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What did we miss? Students occupy the Henry Hicks Building after Dalhousie’s board votes against divesting from Israel

Calvin Borghardt
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What did we miss? Students occupy the Henry Hicks Building after Dalhousie’s board votes against divesting from Israel

On Nov. 26, Dalhousie University’s board of governors voted against a motion proposed by DSU president Mariam Knakriah to divest the university’s financial ties from Israel.

The board voted down the motion by anonymous paper ballot. In protest of the decision, members of Students for the Liberation of Palestine – Kjipuktuk (SLPK) occupied the Henry Hicks Academic Administration Building on Dalhousie’s Studley campus.

SLPK is an autonomous coalition of students from local post-secondary institutions, including Dalhousie, the University of King’s College, Saint Mary’s University, Nova Scotia College of Art and Design and Mount Saint Vincent University.

During the occupation, the students renamed the Henry Hicks Building “Handala Hall.” The name honours a cartoon of a Palestinian boy with his hands held behind his back that has come to symbolize the Palestinian fight for liberation and resistance to Israel’s occupation of Palestinian territories.

Over 150 students rallied inside and outside the Henry Hicks Building, where the university’s board of governors were meeting on the first floor. They stood in hallways and in the room next to the meeting room to observe the proceedings.

Dalhousie president Kim Brooks announced in an email to students on Wednesday, Nov. 27 that the school was forced to close the Hicks building due to the occupation. Her email said Tuesday’s board meeting “was adjourned after a group of protestors entered the meeting space in an aggressive and threatening manner. The group has occupied the building since then and is refusing to leave.” 

Michael Fleury, senior manager of strategic communications and media relations at Dalhousie, told The Signal in an email that “The Hicks Building will remain closed for the remainder of the week as we continue to monitor campus activity and restore spaces to their original state. We will not compromise the safety and well-being of our students, faculty, staff and broader community members.”  

Ajay Parasram is an associate professor in the departments of international development studies and history at Dalhousie. He was present for part of the occupation.

“I reject the statement by some that the students posed any kind of risk to security or well-being of anyone or anything in the Hicks — this was a non-violent protest, sit-in, and occupation,” Parasram said in an email to the Gazette. “To my mind, this is the very best application of politics as praxis rather than politics as some abstract or theoretical concept.”

According to the Coast, Knakriah succeeded in amending the meeting’s agenda to get the DSU’s motion added to it, with 11 members of the board voting in favour of the addition — with one abstention from President Brooks. Students in a smaller adjoining room, which Dal security limited to 25 people, shared the news with the crowd in the hallway. The successful amendment to the agenda was celebrated with cheers that could be heard inside board chambers, according to the Coast. 

Knakriah told the Gazette that the passage of the agenda amendment was “a huge win.” 

“The only questions that they were asking in relation to my motion was whether or not voting for the item to be added to the agenda would mean voting for divestment or not,” Knakriah said. “Because they were scared, all of them are scared.”

Parasram attended a “special” meeting with the board, Kim Brooks’ office and Dalhousie’s senate right before the board of governors meeting. 

“[At the meeting], I stressed that it would be important to student morale for the board to support the work of divesting from the ongoing genocide of Palestinians in Gaza,” said Parasram in an email to the Gazette. “After that meeting concluded, I walked downstairs and discovered the students in the hallway peacefully protesting outside of the board of governors meeting, holding space to make it clear how seriously the student community took the issue of divestment.”

Yousef AlSaayyed Ahmad is a member of the Students for the Liberation of Palestine.

“I think it’s weird calling any sort of protest peaceful, because if things were peaceful there wouldn’t be protests,” said AlSaayyed Ahmad. 

According to Knakriah, before members cast their vote, the board had to be assured that voting for the agenda to be amended was not the same as voting for divestment.

“Dalhousie is not compliant and they’re not humane. They are not there for humanity because if they are, I don’t think anyone would sit on that board and do nothing, you know?” said Knakriah. “They have all the power, not just the degree of power. While I used it for the betterment of the student union, the university and to stand with our students, they did nothing.”

Knakriah said, “I just hope that students realize that the work is still going and our services are always open for them. This is only one of the things we’re prioritizing this year.”


The next board of governors meeting was held virtually on Feb. 11. The recording of the meeting was available online for one week after the meeting and is now offline. 

Canada’s Medical Assistance in Dying (MAID) program is becoming more appealing to the poor

Celia Fournier
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Canada’s Medical Assistance in Dying (MAID) program is becoming more appealing to the poor

In 2016, legislation was passed legalizing Medical Assistance in Dying (MAID) in Canada for qualifying individuals.The purpose of the law is to provide autonomy and choice to Canadians. On paper, MAID appears to be a compassionate program that aims to minimize suffering, but in reality, it could quickly turn sinister. 

The cost of living in Canada is increasing, which disproportionately affects people with lower incomes. This means that the gap between the rich and the poor is growing. At the same time, the Canadian population is aging, with the number of citizens over the age of 85 doubling between the years of 2021 and 2022.  

Quality of life has been commodified

Access to long-term care services and end-of-life care in Canada is not equitable and is dependent on your economic position. Nursing home costs in Canada differ greatly depending on the quality of care. A bed in a ward setting is significantly cheaper than a private room. Paying more money directly results in better care. This means that low-income individuals may not be able to afford care, and if they can, the quality of their care will likely differ greatly from a wealthy individual with a similar diagnosis and prognosis. Quality of life in Canada has been commodified; it is not guaranteed and must be purchased. This is problematic on its own, but becomes even worse with the introduction of MAID. 

