combining beautiful musical instruments into never-before-seen contemporary compositions. Being a film focused on music, and it’s great power, the sound in this music was extremely important, and Gorransson delivered amazingly.

stunning tribute to African musical roots, bringing the film to a height of amazement rarely achieved.

“Sinners” is truly something new because it doesn’t try to be anything seen before. The film combines history, action, comedy, music and horror in a film that would simply

A pivotal moment in the film is when Sammie plays a song at the juke, and manages to sing so well that he pierces a supernatural veil and begins to bring in music from his past and future, creating these amazing duets with Sammie’s guitar and instruments from all times. The scene is also elevated by a single, moving camera, which moves across the entire dancing floor, and ends with a

The appeal of the house show

On any given weekend in any major city, while

venues fill with ticketed crowds and extensive sound systems, a different kind of music scene takes shape. In living rooms, backyards and basements, audiences gather shoulder-to-shoulder to experience local music close up.

There’s no green room, no blinding lights and no stage. Only a floor and a shared understanding that a house show is more than just a concert in someone’s home.

It’s a communal event, a DIY ecosystem, and for many artists, a first big break.

Part of what makes a house show so appealing lies in what they lack. No corporate sponsors, strict age restrictions, or inflated ticket prices. It’s a workaround to the complicated and often inaccessible process of booking a venue, no guarantees required, no endless competition for securing available dates.

They are simply open to anyone who hears about them.

It’s an alternative to bars and clubs that starts in alternative or unlikely spaces. It’s not defined by the sound system or the capacity of the crowd, but the informal and rather tight-knit atmosphere. The layouts are improvised; the “stage” is just a rug or a clearedout living room. Extension cords are tucked into back corners or windowsills, the lighting is just string lights and the green room is someone’s bedroom littered with guitar cases for a few hours.

The audience isn’t there for a spectacle or curated vibes, they’re there for the music, the energy and the sense of being a part of something fleeting and real.

It’s a cross-section of community culture; students, other artists, family members of the band and neighbors all under one roof for a single, undivided experience. People who don’t normally share the same space find themselves shoulder to shoulder, singing along.

Despite their casual appearance, they require a respectable amount of coordination. Finding a space with cooperative roommates, a room big enough to fit a full band, an audience and flexible neighbors who won’t file a noise complaint. It launches a domino effect of booking the bands, arranging the gear, clearing the

furniture, promoting the show and figuring out who’s watching the door.

Promotion becomes a patchwork of word of mouth, flyers and friends who will vouch for each other. Equipment becomes a joint effort, a working PA system, mic stands, extension cords and amps are all essential.

A defining trait of a house show is that it relies on mutual respect. Without the official infrastructure of bouncers or security guards, everyone becomes responsible for keeping the space safe and welcoming. This is executed by checking in with others, being considerate and pitching in when needed.

Even the clean-up is an act of collective care. The next morning, someone moves the couch, another handles the sound and someone else scrubs the floor. It’s a continuous group effort to show up and make it happen.

House shows are temporary in nature. A house can only host so many before the lease is up, someone graduates or a neighbor wants it shut down.

However, the culture is self-sustaining because it’s built on intention and ambition. DIY shows offer something refreshingly simple: a group of people who just want to enjoy music together.

Beyond the music, house shows become a testing ground for emerging artists and incubators for local scenes. Bands find their early audiences, and organizers learn by doing. It’s a framework that feeds into the future of music, one that, without it, many larger acts wouldn’t have gotten their start.

As cities change and live music landscapes shift, the house show scene remains steadfast and stubbornly analog. It’s not overly glamorous. It’s often hot, loud, and a little chaotic. But it asks little and gives a lot in its messiness, because of the freedom it offers, the connection it builds and the creativity it makes space for.

House show culture provides a much-needed reminder that music doesn’t need a stage to matter. Keep it alive. If you’ve never been to a house show, find one. Ask around, find a flyer and show up early. Talk to everyone you can and support the artists. There’s a place for you in your local scene, you just have to care enough to find it.

