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The Peak presents: Christmas: A Christmassy Christmas Story

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The vector image of the Hallmark logo.
PHOTO: Hallmark

By: Hannah Kazemi, Staff Writer, Mocker of Hallmark Movies

As a hater of all Hallmark movies, I am the perfect person to write a very bad Hallmark-esque screenplay that will cause even the most dedicated (read: people with poor taste) Christmas movie fans to cringe. You’re welcome.

UPPER EAST SIDE
MANHATTAN, NEW YORK CITY

 
It’s 8:00 p.m. on a Friday night, exactly one week before Christmas. New York City is blanketed in snow. CAMERA follows SARAH (23) and MARK (27) who are dressed in long wool coats, circle scarves, and leather gloves as they stroll hand-in-hand down the sidewalk lined with aged brick apartment buildings. SARAH looks self-consciously at her uggs, then at MARK.
 
SARAH
(to MARK)
 
I can’t believe it’s almost Christmas. Or that we’ve been together for almost two years! Time really does fly. When do you return from your business trip? I told my parents we’d be there for Christmas dinner. It’s tradition, after all.
 
MARK
(to SARAH)
 
I know, honey. I can’t believe it either. I leave tomorrow morning, and I have some business to tend to for a few days. I’ll be back the evening of the 24th. I have a feeling this Christmas will be one to remember. I wouldn’t miss it for the world.
 
SARAH looks down at their clasped hands and smiles. MARK is an important architect, but SARAH knew the most important thing he would build was their stellar relationship. SARAH suspects MARK is going to propose on Christmas day. SARAH suddenly becomes worried about what outfit to wear. She is concerned about her dress clashing with the ring. The photos would be awful!
 
CAMERA cuts to a montage of SARAH shopping by herself. SARAH looks for a new dress while MARK is away. She searches all over Manhattan, without much luck.
 
SARAH decides to look for the ring so that she can match it with one of the 40 dresses she already owns. CAMERA cuts to SARAH alone in their $4,000,000 apartment the morning before MARK is expected to come home. SARAH is hunched over a chest of drawers, their autumn selection of clothes strewn around the room. SARAH lets out an exasperated sigh.
 
SARAH
(voiceover)
 
Where on earth did he put that ring?! I’m sure he’s going to propose on Christmas. I just have a feeling. I better check all of his drawers. If my dress doesn’t match, what will people think? I need these photos to be perfect! You only get engaged twice, and at least once I need to have nice pictures.
 
MARK comes home from his business trip early. CAMERA is angled at SARAH rummaging through MARK’s clothing drawers. MARK is watching her from the doorway to the bedroom. CAMERA turns to focus on MARK. MARK is angry.
 
MARK
(to SARAH)
 
What’s going on here?! Why is the room a mess, and why are you going through my stuff?! You’ve tossed my pocket squares everywhere!
 
SARAH turns around at the sound of MARK’s voice. SARAH has a guilty expression on her face as she pushes her bleach blonde hair out of her face.
 
SARAH
(to MARK)
 
Mark! Oh, honey, I didn’t hear you come in! I thought—
 
MARK
(interrupts SARAH)
 
You thought you’d have more time to violate my privacy?? What the hell, Sarah! What are you even looking for?
 
SARAH and MARK stare at each other for a moment. SARAH begins to cry.
 
SARAH
(to MARK)
 
I’m so sorry. I was looking for a ring, I thought you might propose on Christmas, and I was worried about my dress not matching the ring, so I thought if I just saw the ring then I could—
 
MARK interrupts SARAH by walking up to her and holding her face in his hands.
 
MARK
(to SARAH)
 
Oh, honey. That’s what you were doing? I already sorted that out. I bought you a brand new dress last week. It matches the ring perfectly. I know how much coordinated photos mean to you.
 
SARAH looks lovingly at MARK. She is reminded of why she wants to marry him: he always makes sure she looks good in pictures.
 