If quality of care has to be purchased, then only the rich will be able to afford to age and die in comfort. Dying with Dignity Canada claims that Canada is not targeting the poor with MAID, citing that individuals must not make the choice because of external pressures and

must be provided with information about all of their options, including palliative care. This does not account for the differences in the quality of privatized vs. public care and the inaccessibilty of palliative care for certain populations. People experiencing homelessness, for example, face barriers to palliative care and wait longer to be discharged from hospitals to an alternate level of care.

The only choice

The attitudes of Canadians demonstrate the hopelessness of poverty in this country. In a survey conducted in May of 2023, 11 per cent and 16 per cent of participants stated that they strongly agree and moderately agree, respectively, that poverty should be a qualifying reason to seek MAID. 

The numbers of Canadians using MAID are increasing, with a 31.2 per cent increase between 2021 and 2022. With more and more people choosing MAID, there will become less of a demand for long-term care services and end-of-life care, driving up the costs of these services and furthering the divide. The greater the divide becomes, the less MAID looks like a choice for the lower class. It will become the only choice, which is not a choice at all. 

To maintain the autonomy MAID offers to Canadians, we must ensure it does not become the only feasible option for any particular group of people. Every Canadian deserves to live and die in comfort. Long-term care and end-of-life services need to be more accessible and a basic level of care needs to be guaranteed. 

What should be done

The government needs to take steps to universalize long-term services and end-of-life care, to eventually eliminate the need for the private sector by matching it in quality. This will take effort on the part of the government and a shift in attitude from taxpayers. This will take time, which is why the private sector cannot be abolished by the government. It must instead be phased out organically as differences in quality of care diminish. The people in privatized care are human beings, and their quality of care should not be diminished as the government improves universal care. Instead, the government should use the private sector as a benchmark of what the quality of universal care should become. 

The MAID program should not be eliminated, but it is the government’s responsibility to continuously evaluate the equity and implications of its implementation. My current concern is the impacts on the lower class, as the cost of living increases and the population ages. Canadians deserve autonomy and choice. Life and death decisions should not be made based on economic status. For MAID to be ethical, the Canadian government needs to ensure equitable access to long-term care services and end-of-life care.

The emotional toll of relocation on Nova Scotia’s elderly tenants

Celia Fournier
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The emotional toll of relocation on Nova Scotia’s elderly tenants

As a concerned observer of the housing crisis in Nova Scotia, I feel compelled to address the emotional and psychological effects of the provincial government’s initiative to relocate elderly public housing tenants out of units with extra bedrooms. Last year, the Nova Scotia Provincial Housing Agency identified almost 2,000 tenants as being over-housed. While the objective of optimizing housing resources is commendable, the reality of uprooting seniors from homes they have resided in for decades carries significant negative consequences.

This approach not only fails to acknowledge the deep emotional connections elderly residents have with their homes but also overlooks the urgent need for a more comprehensive housing policy. Such a policy should prioritize the expansion of affordable housing rather than the displacement of vulnerable populations.

More than housing

Seniors who live in public housing establish deep emotional ties to their homes, which often represent years — if not decades — of their lives. Moving them can disrupt their sense of security, community connections and overall quality of life. Furthermore, the emotional and psychological consequences of such forced relocations can have significant ramifications, potentially leading to increased levels of anxiety, depression and feelings of isolation among these vulnerable individuals. 

The implications of this policy extend far beyond just the immediate housing crisis, affecting not only the elderly tenants involved but also the broader community by straining social networks and support systems that are vital for their well-being. It is crucial for policymakers to consider these complexities when formulating housing strategies to ensure that they do not inadvertently harm those they aim to assist.

The repercussions

The emotional repercussions of relocation for elderly tenants are too profound to ignore. For most seniors, their homes are not just structures; they embody decades of cherished memories, a sense of stability and the connections to their communities. Elaine Williams, chair of the Mulgrave Park Tenants Association, in an interview with CBC News, highlighted the emotional turmoil faced by many seniors when confronted with the possibility of leaving their residences, noting that “some people you’ve never seen cry . . . cried over losing their home.” 

Relocation also impacts established communities and social networks. Elderly residents have built robust relationships with their neighbours, which provide essential social interaction and support systems. The disruption of these long-standing connections can lead to increased feelings of isolation and loneliness — both of which significantly contribute to mental deterioration. A study published in the Journal of Gerontology found a strong correlation between social isolation and increased mortality risk among older adults. 

The government’s current approach fails to recognize the importance of these social ties, opting instead for a statistical perspective on housing that overlooks the invaluable qualitative aspects of community life.

Their reasoning is flawed

The reasoning behind the government’s policy of relocating seniors is based on the misguided idea that family size should dictate housing distribution when relocation is not enough to correct the problem. There is a staggering gap between the demand for public housing and its availability. 

According to CBC News, there were 7,683 households on the waiting list for public housing in 2024. So, forcing a few single dwellers out of multi-unit homes is not enough to give everyone the housing they need. Relocating seniors is not a remedy to the housing crisis. There is an urgent need to increase the overall housing stock to accommodate the rising needs of various demographics. Displacing vulnerable seniors does not address the root of the problem; rather, it transfers the burden of vulnerability onto other groups that require assistance.

Make more homes, not fewer

According to the Canadian Housing and Renewal Association, implementing a national housing strategy that prioritizes an increase in affordable housing stock is essential to effectively address the mounting demand in our communities.