You serve your students and give them the tools to become better human beings. That’s the job of a college. “ ”

the best thing for me to do that year, and sometimes it may overlap directly with what’s going on in the world, sometimes just overlapping with my own internal needs.

So, the “Nickel Boys” has a character who is very positive and optimistic and a character who’s more cynical. Those are definitely two parts of me, and I started writing it in the early days of the first Trump administration. So, in some ways, the philosophical argument between the two boys is about being an American in 2017, but it’s also obviously about this terrible reform school and these two boys trying to survive. So, there’s part of my philosophical dilemma in there, but you wouldn’t read the book and think, “Oh, this is about the early days of the Trump administration.”

UK: You withdrew from speaking at the University of Massachusetts Amherst last May because the university arrested students and faculty who were protesting. What compelled you to say no in that moment?

CW: Well, I have a daughter who’s in college. I have a nephew who went to the University of Massachusetts. You’re supposed to protect your students. They come first, not kowtowing to a recent vogue in silence. So you don’t call your cops on your students. You serve your students and give them the tools to become better human beings. That’s the job of a college.

UK: To that point, there are some universities now who are also under fire from the current administration. How would you hope university leaders respond?

CW: Well, safety in numbers. Don’t comply in advance. Fight for your values if you have values.

RB: You’ve also taught at universities yourself, so maybe you have kind of an insider knowledge into that.

What is or has been fulfilling for you about teaching and connecting with young writers?

CW: I think, in teaching a writing class, a lot of people are taking it as a gut. They’re engineers, like jocks or something, like, “I have to take one English class, I’ll take this.” And so, even if they’ve never heard of me or any of the writers I teach, they always get better across the semester, and they always seem very surprised and delighted by this or that author they’ve never heard of. So even if this is like the last time they’re going to read literary fiction before they become bankers, it’s nice to see them respond to Lorrie Moore, Junot Díaz and Ursula K. Le Guin, and then write their stories which are probably, pretty terrible, the first one and the second ones will look better, and then by the third one, it’s like, “Jimmy the banker actually [laughs] has figured out how to come up with a nice little simile.”

UK: Is there a way that you try to teach students how to build an authentic voice, maybe something that you’ve learned about your own writing voice?

CW: People want to write about characters they know. When they’re younger, they want to write characters that are familiar to them, maybe based on themselves. So I’m always like, “Okay, you’ve written two stories about 18-year-olds from New Jersey, you’re an 18-year-old from New Jersey. I want you to try a 23-year-old from Connecticut.” So, try different genres. Don’t write in the first person if you keep writing in the first person. Maybe mix it up. There’s three and a half months, it’s a laboratory; it’s okay to fail. Try something new. Don’t just try the same kind of character you’ve been doing.

(Hollywood Reporter) Michael B. Jordan (left) and Miles Caton (right), lead protagonists in Ryan Coogler’s ‘Sinners.’
Katrina Thompson Moore, associate professor of history at Saint Louis University, talks with acclaimed author Colson Whitehead during the St. Louis
(The University News/ Ulaa Kuziez)

Beyond Billiken Becky

Reflectingonmytimespentrunningananonymousadviceaccount

Kayl Baker, Staff Writer

I was eating lunch on campus last fall when I overheard a group of people talking about something I had written. They did not know I was the one behind it. I did not say anything, and I never did. This was not unusual, whether positive or negative, I was used to hearing people discuss my most personal sentiments aloud, having no idea that the girl at the table next to them was the one who shared them.

Maybe it’s because my ears are not as pointy in person? I’m not too sure!

I guess I am also not as outspoken in person, Becky’s most recognizable trait. I learned quickly as a teenager that loud girls are not liked. Any loud girls who are reading this know exactly what I mean.

