Community, Creativity and Representation: The Case for Fanfiction

Fanfiction picks up the slack where mainstream media lacks

By Hailey Ford

The most popular tags on Archive of Our Own. (Hailey Ford/CanCulture)

Ah, fanfiction. If you’ve ever logged on to Tumblr.com, you’ve likely come across a piece of fan-written content in your days—particularly if Superwholock was your vibe. Fanfiction often gets a bad rap, typically associated with amateurish content that displays the weirdest parts of the internet in all of its unholy glory. Viewed by outsiders as either content written by losers with no grammatical skills or the strangest smut that has ever been viewed by human eyes, it’s been difficult for fanfiction to wrestle its way into the limelight of mainstream literature. 

While weird smut and bad grammar are entirely present, fanfiction has become much more than that. It’s a place for writers and readers to come together and explore themes and ideas in new and exciting ways. Fanfiction is where writers of any level can explore their favourite characters and worlds while adding their unique touch. It may be based on existing media, but that doesn’t mean it doesn’t add new depth to those beloved stories. 

Many popular books from recent years, such as The Love Hypothesis or The Mortal Instruments, started as fanfiction. Widespread headcanons have been widely adopted by fandom communities at large. It allows people to better see themselves in characters they love. And yet, it still gets a bad reputation, reduced by outsiders to only the worst parts of itself. To do so is like judging fine arts as a whole by the finger-painting of a kindergartener.

The importance of fanfiction in creating a sense of community, aiding creative development, and allowing for absentee representation shouldn’t be overlooked.

Julian Winters, author of novels Running With Lions, The Summer of Everything, and more, is one of many who found his start in fanfiction.  As a young reader, he struggled to find good books with well-written, queer characters. Characters like him. 

A 2013 survey found that around 43 per cent of fanfiction on Archive of Our Own (AO3) was explicitly tagged as featuring a relationship between two men, with only around 15 per cent tagged as having romance between a man and a woman. 

In contrast, in 2016, only 79 LGBTQ+ Young Adult Novels were released by mainstream publishers - and those publishers put out a lot of books. A 2022 report indicated that only 12 per cent of regular characters on television in the United States are LGBTQ+. 

These numbers are the highest they’ve ever been. 

Winters recalls that most books or pieces of media that featured queer characters had them living out terrible, traumatic, and depressing lives, up until the point in the story where they inevitably died. For him, fanfiction provided a remedy to that. 

“I wanted to tell those stories where I actually get to make it to the end,” Winters said. “We deserve better than just to be killed off halfway through a book.” 

Winters also believes there are advantages that fanfiction writing has over traditional publishing - and some lessons he hopes can be learned from the successes of fanfiction. 

“You get to just go wherever you want with [fanfiction] and the reader will follow you because you're telling such a great story,” Winters said.  “We have this formula we follow [in novels] to get from point A to point B. Sometimes I would just like to spend a lot more time in worlds getting to know characters.” 

He specifically points to simple stories, where characters just go about their day-to-day lives. 

“Especially for me, as a person of colour, as a queer person. It'd be nice just to see people that identify like me or that look like me just living normal lives,” he said. “One of the great things about fanfiction writing is so much about it is kind of scratching that itch.” 

Winters is not alone in his views, either on representation in mainstream literature (or a lack thereof) or on what’s missing from traditional media. 

“[Fanfiction] fills in the gaps where canon doesn't go,” said Jaye Roy, a linguistics student at the University of Toronto, who's also a fanfiction reader and writer. “I think that's very valuable, especially when it comes to issues or representation that people might not see in mainstream media.”

Roy added that representation in fanfiction is not always done perfectly.  Sometimes, despite their best intentions, amateur writers lean too far into stereotypes. Despite that, Roy feels that representation is one of the foundations of fanfiction. 

“A bunch of people seeing the potential for gay and adding in the gay themselves,” Roy said. “Adding queer representation where there is none.” 

Research indicates that positive and present representation of queer individuals can help reduce stigma and prejudice against the LGBTQ+ community. 

While traditional media is still lacking here, fanfiction allows people to better find that representation in the characters they love. For many, fanfiction isn’t just about filling in holes left empty by mainstream media. It’s also about the people you meet and the shared love of a particular piece of media. 

 “For me, the importance of fanfiction was very intertwined with community,” Roy said. “It's essentially another way of the fandom coming together and congregating over something they love, or love to hate.” 

For the president of the University of Toronto Fanfiction Club, Zain Butt, that sense of community is one of the driving forces of his love for fanfiction and one of his motivators in starting the club. “We're focused on this whole idea of coming together to just give our thoughts,” Butt said. “It's about exploring these scenarios and relationships that are hinted at.” 

He added that before recently, it was often incredibly difficult to find direct queer representation. He believes fanfiction allows people to explore implied relationships or ones that viewers, readers, or watchers were drawn to. After all, even back in 1968, fans were writing Kirk/Spock fanfiction

Butt said he appreciates the openness of fanfiction is, and how accessible it can be to new writers.

 “[Writing] is one of those arts that's harder to get into when you're younger,” he said, stating he finds the main option available to new writers is either poetry or short stories. “If you want to do longer narrative fiction, then fanfiction is the preeminent form nowadays.” 

For those with a passion for writing, courses can be expensive. For many, fanfiction is an opportunity to learn by doing and sharpen their storytelling skills. It also comes with a built-in fanbase bursting with people who are happy to jump in and give their thoughts. 

Plus, it’s free. AO3, Wattpad, Fanfic.net, Tumblr, whatever your site of choice - posting costs nothing but your time, energy, and occasionally your sanity. In sharp contrast, self-publishing through traditional methods could take a sizable chunk out of your bank account. If you’re a broke college student, that’s likely not in the cards for you. 

So if you’re just looking to get your work out into the world, put down your pen, pick up your laptop, and log onto AO3. Fanfiction might just be what’s right for you.

Audiences receive great in-flight entertainment with TMTC’s production “Catch Me If You Can” 

Back for another year, the TMTC recently performed their yearly musical production and it was nothing short of excellence

By Olivia Harbin

(Audrey Persaud/ TMTC)

Detective Hanratty and his group of detectives followed him out of the wings as he frantically discussed his mission to find the wanted criminal, Frank Abagnale Jr.. Detective Hanratty, holding a binder as he spoke, went to throw his prop to his onstage colleague, Detective Dollar, who fumbled to catch the binder and dropped it onstage. This mishap did anything but distract the actors from their scene, as Detective Hanratty sighed “Dollar” in an annoyed tone and picked up the binder, dropping it into the hands of his scene partner. Without a beat, the impromptu accident was overlooked as a purposeful and comedic part of the scene, leaving audiences giggling cluelessly as the slight mistake was brushed aside. 

Back for another year of showcasing the university’s talent, the Toronto Metropolitan Theatre Company (TMTC) recently performed on March 27 to 30 its production of the musical Catch Me If You Can. From upbeat numbers with top hats to emotionally moving performances of love and romance, this year’s production left me in awe of the amazing talent on and offstage.

Based on the 2002 film of the same name, the musical follows the chaotic life of Frank Abagnale Jr. as he steals identities and government money across the United States. FBI detective, Carl Hanratty, notices Frank’s illegal behaviour and makes it his life’s mission to track down Frank and arrest him. The chase for justice and happiness intertwined with the importance of love and friendship left the audience full of laughter and tears in this year's production.

This musical’s principal roles were filled by abundantly talented actors whose connection I found delightful throughout the performance. Frank Jr. was played by Isaac Van Deven, a second-year sports media student whose onstage presence and incredible voice were captivating throughout the show. Detective Hanratty was played by Cooper McCrory, a third-year creative industries student whose comedic timing and improvisation were some of my favourite moments of the production. The two’s enemies-to-friends trope was seamlessly portrayed, as the banter and energy between the two of them tied together the entire performance.

This flashy, upbeat show was also carried on the backs of the ensemble, who delivered an immaculate performance through their choreography and various solos. I could not take my eyes off of dance core member, Camille Griffiths, as she delivered an enticing and flawless performance during her solo in “Doctors Orders”. Her captivating stage presence alongside her sultry and smooth voice stood out to me throughout the show.

Second-year performance production student Grace Johnson (Carol Strong/Ensemble), was amusing throughout the show as her enthusiastic persona of an overbearing and secretly fun mom who is obsessed with her daughter's fiance. Alongside her onstage husband and dance partner, first-year media production student Kalon Young (Roger Strong/Ensemble), the two gave an entertaining performance that had me laughing. During the scene leading up to, “(Our) Family Tree”, the pair questions Frank Jr. over his intentions to marry their daughter, Brenda. Johnson’s slow flex of her arm muscle when asking Frank to be a part of their “strong” family and Young’s “serious dad” portrayal while interrogating Frank Jr. were the best comedic moments in the show. Their big, dazzling number “(Our) Family Tree” even featured the two growling at each other on their knees in a comical act of attraction before tearing away their conservative outfits to reveal colourful, fun costumes beneath. Their chemistry onstage and ability to not take themselves too seriously during this performance was my favourite part of the production.

Director Vienne Janssen chose “Catch Me If You Can” as a way of breaking their pattern of doing Renaissance shows like Something Rotten and Head Over Heels. Janssen said this year's production offered a chance to change the narrative and do a show that was more inclusive for everyone involved, as the show provided numerous roles for everyone to have a chance to shine.

“I think another thing about Catch Me If You Can in particular that really drew me was the amount of characters that come in and out and how fast the show moves. Everybody is involved in telling the story, even though it's centred around Frank. It's like you need every single person. If one ensemble member was sick, the entire thing falls apart,” said Janssen. 

This year’s production was also the first time acting students at Toronto Metropolitan University (TMU) could do the musical for course credit, making the rehearsal process different from previous years. Because the students were already experienced and trained in their acting, Janssen was amazed by what the students were able to conjure up for their characters without her complete direction.

“I learned so much from watching them act and it was great even for everybody, acting program or not. While directing, I had the confidence to just step back and be like, you guys know what you're doing. I just want you to play with it and see what comes out from there,” said Janssen.

Gillian Bennett, a first-year acting student at TMU, was an incredible addition to the cast in her role as Brenda Strong. As Frank Jr’s love interest, Brenda’s character goes through an emotional rollercoaster when finding out her fiance is a highly-wanted criminal who is being chased by the FBI. Bennett captured the pure and innocent essence of Brenda onstage, and delivered an amazing performance during her solo, “Fly Fly Away.” With an angelic voice that received well-deserved applause from the audience, Bennett was truly the pinnacle of this production.

This year’s band was led by Deanna Mann, a first-time musical director who, although new at the role, was able to guide the band through a musically superb performance. 

Mann said one of her biggest challenges with this show was the little space the musicians had in their orchestra pit. Having changed theatre locations from the Al Green theatre to the Harbourfront Centre theatre, the small venue provided challenges for the band as there was a slim area on the front of the stage where they set up their musical stations. Aligned in rows of two going down the front of the stage, the nuisance of space did not distract the band from the amazing performance they put on.

“Each [musician] has to have their stands with all their instruments set up. They have to have the space to be able to take them off and put them back on. They're troopers. They're squeezing in there and they're making it work.” said Mann.

This year’s TMTC musical left me feeling like I could not only fly a plane if I wanted but left me with an immense appreciation of art, theatre and the TMTC. With an amazing cast and crew, this company did a fantastic job concerning this year's musical performance.