The government should redirect its focus from relocating seniors to developing more affordable housing units. Policies supporting aging in place would enable seniors to stay in their homes while receiving the necessary resources to adapt to their changing needs. This strategy not only safeguards their emotional well-being but also strengthens community bonds, fostering a sense of belonging among residents. Furthermore, the government should explore potential collaborations with non-profit organizations to develop supportive housing options designed to cater to the unique needs of seniors, ensuring they can age with dignity and security. 

Seniors have contributed much to society, and their well-being should be paramount to every citizen. Forcing them out of their homes to create space for others does not resolve the housing crisis. Sacrificing homes and memories in the name of policy efficiency is senseless and cruel. 

Say Drake: It’s about more than the music

Valerie Monterroza Prieto
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Say Drake: It’s about more than the music

On Feb. 9, Kendrick Lamar took the stage during the Super Bowl LIX halftime show. 

Less than a week after sweeping the Grammy Awards with five wins, including for Song of the Year and Record of the Year, Lamar delivered a once in a lifetime performance that shook the nation. Lamar is the first solo rapper to headline the Super Bowl halftime show. His performance featured several symbolic messages and metaphors that reflected the origins of the United States and, of course, a final diss to Drake with his performance of “Not Like Us.”

Samuel L. Jackson as Uncle Sam

The performance opened with the iconic Samuel L. Jackson, strikingly dressed as Uncle Sam —- a powerful symbol of the United States government and a patriotic representation of the American people. His image was famously depicted in a well-known poster in which he points directly at the viewer alongside the words “I Want YOU.” The poster was used historically for United States military recruitment initiatives. But why is it such a big deal? 

Jackson, a Black man, portraying one of the most well-recognized patriotic symbols of the United States is a message in itself. The characterization references one of Jackson’s infamous roles in Quentin Tarantino’s Django Unchained (2012). In the film, Jackson portrayed Stephen, an antagonistic house slave who is fiercely loyal to his monstrously racist owner, Calvin Candie (Leonardo DiCaprio). In the film, Jackson’s character believes in a hierarchical order in which white people hold dominant positions at the top. However, Jackson has long been involved in political activism in his personal life, even serving as an usher in Martin Luther King Jr.’s funeral. Jackson’s character is there to remind Lamar of what is expected of not only him but the Black people of America.

American flag formation

The Uncle Sam character plays a vital role throughout the show, calling out to Lamar and his dancers during Lamar’s performance of “Squabble Up.” “Too loud, too reckless, too ghetto,” he says. Uncle Sam challenges the performance, telling the performers to fall in line with the status quo and suggesting the performance is not appropriate for the Super Bowl. 

As Lamar performs “HUMBLE,” his backup dancers form a fragmented version of the American flag. This can also be interpreted as Jackson asserting the performers’ place, highlighting the culture of systemic racism within the United States. The red and blue bandanas may also reference the Bloods and the Crips and Lamar’s efforts to unite members of the rival Los Angeles gangs during his Pop Out show in June. During the show, held on Juneteenth — a day that commemorates the end of slavery in the United States — Lamar brought members of both gangs on stage together during his performance.

Rather than submitting to Uncle Sam, Lamar continues on with the performance. Throughout the performance, the stage was a sea of red, white and blue, showcased in various forms, including his dancers dressed in these colours.

A call out to the revolution

“The revolution ‘bout to be televised … you got the right time but the wrong guy,” sang Lamar during the performance. 

This line references Gil Scott-Heron’s Black liberation song, “The Revolution Will Not Be Televised,” but also serves as a metaphor explaining the performance and Lamar’s role as an entertainer on a national stage. Many have theorized about the meaning and significance behind this moment, noting that President Donald Trump was in the audience. Some suggest it could be an ode to Colin Kaepernick, the former San Francisco 49ers quarterback who famously took a knee during the national anthem in 2016 to protest police brutality and racial inequality in the United States. 

The great American game

American football has often been referred to as the great American game. The opening of Lamar’s performance featured an array of flashing light sequences and formations that resembled a video game controller or a tic-tac-toe grid. 

Jackson even opened the show by saying, “This is the great American game.” 

The concept of a game could reference several themes, such as the nation’s rich history of slavery and colonialism, highlighting how the country was built by Black Americans. It could also allude to the systematic oppression notoriously faced by Black Americans throughout their lives as they attempt to navigate the “system” or the “game.” The performance included many references to the “game,” such as Uncle Sam asking Lamar if “he really knew how to play the game” after his performance of “Squabble Up.” Uncle Sam also references a “culture cheat code” after Lamar is shown standing with a group of Black men. Additionally, as Lamar continues his performance and repeatedly disobeys Uncle Sam, he calls out to the “scorekeeper” to “deduct one life.”

Serena Williams’s cameo

During the anticipated performance of “Not Like Us,” the infamous Drake diss track, tennis star Serena Williams made an appearance, crip walking across the stage. Both Lamar and Williams are from Compton in California, the state where the move originated from.

Williams’s dance also referenced the controversy that followed her gold medal victory over Maria Sharapova at the 2012 London Olympics, where she performed the crip walk dance — a dance associated with a Los Angeles street gang. Some argued it was inappropriate for the Olympic stage, but in a video posted to social media after the event, Williams laughed it off, saying, “Man, I did not crip walk like that at Wimbledon. Oh, I would’ve been fined.” Her cameo played a crucial role in Lamar’s performance of “Not Like Us,” as the tennis star was rumoured to have once dated Drake — Lamar’s rival and the main target of the song. Lamar references Williams in the track, singing Drake “better not speak on Serena.”