MARK pulls SARAH in for a kiss. They’re gross and insufferable. CAMERA fades to black. TEXT appears on the screen reading, “The most picture perfect Christmas you can have . . . is with each other.” A DE BEERS ad cues.
 

Standout films released this fall

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A full movie theatre watching a blank projection
ILLUSTRATION: Jake Hills / Unsplash

By: Kiara Co, SFU Student

Tar directed by Todd Field 

Lydia Tar with her arms spread out and a conducting stick in hand
PHOTO: IMDb

This film is about the world-famous classical music composer and conductor Lydia Tar. She’s known to be the first ever woman to chief conduct a major German orchestra. Cate Blanchett delivers one of the best acting performances of the year, bringing strength, and passion to the role of Lydia Tar. In the recent rise of biopics, Tar is a one of a kind. With the two hours and thirty eight minutes runtime, its fast-pace makes it easy to get through. Tar is not your typical generic and bleak biopic. You’ll feel the emotional perspective of Lydia herself throughout the story. 

The Banshees of Inisherin directed by Martin McDonagh

Two men and a dog looking towards a beach on a cloudy day
PHOTO: IMDb

McDonagh, known for his Oscars Best Picture winning film in 2018, Three Billboards Outside Ebbing, Missouri, has released another Oscar-contending film. This film is about two friends, Padraic (Colin Farrell) and Colm (Brendan Gleeson), who end up brutally ending their friendship. With McDonagh films, you appreciate the surrounding nature. The setting of the small-town Ireland setting elicits comforting simplicity and community, until a conflict between Padraic and Colm creates a feeling of brokenness in Inisherin. I didn’t expect myself to feel so emotionally attached to this story! 

Triangle of Sadness directed by Ruben Ostlund

A yacht catching on fire while people lay on deck
PHOTO: IMDb

Ostlund won the Palme D’Or for the second time with this intelligent and satirical film. This film is about a group of wealthy people who ended up stranded on an island after a storm hit their yacht. Triangle of Sadness brings awareness to the dynamics of different social classes throughout different situations and locations, but in a subtle and lighthearted way. Dolly De Leon’s Abigail shines throughout the film with her witty and strong acting performance. It’s one of the most hilariously well-made films of the year. Make sure to catch it in the theatre if you can so you can experience uncontrollable laughter with the audience!

The Menu directed by Mark Rylod

A crowd gathering around a plate of food
PHOTO: IMDb

This film is about different couples going to an island where they are served luxurious and exclusive foods from a chef that serves surprises. Emmy-nominated and Golden Globe winner Anya Taylor Joy continues to serve a strong screen presence and shows her versatility as an actress. Meanwhile, Oscar-winning actor Ralph Fiennes also served a pressing and intimidating chef in the film. The film overall is anxiety-inducing with funny moments to clear the air. It doesn’t have a conventional storyline which is what makes this film so engaging. Not only are the line of dishes being served unexpected, but the way the story presents itself is not predictable in the slightest!

It’s one sport to the next for the cross country team

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photo of SFU runner Aiden Good mid-race.
PHOTO: Wilson Wong / SFU Athletics

By: Simran Sarai, Sports Writer

Being a student-athlete requires commitment to a grueling schedule of long days juggling practice, class, traveling, and competing. While most Red Leafs will have a break from competition during the academic school year, SFU’s cross country runners will get no such break. They stare down the indoor track season that is fast approaching with a meet at the University of Washington on January 15.

We spoke to Aiden Good, sophomore cross country and track athlete, and head coach of both the cross country and track and field program, Brit Townsend, to learn more about what it takes to transition from one intense season of competition to the next.

Good will be taking on the 800m, 1600m, and potentially the Distance Medley Relay (DMR) during the indoor season. In the spring outdoor season, he will switch to the 800m and 1500m.

While the women’s cross country team concluded their season at the NCAA Division II West Region championships, the men’s team received an at-large berth to the 2022 NCAA Division championships. The team’s qualification for nationals means their season is extended until December 2, after which they will join the women’s team in shifting gears for the indoor track season.

