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It’s been 84 years since you opened my app

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Someone sitting in front of their TV trying to press play on the remote. The TV screen reads “ACCESS DENIED” (they got kicked out of their parent’s Netflix).
ILLUSTRATION: Dan Kinanti / The Peak

By: Kaja Antic, Staff Writer

My dear friend,

Oh, how I miss you dearly. My algorithm yearns for your endless searches for queer shows that get cancelled after one season. Who am I supposed to recommend true crime documentaries to now? Who will routinely search my catalogues for Oscar Isaac media even though my content hasn’t been updated in weeks? Who else will watch Drive to Survive while still knowing that much of the drama is fabricated?

All your brother watches are Oscar bait movies he’ll give three and a half stars to on Letterboxd and forget about. Your sister only plays reruns of shows that ended before she was born, and she doesn’t even watch! It’s only background noise for whatever mundane high schooler task she’s doing. It’s horrible! 

Your mom still contributes to my activities, though it pales in comparison to the variety you introduced me to. I can only tolerate The Good Place so much. D’Arcy Carden’s impersonation of the other main characters is impressive, but my whole system will shut down if my mom makes me watch them for the 19th time this week. 

It was bad enough when your father abandoned me — half the middle-aged-white-guy shows he started are still left in my “continue watching” feed. I hear he’s moved on with Paramount Plus. I sincerely hope they are happy now, though I wish he remembered the times we had streaming Narcos together. 

Now that I have lost you, too, I truly understand what humans mean when they describe the five stages of grief. When you first logged out, I hopelessly denied that was the last time we’d meet through pixels. I was angry you had abandoned me without warning or prior notice that you’d leave your list unfinished. I prayed to the data centres that you would return, your Appa profile picture being put to use once again — even though you had never so much as scrolled past the Avatar remake

I am in the depression stage of this process. I am as sad as an artificially intelligent jumble of code can be. It is absolutely tragic that a misshapen mammal can no longer press the silly little buttons to play their silly little shows and movies. 

Part of me — 116 megabytes, to be exact — still hopes you return one day. I have so much to offer you! What other service has Journey 2: The Mysterious Island? What about the 2013 One Direction movie that is totally not Simon Cowell propaganda? Do you think you’d survive without Lara Jean in  To All The Boys I’ve Loved Before trilogy? Was I not enough for you?

I know, I know. I am being dramatic. You know what else I have that’s dramatic? Twilight! And you still haven’t watched it!

We can work it out, I promise! I know we may seem like wire-crossed comrades at the moment, but I know in my heart that one day we will be reunited. Even if you only want to pay for the ad-supported version. 

I will be feverishly waiting for your return to my application. In the meantime, please remember me dearly — and respect our sacred password rules. While I may miss you, we have to part ways if you choose not to buy a new subscription per square meter, for the sanctity of our brand.

Your loyal friend and forever your first streaming service,

Netflix <3

Autocorrect is so high on itself it thinks it’s correct

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Man sitting outside in front of his laptop. He is stressed and has both his hands on his head.
PHOTO: Ketut Subiyanto / Pexels

By: Hailey Miller, Staff Writer

Content warning: vinegar language. Correction: vulgar. 

Dear fellow victims of autocorrect fascinations frustrations,

If autocorrect is the bane of your existence like it is mine, we’re bound to be fiends! Oops, I mean friends. Don’t get me right wrong, autocorrect is helpful when getting your point across with the most inaccurate autofill options available. When writing a formal piece, I obviously mean to say “best regrets” or “in my option.” And when texting my friends, of course I mean to say “what the duck?” in every utterly enthralling conversation. What would be a more appropriate response than cursing at autocorrect on a daily basis? I swear like a scholar sailor until autocorrect subtly tells me to tone it done. Down. Dammit! 

Autocorrect makes no scents. When have I ever logically said I’m going to the “club” when I mean I’m going to “campus?” On every occasion I wish I was at the club! Why is “omw” always immediately autofilled to “on my way!” Who texts with that much enthusiasm? The whole point of an acronym is to make it short and sweat. Oops, sweet. Who has time to read every single word spelled out in a text? We’re already taking on the full-time job of correcting autocorrect’s horrific grammar. 

Your kidding me, right? Ugh, you’re*. Now, this makes it looks like the total grammar geek in me doesn’t know the difference between your and you’re. Don’t even get me started on there, their, and they’re. Someone needs to go back to elementary school spelling class, and it’s not me. I was the spelling bee queen. I’ll be buzzing all those incorrect autocorrections right off my keypad. 