SZA and Kendrick Lamar perform “All the Stars” 

SZA and Lamar performed two tracks during her special appearance, including their hit “All the Stars” from the Black Panther (2018) soundtrack. When the duo finished their performance, Uncle Sam approved: “That’s what America wants. Nice, calm.” 

The song became an iconic highlight of the film, earning praise for its cultural impact and powerful celebration of Black culture. The performance resonated even more deeply following the passing of Chadwick Boseman, the star of Black Panther, in 2020, just before the release of the film’s second installment in 2022.

“Game over” spelled out in the audience

Lamar closed the show with a performance of “tv off,” metaphorically turning off his screen. As the performance concluded, the words “Game Over” lit up in the audience using flashing lights — a double entendre signalling not only the end of his performance but also referencing the conclusion of his feud with Drake, with Lamar declaring himself as the victor.

Easy eats: Chicken sandwiches and mac n’ cheese

Bryce Goodyear
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Easy eats: Chicken sandwiches and mac n’ cheese

Sometimes you just need a comforting meal after a long day; something hot, crunchy, cheesy and delicious. That’s what this meal is. A crunchy chicken sandwich with all the fixin’s, served with a side of creamy, stringy mac and cheese, with some broccoli thrown in to ease the guilt. It’s the kind of food that makes you forget about midterms, group work and the endless list of things that reside on your desk.

There’s something about the contrast that is just right — the crunch of the breaded chicken on a soft toasted bun, with creamy mac and cheese on the side. Comforting and familiar, with a touch of nostalgia. And, to top it all off, since you’re making it yourself, you can make sure everything is just how you like it. Extra pickles? Perfect. More cheese in the pasta? Checked.

And the greatest part? It’s absurdly easy to prepare, as usual! Toss the chicken into the oven, boil the noodles, whip together a creamy cheese sauce and suddenly you’ve got a plate of food that’s reminiscent of a hard-earned reward. Want to feed some friends? Need to reward yourself after a long day? Feeling in the mood for something other than another instant ramen? This recipe is ready to serve you.

Recipe ingredients

  • 2 chicken breasts
  • 2 cups bread crumbs
  • Chopped lettuce, pickles, mayonnaise and ketchup (for topping)
  • Burger buns
  • 1 egg, whisked
  • 4 cups dried pasta
  • 1⁄2 cup salt, plus extra for seasoning
  • Water
  • 3⁄4 cup flour
  • 3 cups shredded cheese
  • 1⁄2 cooking oil
  • 1 cup broccoli, chopped
  • 1 1⁄2 cups milk

Preparation instructions

  1. Preheat the oven to 375 F and bring a large pot of water to a boil. Add 1⁄2 cup of salt to the water. Meanwhile, slice each chicken breast in half lengthwise to make two thinner cutlets. Dip each cutlet into the whisked egg, ensuring it’s fully coated, then drench in breadcrumbs until evenly covered. Place the breaded chicken on a baking sheet and bake for 15-20 minutes, or until golden brown and cooked through.
  2. Once the water is boiling, stir in the dry pasta and cook until al dente, following the package instructions.
  3. While the pasta is cooking, heat a separate saucepan. Combine oil, flour and chopped broccoli over medium heat. Stir constantly and cook for about two minutes, allowing the flour to cook out.
  4. Slowly add the milk to the broccoli mixture, stirring continuously until the sauce begins to thicken. Once thickened, add the shredded cheese and stir until fully melted and smooth. Drain the cooked pasta, and mix it into the cheese sauce, ensuring every piece is well-coated. Adjust seasoning if needed.
  5. Toast the burger buns while the pasta finishes. Once the chicken is done, assemble the sandwiches with lettuce, pickles, mayonnaise and ketchup. Serve hot with a generous helping of creamy, cheesy pasta on the side. Enjoy!

Artists celebrate African Heritage Month at Central Library

V. Patterson
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Artists celebrate African Heritage Month at Central Library

George Elliott Clarke, an African Nova Scotian and Indigenous writer and poet, and D.D. Jackson, JUNO award winning composer and Ottawa native, hosted this year’s 5 Poets Breaking into Song.

It was the 16th time Clarke hosted the event, which was originally started to “showcase poems that had become songs,” Clarke said.

Clarke was joined by five poets from across the Atlantic region, including Delvina Bernard, El Jones, Reed “iZrEAL” Jones, Salima Tourkmani-MacDonald and Stedmond Pardy. Each poet flowed through words centred around historical oppression, community and resilience. Spoken with passion, each performer presented their own unique style that reflected the pulse of their poetry. Jackson and fellow musicians Shanice Skinner and Dean Bowman breathed rhythm and melody into each poem by creating a musical counterpart that followed the recited poems.

Reed “iZrEAL” Jones recites works of his poetry at the Halifax Central Library on Feb. 8, 2025. Jones was a part of the 5 Poets Breaking into Song series celebrating African Heritage Month. Image by V. Patterson.

Jackson said the music is rooted in African Canadian and African American traditions, combining soul, blues, church and gospel styles.

During rehearsals before the event, Jackson discussed the power music has during challenging times and his work composing the music for the performance.

“It’s struggling against odds, against pain, but it’s sort of giving you a catharsis, even in the sometimes bitterness of blues,” said Jackson. 

Composer and jazz pianist D.D. Jackson at the Halifax Central Library on Feb. 8, 2025. Image by V. Patterson.

Skinner, who hails from New Glasgow, N.S. and is a soprano performer in The Hague, Netherlands, noted the significance of her African Nova Scotian roots.