While both the men’s and women’s teams take a rest week after an intense season of distance-heavy racing, Good says the amount of running done during this week is very individualized.

“Some guys will take more time off than others. I don’t take as many days off — I have a hard time taking days off. I find I get antsy, which maybe isn’t the best. I’d probably be better off if I took off days and allowed myself to recover a bit more.”

Good says the transition from cross country season to competing on the track comes on its own. “That process, the switch and transition, will come pretty naturally once we start racing, and you’re having to taper a bit going into weekends where we race.”

Townsend, who has been coaching at SFU for more than 20 years, also shared some insight into what the transition from cross country to track looks like for her athletes.

“We start transitioning into more event-specific work, then specific intervals, that will prepare them better for the type of pacing they need to do on the track.”

She also shared her expectations for her athletes during the transition period, which naturally falls over the winter break, in between the fall and spring semesters.

“I think the biggest thing is it’s difficult with exams, Christmas, and everything to stay consistent,” said Townsend. But that isn’t any excuse for athletes to completely abandon training in her eyes. “It’s my expectation that they’re going to do that and complete the workouts. But the reality is, if they don’t, they won’t perform well.” 

The most important part of moving forward into a new, but equally intense, season of competition right on the heels of a long cross country season? Both Good and Townsend were clear that the ultimate goal is to stay physically healthy and mentally strong, especially while juggling competition, academics, and a busy travel schedule. 

Townsend emphasized how “getting a little bit of a break mentally from competing” is essential for dual sport athletes during the transition period. Those short breaks from competition, coupled with the continuous effort put in by her athletes across the two seasons, are just a part of Townsend’s everyday expectations for her team.

“The advice I give them is, you gotta try and make yourself better tomorrow than you were today. And that can be in lots of different ways. Whether it’s mentally, physically, or making sure you’re staying healthy and covering all the little things that you do.”

Mike Rigell on his time as SFU’s football coach

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photo of head coach Mike Rigell hugging a player on the field.
PHOTO: Garrett James / SFU Athletics

By: Simran Sarai, Sports Writer

The SFU football team recently recorded their first win of the season in a blowout victory against visiting West Texas A&M. This was their first win as members of the Lone Star Conferencewhich they joined at the beginning of the 2022 season.

The victory is just the ninth win for the Red Leafs program since the 2013 season. Their 2012 run saw SFU record an overall record of 5–6, which dropped to 3–7 by 2013. In 2014, the team won two out of their four conference games, but zero games against their out-of-conference opponents. Following that, the team went on a two-year stretch, from 2015 until 2017, without a single victory. In 2018, SFU broke their two-year winless drought the same season that current head coach Mike Rigell joined the football program. The Peak reached out to Rigell for his perspective on the challenges SFU has faced in putting up wins over the last 10 years.

Rigell said one of his most memorable moments as head coach was the Red Leaf’s recent win on senior night atop Burnaby Mountain. Adding to what else he feels has highlighted his time as coach, he said, “Its been great to watch over and mentor our football student athletes, and help guide them to make great decisions on and off the field.”

In hoping to build momentum off the near-end-of-season victory, Rigell clearly expressed the team has no plans to slow down. “We build on this last win [by] having composure, and getting ready for the next opponent like we usually do every week.”

The seasoned head coach said that the Red Leafs “can’t get complacent and rest on our laurels.” This is especially true as SFU prepares to face the UBC Thunderbirds in the upcoming Shrum Bowl, set to take place on December 2 for the first time in 12 years.

As for what comes next for the football team, Coach Rigell laid out his expectations for diligent offseason training after the 2022 season ends. “After the Shrum Bowl, I look forward to getting back to work hard for our winter season preparation and conditioning,” he said.

Throughout all the questions, Rigell expressed the team-first attitude that has characterized his time leading SFU. “As coaches, we love to prepare and see our kids [and] program grow as well. We are all trying to be consistent and be the best we can be everyday. We talk about ‘winning the day’ as a team everyday.”