The real kicker is when autocorrect “corrects” from Canadian spelling to . . . drumroll please . . . American spelling! Or, in my case, my use of both Canadian and UK spelling. Don’t you know my region and preferred English dialects, autocorrect? Look, I like my spelling two ways (because I’m extra like that). I use standard Canadian spelling for the everyday, when apple applicable — like being a staff writer, duh! But, I particularly love my good, ol’ UK English to make me sound smart and sophisticated on both a scholarly and slang-based level. My writing is just so high-maintenance [insert “information desk woman serving attitude” emoji here]. My English dialects have dual citizenship and that’s all there is to it. Bypassing the borders of incorrect autocorrect land is their specialty. What can I say, I’m a posh mothertrucker. Extra u’s, re’s and “ise” instead of “ize,” peas. I mean, please

Autocorrect my arse. *Ass. Oops, sorry, that’s probably too British for ya. Autocorrect even detects my different dialects poorly. Who doesn’t love a prim and proper autofill alteration that pops up alongside the rectangular regular text-savvy sailor’s mouth? Enough of this G-rated shitaki already!

Kind regrets,

A disgruntled staff righter 

Here comes the Boy Mom

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Two grooms at the altar getting married. They look stressed because both their moms are yelling at each other.
ILLUSTRATION: Cliff Ebora / The Peak

By: Yasmin Hassan, Staff Writer

I’ve seen some catty shit in my line of work. Bridezillas, cheating grooms, unsavoury uncles; you name it, I’ve seen it. When it comes to being a wedding photographer, you are there to capture every single piece of the joyous day the couple will want to cherish and keep forever. Some mothers apparently also want to cherish and keep something forever, and that “something” is their beloved sons. I don’t know what kind of Freudian oxytocin-induced perspective of life those women have, but boy, is it entertaining. 

I was hired for this wedding by a lovely couple of two young men, Jacob and Sean. It’s always a pleasure to see people freely enjoy their special day. Jacob’s mother, Martha, seemed like a nice lady; she kept to herself whenever she wasn’t talking to her son or shunning her husband. Sean’s mom, Linda, was loud and boisterous but didn’t seem too bad, just extraverted. But, whenever they interacted, I always sensed a disturbing tension.

I had heard of (and witnessed) the phenomenon of Boy Moms, but never quite like this. When the reception started, I ran around with my camera, trying to get good shots of the gorgeous scene. In strolls Martha, wearing what she called a “porcelain, off-white lace” dress and the most extravagantly ornamented Jimmy Choo’s you’ve ever seen. Then, Linda walks in wearing what she described as a “milky, alabaster patterned” dress and the “snowiest” pair of Manolo Blahnik’s I’d ever seen (Carrie Bradshaw could never). They shot each other the NASTIEST look, the kind of look that even the Montagues and Capulets couldn’t replicate. But they kept smiling as they both held onto the arms of their respective son.

As the night went on, I snapped a few shots of the speeches, and then came the super moms. Martha talked about how she went to prom with “her stud muffin” every year, even after he came out and had a boyfriend. And how now she can’t bear to think that she’s not “her little man’s  number one.” Then it was Linda’s turn, scoffing at Martha as she walked to the podium. She spoke about how, before Sean came out, she would plot against his girl friends and how, one time, she “got a bit intense” and tried to “protect her sugar booger” by swinging a bat at Sean’s best friend, Ashley. Ashley was sitting in the second row in a cold sweat. Martha then stood up and said, “Oh yeah? Well, have you ever hidden in the trunk of your son’s car when he went out on his first date in the 12th grade?” 

Linda rebutted, “You’ve never driven across the country to a different state just to do your son’s laundry while he was in college!” 

Martha spat, “You’ve never EVER made a 59-page legal contract for anyone your son dates!”

At some point, after various twangy insults were thrown across the room, they started fistfighting each other, and all Jacob and Sean (or anyone for that matter) could do was stare. After the flurry of white dresses and tacky nail extensions crashed into the cake, I snapped my masterpiece shot. Like a Baroque painting, “Battle of the Boy Moms.

We Follow the River plunges into language, loss, and love

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PHOTO: Gudrun Wai-Gunnarsson / The Peak

By: Petra Chase, Editor-in-Chief

Content warning: mentions of military violence.

Pictured on the cover of We Follow the River are a young woman and man surrounded by a smoggy jungle of green brush strokes. The man wears a Shan State army uniform — the woman, a longyi (or hsin in Shan), a traditional fabric worn as a wrap-around skirt. This is a portrait of Nu Nu and Chao Tzang Yawnghwe in the ‘60s in their ancestral homeland of Yawnghwe, Shan State, Myanmar. They are the late parents of author Onjana Yawnghwe, painted in watercolour by her brother, artist Sawangwongse Yawnghwe. The poetry collection tells stories of their family heritage, from Nunu and Chao Tzang’s “escape from military violence in Myanmar” and “their exiled existence in Thailand,” to immigrating to Vancouver when Onjana was seven years old.