If you didn’t get to fly high with the wonderful cast of Catch Me If You Can this year, I urge you to keep a lookout for the announcement of their 2025 production.

8 Upcoming Canadian novels we can’t wait to get our hands on

TBR needs an update? No problem.

By Hannah Mercanti

Colourful books on a dark, wooden bookshelf. (Lubos Houska/Pixabay)

Ah, springtime. The beginning of a new season: birds singing, buds on the trees, shining sun and… a whole new array of Canadian books being released! But don’t worry, there’s no need to be overwhelmed by choice. We’ve gone through the best of the best to put together an ultimate Canadian new releases spring and summer reading list bound to add some colour and flair to your 2024 TBR schedule.

NONFICTION

North of Nowhere, Marie Wilson

Founded in 2008, The Truth and Reconciliation Commission was established to record the previously hidden history of violent and forced residential schooling for Indigenous children across Canada. One of the commissioners leading this work was Marie Wilson, a journalist and the wife of former Dene Nation Chief Stephen Kakfwi.

In North of Nowhere, Wilson takes readers through her years witnessing the stories of survivors across Canada, providing her own take on the enduring value of the Truth and Reconciliation Commission. North of Nowhere will be available on June 11, 2024.

Crooked Teeth, Danny Ramadan

From Syrian-Canadian novelist Danny Ramadan comes Crooked Teeth: A Queer Syrian Refugee Novel. Ramadan starts us off with stories of his family in Damascus, and follows his trek across multiple borders as he reckons with “a life spent out of place.” Delving into his journey of life as a queer refugee, the novel beautifully speaks on all the intricacies and difficulties that come along with that.

A “powerful refutation of the oversimplified refugee narrative,” Crooked Teeth will be available on May 28, 2024.

Monsters, Martyrs, and Marionettes, Adrienne Gruber

From Saskatoon-based essayist and poet Adrienne Gruber comes an electric collection of personal essays about motherhood and the intricacies of family life. Through detailing the births and early lives of her three daughters, Gruber shares with readers what it truly means to bring another life into the world- and the lasting consequences this has on both parties.

It isn’t uncommon for parents to shield the bad and present only the good. Here, it seems Gruber does the exact opposite, intimately welcoming us into her life and her version of parenthood. Monsters, Martyrs, and Marionettes can be purchased starting May 1, 2024.

FICTION

Dayspring, Anthony Oliveira

In a debut novel mixing poetry and prose, Dayspring by Anthony Oliveira is a queer retelling of one of the most famous books in history- the Bible. From the perspective of “the disciple that Christ loved,” Dayspring is an intimate retelling of biblical narratives asbut also a tender and emotional coming-of-age tale.

Originally a short story, a full version of Dayspring was published on April 2, 2024.

A Witch’s Guide to Burning, Aminder Dhaliwal

What originally began as a webcomic periodically posted to Instagram, A Witch’s Guide to Burning is now a full-fledged graphic novel by Canadian storyboard artist Aminder Dhaliwal. When the burning at the stake of a local witch is interrupted by a rainstorm, she is left to die, half-burnt with only minimal magic left in her. Luckily, she is found by a witch doctor and her toad friend, who make it their goal to save her and nurse her back to health.

Both a charming tale about a displaced witch and her magical friends and commentary about the insidious presence of burnout in our society, A Witch’s Guide to Burning will be available on May 28, 2024.

The Head, Robyn Braun

One day, Professor Trish Russo wakes up to find that the disembodied, but still living, head of an infant has somehow materialized in her home. Trish is unsure of what to do—it cries like a baby and makes sounds like one, so she figures she must take it with her to work.

At the office, her colleagues are disgusted- not by the head, but because she brought it to work. Put on leave, Trish goes to visit her parents, who react in a similar way to her colleagues.

No matter where she turns, Trish is blamed for this thing that she has seemingly no control over. Robyn Braun’s The Head, a bizarre and darkly funny take on trauma, workplace culture and the unsavoury ways that can manifest in our lives, will be available for purchase on May 7, 2024.

I Met Death and Sex Through My Friend, Tom Meuley, Thom Vernon

In this dark comedy by Thom Vernon, a Toronto high school teacher enlists the help of one of his students in the actioning of his gruesome suicide. Over the course of a 24-hour blizzard, the student, his best friend, his mother and a “low-down” cop must now do everything they can to hide the body and save each other before the storm ends.

I Met Death and Sex Through My Friend, Tom Meuley, will be available for purchase on May 1, 2024.

Bird Suit, Sydney Hegele

In the sleepy, tourist town of Port Peter, summers are marked by the hot sun and ripening of peaches— and also by the presence of the mysterious bird women who live in the meadow by the lake. When the summer finally ends and the tourists clear out, the girls in Port Peter left hanging with an unwanted pregnancy know what has to be done. They must deliver the baby to the bird women. The birds accept all of these babies- except for Georgia Jackson.

20 years later, Georgia is back in Port Peter and finds herself in the middle of a complicated mess of grief and emotion with her mother’s ex, his wife and their son. A folk tale described as “gorgeously strange, [and] marvellously written,” by Laird Hunt, author of Zorrie and In the House in the Dark of the Woods, Bird Suit by Sydney Hegele promises to be a debut novel that is as wildly strange as it is special and deeply emotional.

The complicated ethics of digital piracy

People have seen online piracy as a victimless crime for decades— which couldn’t be further from the truth

By Hannah Mercanti

A brightly lit TV with a variety of streaming services available to choose from. (Nicolas J. Leclercq/Unsplash)

Did you know that in 2022, 22.4 per cent of Canadians committed an indictable offense? It’s true— despite our reputation as toque-wearing, maple syrup-drinking sweethearts, nearly a quarter of us accessed online pirating services. 

Digital piracy refers to the illegal copying or distribution of copyrighted material via the Internet. Uploading movies and TV shows to sites like Fmovies or the now-dead Soap2Day, downloading your favourite song from Youtube to MP3, or posting a stolen PDF of a book to an online forum are all actions that could, realistically, get you arrested in Canada. 

People do claim to have their reasons, though. It cannot be ignored that a large chunk of people simply cannot afford to pay rising subscription rates- the cost of living is consistently increasing in Canada and if someone wanted to subscribe to Netflix, Disney+, Amazon Prime, Spotify and Audible, that would add up to a total of $49.91 a month. That’s a pretty significant chunk of money in today’s economy.

On the other hand, some believe that companies already have enough of our money; some do it to avoid giving money to companies whose business practices or ethics they don’t agree with; others are just trying to save as much money as they can. Some, though, just don’t think online content is worth their money and download pirated content for free based on principle.

Regardless of the reasons people present to validate their habits, there seems to be a consistent debate about the ethics of the practice online. 

It is quite literally a never-ending back-and-forth— if you search “pirating books” on TikTok, the first two videos are in direct opposition to each other. One is brightly captioned, “Why pirating books is OKAY!” while its counterpart reads, “Stop pirating books. It directly hurts and affects authors.” 

In Canada, anyone who commits piracy is, according to the criminal code, “guilty of an indictable offence and liable to imprisonment for life.” So why are there TikToks and Reddit boards about it? It seems that regardless of the fact that it is punished like other forms of stealing, lots of people online don’t see it that way.

Online pirating, as we know it, began in the ‘70s and ‘80s during the boom of technology and computers. Users figured out how to copy and paste and were suddenly able to share mass amounts of information with the click of a button. “That was radical, right?”, says Kavita Philip, an author and a professor of English at the University of British Columbia.

Pirating is unlike any other form of stealing, notes Philip. When someone pirates a book, that book doesn’t cease to exist- the publisher and the author have not actually lost it. “If I take your car, you don't have your car anymore,” says Philip, “but if I download the specs for your car, you still have your car and you can still drive it to work.” This was what led some members of the tech community in the ‘70s and ‘80s to argue that it was essentially a victimless crime since it appeared as though no person was actually being deprived of anything. 

This led to an anti-authoritarian, utopian attitude within pirating groups. According to Philip, many of the people in these communities felt that they should not have to pay for the privatization of information and that knowledge and information should be open and available to all. Community members felt that corporations had gone too far with copyright and IP (intellectual property) laws and felt vindicated in stealing content.

Take for example the case of Aaron Swartz, which Philip notes. Swartz liberated articles from JSTOR under the pretense that information should be available to all— he was subsequently arrested, and made a hero and martyr in the hacktivism and pirating community. “Again,” says Philip, “the utopian impulse behind the copying and sharing communities is that everybody should have access to that knowledge.” 

Part of the reason people are so readily willing to commit media piracy is because we assume that since there is so much media, we aren’t hurting anyone by taking it. “That’s actually not true,” says Brianna Wiens, an assistant professor of english language and literature at the University of Waterloo. “There's the assumption that consuming more might actually help an emerging artist or contribute to them getting more airtime," says Wiens. “Actually, pirating can be particularly devastating for emerging artists.” 

When content is downloaded or spread online through hidden files, the artist loses a significant amount of exposure, since there is no way to track who or how many people are interacting with their content. As well, Wiens notes that downloading shady files in an attempt to skirt a fee can potentially leave the user vulnerable to online attacks and malware.

The fact that we are deep into a cost-of-living crisis does not help. People have less money now, and when faced with the choice between paying your Netflix subscription or buying groceries, the decision is kind of already made for you.

But, that doesn’t mean the answer has to be piracy. Wiens points out that as much as we are in a cost-of-living crisis, we are also in a crisis of the arts. “They're not as valued as other kinds of technology forward or STEM (Science, Technology, Engineering, Mathematics) forward disciplines are,” she says, noting that people may be less willing to pay for movies, music and TV because they see them as inherently worth less than other services.

They may also think companies already have enough money or have poor business ethics and believe they are doing something positive by sharing content and providing information to those who cannot afford it.

But, this argument, when de-constructed, doesn’t actually seem to hold up very well. Wiens points out that when people pirate content from the creative industries, the people doing the actual creative work are the first ones affected, not the ones at the top of the company. For example, if you pirate the latest Disney movie because you think the CEO is a terrible person, you won't actually be hurting the CEO- you’ll be hurting new, developing artists, filmmakers, and writers since they are typically the first to go when companies start to lose money.

“It means less work for developers, testers, sound engineers, filmmakers, actors, scriptwriters, you name it, whoever’s involved in that process. It means less money going to those folks,” says Wiens. The issue, she points out, is that companies are not a monopoly, and looking at them like one makes it harder to see how something like pirating affects individual people.

Though, this doesn’t negate the fact that information should be free and made readily available to us. For Wiens, the thing that is missing in these piracy circles is advocating for our public libraries. “They don't just lend out books. They also offer media and technology. For those who can't afford to pay for video streaming services, your library will. Your library wants to help you.” 

So, what can you do if you’re strapped for cash and want to consume media, but don’t want to hurt anybody or destroy your computer in the process? There are actually a couple of options.

As Wiens pointed out, the library is usually your best bet. The Toronto Public Library system offers movies, TV shows, audiobooks and ebooks for rental, all for free. But for readers who may not want to get up off the couch, there are a couple more courses of action.

Project Gutenberg and Internet Archive are two examples of free, online services with thousands of books uploaded for anyone to access. The only drawback with these two is that the majority of books are allowed to be uploaded because they have entered the public domain, so most novels available are quite old.

There is also the option to sign up for free trials, which most streaming services offer- though this option isn’t too sustainable, since they tend to last only a week or so.