I used to tell people they could try to guess who I was, but that it was likely they would never get it right because the real me is not nearly as outgoing. Every college party, big event invite, requests to meet up and hang out; it was all for Becky, not for Kayl. I preferred it that way for the most part, knowing that no matter what, I would get to express myself without the scrutiny of being, God forbid, a woman with an opinion. Having the account not only connected me to the SLU community, but gave me an outlet to share my thoughts on our political climate, attacks on marginalized groups, and life at a private Jesuit university as a queer person coming from North St. Louis.

I have always been slow to open up to others. Becky gave me the chance to be myself in a safe way. It made me realize how beautiful it feels to trust and be trusted by strangers. It was eye-opening to realize that complete strangers could feel a sense of warmth and trust strong enough to open up about their lives. These people, people that I did not know and who did not know me, trusted me with information and vulnerability.

It made me realize that, as human beings, all we want is to be understood. I was so happy to provide that. Every message from someone venting about their long-distance relationship, roommate issues, or asking for simple advice because they had no one else to turn

to – it all showed me how freeing it is to connect with strangers beyond typical niceties. We all need to make more effort to connect, and I hope to continue to bring that sentiment to my real life, beyond the screen.

At times, it could be overwhelming. Campus itragedies resulted in hundreds of messages daily, and the Radio Rebel-esque lifestyle proved not to be as simple when people relied on communication with me in their darkest moments. Or, during times of political unrest, desperately trying to protect my identity as the silly persona resulted in real-world danger from conservative public figures and organizations.

I felt pressure, knowing that any quick story post meant all one thousand of my neighbors would see it and potentially misinterpret me. It was intimidating, realizing that making a fun account on social media had gotten so out of hand so quickly. Was it worth it? Uh… I guess we’ll see when this issue is printed!

Ultimately, I got the degree I came for and I had a great time doing it, regardless of the bumps along the way. The anonymity provided a balance which allowed me to step in when I had the urge, and step down when I had the need. Having the opportunity to come and go meant I was able to be available in times where I felt it was most important. Supporting the SLU community has meant everything to me. The interactions I had with so many sweet, genuine people, as well as the firm roots I’ve planted in my community from this account definitely made the tough times worth it. I feel more connected to St. Louis, especially Queer St. Louis, than I have in my entire life because of the opportunities this persona has given me to connect with local businesses and organizations.

Am I the same person I was when I started this account at 18 years old? No. But Becky taught me a lot about what it means to be a person, which is ironic considering she is… a Billiken.

Thank you to those of you I have had the honor to meet. I am so grateful and cannot wait to learn my next lesson.

I studied abroad twice so you don’t have to

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Reegen Johnson, CopyEditor

The first semester I studied abroad was full of lessons learned and many moments stumbling through a language I thought I had a grasp on. I was wide-eyed and clinging to my best friend as if she had the secret to navigating the other side of the world.

Five months later, I boarded another plane with that same best friend, this time bound for a different country with a different language and culture, still unsure if I was chasing a sense of spontaneity or running from routine. I did not expect how different the two experiences would be, and how they would shape me.

My first semester abroad unraveled so much of what I thought I knew about myself. As someone who had never left the United States, everything felt astounding and overwhelming in the best way. But surprisingly, it was choosing to go abroad again with the knowledge of how challenging it can be that resulted in the development of a deeper sense of self than I had before.

semester. Looking back, I realize how hard it was to admit that I was not having the time of my life in a place where I thought I should. I wrestled with a lot of dissonance that semester, falling into a place of comparisons of other people’s experiences, while simultaneously feeling ungrateful and guilty about not thriving in a beautiful place. The contrast became a constant undertone of that semester.

I was homesick in a way that is hard to articulate. Not for a place in particular, but for a feeling of attachment I did not have access to in Spain. There was an unspoken set of expectations about how I was supposed to feel, and I could not live up to them.

I knew I still wanted to complete an entire year abroad, so I decided to stay in Europe. The second semester abroad, I chose Webster University in Athens, Greece: a program that was not talked about as much. It

I needed Athens in other ways that will stick with me for the rest of my life. I learned to build memories that were not refined or packaged, but personal.