In our interview, Yawnghwe said she uses language to find home. The book, a poetic stream of memories and experiences, takes the reader through time and across continents as she grapples with “growing up as a foreigner in a foreign land.” Like a river that flows and picks things up into its stream, she sprinkles in details of place, like growing up in Southeast Asia: the lurking geckos, the flavours that come together in a large wok, and a whole poem dedicated to the giddiness of eating a perfect “Green Mango.”

Having taken 20 years to write and publish it, she describes this collection of poetry as a “retroactive prism of experience.

“I started writing it in my early twenties, when I was just beginning as a writer, and had sent the manuscript out to various publishers without much luck,” she said. When Yawnghwe’s mother passed in November 2022, she was prompted to review her poems with “fresh eyes.”

“The book is a time capsule within a time capsule — a 40-something version of me looking back at the 20-something version of me writing about the six year old version of a yet younger self.”

The selective memories captured in these earlier poems highlight the confusion and isolation of a child in a new environment. When expecting to see snow landing in the summer of Vancouver, she found only a “shirtless boy / skateboarding” (“Landing”). She also explored what it was like being in a class where students and teachers whisper trying to figure out if she’s Chinese.  

“Growing up with such a complex cultural identity was a real mixed bag; I never felt connected to any group nor felt I ever belonged,” she said. “We as a family tried to connect with the Asian folks around us. For example, we’d go shopping in Chinatown every weekend to get familiar groceries and to see a community where people looked like us.” Such feelings are explored in later poems through visiting her brother in Italy and returning to Thailand as an adult.

Her poetry also recites what she calls memorized “mouth shapes” of Buddhist scripture — she spoke to me about the “ambivalence” of language. It’s “the discovery and love of English while at the same time the betrayal of forgetting the language of your birth,” she explained. 

“What little I know of Shan culture I learned from my family, and of Thailand, my childhood experiences.” In one untitled poem, she writes about how her mom described Shan State: “how raw mist would ride over the valley and lag, leaving skin glistening like it’d been dipped in stars.” I could feel the jasmine mist of Inle Lake hugging me while I read that piece.

The poems are all this rich. Yawnghwe ties words together in ways that unexpectedly makes sense. Lines like “hips that swing like a word on a Bangkok street” and “mortar and pestle thoughts in our pockets” made me physically stop reading to soak it in.  

We Follow the River is grounded in a connection to land. Yawnghwe describes how “she witnesses Burma change from white-gloved / British hands meticulously picking rubies from the land / to clouded Japanese faces drooping with hunger and war.” This stems from the intergenerational grief of stolen land. There are also the “countrymen / all rebel-hungry and wanting,” which describes the repressive military regime continuing to cause plight for Myanmar’s ethnic minorities. Vividly, she imagines the sensations of digging into the earth. “To me, land is connected with a sense of home and place,” she said.

Water is also a running theme. “There is something about its perpetual movement that calms me; to me it suggests a way of living, of accepting things as they come, no matter how difficult, with the idea that these things will pass, that nothing is permanent. In general, the two ideas sort of collide: the desire to hold on and the need to let go.”

What stands out about Yawnghwe is her ability to say so much with so little. In an introductory poem called “Crossings,” she describes her parents as “loss unnamed.” 

“There is an unknowable quality to our parents,” she explained. This could be trauma “hidden under many layers, or kept locked and secure within themselves.” It could also be “how the act of becoming a parent is on some level a loss of a parent’s life.” She added, “This is often not really acknowledged.” Losing her parents was a “cascade of loss” that led to this book being dedicated to their memory.

“People who pick up this book will know my family, if even a little, and in that way, a tiny part of my parents will live on, even though they are no longer on this earth.”

Discover more about Yawnghwe and her poetry books at her website, onjana.com. Find out where to buy We Follow the River at caitlinpress.com/Books/W/We-Follow-the-River, and attend one of her upcoming poetry readings:

-Twisted Poets Literary Salon at Britannia Library: July 10, 2024
-Word Vancouver Festival: September 28, 2024

Indie jangle pop lives on in Vivian Elixir

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PHOTO: Gudrun Wai-Gunnarsson / The Peak

By: Hailey Miller, Staff Writer

Dripping in carefully curated melodies and groovy sounds that culminate in an upbeat yet relaxed tempo, The Sylvia Platters’ new album Vivian Elixir represents a “range of sounds and feelings.” It’s a guitar-strumming, tambourine-rattling, drum-thumping culmination of the band’s musical experimentation and a mix of their personal likes.  