So, maybe it isn’t the pirate's life for us. The anti-authoritarian, utopian view of the early pirates does hold some weight. Information is something that should be free and available to all, no matter your income status or ability. However, fighting fire with fire is not the best solution and only hurts the artists we love and aim to uplift. By working a little harder and reaching out to our community resources like libraries, we can assist in the continued funding of the arts and hope for accessible and safe consumption of media for all.

A Couch Potato’s Guide: Surviving a Movie Marathon

Tips and tricks to come out of your next screening victorious

By Claire Dufourd

(Andrea Piacquadio via Pexels)

Lights, camera, action! With finals about to be over and summer starting to show its timid face, it is once again time for the beloved – or dreaded – movie marathon season. So, whether you are embarking on your journey to Mount Doom or getting ready to gather all the Deathly Hallows, here is your official survival guide to avoid all the beginner’s mistakes of a movie marathon runner!

Preparation is Key

First things first, you cannot possibly throw yourself into an hours-long marathon before getting ready for all possible outcomes; practice is essential to your task. This is not just a casual movie night with friends, but a test of your endurance. So, take your time getting ready, and gather your essentials: 

Comfort above all else: ensure you install yourself on your most comfortable couch, seat or blanket. There is nothing worse in a marathon than having to reposition yourself every five minutes, breaking your concentration and making it easier for you to get sick of sitting down to complete your viewing competition. 

Hydration station: how many times have you heard “stay hydrated queen” during your hourly TikTok scroll? Well, the gods of social media have never been more right; keeping your favourite water bottle or a fun drink within reach is the best way to ensure you will not have to constantly pause your movie to go get a cool glass of water from the kitchen.

(Jeshoots via Pexels)

Snack stash: ah, the star of the show. Stock up on an army of sweets and chocolate to keep you fueled and focused. After all, who is Charlie without his chocolate factory? Depending on your preference, anything from the healthy favourite trail mix to the most obnoxiously sweet Maltesers will make your movie marathon the best experience you have ever had.                                                          

The Dangers of Sleep

Now, let’s address the elephant in the room – or should I say, the snore interrupting the movie. Falling asleep during a movie marathon is like dozing off in the middle of a rollercoaster ride: it is just not done. So, what can you do to avoid this crucial mistake?

Strategic seating: remember how you have to find the most comfortable seat you own? Well, this in itself can become the biggest trap of all. To avoid falling asleep in the middle of Harry finally figuring out he is a Horcrux, finding the optimal position is going to be essential. Anything too close to actually lying down will be perilous, so consider using a fluffy pillow or the eternally perfect Squishmallow to prop yourself up, making sure you won’t let yourself doze off. 

Intermissions: much like during a play, it is important to keep the audience entertained. So, do not hesitate to schedule breaks to keep yourself awake; taking a quick walk around your house, doing jumping jacks or simply discussing theories with your friends will do the trick!

(Nam Quan via Pexels)

Caffeine addiction: as with almost every situation in life, coffee will be your best friend during a movie marathon. Making yourself a nice cup of coffee with fancy latte art or a brand-new yummy syrup will be the best way to keep yourself awake for your whole movie marathon! And for our coffee-hater readers, do not fret; a Redbull or any other energy drink surely does the trick.

So, there you have it, fellow movie marathoners: this ultimate survival guide will lead to the best nights of your life watching movie classics and laughing at Adam Sandler comedies. You are now armed with comfy seating, sugary treats and a gallon of caffeine – admittedly not the healthiest guide, but one that will for sure make you win any cinematic endurance test. Now grab your remote, queue up your favourite films, and may the odds ever be in your favour. 

Couple Edition: At-Home Dinner Date Ideas

Must-try dishes for a dinner date with a friend, yourself, or your boo!

By Shaaranki Kulenthirarasa

(Conscious Design via Unsplash)

If you're a university student who has been struggling to cook freshly cooked meals every day, you’re most definitely in need of a dinner date. Whether that date is a self-care date, one with a friend or one with your significant other, here are some meal ideas that you should try!

Heart-Shaped Personal Pizza

What other way to show your love to your S.O. than to make heart-shaped foods? This recipe from the Food Network will allow you to have the main dish, but also some aesthetic pictures to post to your feed!

Ingredients

  • 1 pound of store-bought pizza dough 

  • 1.5 tablespoons of oil (preferably olive oil or canola oil)

  • 1 tablespoon of all-purpose flour 

  • 1.5 cups of shredded mozzarella cheese

  • 1 cup of pizza sauce or tomato sauce

  • Vegetables (tomatoes, broccoli, green peppers, mushrooms) Optional*

  • Meat (Pepperoni and/or grilled chicken and/or ham, etc) Optional*

Steps

  1. Spread the pizza dough with some olive oil and place it in a bowl, cover it with parchment paper, and let it sit for an hour

  2. In the meantime, preheat the oven to 500 degrees Fahrenheit 

  3. Use a rolling pin to roll the dough nicely on a board and using a pizza cutter, carefully cut a heart shape of the dough 

  4. Fold up the edges of the circle to make a crust

  5. Spread the pizza sauce onto the dough 

  6. Sprinkle the cheese all over 

  7. Place your veggies and meat

  8. Transfer the parchment paper to the oven

  9. Bake for 10-12 minutes 

  10. Let it cool for a few minutes

  11. Enjoy!

Thai Red Curry Chicken and Rice from a friend

Spice up your nights with some Thai Red Curry Chicken and Rice! Everyone has their own way of making Thai Red curry. Here is a recipe my friend gave me back in high school that I have been following ever since. As a big fan of Thai cuisine, and someone with a Tamil- Canadian background, I have always loved spicy foods. That being said, this is my go-to meal:

Ingredients

Chicken 

  • 1 pound boneless skinless chicken

  • 2.5 tablespoons of water 

  • 2 teaspoons of cornstarch 

  • 1 teaspoon of canola oil

Curry 

  • 115g of Thai Red curry Paste

  • 2 cloves of garlic

  • 2 slices of ginger 

  • 2 tablespoons of neutral oil 

  • 1.5 tablespoons brown sugar

  • 1 oil 

  • ½ Red bell pepper

  • 7-8 Green Beans 

  • 1 cup of coconut milk

  • ½ cup of cilantro

Rice 

  • 1 Cup Rice 

  • 2.5 cups of Water 

Steps

  1. Combine all ingredients for the chicken and let it sit for 15-20 minutes 

  2. Oil a pan and cook the chicken until chicken is fully cooked

  3. Boil the rice

  4. In another pan, add 1 tablespoon of oil with garlic and ginger 

  5. Add the curry paste and stir in the brown sugar 

  6. Add onions, bell peppers, green beans and cilantro

  7. Let it cook for 5-10 minutes 

  8. Add in the chicken and cook for a few minutes 

  9. Garnish with cilantro 

Hearty Vegetable Soup 

There may be a day of the week where you may want a freshly-cooked meal, but feel a bit too lazy to do so. On a day like this, try out this Hearty vegetable soup recipe from the Taste of Home website.

Ingredients

  • 1 tablespoon of olive oil 

  • 7-8 sliced carrots

  • 2 large chopped onions

  • 4 celery ribs

  • 1 large pepper

  • 1 minced garlic clove

  • 2 cups of chopped green beans

  • 2 cups of peas or frozen peas

  • 1 cup of corn or frozen corn

  • 1 can of chickpeas

  • 1 teaspoon of thyme

  • 1.5 teaspoons of ground parsley flakes

  • ¼ teaspoon of pepper

  • 4 cups of water

  • 1 can of diced tomatoes

  • 2 cups of V8 juice

Steps

  1. In a pot, add oil over medium heat and add in the carrots, onions, celery, and green pepper.

  2. After this, add the garlic

  3. Slowly add the remaining ingredients 

  4. Stir all the ingredients and let it boil

  5. Serve!

Naan and Paneer Butter Masala 

If you are craving a warm and flavourful meal, try this Naan and Paneer Butter Masala Recipe inspired by the Allrecipes webpage with your S.O. This meal packs a punch to your taste buds and will make you want more!

Ingredients

Naan:

  • Store-bought Naan (The Crispy brand’s garlic Naan is really good!)

  • 1 teaspoon of butter

Paneer Butter Masala:

  • ½ cup of vegetable oil or canola oil

  • ½ pound paneer (cut into cubes)

  • 2 tablespoons of butter or margarine

  • 1 big onion (diced)

  • 1 teaspoon ginger garlic paste

  • 1 tablespoon cashews

  • 1 teaspoon ground red chillies

  • ½ teaspoon ground cumin

  • ½ teaspoon coriander powder

  • ½ teaspoon garam masala

  • 2 tomatoes

  • ½ cup half-and-half

  • ½ cup milk

  • ½ teaspoon sugar

  • ½ teaspoon salt

  • 1-2 bay leaves

Steps

  1. In a pan, heat up the oil and fry paneer cubes till they are golden brown from the outside. After this, keep it aside

  2. Once it is melted, add onions, ginger garlic paste, cashews, cumin red chillies, coriander powder, and garam masala. Stir for around 5-7 minutes on medium heat

  3. Add in the tomatoes, half-and-half, milk, sugar, and salt. Let it cook for around 5 minutes and adjust the heat accordingly

  4. Place mixture into the blender and blend!

  5. After it is nicely blended, transfer back into the pan at low heat, add the fried paneer cubes, and stir on low heat for 8-10 minutes. Ensure it maintains a creamy consistency. If not, add a little bit of water. 

  6. In another pan, add the butter you have kept aside for the naan and let that melt

  7. Add in naan pieces and let it become nice and crispy

  8. After this, transfer your naan and paneer butter masala onto a plate and enjoy!

Rice Krispie treats

Finish off your meal with homemade Rice Krispie treats! The recipe is from the Rice Krispies website, but with a twist of my own!

Ingredients 

  • 3 tablespoons of butter or margarine 

  • 40 Jet-Puffed marshmallows 

  • 6 cups of Rice Krispie Cereal

  • ¼ cup of Pink and Red Smarties

  • Heart-shape cookie cutter 

Steps 

  1. In a saucepan add the butter/ margarine and melt it on low heat

  2. Add in Marshmallows and melt it 

  3. Add the Rice Krispie cereals and mix until it’s coated

  4. Add in the Smarties 

  5. Transfer onto parchment paper and pat down 

  6. Let it sit for 10-15 minutes till completely cooled off 

  7. Use the cookie cutter to make heart shapes! 

Everyone deserves a nutritious cozy meal. So what are you waiting for? Go and try these recipes and play a good movie to enjoy a toasty night with yourself, your friend or your significant other!

Visions of Care and Collaboration and how queer filmmakers translate this theme into eight fresh shorts #TQFF

Several queer and indigenous filmmakers submitted their shorts to this Torontonian festival that took place mid-March. The selection of the final eight shorts presented to the audience is exemplary of their experiences and this year’s theme: Visions of Care and Collaboration. 

By Eliana Aleman Reategui

The outside of the Tranzac Club (Eliana Aleman Reategui/CanCulture)

This year from  March 14 to 17, the Toronto Queer Film Festival hosted the seventh installment of their festival in the borough of the Annex. The theme for this year’s festival is Visions of Care and Collaboration.

All featured in the short film compilation titled Who Am I Growing Into?, the shorts-files touched upon themes of reliance on one another, one’s passion for their culture, and overall just an earnest portrayal of the queer and indigenous experience. Visuals were striking and captivating, and although there was a wide range of mastery over the medium, the sentiments that all eight filmmakers conveyed were present in the room.