I spent the fall semester of my junior year at SLU Madrid. It was the only program I had really heard of. A program where you have no doubts about credits or scholarships transferring, and you get a lot of support through the visa process.

was small, with only 10 students in the entire program, all from different schools. Only one of them wasn’t a stranger to me on the first day.

It made sense that I chose the most popular program offered in the study abroad office. There is comfort in the familiar, following a necessary logic to do what everyone else is doing. It felt like the right move and, in many ways, it was. Everyone knows someone who went there. Tapas, worldfamous museums and weekend getaways, it checked every box.

I had some extremely meaningful experiences in Madrid. I lived with warm, welcoming host parents who greeted me with home-cooked, authentic meals and patient smiles as I staggered through our conversations in Spanish. My two roommates, who quickly felt like siblings, filled the apartment with laughter, late-night conversations and a much-needed sense of belonging. I learned how to be okay with getting lost, overcome culture shock and budget with no income in a major European city.

Something was enlightening about it, but in all honesty, Madrid never quite felt like mine. As much as I wanted to, I struggled to feel settled or at home the whole

That ended up being the best thing about it. There were no expectations of who I had to be. I learned how to lean on strangers, a process that gave me social courage I did not know I needed. Our program director was heavily involved, like a second mom to us. She took us to new cities all over Greece: weekend trips to Olympia, Nafplio, Delphi and more.

Day hikes through mountains and ruins, beach towns I could not pronounce but now dream of constantly. It was less of a checklist and more of a lived-in and personal adventure.

Outside the group excursions, my newfound friends and I took independent trips on a whim, €15 flights across the continent, and €10 ferries to the Greek islands. Forming friendships with locals, learning phrases from servers and bartenders, and wandering through neighborhoods with no plans.

I lived in a city-center apartment minutes from campus, on the historic streets where democracy was born. I felt rooted in a way I had not before.

Continued on B4, Study Abroad

Israel-Palestine

Continued from A1 itself in Palestine for its own personal gain. For 40 years, the British manipulated, lied and employed violence against the people in the region, eventually abandoning them entirely when the faulty systems and solutions they set up inevitably began to fail. It was the British who used violence as their solution, teaching the people of Palestine and Israel to do the same. To better understand what led the British to Palestine, we must begin our journey with the creation of Zionism.

Theodor Herzl, an Austro-Hungarian Jewish lawyer, playwright, writer and political activist, was the creator of Zionism: “a movement to recreate the Jewish presence in Israel.” Herzl acknowledged that Jewish people wanted a land of their own where they could be free from persecution and enjoy a shared culture with other Jews. In his 1896 work, “Der Judenstaat,” Herzl argued that the Jewish homeland should be in Palestine; after all, Israel is considered the holy land for the Jewish people.

In August 1897, the first Zionist Congress was held in Basel, Switzerland. During this Congress, no explanation was given for what a “home” in Palestine would look like for either Jewish immigrants or the Palestinian people who already lived there. Less than one month after the Basel Congress, Herzl wrote in his diary: “If I were to sum up the Basel Congress in a single phrase – which I would not dare make public – I would say: in Basel I created the Jewish State.”

At the time, Palestine was still under the control of the Ottoman Empire, and Herzl knew this. Herzl went to Sultan Abdulhamid II and tried to bribe him. He proposed the idea that Jews should be allowed to colonize Palestine in exchange for a Jewish syndicate consolidating the tremendous amount of Ottoman debt that was destroying the economy of Turkey. Though the offer was tempting, the Sultan rejected it, saying, “I cannot sell even a foot of land, for it does not belong to me, but to my people. We must have no illusions about Zionism. Although the speakers at the Congress dwelled upon vague generalities, the Zionists aimed at the formation of a great Jewish state in Palestine.” Many years later, the Sultan’s words came true.