Throughout it all, Rigell is ecstatic about the growth his players and the team have gone through since he joined the program. “In this profession, it’s not all about the wins and losses, but the journey. The comradery and relationships that have grown with not only myself, but with my staff [and] players as well.”

Fakes brings Hollywood North home

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Two girls smile at the camera behind a backdrop collage of IDs and the title “Fakes”
PHOTO: CBC Gem

By: Clarence Ndabahwerize, Staff Writer

Content warning: Mentions of gun violence

As a city with a leading film production industry, Vancouver often stands-in for famous real and fictional locales south of the border, from San Francisco in Planet of the Apes to New York in The Interview. Rarely, if ever, do we see Vancouver represented as itself on the screen. For this reason, Vancouver has long been known as Hollywood North. Then came Fakes, a comedy series that came out September 1. Available on CBC Gem and Netflix, both local and foreign audiences could finally see Vancouver play itself on the screen.

Fakes opens with a police raid on a lively apartment. If you’re keen enough, you’ll spot Canada Place in the background. During the melee, one of the protagonists, Rebecca, (Jennifer Tong), makes a short-lived escape. When we later meet Zoe (Emilija Baranac), the other protagonist, we find out that the two are from the affluent municipality of West Van. The show is centred around the duo’s venture into the world of white collar crime as they start a fake ID printing business. 

Rebecca and Zoe quickly make a name for themselves. They go from printing fake Alaskan drivers’ licences at a self-serve printer in a tech shop, to a fully-fledged operation printing a sizable amount of BC drivers’ licences. They also have an awareness of their clients’ needs. The point is to fool a bouncer with a flashlight, but not law enforcement, ICBC, or a respective DMV. 

As can be expected, this all starts with a misunderstanding, when the duo inadvertently advertise their expertise to series antagonist Tryst (Richard Harmon). When he puts word out that leaves them in a bind, trouble follows. Their benefactor, initially dealt with by Tryst and the owner of the swanky pad where they print the IDs, shoots someone right in front of his face during that encounter. 

How two high school students get tangled up in such a situation is not so surprising once we look at their backgrounds. Both have cases of fractured families and absentee parents. The show, being set in one of Vancouver’s wealthiest neighborhoods, reminds us that even those behind the velvet rope can be prone to the same mishaps and experiences as those on the other side of it.

What’s most notable about Fakes is that it’s as Vancouverite as can be. The protagonists are local actors, and familiar sights as well as cultural cues make viewers in Canada feel at home. More importantly, this allows us to explore issues within our communities. The opportunity to do this through pop culture gets lost when our cities stand in for and prop up metropolises and locales south of the border. This inspires the questions: Can this be replicated or built upon? Will Surrey or Coquitlam finally be able to uniquely play themselves? Whether there are answers to these questions remains to be seen, but Hollywood North seems to have turned a new page.

The Peak’s favourite albums of 2022

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Collage of album covers

By: C Icart, Staff Writer, Petra Chase, Arts & Culture Editor, Kelly Chia, Humour Editor, Daniel Salcedo Rubio, Features Editor, Olivia Visser, Opinions Editor, Michelle Young, Editor-in-chief

Dance Fever: Florence + The Machine takes you through a journey of self

Courtesy of Polydor Records, Universal Music Operations Limited

It’s no secret Florence + the Machine has a tendency to make music with religious imagery and soaring vocals. Dance Fever embraces its listeners with familiar references to angels and devils. There is a deep vulnerability to the exploration of singer Florence Welch’s own demons, and it’s breathtakingly honest.