Headdress (2022)

We started off the screening with the short Headdress directed by Tai LeClaire. It told the stylized story of a queer native person and his internal battle when faced with cultural appropriation. It was certainly technically impressive, with many different settings and props, but sometimes the comedy felt a little juvenile. Personally, it seemed too reminiscent of Smosh comedy or even a dragged-out SNL bit. Maybe I am chronically online and can’t appreciate short films on a budget anymore, but the writing reminded me of an Anna Akana YouTube video or a PAINT cover. Gave me the feel that it was quite dated, somewhere around 2015 to 2016, but made in 2022.

Hi, My Name is Lilliana (2020)

Hi, My Name is Lilliana directed by Liliana Rice, is a biographical short about her experience as an Indigenous filmmaker and her worries about entering the film industry. I am assuming this was an admission video for an animation program. It was cute, but also something I don’t think belonged in the lineup. The animation style is reminiscent of the “draw my life” trend on youtube several years ago, putting little doodles and moving words on top of old family pictures and memories. This is more of a vlog than a short film and although the message of the film is touching and important, the form is simply too distracting.

Bright Heart (2023)

Bright Heart, directed by Tarek Lakhrissi, was an intriguing odyssey that takes the audience on an immersive trip across the streets of Paris. I saw what the short was trying to do: immerse us in this Lynchian journey of self-discovery. However, the scenes go on for way too long and even though I know the point is to keep the audience at bay, it never lets you in enough to care about his extravagant encounters. Very French.

Shedding (2023)

Directed by Tziara Reyes, Shedding is a short, intimate documentary about a non-binary person finding their identity and how that ties their hair ties into this equation. One of my most disappointing watches in the repertoire. I sympathize with the weight of shaving your head, especially as a queer person, and how that can help you align with your gender identity. Still, there was a lack of emotionality to the actual action. It’s a very emotional process (and even the director put their two cents on what it meant for them to shave their head a couple months back), but there was not a major visual contrast in the subject’s before and after. This hindered the impact of the action greatly.

Punk Fish (2023)

Punk Fish, directed by Miguel Maldonado, follows transgender punk musicians and their new journey to find themselves in the British underground scene. It's pungent and true to its subject matter, but the protagonist feels swallowed at times. While undoubtedly eye-catching, loud and possessing a gripping presence, the protagonist was sometimes drowned by his eccentric environment. The introduction of his band members made me rapidly lose interest in his international student experience, and more invested in his backup band. How did that woman have two master's degrees already? Nevertheless, it served a good purpose, as it captured someone’s life during their youth.

Once in a Red Moon (2022)

Directed by Yi Shi, Once in a Red Moon is a lovely romance short that touches upon the immigrant experience and how that seeps into romantic and familial relationships. It felt very Toronto-esque and reminisced of summer walks through Dundas and Spadina. The delivery of the actresses didn’t quite do it for me every time— some lines just came off awkward or simply unnatural, but overall, it was a cute story with a satisfying ending that made me miss my relatives back home. Sweet treat. 

Lullaby (2023)

Lullaby directed by Irène-Kimberley Valin-Awashish was such a visually stunning portrait of the Indigenous experience in modern Canada. You can see that there was a lot of care put into the locations. The protagonist stares directly into the camera as life moves around her at a quick pace. Her stillness was a strong contrast to the craziness of present-day society. Sometimes, the voiceover would be too overpowering to the visuals, but the message was still heartfelt and came across clearly. Low shutter speed shots of the dance were breathtaking. I do wish there wasn’t the face of the protagonist in the introductory shot of the dances; they stood better on their own. Impressive film.

I AM HOME (2022)

I AM HOME, directed by Kymon Greyhorse (sick name btw), is a short film with jaw-dropping visuals and a moving and emotional voiceover narrating the evolution of Indigenous traditions and their way of living throughout centuries. The decision to majoritarily use slow motion and to opt for portrait shots really elevated the emotionality of the film. The most cohesive short of the collection. Sadl,y it was also rather brief, but I was moved by what it conveyed in its short runtime.

This lovely selection of shorts tied together into one cohesive whole: A desperate feeling to tell a story and for the audience to see life the way you experience it; a desire to share different worldviews and life experiences so we can empathize with each other, and an accolade for being collaborators in each other’s stories. 

Liv McNeil breaks out in behind-the-scenes work with new documentary, The Making of Priscilla

This young Canadian filmmaker shares the raw connection that she and many young females share with Priscilla Presley  

By Nicole Soroka

In the fall of 2022, Priscilla Presley’s story was brought to life on set in Toronto, reimagining the days that the teenage girl lived out with the king of rock ‘n’ roll. However, the stories of young Presley were not the only presence of a young girl on set.

In June 2020, Etobicoke School of the Arts student Liv McNeil posted her short film on YouTube, Numb, highlighting a handful of emotions that high school students faced during the height of the COVID-19 lockdown and online learning. At this time, McNeil was only in the ninth grade and it did not take long for her film to reach a wide audience, quickly proving how much young talent there is to be discovered in Canada. 

McNeil’s immense talent gained the attention of many prominent people in the industry, including Canadian filmmaker Sarah Polley, who later cast McNeil in her 2022 Oscar-winning film, Women Talking. Shortly thereafter, McNeil was once again noticed by a leading female force in the industry, Sofia Coppola, who asked the young filmmaker to join her on her latest project, Priscilla. Coppola approached McNeil about shooting a behind-the-scenes documentary of the film, an opportunity that would continue to open doors for McNeil. 

During the live Q&A at the TIFF Next Wave Canadian premiere of her documentary, The Making of Priscilla, McNeil explained how Coppola brought her onto the project.

“John Buchan is friends with Sofia Coppola and he brought her to the TIFF screening of Women Talking,” said McNeil. “Then Sarah Polley introduces me on stage as Liv McNeil, a young filmmaker, and Sofia goes, ‘Who's that? I'm looking for a young girl to make a behind-the-scenes documentary.’ And then I'm meeting Jacob Elordi.”

The nearly 30-minute film invites viewers onto the set of Priscilla and features interviews with Coppola, Priscilla Presley and lead actress, Cailee Spaeny. They share insights into how Priscilla came to be, how Presley herself felt about the project and the labour of love that went into making the film. 

Additionally, McNeil also connects her own experiences to those of Presley. During the premiere, McNeil explained that she had little to no vision of the documentary’s focus going into her first day on set. She had originally planned to simply narrate what occurred during their 30-day shoot and dig deeper into the film’s evolution. However, seeing the story of Presley’s life unfold in front of her proved that their life experiences may be more intertwined than she realized, creating the perfect storyline for her film. 

“I'm a young girl shooting the behind-the-scenes of a story about another young girl,” said McNeil. “Obviously, very different lives, but there's something to be said about that.”

McNeil continued to elaborate on Spaeny’s thoughts about her title role and regardless of how elaborate her life became, Presley experienced what many women still go through to this day. 

“No matter how big or small the story, whatever Priscilla went through is what a lot of women go through,” said McNeil. “You leave your parents, you grow up, you get married, you have a child, it becomes really human. And you see a girl there instead of an object.”

Expanding on her experience working with Coppola, McNeil shared that the director was with her every step of the way. 

“Every so often she would check in and she would often say, ‘get in there, get in there, you're here for a reason, I want you to be here,’” said McNeil. “Coming from Sofia Coppola I was like, ‘okay, okay, okay, sure, I'll go in, I’ll go in, I'll do whatever you need me to do.’ Then I’d get right in the way and I’d step on people's toes. And it was difficult to do, but I knew I had to do it.”

However, Coppola wasn’t the only person on set who had McNeil’s back. She revealed that her father, who is also a filmmaker, accompanied her during the shooting process. While Coppola, who knows a thing or two about having a father in the industry, urged McNeil to use her own ideas and instincts, McNeil was grateful to have her father by her side.

“I think I would have died on set if it wasn't for him,” said McNeil. “He really really did save my life multiple times.”

McNeil also spoke to CanCulture in an interview and shared some behind-the-scenes secrets that weren’t included in the documentary. One of the key memories that stood out to McNeil occurred at the end of filming and included one adorable dog. 

“Jacob [Elordi’s] dog just took a dump on set,” said McNeil. “There was this piece of fake grass and it was at the end and we were popping champagne and the dog [got] loose and the dog [was] running around and having a good time. She was running around and she just like squats, sits on the fake grass and [Elordi] was like ‘don’t look, don’t look.’” 

McNeil also expanded on how having previous acting experience has helped shape her attitude behind the camera. She explained that she has more empathy for what the actors experience during a shoot, such as when they’re worried or in need of a break, and how she is able to form a meaningful connection with the actors on her projects. 

“All the actors that I work with on my short films are already my friends or they become my friends because I think that's really important to become close with the people that you're intimate with and vulnerable with and making art with,” said McNeil. 

The Making of Priscilla proved just how talented McNeil truly is, at such a young age nonetheless. The questions McNeil asked the cast and crew throughout her on-set interviews revealed her curiosity and eagerness to learn. The documentary also highlighted her tenacity and willingness to push outside her comfort zone. 

The connections that McNeil made between Presley’s young life and her own personal experiences are nothing short of genius. By taking a public figure and highlighting the parts of her life that many women may be able to relate to on some scale is humanizing and a fresh perspective to take in the film industry. I appreciated McNeil’s ability to take what I found to be the best scenes in Priscilla and dive into the emotional aspects the cast went through while filming them, as well as showcase some of the conversations that Coppola and Presley shared prior to/during the filmmaking process. 

As McNeil continues her studies in film at Concordia University, audiences will have to wait and see what is next for this inspiring Canadian filmmaker. As a first year university student, McNeil has already had the opportunity to work on a film set for one of the most anticipated films from 2023. Even more, this filmmaker is bringing a great deal of pride to Canada by showcasing how much this country has to offer to the film industry. 

 The Making of Priscilla is currently available for viewing through Elevation Pictures on Youtube and in the United States through the A24 app

Feasting on Femininity: The Interpretations of ‘Girl Dinner’ by Emerging Artists

Toronto’s Abbozzo Gallery centres their second annual group exhibition after “Girl Dinner,” where seven emerging artists portray girlhood through their different interpretations

By Neda Madany

Inside the "Girl Dinner" Emerging Artists Exhibition at the Abbozzo Gallery (Neda Madany/CanCulture)

Pasta brought back from Sunday’s dinner party, with a cup of grapes and half a stalk of celery left over from this afternoon’s lunch.One of the infinite possible recipes for “Girl Dinner.” Sharing unconventional combinations of food to create a low-effort dinner sparked one of TikTok’s most honest and relatable trends. 

“This is my meal, I call this girl dinner,” from TikTok user @karmapilled, is a sound that plays in the background of thousands of girls sharing what they pieced together in their kitchens hassle-free. 

Taking inspiration from the emergence of girl trends on social media and its manifestation into the real world, the Abbozzo Gallery’s second annual group exhibition showcased the work of seven artists and their interpretations of girlhood. 

The combined group of artists and their separate art mediums are “meant to echo the delightful varieties that make up a quintessential girl dinner,” according to the Abbozzo Gallery. 

“Girl Dinner” identified a relatable phenomenon that girls didn’t even know was shared by other girls, while still allowing for variation, as no two meals are the same. The widespread relatability rooted in the trend broadened the horizons for sharing experiences of girlhood via social media that embraces more girl-centred trends and feminist conversations. 