“My musical identity comes completely from the community that raised me from different areas — growing up, singing in the church, singing in school, singing in choir, singing in the music festival every year,” she said. “I come from a small town, but we have a super rich musical community. [We’re] super supportive of each other, and it only kept me going. It only gave me the confidence to go out there into the world and continue.”

Delvina Bernard recites her poetry as D.D. Jackson, Shanice Skinner and Dean Bowman look on. The event took place at the Halifax Central Library, Feb. 8, 2025. Image by V. Patterson.

During the event, the poets spoke of the lived experiences that inspired them and paid homage to those who paved the way. Tourkmani-MacDonald honoured her ancestors, while Jones passionately cited her experiences in Palestine. Clarke recited three poems by African Maritimer trailblazer Anna Minerva Henderson, who is believed to be the first Black Canadian-born woman to publish a poetry book. Henderson published Citadel in 1967 —  a love letter to her hometown of Saint John, N.B.

El Jones recites her poetry at the Halifax Central Library, Feb. 8, 2025. The event was a part of the 5 Poets Breaking into Song series hosted by George Elliot Clarke. Image by V. Patterson.

Inspired by Henderson, Clarke said he hopes to mirror a sense of community through his 5 Poets events. He also gave advice to the next generations. 

“Continue the struggle and triumph,” Clarke said. “You do not think that you have won. Even when you think you have won, do not think that, because history right now tells us that you can win all kinds of entries. You’ve got to continuously protect and preserve the rights that you believe can be so important — or else, you lose.”

The 2025 Oscars Best Picture race

Jake Piper
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The 2025 Oscars Best Picture race

Does being nominated for an Academy Award in the Best Picture category mean a movie is among the best of the year? No. Does it even mean it’s good? Not necessarily. Does the academy sometimes make downright absurd decisions that make you question the legitimacy of its opinions? It does, it certainly does. At least the way I see it.

But it’s the same story every year. Just like how the idol beckons Indiana Jones across an arrow-lined deathtrap, the mysterious lure of that golden statuette will once again drag me through the academy’s nonsense. In that spirit, here are my thoughts on the 2025 Best Picture nominees and their chances in this year’s race. 

Dune: Part Two 

If it were up to me, Dune: Part Two (2024) would be the big winner of the evening. 

In the most epic movie since The Lord of the Rings: Return of the King (2003), the transformation of Paul (Timothée Chalamet) to the Lisan al Gaib is chilling, even disturbing at times. Equally so is his mother (Jessica Chastain), willing her son to become the “messiah” of a foreign group of people called the Fremen. The growing sense of dread — despair — Chani (Zendaya) evokes is crucial to that impression. The film is beautifully shot and the action and visual effects are superb. The score is wild, and the sound is big. Sadly, it has no nominations for acting, directing or even adapted screenplay. 

This movie has no chance. 

Anora 

I won’t be upset if Anora (2024) wins. The film follows a young Brooklyn escort who marries the son of a Russian oligarch, but her fairytale crumbles when his family tries to get the marriage annulled. Anora memorably balances comedy and drama, and the biggest reason I wouldn’t mind seeing it win is because of Mikey Madison’s portrayal of the titular character. The story is a bit predictable, but I was always keen to see Anora’s reaction to being dragged around by her husband’s family. It’s only so funny (her husband’s childishness gets annoying) and only so dramatic, but Madison impressively manages to be funny and heartbreaking, often in the same moments. 

While some think the ending is gross and nonsensical, I think it’s one of the emotional high points of the film. Amidst the controversies facing Emilia Pérez (2024) and The Brutalist (2024), Anora has proven its resonance with international voters. It won the Palme d’Or last May, and Madison’s crucial win at the BAFTAs (just weeks before the Oscars) leaves Anora well positioned to bring home the night’s biggest award.

This movie will win. 

Wicked

This stage-to-screen adaptation of the Wicked Witch of the West’s origin story is enchanting and appeals to both fans of the original show and newcomers. All the songs, characters and plotlines from the first act of the musical are here, and all are brilliantly delivered by the ensemble. The visual effects, CGI and set design enhance the sense of wonder that Oz evokes. 

Even viewers who aren’t fans of musicals will be awestruck by Cynthia Erivo’s vocals and are guaranteed a laugh or two during “Popular,” which Ariana Grande (my pick for Best Supporting Actress) is hilarious in. But Wicked (2024) has been following the road to the Oscars and is failing to turn the brick yellow. It also, somehow, has no nominations for direction or adapted screenplay, despite the film being a gargantuan undertaking that massively exceeded expectations. 

This movie has no chance. 

Emilia Pérez

Emilia Pérez won’t have you “Dancing Through Life,” but it will have you running to turn the TV off. Many in the transgender and Mexican communities were offended by the way the story of a transitioning cartel leader attempting to turn their life around was told. I was offended by nobody in this movie — outside Zoe Saldana — being able to sing. You’ve probably seen a clip from “La Vaginoplastia” by now, and, if you haven’t, consider yourself lucky. 

In another unwatchable number, Selena Gomez’s character simply screams at the camera in between techno dance breaks. This movie had some serious juice before the director called Spanish “the language of poor people” and xenophobic tweets from lead actress Karla Sofía Gascón resurfaced.

This movie has no chance.

Nickel Boys 

Most of this movie about two Black boys navigating an abusive reform school in the Jim Crow-era is strong, but it takes a while to get into. The first 40 minutes introduce the main character — there’s not a lot of plot and it’s a bit disengaging. The whole thing was also shot in first person POV, so we barely get to see and truly engage with our main character. That is until he meets Turner (Brandon Wilson) at the Nickel Academy. From then on, the POV transitions back and forth between the two boys, and you really start to care for the characters and their plans to break free from the school’s violence. 