in Russia and Ukraine, many Jewish people sought refuge in Palestine. By 1936, they comprised 28% of the population. Tensions rose, and Palestinian-Arab nationalism began to swell. The Great Revolt of 1936–1939 erupted, but Britain crushed it by declaring Martial Law in 1937 and sending 100,000 troops, in the typical way of violent, disinterested colonizers. Britain eventually tired of the escalating conflict, after all, they only wanted to aid the Zionists because the Rothschild’s finances were the difference between losing and winning WWI. The British drafted the White Paper of 1939, proposing a Jewish homeland while also recognizing Arab Palestinians as the dominant group in Palestine. The Paper also restricted Jewish immigration into Palestine, which greatly angered Zionists. In response to the White Paper, three Zionist militias formed a resistance movement against the British and aided illegal Jewish immigration. In 1946, the Irgun militia bombed the King David Hotel in Tel Aviv, which served as the British headquarters during the mandate, killing 91 people. Their target: documents seized by the British during Operation Agatha, which detailed how dangerous Jewish resistance groups were. This was the straw that broke the disinterested British camel’s back. In 1947, Britain handed Palestine over to the United Nations (U.N.). The U.N. proposed splitting Palestine into two states, with an international zone around Jerusalem. Zionists accepted it, Arabs resisted it, but the UN passed it anyway.

Jewish people, who made up about 30% of Palestine’s population at the time, were given 54% of the land. In response to the Resolution, Palestinian militias attacked what was designated as the Jewish State. Israel, aided by British military training and weapons, held their ground and then pushed back.

During the Arab Israeli War, 700,000 Palestinian Arabs either fled or were expelled from their homes. This displacement became known as the Nakba, which is Arabic for “catastrophe.”

The root of the Israel-Palestine conflict was not religious hatred, nor innate hostility between Jewish and Muslim people, the root was colonial interference.

In 1917, the Ottoman Empire fell, placing Palestine under British control. British Foreign Secretary Arthur James Balfour wrote to Baron Rothschild, a wealthy Jewish and British banker. The letters exchanged between the two state that “his Majesty” was in favor of establishing a home for the Zionists in Palestine.

You may be wondering why the British cared about Zionism. After all, Britain in the 20th century is not exactly known for its kindness or advancement of human rights. So, why would the British Foreign Secretary promise the support of the British to the Zionist cause?

In 1917, WWI was raging, and the Allied Powers desperately needed money to continue their fight. In agreeing to support the Zionist goal, they received heavy financial aid from the Rothschilds, the wealthiest banking family at the time in Great Britain. The British did not care about the Zionist cause. All they cared about was who could fund their war.

However, there were two big issues with the Balfour Declaration. The British were able to overthrow the Ottoman Empire only with the help of Arab leader Sharif Hussein’s forces. In return, Hussein was promised that Palestine would be an Arab state. Meanwhile, Britain also promised the French that Britain and France would share Palestine to maintain equal proximity to the Suez Canal. In essence, the British used Palestine as political, economical and military leverage without any regard for the people living there, or with any intent of keeping all of their contradictory promises.

Before the Balfour Declaration, Jewish people made up only 8% of the Palestinian population. By 1931, they made up 17%. Fleeing persecution during the pogroms

By 1949, Israel controlled 60% of what had been allocated to the Arab state. By 1950, 250,000 Jewish people had immigrated to Palestine. Fighting continued through the Six-Day War in 1967, where Israel gained control of the West Bank, Gaza Strip and East Jerusalem, as well as parts of Egypt and Syria. The war left Israel with 700 casualties and Arab states with 20,000. Failed peace attempts, the Oslo Accords, ceasefires and multiple rounds of infighting followed this, continuing into the present day. The root of the Israel-Palestine conflict was not religious hatred, nor innate hostility between Jewish and Muslim people, the root was colonial interference.

Under the Ottoman Empire, Jewish people lived side by side with their Muslim neighbors. They were taxed higher, but they enjoyed many of the same rights as Muslim citizens. It sounds unbelievable now, but once upon a time in Palestine, Jewish and Muslim people coexisted peacefully. All the violence perpetrated by Zionists or Palestinian Muslims can be traced back to the mishandling of the land and people living there under the British Mandate.