View of the “Girl Dinner” exhibition at Abbozzo Gallery (Neda Madany/CanCulture)

The invitation of the playful and satirical “Girl Dinner” trend being transformed into art pieces called Katie Butler to participate in the exhibit. “I really like playful details and stuff in art,” she says. The fluctuating and various approaches to “Girl Dinner” and other girl trends instantly opened up artistic ideas for the emerging artist from Ontario.

“Girl Dinner” immediately comes off as light-hearted, but Butler also sees the trend through a critical lens connected with feminism. The scenario of “Girl dinner” happens when a girl is by herself, for herself, and free from external perceptions. The trend suggests that girls will put together minimal meals to serve a basic need. However, Butler questions how much of the food we eat and prepare is performative for other people. 

As intentionally revealing the secret shared phenomena that many girls experience, “‘Girl Dinner’ is very honest about what you might do when other people aren’t looking,” she says. "Girlhood in general is very honest and not performative.” 

Already previously indulged with the theme of girlhood in her artwork, Alana Kinsey sees showcasing softness, femininity and things girls embrace as especially valuable. “I love the idea of exploring and honouring girlhood, especially in this day and age,” Kinsey says. The small girly touches from women everywhere in the world are what her art speaks to. 

“It’s just the everyday little things and how we can make it a little bit more beautiful.”

When Kinsey first encountered the “Girl Dinner” trend, her initial thought was that she was not the only one. “You don’t have to make this big, gourmet meal every night, sometimes you want to have a snack plate,” she says. “Little girly things that we do and make it normal.” 

The difference between moments considered girly versus womanly is a sense of privacy and being unapologetic, Butler explains. “I think that’s what you do when you’re a little girl,” she says. “Before you have that moment where there are things you should be ashamed of.” 

Pity Party by Katie Butler for the “Girl Dinner” exhibition at Abbozzo Gallery (Neda Madany/CanCulture)

A theme that Butler kept in mind while creating her art pieces for the exhibit was feminine indulgence. Pity Party, an acrylic painting by Butler, draws from the emotional indulgence of experiencing sadness. Rather than pitying a woman alone at a bar, Butler intended for her subject to be viewed as overdoing her emotions. Welcoming and indulging herself into the feeling of sadness, similar to watching a sad movie when you’re feeling sad. “That catharsis feels nice,” Butler explains. 

“The glasses in front of her are filled with some kind of ambiguous clear liquid, so you’re not really sure if it’s alcohol,” says Butler, noting a tear from the woman falling into the shot glass. “I like the idea of getting drunk on your emotions,” she adds. “When you’re just intoxicated by sadness.”

Collection of art by Alana Kinsey for “Girl Dinner” exhibition at Abbozzo Gallery (Neda Madany/CanCulture)

Kinseys’ collection of art came from special moments in her life. Taking snippets of her everyday experiences that she finds delightful to relate to others who may also see them as beautiful. The moments gathered together as girls, and the little things that may go unnoticed are things that Kinsey portrays in her art. “Getting ready with your friends to go for a night out, or coffee with friends,” she explains, “Finding the beauty in those little moments that we so easily brush by and forget.”

The sense of unity sparked by girl trends creates new conversations surrounding feminism. “You’re able to talk, bond, and not feel so alone,” says Kinsey. Shared experiences will never be connected unless spoken about. When people relate to something new, “it’s because someone is finally being honest,” says Butler. 

However, although the sense of connection drives girl trends, Butler remembers the danger of a single story. Sharing experiences with diversity from every individual combined “shows the variety that exists within the realm of femininity,” she adds. 

The beauty of sharing girl trends comes from the constant variety of every girl. “Having one view of what you expect from women is dangerous,” says Butler. “If that’s all you see, that’s all that is represented. Then it feeds into people's preconceived notions that women are one thing and not expansive.” 

More Than Art: Multidisciplinary artists feature the “screaming into the void” exhibition for KUUMBA

A collaboration between two multidisciplinary artists explores themes of Black identity

By Ann-Marie Njeru

On The Porch 2023 and Ronnie 2023, by Tiffany J Sutton at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

Multidisciplinary artists Aaron Jones and Tiffany J. Sutton collaborated on "Screaming into the Void," an exhibition exploring themes of Black identity, existence and the depth of shared human experiences for the KUUMBA festival. 

Aaron Jones, a Toronto-based artist, is recognized as an image builder who integrates materials such as books, magazines, personal photos and newspapers to forge captivating and unseen realities.

Tiffany J. Sutton is a Missouri-based portrait photographer who focuses on the Black gaze, placing Black femininity at the forefront through complex portraits of exclusively Black women. 

The exhibition featured separate works from both artists, representing the “Screaming into the void” theme of this collaborative process.

"I think screaming into the void meant that we were kind of yelling, we are sort of talking to a wider and whiter audience about the different varieties of Blackness within the community and the culture," said Sutton.

Sutton featured several different portraits of Black women. These photos speak about the community and the complexities they experience.  

Her work uses introspectiveness, abstract portraiture and layering photos to challenge the one-dimensional perception Black women face. She became inspired by her desire to connect more with the Black community and, more specifically, build friendships with Black women. 

Front Yard Trio by Tiffany J. Sutton at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

“It’s hard for me to make friends with other Black women for some reason, I just can't seem to manage it. I want to build a relationship, a friendship sort of thing with them and I want to build a community.”

As a Black woman, I feel heard and seen. It is very often that when expressing my emotions, someone treats me as if I can be reduced to a single stereotype; for example, the angry Black woman, a stigma many of us face. 

The overlaying on the portraits shows the complex emotions we deal with daily due to the convoluted lives we lead, all emerging from the challenges of being Black and a woman. It serves as a reminder that Black women are not a stereotype to dissect and are intricate like any other human.

Jones featured an incredible digital image, HARD DREAM, through a fusion of photorealism, whimsical abstraction and surreal fantasy.

HARD DREAM 2024 by Aaron Jones at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

The artwork explores the multi-faceted journey that humans experience. It delves into the realm of identity, immigration, spirituality, astral projection and loss and desire.

It includes the properties of Jones's artwork using newspapers, failed digital images and references from his previous work to create this profound and beautiful piece.

Jones’ piece uses a captivating blend of fantasy and science fiction, offering the viewer a deep and introspective experience. 

He invites us to reflect on our journeys and the obscurity of existence, and explore the relationship between nature and humans, nature and self and the natural world. Jones also urges viewers to reflect on ourselves, the challenges we face and how to have a harmonious relationship with nature.

When reflecting on the art piece I explored what nature meant to me and how I see myself as a part of it. As humans, I believe we must be stewards of the Earth which means taking care of nature and the people around us. The piece also speaks to the cycle of life and the co-existence of life in nature.

Turtle 2024, by Aaron Jones at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

In Aaron Jones' second work, a turtle shell symbolizes resilience, patience, and timelessness. The turtle's gradual sinking into obscurity represents the challenges faced by those who persevere despite setbacks.

The artwork encourages viewers to reflect on their determination during trying times. Standing alongside the turtle, they can contemplate the never-ending connection between nature and humanity. 

The piece is an emotional reminder of human resilience and our interconnectedness with the natural world. It is part of a broader exhibition that explores the richness and complexity of culture through the works of various artists. This exhibition aims to inspire viewers to reflect on their experiences and the human spirit's capacity for strength.

"Screaming into the Void," highlights a captivating narrative that delves into Afro-futurism and reflects on nature and spirituality. It celebrates the richness and strength of Black culture, celebrating Black women, spirituality and nature. It emphasizes the importance of diverse perspectives and interpretations in art. 

Beyond displaying individual artworks, the exhibition embodies the ongoing spirit of innovation and the boundless potential for creative expression. Both artists do a remarkable job using multimedia elements to expand on their work, showcasing the passion and creativity Sutton and Jones bring to the world of art.

Experiments in Short Film #TQFF

Stills in Motion: Queer Life in Alternate Forms featured several short films pushing the boundaries of animation and visual effects.

By Tia Harish

Many films are available to view on the film festival’s website for a short time. The films cover a multitude of topics pertaining to the Queer community, with a wide range of filmmaking techniques not often seen in mainstream media (Tia Harish/CanCulture)

In a crowded room hidden in the eaves of the Annex, the Toronto Queer Film Festival (TQFF) hosted Stills in Motion: Queer Life in Alternate Forms. This collection of short films gave a platform for stories left untold by mainstream media and encouraged unity and empathy with its films. 

The festival is also a platform for experimental films. Alongside other features concerning taboo topics like pornography and religion, this selection of shorts discusses topics like pregnancy and self-reflection in a new light. 

Most of these shorts do not feature live-action video or standard frame rates. This gives the filmmakers much more freedom to do things that just wouldn’t fly in mainstream media. Artists get to take on wackier and more complicated visuals or on the flip side, incredibly simplistic art styles. 

A few stood out for their storytelling and visuals:

Hair to Stay by Pree Rehal (Toronto, ON)

The shortest short film by far, clocking in at under a minute, Hair to Stay was a brilliant start to the series. The biggest laughs of the night came from this claymation short about the social perception of facial hair. Filmmaker Pree Rehal didn’t have a conventional route to filmmaking.  “I didn’t go to school for art things, so I’m self-taught and community-arts-taught,” they said during the Q&A. Their inspiration behind the short film was how Rehal’s childhood bully and crush often made fun of their body hair, specifically their mustache. These days, as a trans person, their mustache is viewed much more positively. The bare-bones dialogue and two short scenes receiving so much laughter and applause only prove how universal this idea of turning something negative into positive, is. 

Boob by Lokchi Lam (Toronto, ON)

This love story between, well, boobs, was oddly heartwarming. The film follows left boob Rocky, as he navigates life on the chest of a trans man while looking for love. As he learns more about what it means to be a man, the audience is invited to question masculinity and its impact as a social construct on men, both cis and trans. On the film’s conception, Lam said “I didn’t set out to make an animation but I wrote a script about breasts and I had to figure out how to actually make it, and I used whatever tools I could.” Lam also takes this opportunity to display genitalia as more than something sexual, rather as something fun and . This is taken even further with a deity-like vagina appearing to give Rocky the Left Boob some advice. The art style is a fun blend of impressionist visuals at a lower frame rate, rounding out the lightheartedness of the film. 

Embrace the Moon by Katrina Pleasance (Vancouver, BC)

Embrace the Moon takes the reader on a sweet, wholesome journey with its storyline packed with symbolism. The playful relationship between a farmer and the Moon Goddess displays queer joy without queer pain. Its biggest appeal was the abundance of queer joy. There was no homophobic dragon to battle— simply the physical barrier between the moon and the Earth, which was freely broken. This left ample time for the main characters to bond and grow, both a tree and their relationship. The Moon Goddess in the story appears to be Chang'e from Chinese mythology. In the mythos, she is believed to be immortal and lives on the moon. Pleasance explained that the art style was “inspired by Chinese shadow puppetry.” The light and delicate music and blending of old and new art styles gave the film a timeless feel.

You are here by Sarah Hill (USA)

Blending stop motion with live action and archival footage, Hill’s You are here treads new ground with their take on pregnancy in trans couples. It flirts with the line between educational and graphic. The visual style is akin to a virtual scrapbook, with mixed media being at the forefront of the storytelling. The story is slightly difficult to follow, due to its nonlinear structure and blending of archival medical films with the present.  It excels in its ability to keep the audience captivated and invoke emotions of sympathy, fear or even discomfort. 