Some see the camera work as overly stylized Oscar bait, but I disagree. When told from multiple perspectives, the movie’s uncomfortable scenes become traumatic — I felt more trapped in the scene than I would’ve without the POV switch. Most of its wins so far are for Best Adapted Screenplay, so this one isn’t a contender. Nickel Boys (2024) is worth a watch though, regardless of the slow first act.

This movie has no chance. 

A Complete Unknown 

Even if you dislike folk or rock music, the story of Bob Dylan’s (Timothée Chalamet) journey to freedom from the shackles of expectation (in this case, the expectation to perform folk music) is one that should appeal to all audiences. It doesn’t take long to forget that Timothée Chalamet is Timothée Chalamet in A Complete Unknown (2024), with his nasally voice and laid-back exterior with unfocused energy brimming under the surface. Edward Norton is likeable and helps the audience empathize with the old guard of folk music, and Monica Barbaro’s voice is soft yet strong. Her scenes on stage are both soothing and tense given her hidden relationship with Dylan. Musical biopics never win the top prize, but Chalamet is picking up steam in the race for Best Actor, so you never know. 

This movie has little chance. 

Conclave

If you’re a fan of thrillers where most of the movie is devoted to dialogue, then you’ll like this one. I found it thrilling to be let inside the secretive papal selection process, and the mysterious circumstances surrounding the pope’s death were even more intriguing.

In Ken Follett’s book A Column of Fire, it says, “Imperfect men can still fight for a perfect world.” This central message, woven into the fight for the papacy, is enthralling. The problem, for me, is the twist after everything is wrapped up nicely — it feels like a weird afterthought and doesn’t add anything to the story. 

I saw someone online say Ralph Fiennes has the same kind of “quiet, troubled intensity” that earned Cillian Murphy his Oscar for Oppenheimer (2023), and I agree. The cinematography is captivating, specifically, the scenes showcasing a wall of red robes against ornate Catholic architecture. However, I think Anora edges it out in the race for Best Picture. Then again, Conclave won the BAFTA for Best Film this year, and those voters clearly didn’t let the film’s ending sour their impression.

This movie could win. 

I’m Still Here 

The Best Actress award seems like either Mikey Madison or Demi Moore’s to win. While I wouldn’t protest either of them winning it, Fernanda Torres should also be in the discussion. 

I’m Still Here (2024) is set in 1970s Brazil during the country’s military dictatorship. Eunice’s (Torres) search for the truth about her husband, while striving to keep her family healthy, is powerful and inspiring. The effect of the ensemble, however, can’t be ignored — the family dynamic feels very easy and realistic, which helped get me into the film. The film’s ability to capture joy despite significant domestic political stress is beautiful. It’s slow, which is somewhat owing to a series of dragged-out shots that force the audience to sit with the characters, but the underlying feeling of anxiety from living in a dictatorship kept me in the film. It also hasn’t won any awards, which often dictate competitiveness in this race.

This movie has no chance.

The Brutalist

Anyone I talk to about The Brutalist (2024) who hasn’t seen it asks the same question: does it justify the runtime? At three-and-a-half hours long, including an intermission, my answer is no. But I’d still recommend it — the technical components of the film kept me engaged even when the story was slow. The acting is incredible and Adrien Brody gives a gut wrenching performance, (even if his Hungarian accent is enhanced by artificial intelligence). Care is put into every frame, and the percussive heavy score works well given very few static shots, as the dynamic cinematography perfectly compliments the intense score.

The movie follows a Hungarian-Jewish Holocaust survivor in 1947, who immigrates to New York to restart his life and ends up working with an American business tycoon to build a community centre. The film explores capitalism and its place in artistic expression, American bigotry, ambition and addiction. 

The film can be pretentious, but not due to abstractions — it remains committed to its plot and satisfyingly ties together its themes at the end. It’s a worthy contender for Best Picture, but I think voters will be wary of awarding a film that controversially used AI. 

This movie might win. 

The Substance

I’m not a big fan of body horror, but I love good stories and good acting. Demi Moore is outstanding as Elisabeth, a fading movie star who resents what time robbed her of. After Elisabeth undergoes a treatment splitting her body in two — her counterpart, Sue (Margaret Qualley), comes to life, but anxiety builds in the film when Sue’s actions increasingly put Elisabeth in danger of morphing beyond recognition. Being horror, it won’t win, but its warning against the dangers of vanity is impactful. It’s expressed in an absurd way, but it doesn’t diminish how deep the message cuts. 

Shoutout to the makeup team — I’ll think twice before undergoing any beauty regimens. 

This movie has no chance.

‘Have faith, have hope and have resilience’: Dalhousie Art Gallery showcases African Nova Scotian art

Ferris Kerr
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‘Have faith, have hope and have resilience’: Dalhousie Art Gallery showcases African Nova Scotian art

The Dalhousie Art Gallery is showcasing three exhibits celebrating African Nova Scotian history, community and craftsmanship from Feb. 6 to April 27. 

Pamela Edmonds, director and curator of the Dalhousie Art Gallery, spoke about  the objective of the display. 

“What I’m interested in is providing a voice in HRM about who’s included in the national narratives within art and the broader story of the country,” said Edmonds. “It’s three different exhibitions interconnected through stories of faith and resilience and unity, really. It’s looking at the past and the present of these communities, and the different innovations that they are composed of — their resilience and faith.”