The British had no real interest in the well-being of Palestinians, they cared only for their own interests and the acquisition of power. They only supported Zionism when it benefited British financial and military interests. They stood by Palestinians until pressure from Zionist made them back off. When they got tired of the anger on both sides, they passed off the problem to the equally disinterested U.N.

It was the carelessness of the British Empire that amplified tensions between Jewish and Arab groups in Palestine. Negligence and disinterest on the part of the British Empire were the flame that started the wildfire of violence that continues to burn the people in Palestine today.

A photo of graduating senior Kayl Baker, aka Billiken Becky
Photographed by Zachary Steele

Manosphere

Continued from A1 identity reinforces the belief that vulnerability and care are inherently feminine and, by extension, undesirable in men. That belief has devastating consequences. Instead of encouraging men to develop emotional literacy or build meaningful connections, the manosphere offers them a script of isolation: be alone, trust no one, dominate or be dominated. And all of this is packaged not as insecurity, but as empowerment.

A central tenet of this ideology is the claim that men, not women, are the true victims of gender injustice. This narrative reframes social progress as a zero-sum game, in which every gain for women represents a loss for men.

They tout obedience to the point of encouraging women to accept domestic violence. Feminist efforts to draw attention to rape culture are recast as attacks on male dignity.

High-profile figures in the manosphere frequently, and falsely, claim that false accusations of assault are more common than actual incidents, despite overwhelming evidence to the contrary. The goal is not to protect men, but to delegitimize the experiences of women and rewrite the cultural script around consent.

Language is crucial in understanding how this worldview takes shape. Women are routinely described in transactional terms, valued — or devalued — based on superficial markers such as their appearance or sexual history. The term “high-value woman” is often used to mean submissive, young and sexually inexperienced.

In these communities, women are not people. They are assets to be measured, ranked and, ultimately, controlled. This kind of dehumanization is not only sexist but incredibly dangerous.

The consequences are not limited to online spaces. The messaging has seeped into broader political discourse, reinforced by public figures whose influence lends legitimacy to these ideas. Andrew Tate, one of the most well-known hypermasculine online creators, was arrested on charges related to human trafficking and sexual exploitation but continues to enjoy a platform. His brand of ultra-violent masculinity has only gained popularity among young men, despite his legal controversies.

Joe Rogan, with a massive Spotify following, routinely hosts guests who push anti-feminist rhetoric under the guise of “free speech.” President Donald Trump, whose public persona is inseparable from a legacy of misogyny, including sexual remarks made to minors and lewd comments about his own daughter, remains a touchstone for those who equate cruelty with strength.

Underlying this cultural shift is a broader resentment toward the redistribution of power. Many of these men are angry, not because women are unqualified, but because qualified women are finally being recognized. There is a growing hostility toward the idea that women might earn more, lead teams or refuse to settle. This is not about a meritocracy. It is about entitlement.

We also see this mindset reflected in the way fatherhood and caregiving are discussed. In manosphere circles, being a present father or taking on domestic responsibilities is viewed as emasculating. Men are discouraged from participating in childcare or showing affection for their children, lest they appear “weak.” But real strength is not in detachment. It is in presence, responsibility and care, traits that have been redefined as feminine only because they require emotional labor.

Rather than unlearning their negative habits around emotions and communication, these men are demonizing women. The irony is that feminists have been advocating for decades for men to be allowed to express emotion, build deeper relationships and participate equally in the private sphere.

The very tools that could alleviate male loneliness — therapy, community or emotional openness — are being rejected by the manosphere in favor of hyperindependence and performative dominance. The alpha male mindset is not solving the problem, but actively worsening it.

The manosphere sells a fantasy of male superiority that collapses the moment it is interrogated. It tells young men that they are owed status, sex and success, not earned through kindness, intelligence or partnership, but through aggression and control.

This ideology will not build healthier relationships. It will not solve loneliness. It will not bring fulfillment. What it will do is isolate men further, alienate them from those who care about them and normalize misogyny under the guise of “self-improvement.”