Many films in the collection could be argued as too experimental. This is where one falls into the rabbit hole of what art actually is. Some pieces, like You are here, may use the philosophy that art must make the viewer feel something. Whether that feeling is positive or negative is inconsequential. Other pieces fall into the trap of making people feel things they don’t understand. A number of films had extraordinary visuals that were difficult to comprehend without an explanation. Some pieces were highly personal, and perhaps utilized the philosophy of art for the creator’s sake, rather than the audience’s. The highlights stood out for their clear and entertaining stories. They struck a balance between visual brilliance and high-quality storytelling. The audience wasn’t left particularly confused, but rather left to ponder the concepts of gender, romance and family.

Experimentation can mean a lot of things in the realm of art. These shorts were less like films and more like multimedia explorations in audio-visual storytelling. Some felt like a fever dream, and others may well have been. TQFF as a platform is incredibly valuable for these films to see the light of day. It is with the support from the queer community and film enthusiasts that the festival can keep the lights off and the projectors on.  

Exploring what it means to be free in Freedom From Everything #TQFF

How do we build community when everyone is pitted against each other?

By Sarah Grishpul

Mike Hoolboom’s film Freedom From Everything screens online during the 2024 Toronto Queer Film Festival (Sarah Grishpul/CanCulture Magazine)

“... It has always seemed much easier to murder than to change.”

During an online screening at the 2024 Toronto Queer Film Festival, Canadian filmmaker Mike Hoolboom quotes James Baldwin, along with many other activists, artists and historical figures, in his film Freedom From Everything.

Such a line repeats twice to underscore its importance and connection to the story: The sacrifice of our more vulnerable population in favour of the privileged.

Freedom From Everything is an adaptation of German filmmaker Hito Steyerl’s essay by the same name. By pulling from her passages, splicing together footage from other movies, TV shows, historical recordings and images, computer-generated animations and personal memories, Hoolboom created an essay film jam-packed with philosophical ponderings and critical analyses.

A fair warning, this film is not the type of movie you can put on in the background while folding the laundry or completing other various chores. It’s not so much a typical narrative story but rather a string of musings against a backsplash of idyllic scenes and objects. Instead, Hoolboom invites you to meditate on his musings as his soft, resounding voice guides you through the film. 

Hoolboom compares the many similarities between the public’s behaviour towards the AIDS epidemic in the 1980s and the recent COVID-19 pandemic, of which we are only a few years shy. He points to the striking commonality in the translation of fear to anger. Those who did not understand the virus and the people affected by it turned to hate and accusation as a coping mechanism.

Yet, as he points out in the post-screening Q&A, what made COVID-19 different was the lack of solidarity and community.

The film raises the question: How do you build community when everyone is pitted against each other?

From that point forward, we are taken back in time to the late 1970s and early 1990s when the polarizing Margaret Thatcher was Prime Minister of Britain. Her stance on society was that there was no such as society. But instead, human beings were responsible for their personal lives and outcomes.

To put it straight: If you’re poor or marginalized—it’s your own fault.

This so-called “freedom” removes blame from the dominant white society over issues of inequality. Because, according to Thatcher, society just doesn’t exist

Hoolboom shows how the “virus of neoliberalism” manifested in the so-called “freedom fighters” who staged large protests against COVID-19 vaccine mandates in Canada. The stance of “this disease doesn’t exist because it isn’t directly affecting me,” is a luxury in itself. 

Such individualistic mentalities were as prominent during COVID-19 as they were during the 

AIDS epidemic. As Hoolboom further points out in the Q&A:

“If I get sick, that’s my responsibility. But if you get sick, that's not just your responsibility, but it’s your fault somehow.”

He cites the urge to ignore the problem as a result of a digital, neoliberal form of capitalism. Communication during isolation became a profit for big tech companies. Remember ever using Zoom before the pandemic? Yeah, me neither.

Freelancers, side hustles and the gig economy are all products of capitalism. The “freedom” to not be represented by traditional institutions offers a negative freedom, which pulls people away from any semblance of community. 

Later on, the film dives into the history behind the word “freelancer,” which originates from the medieval ages. They were mercenaries who were not attached to any soldier or government but instead loyal to whoever paid them the most. Remove the horse, armour, and sword, and you’ll see that nothing much has changed since then.

Hoolboom references the role of the “homeless freelancer” in Japanese cinema, known as the “ronin.” One film he calls attention to is Yojimbo, a 1961 western, where a lone samurai ultimately initiates a gang war between two rival capitalist warlords in a small Japanese village.

The role of the freelancer is, at its core, one built on the foundation of independence. Yet, not all freelancers strive to serve the good of the people. Hoolboom interweaves clips of private soldiers in the Iraq occupation and the difficulties the United States military experienced in controlling these freelance mercenaries. Another example of this “negative freedom” is referenced several times throughout the film.

In the end, Freedom From Everything doesn’t serve as a beacon of hope, nor does it provide the answer to these systemic problems, but instead is a bleak reflection of a weakened society encased in selfish desires and governed by greed. I certainly emerged from this screening forced to reckon with my own pursuit of freedom from everything. If anything, the film opens up conversations on how we choose to determine our own future.

Sailor Moon Super Scandalous indeed #TQFF

 They’re revoking my baptismal certificate for this one

By Ella Miller

When the lights went down at the Tranzac theatre on March 15, 2024, the magical girl Sailor Moon underwent a real transformation (Ella Miller/CanCulture Magazine)

As the old saying goes “and on the third day, He rose again and ascended… into debaucherous hilarity.” 

Sailor Moon Super Scandalous: The Yassification of the Christ marks the third installment in Harjot Bal’s Sailor Moon parody series. Making its debut at the Toronto Queer Film Festival (TQFF), the film reworks the 1995 movie, Sailor Moon Super S

Instead of being about an alien queen kidnapping Earth’s children, the movie is now about the Sailor Scouts defeating warrior of God and “ba-bortion” protester, Sister Karen and her plot to bring about the rapture by turning “pansexual Wiccan from the future,” Sailor Mini Moon, into a Christian.  

After tackling queer relationships and womanhood in his previous two movies, Bal decided it was time to take on an underlying theme in both of those outings: religion, with the Catholic church providing forbidden fruit that was ripe and ready for picking. 

This was a bold choice for the TQFF both because of how inflammatory the subject matter inherently is and because it prompts the audience to do some serious pondering in dangerous waters: ‘Is my COVID-19 vaccine chip actually a good thing?’; ‘What is the Catholic Church’s stance on edging?’; and ‘How long until Doug Ford realizes that his government helped fund this?’ 

Sailor Moon Super Scandalous: The Yassification of the Christ is firmly rooted in internet culture and the kind of dark humour that was bred on early-noughts anime forums and YouTube. It combines this with post-pandemic memes and musical cues from TikTok’s Hot 100 into a chaotic symphony that would be struck down by the YouTube copyright gods in a millisecond. 

For me, though, the most obvious comparison was ADV’s notorious dub of Ghost Stories, wherein an innocent mystery show was turned into a filthy cult classic by the power of the greatest argument for dubs over subs of all time. 

In the post-screening Q&A, Bal admits to being heavily influenced by the abridged series, but surprisingly, had never seen the Ghost Stories dub until after the first movie came out. 

If you are aware of these properties and have gotten turned off by the comparison, that is understandable. Dark humour that relies on shock value and references to homophobia, dysfunctional relationships, drug use and extremism is not for everyone. 

During my viewing of this film, however, I found the usage of this type of humour to be reclamatory and transformative. 

So frequently we see ‘dark humour’ used as a Trojan horse for flat-out bigotry, but seeing a piece of media created by a queer person of colour at a grassroots 2SLGBTQAI+ event returns dark humour to a purer form: a tool to poke fun at power while confronting your own flaws. 

This is where I get a little “um… actually☝️🤓”, so bear with me. As a certified veteran of Catholic school, I do tend to be a little more persnickety about the representation of Catholicism than most. Forgive me, Father, I want those six years of religion classes to mean something. 

The Catholic Church does not actually use the “kiddie pool” style baptism the film repeatedly claims it does, among other factual inaccuracies (☝️🤓). However, anything about the sex scandals is accurate. Maddeningly accurate. 

Sailor Moon Super Scandalous: The Yassfication of the Christ’s parody of ‘Catholicism’ probably would have been more accurate had it been directed at American Evangelicals and charismatic Christianity. Marjorie Taylor Gre- I mean, Sister Karen is the Republican party’s next presidential nominee, mark my words.  

But, if my biggest complaint about your film is that the Catholic Church was not represented entirely accurately, which weakened the satire–uh… I guess I will take my rosary beads and cry myself to sleep in the confessional. 

Aside from the Catholic Church villainy, the film contains many heartwarming subplots and affecting character arcs. And that is not a joke. 

Tuxedo Mask comes to grips with the fact that he will never be the creatine-munching, crypto bro of Sailor Moon’s dreams. Tyler, the Content Creator, enters his drug experimentation era. Lesbian lovers Sailor Uranus and Sailor Neptune struggle with fertility treatments.  

All of these plots may seem like one-off gags, but they are actually layered and possess multi-1000-word-essays worth of concepts tackling masculinity, scapegoating and 2SLGBTQIA+ parenting. 

I would like to take a minute to boggle at the technical feats that this film accomplishes. This Sailor Moon parody series is just short of the most ambitious project in the realm of anime since the Rebuild of Evangelion while also being ten times more coherent (but somehow less gay). 

Bal described his creative process during the Q&A as “a beast.” The film took him two months to write by himself. Writing the film involved Bal watching the original movie until his eyes bled (probably) and developing a story that both made sense and fit the lip flaps of the original Japanese. 

Bal then coordinated a team of 17 different people to voice act which took an additional two to three months. None of these people were professional voice actors and that required some serious innovation to make at-home voiceover studios using closets and pillows. 

So, while all credit for the animation remains with the talented artists at Toei Animation, every sound heard in the film, from the passionate magical girl cries to the farts, is a labour of love by the production team. 

All of whom have their names displayed in the credits, accompanied by a song that really had me saying: …hey Siri, what song is this?

‘According to Spotify, “Hit My Spot” by ur pretty is a gay sex anthem about being submissive and breedable, would you like to know more? 

Goddamn this movie.  

Sailor Moon Super Scandalous: The Yassification of the Christ is available in its entirety on Instagram @sailormoonparody.

Musical Memories: The healing power of music

Music, in all different forms, has helped me cope with mental health struggles throughout my entire life. 

By Oliver Robbins

Trigger warning: this piece covers topics of mental health that may be triggering for some

When I’m in a stressful situation or I’m having a low day, an easy fix for me is to just breathe and listen to music (Image Courtesy of priyana)

Music has a unique ability to connect you with artists you have never met who are writing songs about experiences or feelings similar to your own. It can allow you to escape from your low feelings, or unhealthy situations and become closer with people in your life. For me, music in all different forms has helped me overcome my mental health struggles throughout my entire life. I don’t remember a time when music wasn’t what I turned to during my low points.

Being stuck in a very toxic home environment during the COVID-19 lockdown in 2020 and not being able to be with the people who helped me escape from this environment previously, was extremely difficult for me. Most days, I wouldn’t get out of bed, I would barely eat, and I didn’t have enough energy to do something as simple as responding to the messages from the people closest to me. 