The exhibits, Oluseye: by Faith and Grit, Down Home: Portraits of Resilience and Theaster Gates, Billy Sings Amazing Grace, each highlight the past, present and future contributions and resilience of Black Nova Scotian communities. 

Edmonds primarily curated Oluseye: by Faith and Grit.

“Oluseye wanted to shine a light on these distinct communities in honour of their history. He has highlighted particular people like Edith Clayton in honour of her practice as a maker,” said Edmonds. 

Clayton was an African Nova Scotian basket weaver, known globally for her historical contributions to the art and narrative of African Canadian storytelling and culture.

Oluseye continues to monumentalize history and culture through his “diasporic debris” — reclaimed materials rich with historical and cultural significance. 

“I’m interested in artists who use assemblage and recycled material to give them new life. I think it’s part of what we do as Black folk,” said Edmonds. “We take the remnants of things and turn them into something else; it’s very much part of our creative language.”

In a set of six works, Oluseye pays homage to other Black Canadian artists, Loyalists and key contributors to communities across the Atlantic coast.

“I feel like the Subject to the Tide work, named after David Hammons, is notable,” said Edmonds. “This work takes the Canadian flag, recreates it in pan-African colours, which is really about the unification of different communities from different countries, and puts it with an object that has sat in the Bedford Basin, by what was Africville, for years.”

The piece features a 183 by 355 centimetre reconstructed Canadian flag, framed by reclaimed fencing unearthed from the historic community of Africville. The piece speaks to resilience and reclamation, a persistent theme throughout the exhibit.

“In one work, Ploughing Liberty, he fuses hockey sticks with farm tools,” said Edmonds. “It is a reminder of the work and toil that it took for the communities to stay on the land, but also speaks to the symbol of Canada: hockey. There were segregated leagues here, but the Black leagues really did innovate — the slap shot, for example.”

The focus on sport and recreation tracks to two other works: Muhammad Had a Dream and Eureka. In Muhammad Had a Dream, two strands of black materials, sourced from athletic and industrial components, hang from the ceiling, each capped with matching boxing gloves. 

“The piece has a combination of strength and haunting-ness about it,” said Edmonds. “Muhammad Ali was considered one of the best of all time, as a sports hero. He was also an activist, and so he was also focused on the unification of people.”

Eureka, a leather baseball glove holding a symbolistic cowrie shell, representing African wealth, heritage and spirituality, also connects the resilience of sport with the resilience of communities. 

Oluseye highlighted modern Black communities in Nova Scotia through pieces like Meet the Ferrons, a series of photographs of the Ferron Family Farms in New Brunswick.

As the Ferrons themselves put it, they are “building on the dream of [their] ancestors.” 

“I’m interested in having the communities referenced to acknowledge that they are not forgotten,” said Edmonds. “I see Oluseye’s works as monuments to those named or unnamed in the work.”

Edmonds hopes visitors will recognize the value and strength of these showcased communities. 

“I’d love for people to recognize that these communities are still here, and what it took for those communities to survive and thrive. I would like for people to remember the people who made a mark and are starting to make a mark here,” said Edmonds.

Oluseye’s work is an instruction to a much larger reminder.

“People have gone through hardships and have survived.” says Edmonds, “Have faith, have hope and have resilience. That’s how we survive.”

The Rivalry Series: Why a Scotiabank Centre loss is still a win for women’s hockey in Halifax

Reagan Lindsay-Kereluik
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The Rivalry Series: Why a Scotiabank Centre loss is still a win for women’s hockey in Halifax

On Feb. 6 Blayre Turnbull and Hilary Knight lined up for a ceremonial puck drop in Halifax’s Scotiabank Centre, before their two nations faced off in game four of the 2024-2025 Rivalry Series. 

Established in 2018, the Rivalry Series was introduced by Hockey Canada and USA Hockey in an effort to showcase the highest level of “best-on-best” women’s hockey in venues across Canada and The United States. Evolving from its original three game format, the Rivalry Series is now a five game competition between both countries’ women’s national teams. 

The 2024-2025 series

The 2024-2025 series began with three games hosted in The United States, where The United States took game one in San Jose, Calif., before falling to Canada in both Salt Lake City, Utah and Boise, Idaho in games two and three. Halifax and Summerside, P.E.I. hosted games four and five, respectively. 

At the Scotiabank Centre, trailing 1-0 most of the game, Canada called a timeout with two minutes remaining. Nova Scotia native Blayre Turnbull erupted the sold out crowd the following play to send the game to overtime. However The United States would get the best of Canada in a shootout. 

Despite their loss at home, with the series tied 2-2 headed into the final game, Canada ultimately took the victory, defeating The United States 3-1 in the fifth and final game. 

Women’s sports in Canada

But the Rivalry Series is bigger than a long-standing competition between two neighbouring countries, and although Canada may not have earned the results they had hoped for in game four; women’s hockey in Halifax took home a huge win. 

Marie-Philip Poulin, the Canadian hockey legend who flew on the ice, earned an ovation everytime she received the puck. 

“In women’s sports, nothing is easy,” Poulin said at the post game conference. “But I think when you surround yourself with great people, when you believe in yourself, when you dream big — there’s no dream that is big enough, so believe in yourself and go for it.”

With the recent establishment and success of the Professional Women’s Hockey League (PWHL), the announcement of a Women’s National Basketball Association (WNBA) franchise in Toronto and the establishment of the Northern Super League (NSL); it’s been a huge year for women’s sports across the nation. There’s never been a better time for girls to try their hand at sports, and Halifax used the momentum of the Rivalry Series to fuel this trend. 