If we are serious about addressing the crisis in male mental health, we must reject these hollow definitions of masculinity. We need to model and celebrate alternative forms of male identity — ones rooted in empathy, humility and emotional courage. The answer to male loneliness lies in connection, not isolation.

On April 1, Pamela Bondi, the Department of Justice attorney general, directed the prosecutors of Luigi Mangione to seek the death penalty. To me, this sounds like the worst April Fool’s joke known to man, but for the United States government, it is a real part of their agenda. The only way I can read this is as a desperate attempt to maintain control of the masses at a time when trust in the system is at an all time low.

In a time of misinformation, false narratives and propaganda, I am glad to see common sense take charge over America’s way of thinking; the injustice and disparities that riddle this system can go unnoticed no longer.

The case of Luigi Mangione shows us this firsthand. In a previous article, I argued that although his challenging of the economic base of the healthcare system did not lead to systemic reform, it challenged how mainstream media reports events where class consensus is questioned. It exposed the contradiction in the system’s condemnation of violence against the ruling class versus its perpetration of violence against the oppressed.

While the ruling class continues to try to make a statement out of his act against their control by charging him on 20 counts, including killing as an act of terrorism, and even moving for the death penalty, their attempts have, in some ways, backfired.

This act exposed the ruling class’s wavering level of control over how people think, yet made clear that their control over the economy is stronger than ever. No notable changes in the healthcare system resulted from Mangione’s act, however, I believe it was one of many in a causal chain that may, in summation, lead to true change that benefits people worldwide.

For social change to be truly effective, it must succeed in moving both the base of the economy, which in the U.S. is capitalism, and the ideas about the base. This requires a fundamental shift in how people think and behave, and it is not something that happens in a flash: it

Study Abroad

Continued from B3

I stopped caring about what I was “supposed” to see or do and asked myself what I wanted to experience. I became comfortable in stillness, savoring the smallest moments, and I started to see discomfort as a sign of growth rather than failure.

Studying abroad in the second semester helped me rebuild with intention and clarity. I needed Madrid.

emerges over time by the compounding of movements in the pursuit of justice.

When such movements do shift belief, they expose the level of control the ruling class has over our beliefs, which in the modern age changes constantly. As the ruling class hones their measures of control, the working class develops new ways to subvert and establish their own agency. The cycle continues viciously. These movements also expose the level of control the ruling class has over the base of the economy.

The ruling class’s main source of control is its ability to control and manipulate the economy. Specifically, how the economy is structured, which they control by manipulating how we think of and interact with existing rules, structures and economic systems.

An example of this in modern society is cryptocurrency. For years, large corporations and mainstream media were skeptical of decentralized finance, often writing it off as a scam. In the past, many banks have issued statements advising clients away from investing in digital assets. However, the narrative surrounding cryptocurrency has shifted since President Donald Trump took office.

With Elon Musk’s influence, the U.S. government and large financial institutions have shifted their perspective on cryptocurrency, with the U.S. government now arranging a “strategic bitcoin reserve” and large banking institutions like JP Morgan advocating and establishing platforms for the use of digital currencies.

All this and more, just as the IRS comes out with new laws regulating the taxation of digital assets. This incorporation of a change into the dominant culture happens when members of the ruling class see an opportunity to seize more power and simultaneously prevent power from shifting away from them.

The change that is allowed is only that which does not challenge late-stage capitalism – the power structure that allows the exploitation of the working class to create I needed the bright city lights and the comfort of the popular path. Being there that first semester pushed me past the barrier where the unfamiliar felt unbearable and going home felt like the only option, and gave me the stability to spend another five months out of my comfort zone.

I needed Athens in other ways that will stick with me for the rest of my life. I learned to build memories that were not refined or packaged, but personal. It was a program where I stopped performing and started being.

wealth for the already wealthy.