During the summer of 2020, I discovered Phoebe Bridgers after coming across the song “Scott Street” from Bridgers’ first album Stranger in the Alps, and I was immediately hooked. I began listening to everything she had ever released and felt truly understood for the first time in my life. Bridgers has a way with her lyrics and production that makes you feel comforted and understood, and that is exactly what I needed during this time in my life; it felt as though I had found something to save me from this dark hole I was in. 

There was one time it really felt like she was saving me in some way. My family went camping with our trailer for a couple of days, being so close in proximity to them for this long was truly my worst nightmare. All I did for those couple of days was sit in the trailer alone or walk around the campground with my headphones on listening to Stranger in the Alps, specifically the songs “Demi Moore,” “Killer,” “Smoke Signals,” “Scott Street” and “Georgia.” These songs are all that got me through those couple of days, had I not discovered Bridgers’ music the week prior, I’m not sure I would have been able to cope even in the slightest. The experience and connection I have had with Bridgers’ music is unlike anything I have ever experienced, but there are still some other artists and bands who have been able to get me through hard times.

Concerts are some of the best cures for me when I’m at my lowest. I had the opportunity to see Bridgers in June of 2022 at the RBC Echo Beach venue in Toronto. That day changed my life. The anticipation that builds in the days leading up to the event, watching the countdown get smaller and smaller and feeling like you’re in a dream sitting on the GO train and standing in line outside of the venue; these are all things before the show even begins that makes you forget about your struggles. It felt like the world stopped for a second when I saw her walk onto the stage for the first time. Seeing your favourite artist in that space is an out-of-world feeling. Being able to feel the music and Bridgers’ voice through my body made my connection to her music even stronger. There is just truly no happier feeling than seeing your favourite artist right in front of you, singing the songs you have been listening to and connecting with for so long. For those couple of hours, I felt like nothing else mattered and I was the happiest I had ever been. 

I was also lucky enough to see Boygenius, a band that Bridgers is a part of along with Lucy Dacus and Julien Baker, at the Budweiser Stage in Toronto in June of 2023 with my girlfriend. They were touring for their most recent album The Record, which happened to come out the same day my girlfriend and I met for the first time. As sad as most of the songs on that album are, we really bonded through listening to it. Getting to see Boygenius live with my girlfriend was so special, and it made us both so happy to be able to experience music so personal and close to us, live. 

These shows made me feel like all my problems had gone away for a small period of time and that was exactly what I needed in those moments. Concerts are a great way to cope with mental health struggles and it’s also very helpful to have something so exciting to look forward to.

More recently, Radiohead has been a band I turn to when I’m struggling with my mental health. The distinct production of songs like “Weird Fishes/Arpeggi,” “Just,” “Jigsaw Falling Into Place,” “Exit Music (For A Film),” “Climbing Up the Walls” and “Spectre” encapsulate the low feelings I have. I’m able to connect with the music on a whole new level, focusing less on lyrics as the sound itself somehow makes me feel understood. 

As much as these depressing songs have helped me, there are times when I just need music to cheer me up and not to relate to. Tyler, the Creator is an artist whom I can always turn to when I need to switch my mood. I get excited every time I listen to any of his music because of how fun and experimental it is. His music allows me to escape from depressing feelings, and for a little while, I get to forget about all of my problems and just enjoy how good his music makes me feel.

Another musical outlet that has helped me when I am struggling with my mental health is playing guitar. Since I feel so connected to a lot of the songs I listen to, it is often very beneficial for me to learn these songs and be able to play them on the guitar. Playing music releases so many more emotions and allows me to connect even further with songs that hit me so deeply. I find distractions to be very helpful when struggling with my mental health and playing guitar is a great one. Choosing a song and putting all of my attention into learning it has been an incredible tool to help me at my lowest points; it allows me to close off from the world and feel like it is all that matters for a few moments. 

Playing guitar has also brought me much closer with my uncle which has been very important to me since I don’t have a very good relationship with most of my family members. Being able to have that relationship with him through playing guitar has made a lot of the mental struggles I face surrounding the lack of relationship with my family a little bit better, and when you’re feeling that low, a little goes a long way. The feeling of finally mastering a song that I’ve been practicing for a while can also improve my mood so much. Knowing that I’m capable of accomplishing something can mean so much to me when I’m not doing well mentally. 

Music is one of the most important aspects of my life and without it, I would not be able to cope with any of my struggles. It is always there to bring me out of darkness and it is comforting to know that it will always be there. While music is such a helpful resource when struggling with mental health, it is still incredibly important to engage in professional help and use any resources around you to help you get there. The impact that artists like Phoebe Bridgers, Radiohead and Tyler the Creator have had on my mental health is greater than words can explain and I will forever be grateful that I have music as my support through hard times.

If you're struggling with your mental health, you can find helpful resources on this City of Toronto page. You can also find Toronto Metropolitan University specific resources here. 

Caroline Monnet Carves, Stitches, and Weaves Anishinaabe History and Language Into Material Form: A Review of Pizandawatc

Caroline Monnet’s recent exhibition reclaims generations-deep ties between land and language in a“love story” dedicated to Quebec’s Outaouais region and the artist’s ancestors. 

By Grace Henkel

Odinimatawak (Blending into one), 2023, by Caroline Monnet (Grace Henkel/CanCulture)

In the dimmed lights of the University of Toronto’s Art Museum, several of Caroline Monnet’s sculptures, rendered in polished oak, maple and cherry wood, seem to emit a soft glow. 

The undulating shapes in the first section of Monnet’s exhibition Pizandawatc are literally whispers of solidified sound and breaths of language that the French-Anishinaabe artist preserves in a tangible form. To create each piece, words and phrases in Anishinaabemowin were recorded and their sound waves were converted into digital 3D images using architectural software, which were then carved out of wood. 

Detail of Odinimatawak (Blending into one), 2023, by Caroline Monnet (Grace Henkel/CanCulture)

“It's proven scientifically that the rhythm of languages and tonalities of different languages is based on topography of the land, " said Monnet.

“I was looking at the Outaouais region, my ancestors' territory, and just starting to think about how we used to name places back in the days and how much knowledge is actually embedded in naming those places and [in] the land as well.” 

She also generated a reverse process, sourcing materials from the land, such as driftwood “that has seen many years and of seasons changing and rain [...] that has transformed over time.” 

Then, Monnet and a software team converted the wood’s digitized shapes into 2D soundwaves. In this way, unique sounds emanate from each piece; the natural world itself speaks. These are layered together in a stirring immersive audio installation at the beginning of Pizandawatc. 

“It's really the direct link between the language we speak and the landscape we occupy,” said Monnet. 

Sculptures Pizandawatc Sagahigan (Lac Celui qui écoute), 2023, Odinimatawak (Blending into one), 2023, Nindanweb apii  dagwaaging (When It’s Fall, I Rest), 2021 and Ikwe origami (Portage de la Femme), 2023 are part of a series combining native and industrial wood that “offer a poetic strategy to reclaim the language and its connection to the land,” according to the exhibition description. 

Detail of a bronze sculpture in the shape of driftwood

Detail of Okikad (tree stump), a bronze sculpture by Caroline Monnet (Grace Henkel/CanCulture)

Detail of a bronze sculpture in the shape of driftwood

Okikad (tree stump), a bronze sculpture in the shape of driftwood by Caroline Monnet (Grace Henkel/CanCulture)

These pieces meditate on wood’s availability to Indigenous peoples as a building material before colonization, while bronze sculptures Okikad (Tree Stump) and Okan (Bone) depict the first copper alloy used by the Anishinaabe.  

The voices behind each recording-turned-sculpture, according to Monnet, are “language keepers or youngsters that are reclaiming the language right now, relearning their language.” 

Pizandawatc, (pronounced pi-ZAHN-dah-watch), is an Anishinaabemowin surname, which translates to “The One Who Listens.” The title honours the artist’s great-grandmother, Mani Pizandawatc, who was the first of Monnet’s ancestors to experience the implementation of the reserve system in Kitigan Zibi, Outaouais region, and the last to bear that surname before the erasure of traditional names was imposed by the Catholic Oblates. 

“I was just thinking, you know, there's a responsibility that comes with that name, and it gives you kind of a direction and you need to be able to listen to the things around you,” said the artist. 

“Within four generations, so much has changed.”

Monnet’s compelling process incorporates not only sound, but construction materials to confront the legacy of settler colonialism and its forcible suppression of the Anishinaabe language.

Closeup of Indigenous designs carved into a plywood board

In Silence We Speak Volumes, 2023, (detail) by Caroline Monnet (Grace Henkel/CanCulture)

An art piece spelling the Anishinaabe word for land, "AKI," with fiberglass insulation hangs in a dim gallery

Monnet’s sculpture AKI hanging in the Art Museum at the University of Toronto (Grace Henkel/CanCulture)

Monnet’s sculpture AKI spells the Anishinaabemowin word for “land” with fiberglass insulation encased in a plexiglass shell. This piece, and others by Monnet like KIWE, or “to go back where it started,” meditate on the disposability of contemporary building materials and the ongoing housing crisis. The words call back to histories of Indigenous land stewardship, in stark contrast to artificial structures evocative of impermanence and waste. 

Though jokingly claiming to love the insulation because “it looks like cotton candy,” the substance holds a darker side for the artist. Monnet employs the fluffy, soft pink matter to convey a disconnect between the housing industry and the natural world from which it extracts its resources. 

“It's just such a nasty material that speaks about the lack of vision from the industry or the Canadian government from trying to build houses that will last for more than 50 years. That can be planned for the next seven generations, for example.”  

A multicoloured embroidered tapestry  hangs in an art gallery

Kà-bimose magak Sibi (The River That Walks), 2023, is an embroidered roof underlayment by Caroline Monnet that celebrates the St. Lawrence river and Anishinaabe nomadic traditions. In the foreground is Mitik (Tree), 2023 addressing the “exploitation of trees” in settler construction practices. (Grace Henkel/CanCulture)

Caroline Monnet’s Wound 03, 2023, is made of Kevlar and adorned with beads (Grace Henkel/CanCulture)

Monnet also utilizes waterproof tarps and air barrier membranes, embroidering the fabric in several artworks that contemplate notions of shelter and habitat in the wake of cultural loss. Many of these pieces express a resolve to restore what has been erased by colonialism, merging themes of revitalization and resistance in shimmering, richly-coloured threads. One particularly striking embroidered piece, stitched in silver and steel blue, reads, “Wolves Don’t Play by The Rules.”  

The fabric sculptures of Monnet’s Wound series are composed of Kevlar, an aramid fibre used in bulletproof vests and aerospace engineering practices. The shimmering, overlapping forms, their edges delicately traced by tiny beads, express “a record of the body or a rugged terrain,” according to the exhibition description. The series conveys a dialectical bond between the painful legacy of trauma, the resilience of the land and body, and the healing process that follows. 

“I hope people have an emotional reaction to the works, that they feel connected to them. And just to realize that the land we occupy, everything around us, has a big influence on who we are,” said Monnet.  

“In return, we have a lot of influence on our surroundings. And [we must] be careful about that really fragile relationship.” 