The day before the Halifax game, Hockey Canada and Hockey Nova Scotia hosted “Girls Hockey Development Night” which featured both a free skate event with the Canadian national women’s team, and a coach and official development session, led by Nova Scotia’s very own Troy Ryan and Kori Cheverie, who respectively serve as head and assistant coach of the women’s national team. These events also coincided with National Girls and Women in Sports Day, a day to recognize and celebrate the accomplishments of women in sport, and to encourage female participation in all levels of athletics. These events gave over 100 participants the once in a lifetime opportunity to skate with and meet their heroes.

Opening doors

But it’s not just the athletic side of the industry where female participation is on the rise. In a post-game interview with Laura Stacey, who played her 100th game for team Canada in Halifax, commented on the increase in female representation when asked about the growth of the sport since she started with the program in 2010. 

“Even standing right here I’m surrounded by female reporters,” Stacey said. “That’s new, that’s amazing, and I think it’s not just us on the ice, it’s the coaching, it’s the reporting; it’s opening up so many more doors for girls and women.” 

Further to her point, earlier in the week, the Nova Scotia Sport Hall of Fame welcomed some of the biggest names in women’s hockey for a speaker panel and meet and greet event titled “Up Close & Personal with Team Canada.” Amongst these individuals was Kenzie Lalonde, current TSN broadcaster, who is both the first woman to provide play-by-play commentary for the Quebec Major Junior Hockey League (QMJHL) on television, and recently became the first to provide play-by-play commentary for a Canadian NHL broadcast.

Despite their team losing, fans left Scotiabank Centre inspired, with the real victory being the undeniable growth and increased support of women’s hockey in Halifax.

“I wish when I was a kid I had that exact same opportunity, I think hopefully every single one of those girls leaves this rink here tonight with a dream,” Stacey said.

Ashton Brown, Dalhousie student/Halifax Thunderbird

Jake Piper
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Ashton Brown, Dalhousie student/Halifax Thunderbird

On the final day of Thunderbirds training camp, Dalhousie student Ashton Brown was handed a big crate of new Thunderbirds goalie gear, and suddenly, he was a goalie in the National Lacrosse League (NLL). 

If a word could capture Brown’s last year, it would be “suddenly.” To get scouted for the NLL, typically players have to be in a big lacrosse center. In Canada, these prominent Junior A leagues exist in Ontario, Alberta or British Columbia. As a 17 and 18-year-old, Brown was cut from Ontario Junior B teams in Orangeville and Burlington. Since the cost to relocate Brown from Nova Scotia was substantial, he believes he had to be significantly better than the competition to get a roster spot. 

Then suddenly, after years of failing to crack a roster, the two-time East Coast Junior Lacrosse League winner and two-time starting goalie for Team Nova Scotia in the Canada games was off to British Columbia. After taking over the starting goalie spot following his first game for Port Coquitlam in June, it was only a few months before he and the Saints ended their season in August as the third best team in the country. 

The Thunderbirds have never had more than two people at the goalie position; in November, Brown became the first goalie to fill a third spot. 

After Brown spoke to the coach and confirmed what the equipment manager told him was true  he had made the practice roster — Brown was stunned.

 “It’s unreal, it’s something I never thought would happen,” Brown said. “Especially this early in my lacrosse career.” 

After his moment on cloud nine, he had to ground himself. 

“I know the Thunderbirds wanted a local guy,” Brown said. “But most guys get drafted between 21 and 23, and I’m only 19, so I really have to prove I was worth bringing on.”

He says this isn’t easy with the National Lacrosse League being a lot different than the Junior League, especially for goalies. 

His crate had thinner equipment and a smaller stick which he now uses to cover a bigger net against Thunderbirds who, for years, have been shooting on the world’s best. Players like Clarke Petterson, who Brown said will always learn your tendencies as a goalie before you learn his. Or Thomas Hoggarth, whose goal scoring ability from close is indescribable, according to Brown. 

“I actually just don’t understand how Thomas Hoggarth puts the ball in … it’s actually just unbelievable — and mildly infuriating,” Brown said with a laugh. 

The feeling of not always being able to stop some of these guys is part of the NLL experience, according to Brown. 

“Lacrosse is a high scoring game, and very high scoring in the NLL, and you have to be okay with letting shots go in,” Brown said. “Especially shots you think you should have in Junior.” 

Brown said the guys are good with him making sure he doesn’t get too frustrated.

“Tyson Bell, for example, in our exhibition games would tell me ‘Don’t sweat it, it’s lacrosse, just get back into it,’” Brown said.

Brown is also in his third year of a mechanical engineering degree, with three classes on Wednesdays and a full day of courses on Thursday. The Thunderbirds practice on Wednesday night — in Ontario. His professors have been very accommodating, catching him up on things he misses when he flies to Ontario on Wednesday for practice, and Thursday morning when he flys back. 

It’s not easy, but he says experiencing the energy of the Scotiabank Centre reminds him of why it’s all worth it.

“I only get a glimpse of the full experience when I go out for the first warmup with the team, but it’s amazing,” Brown said. “Especially when you’re coming off the floor and there are kids who know your name and want you to sign stuff … it really pushes me to be on this team.”

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The Dalhousie Gazette is the main student publication at Dalhousie University in Halifax, Nova Scotia, Canada. The paper first began publishing in 1868, making it the oldest continually operating student newspaper in North America followed by The Harvard Crimson and The Columbia Daily Spectator

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