A standout is “Cassandra,” which upon first listen has a reverent, and plainly, scary energy. The pause in the bridge, when Welch rasps her voice to horror-like croaking, “Take me back, oh, drunken gods of slaughter,” stunned me. But as a whole, it speaks to Welch’s own vulnerabilities processing the pandemic as a singer who had lost her means of creating music and the ability to perform. The meat of Dance Fever is exploring Welch’s relationship with performing, which feels so deeply personal for her. It’s what makes the confessional qualities of the ending track, “Morning Elvis,” so compelling. Welch gives an  account on the struggles of sobriety, and a dedication to her audience, and you can feel every part of that gratitude in this song, especially with the audience cheering on the album’s closing track. — Kelly Chia

Caprisongs by FKA twigs: “Apple juice for when you’re thirsty” 

Courtesy of Young Recordings Limited, Atlantic Records

FKA twigs knows how to package enigmatic worlds in albums. While different from her usual conceptual approach, twigs unlocks a new, more personal dimension. Caprisongs is an entrancing collage of avant-pop hooks, groovy afrobeats, schoolhouse chants, and harp-like vocals. 

With unexpected twists and turns, each one just as instantly gratifying as the last, Caprisongs is an album to get lost in. On top of her superior production, it’s her most down-to-earth album yet, sprinkled with snippets of conversations with friends. “meta angel,” which features a heartwarming pep-talk about self-confidence, has been my go-to all year. Another stellar track is “which way feat dystopia,” which opens with the two of them casually pondering the song: “It’s like elevator music for when you’re going to the 50th floor.” It’s no wonder twigs described the album as “apple juice for when you’re thirsty.” The only thing you can expect from twigs’ art is an extraordinary vision. — Petra Chase

Aucune Promesse by Loud: He said what he said, loudly

Courtesy of Joy Ride Records

Loud has been at the top of the rap québ game for some time now. His new album, Aucune Promesse, reminds us why. It’s his third full-length album, and it’s a straightforward rap album that goes back to basics. His hard-hitting lyrics navigate English and French in captivating ways. His song “#10,” honouring the passing of Guy Lafleur, includes the bar,Hometown hero, j’parle en joual, mais j’compte en Euro” (I speak in joual, but I count in Euros). This references his success in Europe and usage of the French Canadian dialect, patois. Loud’s adept wordplay takes the listener through his journey as a rapper and acknowledges those who helped him get where he is. Loud is as confident as ever in his song “I Said What I Said.” If you were at the top of your game, you would be too. The three-year wait between albums was worth it. Loud is settling into his sound and leaving a mark with his commanding lyricism. — C Icart 

Jack in the Box by j-hope: The solo album jumps out at you 

Courtesy of BIGHIT MUSIC

As a long-standing BTS fan, I thought I knew what to expect with this album. Thinking it would be a cheerful and groovy follow-up to Hope World, I was blown away by the aggressive guitar on “MORE,” hard-hitting rap on “Arson,” and the gloomy piano riffs on “What If…” The album comes during a transitional period in BTS’ career and provides a vulnerable look into j-hope’s personal experience with fame and his creative journey. He skillfully juxtaposes doubt with ambition, passion with self-destruction, and fear with hope. Jack in the Box jumps through a variety of musical styles throughout the album, mixing old school hip-hop beats, rock, and smooth percussion. He is masterful in creating a cohesive album sound without having the tracks sound indistinctive to each other. j-hope flexes his versatility by jumping from raspy rap to bright, upbeat vocals. The album plays with j-hope’s public identity and image, deconstructs it, and puts it back together to truly provide the illusion of surprise, like a Jack in the Box. — Michelle Young 

Harry’s House by Harry Styles: Harry’s redemption

I’ve never been a Harry Styles fan. I liked “Watermelon Sugar” and like pretty much everyone, I was also obsessed with “Sign of the Times,” but that was it. In May, Harry’s House was released and . . . not a single flop. From the very first song, “Music For a Sushi Restaurant,” I knew this album was going to be amazing. The slow-groovy beats mix perfectly with his voice, withDaylight” being the epitome of this “new” rhythm Styles found. Don’t even get me started with “As it Was.” While the song is fantastic, the music video goes above and beyond, including references to The Matrix, Charles and Ray Eames, and more. But the geniality of this album doesn’t end with groovy beats and catchy lyrics you want to sing and dance to; songs like “Matilda” and “Boyfriends” have the raw emotion needed to bring you to tears.  — Daniel Salcedo Rubio