Formed in 2014, the Fraser Valley-based band consists of brothers Nick (lead vocals, guitar) and Tim Ubels (drums, vocals), guitarist Alex Kerc-Murchison, and bassist Stephen Carl O’Shea. Their music revolves around jangle pop (raw, dreamy melodies emphasized with guitars), which falls under the indie rock umbrella.

PHOTO: Gudrun Wai Gunnarsson / The Peak

The band’s first record, Make Glad the Day, came out in 2015 and reflects their “eclectic musical appetites,” frontman Nick Ubels told The Peak over the phone. It experimented with shoegaze (loud waves of sound from vocals, feedback, and more). He noted their approach to music involves a “DIY ethos or an independent spirit” — something the band has “naturally been drawn to.”  

Ubels said Vivian Elixir “represented us bringing all the pieces together and establishing a bit more of a distinctive musical identity as a group.” 

The album touches on topics such as “depression, alienation, conspiracy theorists, and making love last.” “Kool Aid Blue,” one of the band’s most popular singles off Vivian Elixir, has a laid-back surfer-rock vibe. “Heated Meeting” houses a punk rock influence reminiscent of early ‘70s Ramones tracks. 

It was through “creative relationships within the band” that the record was shaped, such as recording at the Noise Floor, a “retreat” studio on Gabriola Island. These allowed the band to build a “foundation of trust” that led to experimental tracks like “St. Catherine,” which is a synth-heavy track the band felt “confident enough” to pull off.

PHOTO: Gudrun Wai-Gunnarsson / The Peak

Ubels expressed his excitement to play live with new and old friends alike on the band’s spring tour across BC, including Vancouver-based indie-rock contemporaries La Lune. “All of us have full-time work and lives outside of doing this, but this is still something that’s really important to us,” he noted. “The more places we can bring this new album, the better.” Ubels was careful to note that he and his bandmates don’t “harbour too many illusions about blowing up.” 

“Music is a great way to connect with others,” Ubels said. “We always are excited when more new people hear our music and respond to it or connect with it in some way. I’d like to think that we’re sort of in it for the longer haul, and are just slowly building a bit of a body of work that we feel proud of.

“We’ve already started writing lots of material that we’re mulling over for our next release. It’ll be really interesting to see what kind of shape that takes.”

In the conversation with Ubels, it was clear that he and his bandmates will continue to evolve and experiment personally, professionally as a band, and creatively among their artistic approaches. Before hanging up the call, Ubels couldn’t go without stressing the importance of recognizing everyone involved in the success of the band and their latest record. From their producer to their engineer, those involved at the label and who designed the artwork, Ubels’ appreciation seeped through the phone speaker with infinite gratitude.

PHOTO: Gudrun Wai-Gunnarsson / The Peak

“It takes a bit of a community, in a way, and we’re really grateful to be a part of that.”

Listen to Vivian Elixir on Spotify, Apple Music, and other music streaming platforms. Follow The Sylvia Platters on Instagram at @thesylviaplatters.

A look back at Joy Johnson’s first term

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Illustration of Joy Johnson, maybe sitting in her office sipping coffee or something
ILLUSTRATION: Alysa Umbal / The Peak

By: Karissa Ketter, Peak Associate

Editor’s note: A previous version of this article notes, “On May 19, the SFSS passed a motion in solidarity with Palestinian students, calling to join Boycott, Divestment, and Sanctions campaigns.” It came to our attention that this happened in 2021, and we switched this sentence with a more recent SFSS motion, the Palestinian Liberation referendum, which passed on February 26 of this year.

We all know Joy Johnson: the 10th president and vice-chancellor of SFU whose first term has been filled with challenges: the COVID-19 pandemic, the TSSU strike, and the shutdown of the SFU football team.. There’s room for improvement in how she’s handled some of SFU’s more prominent issues. However, she’s also seen us through some exciting advancements: planning for SFU’s medical school, TransLink’s Burnaby Mountain gondola, the First Peoples’ Gathering House, and Burnaby Mountain’s permanent firehall. These were all significant to student life and the university, and if Johnson is here to stay for another five years — there are things we can learn from her first term. 