French-Anishinaabe artist Caroline Monnet sits in front of her artwork wearing bright multicoloured beadwork earrings

French-Anishinaabe artist Caroline Monnet’s exhibition Pizandawatc opened at the University of Toronto’s Art Museum earlier this year (Courtesy of the artist)

Culinary Roots: How Medu Vada Bridges the Gap

Connecting generational and cultural traditions through South Indian delicacies

By Vaishnavi Sriparan

South Indian medu vada with coconut chutney and sambar. (Manaswi/AdobeStock) 

Like many, my love for food is deeply rooted in my cultural background. For me, my favourite food is medu vada, a South Indian savoury doughnut. The perfect balance of the outer crunch and the soft, delicious dough dipped in coconut chutney make it an irresistible treat. But, the reason why it's my favourite food is that it holds so many nostalgic memories.

As a child, I have vivid and cherished memories of waking up early in the morning and entering my grandmother's kitchen, a hub of activity. The space was bustling, with family members all working together to make 200 vadas for the upcoming family events. 

The kitchen was filled with the sounds and smells of the vada-making process. The mixer was grinding away all the ingredients necessary to make the dough. The scent of the dough was potent and had a distinct sour smell that filled the air. I recall the sound of the dough ball dropping into the frying pan, sizzling and popping as it cooked. The aroma of the vadas frying in the pan was mouth-watering, and it made my stomach growl in anticipation. 

The kitchen was also filled with the sounds of old Tamil songs blasting on the radio, on my grandmother's small kitchen shelf. The music added a warm and comforting feeling to the room. However, the music could not overpower my grandmother's voice as she yelled at the rest of us for not working fast enough. 

Despite the challenges,  it was a family affair that united us. The memories of being surrounded by loved ones and learning more about my culture still warm me. Memories like this remind me of the importance of preserving family traditions and the love that goes into making this dish.

"I like making vada as it reminds me of back home as it was a dish I often cooked with my family there,” said Ranji Sivakumar, who has been making videos for her family for over 30 years.  Ranji immigrated to Canada in 1994 from Sri Lanka as a refugee due to the civil war that took place back there. As a newcomer, she started selling vadas she made for special events as an extra source of income. Currently, she resides in Scarborough and only makes vadas for her family members on special occasions. 

“Cooking it here helps me not forget those memories and makes me feel connected to them even though they are miles away,” said Sivakumar.

Vadas have been a staple food item in many South Indian and Tamil families. They are often used on religious festival days and poojas and have slowly become a staple in households, being included as a breakfast item and side dish for events. The snack is known as vataka in ancient Indian scriptures called Dharmasutras, written between 800 and 300 BCE.

While they taste super delicious, vadas are also very nutritious. The main ingredients of black lentils include protein, vitamin B, iron, folic acid, calcium, magnesium, and potassium. 

Growing up in Canada, food helped me stay connected with my roots. The idea of eating a variety of South Indian and Tamil food sounds mouthwatering, but being in the kitchen, cooking it and hearing stories about these foods and the memories that are tied to them have helped me develop a more personal connection.  As cheesy as it may seem, the fragrance of spices and the sizzle of the tempering ingredients in the pan are like music to my ears — its taste is like a journey through my childhood and the memories I spent with loved ones. Being able to share my love for vadas allows me to appreciate and recognize the diversity and cultural richness that lies within my culture.

A Noche Underground

A night out exploring the world of Mexican Luchadore fighting in Toronto

By Anna-Giselle Funes-Eng 

The reigning champion of the night, Gringo Loco. (Anna-Giselle Funes-Eng/CanCulture)

This past November, I headed down to Lee’s Palace to check out Demand Lucha’s “Masked by Midnight” event; almost two full hours of Luchadore wrestling matches. 

Demand Lucha says they’re the only place in Toronto where one can get authentic Mexican wrestling. They “fuse Mexico’s action packed, high flying, lucha libre style with a grungy, hardrock, Toronto style,” according to their website. 

As a faction of Toronto’s punk scene I was previously unfamiliar with, I went in open to the idea of seeing something new. I felt people spilt beer on my shoes when they stood to cheer. My life’s dreams were realized when I met that night’s champion, the Gringo Loco. 

Check out more about my head dive into the hardcore world of Toronto Lucha wrestling in the photo essay below

Female Luchas Bambi Hall and Dolce Tormenta (Anna-Giselle Funes-Eng/CanCulture)

Canada’s own Jody Threat, moments before losing to Gringo Loco. (Anna-Giselle Funes-Eng/CanCulture)

The tag team Los Medicos riled up the crowd. (Anna-Giselle Funes-Eng/CanCulture)

6 Affordable Cafes Near TMU Campus You Should Try

We’re on the hunt to find affordable, quality cafes near the Toronto Metropolitan University campus. Here’s what we found!

By Talia Saley, Emily Zhang, Teresa Valenton, Owen Kropp

COTTI COFFEE

COTTI COFFE, a popular Chinese coffee company open near TMU campus. (J-School TMU/Talia Saley)

COTTI COFFEE is located at 374 Yonge St., a three-minute walk from the Sheldon & Tracy Levy Student Learning Centre (SLC). 

The cafe is extremely close to campus, making it perfect for students who are on the go. 

The drinks’ regular prices range between $2 and $5 on their mobile app and with their discount, you can get $1.99 off your order for up to five discount coupons. 

Reply 

Reply is at 637B Bay St., a five-minute walk from the SLC. 

Reply offers a variety of unique drinks, from a maple macchiato to Cold Brews with lavender cream foam. 

“I lived in this area and I just wanted a place where it’s welcoming for the neighborhood because I noticed this area is becoming a little more deserted,” said Jae Jin, owner of Reply. 

Jin has always been interested in coffee and studied it in London, England. 

Reply is known for its flavoured cream lattes. Jin’s personal favourite is the Black Sesame Cream Latte. 

Angela Wang, a customer who visits the cafe every day for its comfy, cute atmosphere and close proximity to campus, said her favourite drink is the classic Iced Americano priced at just under $4.

Hailed Coffee

Hailed Coffee is a Middle Eastern and European coffee location near TMU campus. (J-School TMU/Talia Saley)

Hailed Coffee is situated at 44 Gerrard St. W, a six-minute walk from the SLC. 

“The owner’s from Saudi [Arabia], and it brings Italian and Middle Eastern together,” says Alyssa Gomez, a worker at the cafe. 

The term “hail” means cardamom in Arabic, an ingredient that can be found across the menu.

Her favourite drink is the Cardamella Latte, infused with caramel and cardamom, priced just over $5. 

Fresh Start Bakery & Cafe

Fresh Start Bakery & Cafe is located at 595 Bay St. on the lower level of the Atrium, a five-minute walk from the SLC. 

This cafe’s atmosphere feels homey, and it offers Turkish coffee and tea placed in traditional tea cups. Expect some amazing pastries all made in-house daily!

We tried the Turkish tea and it was extremely affordable, priced around $3. 

bbtease

bbtease is located at 111 Dundas St. W, a six-minute walk from the SLC.

bbtease offers a range of drinks including coffee, milk tea, and smoothies.

Customers say you can expect a cozy interior, good tables for studying, and plenty of outlets.

Drinks range from $6 to $10, with coffees being on the lower end and smoothies near the top.

Dispatch Coffee

Dispatch Coffee, a Montreal-based coffee shop located near the TMU campus. (J-School TMU/Emily Zhang)

Dispatch Coffee is located at 390 Bay St., a 12-minute walk from the SLC.

The Montreal-based business is known for their commitment to responsible and sustainable beans and coffee lovers can find lots of variety here.

The upper-level seating is also a great spot for students to bunker down and get some last-minute studying done.

The location even has an Americano very reasonably priced at around $4.

Those were some of our favourites around campus. Let us know yours!

Fitting In: Maddie Ziegler's best performance yet in a heartfelt story about body agency

Canadian writer-director Molly McGlynn’s  semi-autobiographical portrayal of MRKH syndrome is painful to watch yet necessary.

By Isabella Soares

Maddie Ziegler and Emily Hampshire as a mother and daughter duo in Fitting In. (Image via Elevation Pictures)

"The body is not a thing, it's a situation." This quote pinpoints the main question that Canadian writer-director Molly McGlynn poses with her second directorial feature Fitting In.

What is initially a coming-of-age story about Lindy (played by Maddie Ziegler), a teenage girl eagerly awaiting her first period and looking forward to losing her virginity to her high school crush, quickly turns into body horror.

When Lindy goes to the gynecologist for the first time, she expects to get out of her consultation with a birth control method in mind but learns instead that she has Mayer-Rokitansky-Küster-Hauser (MRKH) syndrome, essentially meaning  that she doesn't have a vagina or a uterus. 

Startled by the realization that her dream of one day having two kids is no longer a possibility, and disappointed that she won't be able to have sex as soon as she hoped, Lindy finds out that the only way for her to be able to have a "normal girl life" is if she carves a vagina for herself with a dilator or has surgery. Although she initially sees this diagnosis as an automatic burden, it also opens her mind to what it means to be a girl and the question of her need to fit in.

Something magical happens when a filmmaker tells a story that is meaningful to them. They add even more nuance and details based on their own lived experience. McGlynn's work in Fitting In is personal, and that in itself, is a win. In a way, it seems like the film is a letter to McGlynn's younger self, giving her teenage version an inside glimpse of the hardships as well as the light at the end of the tunnel.

Casting Maddie Ziegler as the main character in this project is also a thumbs-up choice. After her riveting performance alongside Jenna Ortega in HBO's The Fallout in 2021, the actress and dancer's latest acting credit is arguably her best yet. 

Ziegler also has great onscreen chemistry with her character's mom Rita, played by Schitt's Creek alum and Canadian actress Emily Hampshire. Although both are going through different situations, they share the same concern for body image. While Lindy feels like an outsider for not having a vagina like her classmates, Rita is trying to get back into the dating world while still feeling insecure in her own skin as a breast cancer survivor who’s  unable to afford plastic surgery.

Although Fitting In is oftentimes a hard watch, it also sheds light on a much greater issue: body agency. No matter what your body looks like and whether it is conventionally perfect or not, it isn't anyone's business to dictate what you should do with it. From the beginning of the film, Lindy is treated by her male gynecologist as a problem needing to be fixed; it's only when she meets Jax (Ki Griffin), who is intersex and open about it, that she slowly comes out of her shell. 

Despite this coming-of-age tale striking a cord and bringing a fresh perspective about a rarely talked about syndrome, Fitting In does feel underwhelming at times. The pacing slows down towards the halfway mark when Lindy begins to make a series of insensitive decisions. Although Lindy's attitude stems from her urge to conform, the scenes play out like a repetition of many overplayed high school storylines. The film could've also benefited from more satirical song choices, as it does in a scene where "Barbie Girl" starts playing through Lindy’s headphones during a scan.

Overall, Fitting In isn't a total home run, but it is an incredibly important story worthy of attention. From tackling the pressures to fit into a certain mould as a girl to showcasing a diverse cast, the film's strengths are in its powerful storytelling that goes beyond the surface level.

The film does a great job of showcasing humanity over the medical examination, giving the characters heart, soul and personalities that are separate from their diagnosis. Even if the pacing loses its grip halfway through, the audience is still drawn to the characters until the very end. It is also refreshing to know that McGlynn was able to enlighten audiences with bits and pieces of her story. 

The film allows the viewer to sympathize with the hardships of having MRKH, such as not being able to have periods or get pregnant, and undergoing the pain of inserting medical dwindles daily in the hopes of getting sexually active. With so many of these struggles putting into question a girl’s identity, it is heartwarming when Lindy finally lets go of her insecurities and looks at her MRKH with pride. 

Fitting In is currently available on VOD. Click here to rent it through Prime Video.