The manifestation of this phenomenon has resulted in the extremely rigid power structure characteristic of late-stage capitalism. Companies use divisive forces such as gerrymandering, lobbying, echo-chamber media and more to convince people that they cannot create change, while simultaneously controlling what other changes are allowed and disallowed in modern society.

Any cultural shift is allowed in society as long as it does not challenge the powers that be. Although we are watching modern capitalism shift how people think about capitalism as a whole, the control over the economic base is still very difficult for the working class, or any class, to change.

Ideas quickly die down when there is no ability to act upon them. This power, the power over policies, procedures and administration of the economy, is something that even those in power have always fought over.

There is an internal power struggle between members of the ruling class to seize the most power. They continue to play this game, calling it politics, and it is all fair game unless one decides to overshare that power with those “below” them. That is when they are ostracized and disallowed from the game of politics. When power begins to fall out of their hands, or their control is challenged, that is when the politicians are most united.

We must not allow the ruling class to get away with punishing the working class for violence against them while those in power continue to perpetuate violence against millions around the globe without consequence. This is common sense and not a divisive stance.

Why should we continue to allow those in power to kill, even if it is not them directly killing, but rather the people in the system they created doing the killing for them of their own perceived volition?

It helped me understand that meaningful growth does not come from the pre-written experience, but rather the experience that you make entirely yours.

If you are contemplating separate programs, I know how tempting the popular one can be. The one that looks polished and convenient. But if you get a flicker of curiosity about the other program, the smaller one, chase it. You will find something there that no photo can explain, and live in stories only you can tell.

U The Univeristy News

A Tribute to our seniors

The University News wants to express our deepest thanks to all those who have contributed to the development of the paper over the past 2024-25 academic year. Without the help of all our writers, editors, designers and many more, the paper would not have been able to achieve what we did this past year. Below are the baby or childhood pictures of each graduating senior and their favorite memory at the paper.

Join our team!

The University News is currently seeking dedicated students to fill the following positions for the 2025-2026 school year: Staff Writers Photographers Copy Editors Designers Online Editors Broadcasters Videography Assistant Editors

Q: Do I need experience?

A: Nope! We have a qualified team here to help guide you. Writers/Designers from any level are welcome.

Q: What are the benefits?

A: Hands-on journalism experience, state recognition, portfolio content, free Adobe applications, UNews press passes to cool events on and around campus and EXPERIENCE!

Q: Do I need to be a journalism or communication major?

A: NO! All majors are welcome. All employees (in all fields) see journalism experience as a major asset to your resume and your portfolio. Written and visual media sets you apart from your peers!

The University News Staff

Editor-in-Chief

Lauren Hutchens

eic@unewsonline.com

Managing Editor

Ashlyn Jones

managingeditor@unewsonline.com

CopyEditors

Reegan Johnson

Paige Guillermo

Business

Joseph Glaser paige.guillermo@slu.edu

gm@unewsonline.com

Val Rosqueta

Claire Lyons advertising@unewsonline.com

Photo Editors

Emma Duman

emma.duman@slu.edu

Open Position!

your.email@slu.edu

The University News

ulaa.kuziez@slu.edu katerina.super@slu.edu

News Editors Sports Editors

Nora Kotnik Ismael Domin

nora.kotnik@slu.edu ismael.domin@slu.edu

Owen Herdrick reegan.johnson@slu.edu

Arts & Life Editors

Aidan DeSpain

Ulaa Kuziez Katerina Super aidan.despain@slu.edu owen.herdrick@slu.edu

Opinion Editors

Mariya Yasinovska

Kaia Monaco mariya.yasinovska@slu.edu kaia.monaco@slu.edu

Sophia Huang sophia.huang@slu.edu

Open Position!

your.email@slu.edu

Schleuter Nejla Hodzic mary.schleuter@slu.edu

Reegan Johnson
Valerie Rosqueta
MariyaYasinovska
Claire Lyons
Ulaa Kuziez
Nora Kotnik
Katerina Super
MarySchleuter
Lauren Hutchens

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Issue 277 (April 2025) by University News - Issuu