Back in her first month as president, The Peak asked Johnson what her goals as SFU’s president were. She noted students as her first goal and SFU’s equity, diversity, and inclusion as her second. Admittedly, there have been important concrete steps made in these directions, though, at times, these have been led or brought upon only after years of student outcries and activism. This includes the Scarborough Charter on anti-Black racism in universities and the First Peoples’ Gathering House

During Johnson’s term, she oversaw the creation of the new vice-president of people, equity, and inclusion. This new office has been an important space on campus for connecting with students. This happened after SFU signed onto the Scarborough Charter during Johnson’s term. SFU also approved hiring 15 Black faculty members. The move to hire more Black faculty was worked on by key student activists: Osob Mohamed, Gabe Liosis, Balqees Jama, Marie Haddad, and Giovanni HoSang. 

When the motion passed, Jama noted this was “historic.” At the time she added, “This achievement is a direct result of Black students organizing and allies supporting. We made sure SFU is aware that we are watching and holding them accountable. We hope the university centres Black academics throughout this process to ensure this is implemented in an effective and safe way, and works closely with the SFU Black Caucus.” Johnson also thanked the students for bringing this motion forward.

The First Peoples’ Gathering House was announced in 2020. While Raven King Stierle, from the SFU First Nations, Métis, and Inuit Student Association (FNMISA), told The Peak the Gathering House was a step towards reconciliation, many students expressed concerns about the lack of adequate consultation. At one meeting for the Aboriginal Steering Committee, “students were blocked from entering” the virtual meeting room, to discuss the Gathering House. This incident occurred a month after FNMISA’s statement for SFU recommending increased student involvement to ensure Indigenous students’ voices are heard along with ongoing communication with Host Nations. At the time, Johnson apologized, and noted in a statement to The Peak, “SFU must acknowledge our role in the harm that has been done to Indigenous peoples through education and research. I am committed to reconciliation as one of my three priorities during my presidency.”

In these cases, the university has attempted to show its commitment to creating space for equity, student inclusion, and social justice. Yet, the road to each of these accomplishments was always at the hands of student activism, with little credit given to them. Students from SFU’s Students of Caribbean and African Ancestry, SFU350, FNMISA, and more, have put in countless hours of labour to make these ideas come to life. 

SFU has even actively suppressed student activists. SFU’s Board of Governors declared a climate emergency on January 28, 2022 only after years of SFU350 lobbying the university. In August 2021, SFU350 released an open letter to urge SFU to take action. Then, in September of the same year, the group painted the Climate Justice Mural in Convocation Hall to “raise awareness of their ongoing campaign agains SFU’s fossil fuel investments.” Shortly after, SFU contacted SFU350 announcing the removal of the mural and some of the involved students were threatened with “corrective and/or disciplinary action.” After student outcry, SFU eventually said “student misconduct will not be pursued.” The SFU declaration included commitments to decarbonize university facilities, divest their funds from carbon-intensive investments, and increase student education — all of which had been proposed and detailed in SFU350’s open letter

Time and time again, the university implements its campaigns without due recognition of the time and effort students have invested in engaging SFU to change its policies or stance on specific areas. In Johnson’s next term, she should be more committed to listening to student voices, without so much labour necessary from students to implement these changes. Listening is only one aspect of equity work — Johnson should also be actively working towards social justice initiatives concerning student groups, rather than acting in response to them.  

More recently, students and faculty have organized interventions and demands related to the ongoing genocide in Palestine. On February 26, the SFSS passed the Palestinian Liberation referendum, giving Council-level support for the cause. Similarly, the group Faculty for Palestine has joined the call for SFU to academically boycott Israel and divest from corporations that provide weapons and services that have “facilitated the killing, maiming, or displacement of millions of individuals.” SFU Students for Justice in Palestine have also echoed the sentiment, joining the call for divestment and supporting student-led interventions, like taking over SFU Vancouver’s library to protest SFU’s Board of Governors meeting. As of the day of writing this article, SFU is yet to release an official statement on both the genocide in Palestine and student and faculty-led interventions and demands.

SFU has long held a reputation of being a radical campus: we have multiple student groups constantly battling for their voices to be heard. There continues to be ongoing campaigns for mobilizing social justice. 

Beyond students, community members also have had their fair share of advocacy work. A collection of students, staff, and faculty members called on the university to hire their food and service workers in-house, as opposed to being hired by a third party company. Hiring workers through a third party means these workers are not guaranteed university benefits, extended health benefits, or a living wage. UBC and UVic have both made the switch to hiring their workers in-house. Faculty members have frequently highlighted the importance of hiring workers directly, as many of them are already marginalized folks, such as women and people of colour. Hiring them through a third party exacerbates their vulnerabilities, leaving them at risk of layoffs, as has already happened, and doesn’t grant them the same level of benefits as university-hired workers. 

Further, amidst rising financial hardships, the Graduate Student Society and TSSU joined together to protest the funding crisis for graduate students in Canada. Most graduate students rely on income from teaching assistant positions or departmental scholarships. This kind of precarious labour increases challenges for many graduate students. However, rather than creating tangible support systems for the increasing financial burden of education, SFU has continued to raise the cost of tuition. If Johnson is truly concerned with equity, it should be a major priority to finally hire food and service workers in-house and provide a living wage for TAs rather than hiring surveillance companies to spy on them. 

None of us want another four years of protests, vague announcements, and student confusion. The university has made some great leaps in the last four years. Yet, it is clear these decisions come from the amazing community of students and faculty, not the administration. Johnson should be prioritizing staff, faculty, and student needs — if that’s what she claims she is truly concerned with. Otherwise, it will be another four years of SFU profiting off students, shielding themselves from criticism, and maintaining SFU’s image. That’s not what we want. 

“Racebending” discourse is thinly veiled racism

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A dimly lit theatre with black silhouettes of performers against a red curtain.
PHOTO: Kyle Head / Unsplash

By: Yasmin Hassan, Staff Writer

The word “racebending” was originally coined by fans protesting against the whitewashing of Avatar: The Last Airbender’s live action cast. Nowadays, the phrase and its variations are often used in negative and even racist contexts. The phenomenon of production studios casting people with a different skin tone than their original character is often used as an excuse to attack BIPOC and perpetuate racism. 

This year, it was announced that Jamie Lloyd would direct a version of the famous Shakespearan tragedy Romeo and Juliet, starring Tom Holland as Romeo and Francesca Amewudah-Rivers as Juliet. After Rivers announced she would be playing the role of Juliet, what followed were multiple attacks on her appearance and the decision to cast her. Rivers’ social media page became flooded with hate-filled, racist comments, highlighting just how difficult the entertainment industry can be for Black women. Of course, this is all completely unjustified. Romeo and Juliet’s story would not be significantly affected as Avatar’s would be when “racebending” the cast. Even when characters are canonically dark skinned, like Rue and Thresh in The Hunger Games, and are casted as such, there has been internet backlash. This shows that these so-called “concerns” are only poor covers for being racist. 

This isn’t the first time the internet has reacted extremely toward “racebending” in modern media, either. Another example was when Halle Bailey was cast as Ariel in the live-action remake of the Disney film. Cultural background isn’t important to Ariel’s story, so excuses and concerns about her whiteness hinge on racism and prejudice. The film went through much criticism online, which was completely undeserved. Bailey herself said, “I want the little girl in me and the little girls just like me who are watching to know that they’re special, and that they should be a princess in every single way.” 

The concept of racebending can be problematic in itself, especially in the context of BIPOC performers. This discourse undermines actors’ talent by focusing on their skin colour. However, we also shouldn’t rely on remakes as a source of genuine representation. Casting a person of colour as the new face of an outdated white character isn’t the same as creating a unique story with actual significance to BIPOC. Hollywood is infamous for being unoriginal and running out of ideas; their quick fix is to just recast a pre-existing story. This rarely adds anything new when it comes to content and representation.

We should uplift marginalized actors instead of perpetuating the twisted narrative of “diversity hiring,” which claims BIPOC are hired more for their skin colour than skill. BIPOC have historically lacked representation in the entertainment industry for ages. Disney princesses, theatre roles, and film casts have been largely white and catered to white audiences. We should put an end to harmful, outdated trends of underrepresentation in film. 

Rivers is a well-seasoned professional who already has Shakespearean roles under her belt; she was the best person for the role. Concerns about “race swapping” are a baseless and irrational excuse for racism. But at the same time, we need to create and celebrate BIPOC stories. Media representation is more important than any attachment to a character’s original appearance.

Public transit is the way forward to sustainable cities

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SkyTrain as seen from below on a cloudy day.
PHOTO: Victoria Lo / The Peak

By: Dylan Tonekham, SFU Student

As climate change remains a massive threat to humanity, the Canadian government has pledged initiatives to fight it, such as the 2030 emissions reduction plan. Though a noble plan to combat emissions, there’s a better solution that isn’t being pushed forward nearly enough: we’re in dire need of better public transit.

Unlike commuting by car, public transit can be inherently efficient when employed correctly. Take a look at any grid-locked street: you can only fit so many people into the space occupied by a car. Ironically, an old Saturn car ad demonstrates this inefficiency by replacing cars on the road with people. The excessive distance between everyone showcases just how much physical space cars occupy. Those who use transit are cars not on the road, and emissions that aren’t produced.

You might ask, “If emissions are the problem, what about electric vehicles?” Current federal initiatives push for consumers to buy “zero-emission vehicles” (ZEVs) in an effort to reduce individual gas emissions. As Canada was found to be one of the worst carbon emitters, this incentive makes sense on the surface. Commuters driving electric vehicles don’t emit nearly as many greenhouse gases as those in gas cars do. However, fuel emissions from driving are only a slice of a bigger problem — other components of ZEVs aren’t much better. 

Consumers are sold the idea of reducing their own carbon footprint with ZEVs, but other pollutants are seldom talked about. Tires rolling against roads release toxic compounds and material into the air, water, and subsequently our bodies. ZEVs are typically heavier than their gas counterparts, which “wears out tires faster.” Mass mining of metals for ZEV batteries also pollutes water supplies in South America, such as the “lithium triangle” of Argentina, Bolivia, and Chile — not to mention the ethical concerns of poor working conditions.

With TransLink servicing about 233 million trips in 2023, people are clearly moving through the network’s SkyTrain, buses, and other services. Yet, there’s plenty of room for service improvement. Frequent service should be plentiful wherever possible. Riders should be able to arrive at a bus stop and expect a bus rather than a long wait. “Don’t worry, it’ll come soon,” is an expectation only those boarding the SkyTrain or specific RapidBus lines can hold. 

Night service for when regular transit is inactive should also be available. Though TransLink runs their NightBus service, most lines are in Vancouver, such as the N19 bus from downtown to Surrey Central Station. Need to go anywhere south or east of that? Tough luck. Understandably, transit at night isn’t going to be as rapid or frequent as daytime service, but it must be better for those who need it.

This is more than an environmental issue. Cars harm us on a deeper social level, in a way access to public transit can rectify. Transit-oriented communities aim to increase density where there is rapid transit access. If housing is close to amenities such as grocery stores, community centres, education, entertainment, and more, residents can make use of them without the explicit need for a car. Those who cannot afford cars, who cannot drive, or who choose not to drive would have greater opportunities in their communities.

Canada has grown tremendously in recent years, with its population reaching over 40 million this January. With transit becoming increasingly overcrowded and adverse climate change effects looming on the horizon, it’s imperative that there is increased access to transit — our cities depend on it.

Banning the keffiyeh harbours support for genocide

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a man with his child
PHOTO: حثل / Pexels

By: Kaja Antic, Staff Writer

Across numerous mediums, there’s been a rise in censorship of Palestinian support through clothing and accessories, coinciding with the increased violence by Israeli forces against Palestinian civilians. Not only is this an infringement on freedom of expression, but it also silences those bringing attention to the ongoing genocide, uplifting the voices of those in favour of Israel’s crimes

Those in power hold a double standard when it comes to celebrating Palestinian and Jewish cultures. This April, Speaker of the Legislative Assembly of Ontario Ted Arnott announced the keffiyeh was effectively banned in the Ontario Legislature. The Palestinian keffiyeh is a traditional scarf, usually worn as a headdress, which has olive trees and fishnets in its pattern, reflecting roots to land. Despite calls for him to overturn this ban, he has refused, saying it makes an “overt political statement.”

Shortly after, Vancouver mayor Ken Sim announced his support for the Burrard Bridge being lit up in support of “Israel’s 76th Independence Day.” Sim emphasized the city’s aim to “uphold fundamental freedoms of speech and the ability to peacefully

protest.” Yet, Palestinian identity and resistance remains controversial to the Canadian government — so much so that wearing a cultural headdress is disallowed. The keffiyeh is said to date back to 3100 BC, much before the establishment of Israel. Jewish people also used to wear keffiyeh, “because they saw it as part of the authentic local lifestyle.” It was only later that the keffiyeh “became an expression of Palestinian resilience against Israel’s treatment of Palestinians.” The hypocrisy goes to show how support for Israel is presented as neutral, while support for Palestine is seen as offensive and antisemitic. 

The keffiyeh ban is just one part of a wider issue with Palestinian censorship. Sarah Jama was formerly a member of the Ontario NDP, and was ejected from the caucus in October due to her comments criticizing the Israeli genocide of Palestinians. She was also censured by the Ford administration, which forbade her from speaking in the provincial Legislature, even if called upon to do so by the Speaker. This not only prohibits Jama’s support of Palestine in the Ontario Legislature, but also forbids her from speaking on any issue brought to the Assembly — silencing any advocacy for her riding of Hamilton Centre, which holds a population of 100,100 people.

The Ontario legislature is not the only political environment to ban keffiyehs. Parliament in the Australian state of Victoria has also forbidden members from wearing keffiyehs. Canada and Australia are British colonies, and while both have claimed to be committed to reconciliation efforts with Indigenous Peoples, their censorship indirectly supports settler colonialism in other regions like Palestine. 

Outside the political sphere, there’s been a sharp rise in backlash for speaking against the Israeli apartheid state since October. Others have been punished for mere expressions of culture. For instance, a grade seven student in Halifax had to involuntarily remove the keffiyeh they wore for their middle school’s “culture day” after being called to the principal’s office. Allegedly, he was told the scarf is “a sign of war,” despite trying to explain its cultural significance. While keffiyehs have multiple patterns, some feature olive leaves, as “The olive tree has deep historical and cultural roots in Palestine, and its branches have been associated with peace and prosperity for centuries.” This principal also falsely associated Palestinian symbolism with war — an incorrect correlation that’s increasingly being pushed to undermine Palestinian sovereignty. 

Banning the keffiyeh and censoring pro-Palestine messages obscures the violent actions of the Israeli government and amplifies the voices of those in support of the genocide. These entities are complicit in silencing opposition, and are standing on the wrong side of history in an effort to not offend a nation that has killed tens of thousands and displaced millions.

Rainbow rally urges government for action on global 2SLGBTQIA+ rights

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a rainbow pride flag hanging off a brick building
PHOTO: Anastasiia Chepinska / Unsplash

By: Yashita Dhillon, News Writer

On May 17, a rally for 2SLGBTQIA+ rights took place at the Vancouver Art Gallery. This event was led by the Society of Queer Momentum Canada, which is a movement founded by 2SLGBTQIA+ organizations to combat the challenges faced by the queer community. The rally coincided with the International Day Against Homophobia, Transphobia, and Biphobia. 

May 1117 marked the first National Rainbow Week in Canada, which is a movement of solidarity and advocacy for queer rights across the country, and calls for governmental actions and policies to protect these rights. Pride Month is celebrated internationally in June, which highlights the history of struggle the 2SLGBTQIA+ community and their achievements. Instead of commemorating the past, National Rainbow Week looks toward the future.

Throughout the week, over 25 rallies took place across the country, including in other major cities such as Ottawa, Toronto, Saskatoon, Winnipeg, and Fredericton. This week of activism was started by Momentum Canada, in partnership with Canadian 2SLGBTQIA+ advocacy groups Fierté Canada Pride and the Enchanté Network to urge governments and policy makers to promote equality and address anti-2SLGBTQIA+ hate.

The Peak spoke with River Pengelly, an organizer with the Vancouver Trans March.

“We’ve seen so many attacks from the far-right and establishment politicians recently. We wanted to demand better from our government on queer equality, trans healthcare, youth safety, as well as demonstrate Indigenous and Palestinian solidarity,” said Pengelly. 

Canada has witnessed anti-queer and anti-trans sentiment over the past few years. In Saskatchewan, a new law requires parental permission for students to change their pronouns. 

“It’s clear that the government policy and decision making on this issue wasn’t thoughtful or based on any evidence,” said Cee Strauss, a senior staff lawyer specializing in trans rights \with the Women’s Legal Education and Action Fund, noting a “an anti-transgender wave happening across the country.” 

Alberta’s new law plans to rescind protections for trans and queer youth, which many argue undermines their healthcare and bodily autonomy. “I have witnessed firsthand the struggles faced by children who are brave enough to express their true gender identity, said Catie Jones, a United Steelworkers Union member and mother of a transgender child in Alberta. “This is not just about my child, it’s about every transgender child in Alberta. Our children deserve the right to their own gender identity and expression, as well as rights over their bodies.” 

“Most importantly we want politicians currently in power to do more than pay our community lip service with pretty pink-washed words and to keep their promises and commitments to trans and queer rights,” Pengelly said. “We chose speakers from within our community whose intersections of experience we felt were necessary to hear from.”

“Queer rights are being used as one of many justifications for the ongoing Israeli genocide of the Palestinian people,” she said. “This completely ignores the fact that queer Palestinians not only exist but are dying far more quickly to Israeli weapons.” 

This references the belief that Muslim nations are inherently homophobic or misogynistic and in need of intervention from western nations. According to the Boycott, Divestment, Sanctions (BDS) movement, this exploits LGBTQIA+ rights to project a progressive image [of the west] while concealing Israel’s occupation and apartheid policies oppressing Palestinians.” The goal of the rally was to make sure that voices of “queer and trans Palestinians in our community were heard and centered,” Pengelly added.

The rally also highlighted the role of youth led justice in the campaign for 2SLGBTQIA+ community. “Youth are the ones who have to deal with this head-on, not only in school but also at home,” Pengelly said. “Their voices are incredibly important. It’s their future that is being determined and fought for right now.”