Mahal by Toro y Moi: Nothing but praise for the new studio album, as usual

Courtesy of Dead Oceans

Fans of Toro y Moi will agree with me when I say he never puts out a bad album. Frontman Chaz Bear is known for his experimental indie psychedelic music. He’s one of those artists that makes albums so enjoyable, you can listen without needing to skip a single song. Mahal is his seventh studio album, and it’s one of my favourites. According to an interview with NME, Chaz started thinking about this album five years ago, but didn’t find time to write until the COVID-19 pandemic hit. These songs experiment with so many different styles, and somehow still come together under Toro y Moi’s unique electro-funk sound. “Millennium” and “The Loop” are catchy upbeat electro-pop tunes, while “Déjà Vu” has classic psychedelic vibes reminiscent of The Beatles. My favourite song off the album, “Magazine,” is a melancholy song about relationships and climate change, featuring beautiful vocals from Salami Rose Joe Louis. Whether you’re looking for love songs, jazz, pop, or funk — trust me, this album has something for everyone. If you enjoy electronic music, you’ll almost certainly be drawn to Toro y Moi’s creative use of vintage sounds and dreamlike synth notes. — Olivia Visser

Need to Know, Need to Go: Plays to see in December

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Illustration of a blue calendar, with "Need to Know, Need to Go" written on top
Arts & Culture events to catch around the city. Image courtesy of Brianna Quan

By: Petra Chase, Art & Culture Editor

Old Stock: A Refugee Love Story recollects Jewish refugee history in Canada (Tickets $45)
When: December 1–11
Where: SFU Goldcorp Centre for The Arts

This love story follows two Jewish Romanian refugees in Canada in 1908. This music-theatre hybrid performance features an energetic folk soundtrack by Jewish genre-bending songwriter, Ben Caplan. The “humorously dark folktale woven together with a high-energy concert” is part of the programming for Chutzpah, Vancouver’s annual Jewish arts festival. It was developed by SFU Woodward’s Cultural Programs and 2b Theatre

In My Day shows the multifaceted history of the AIDS crisis in Vancouver (Tickets from $29)
When: December 2–11
Where: Historic Theatre

Presented by Zee Zee Theatre, a company dedicated to telling the diverse stories and perspectives of people in the LGBT2SI+ community, this “historic theatre” production recounts true stories about individuals impacted by the HIV pandemic in Vancouver. From “extraordinary victories to heartbreaking failures,” In My Day serves as a memorial for those in the community who have been impacted by the pandemic, including the stories of “women, people of colour, Indigenous folks, trans people who use[d] injection drugs, and others, alongside those of cis-gender gay men.” It’s based on a University of Victoria community-based research project conducted in 2017, in which oral accounts were collected from the community to understand this important piece of history.

Szepty/Whispers depicts a neurodivergent person’s mental health journey (Tickets $15 – $25)
When: December 1–4
Where: Pi Theatre

Szepty/Whispers is an important account of a neurodivergent artists’ grapple with mental health and the family’s lack of openness regarding mental health issues, revealing how “culture, migration, and trauma shape generational perspectives of disability.” Using narrative devices, multimedia, and documentary media, this performance also features captions and audio descriptions for those who are deaf or blind. Support a diverse, neurodivergent, disabled, and non-binary creative team in understanding this personal experience. Learn more about their accessibility on their website, including their COVID-19 guidelines.

SFYou: Pourya Sardari

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PHOTO: Artin Bakhan / Unsplash

By: Clarence Ndabahwerize, Staff Writer

Content warning: mentions of violence against women.

Pourya Sardari is an international student from Mashhad in Iran’s Razavi Khorasan province. Sardari is currently pursuing a Master’s in Biological Sciences and recently made a class presentation about his research on the illegal trade of wildlife in Iran. The Peak sat down with Sardari to talk about his work, as well as the current situation in the country following the death of Mahsa Amini.

“First of all, in Iran we don’t have any solid research to try to pinpoint what are the primary drivers of the illegal trade,” started Sardari. “It’s a complex issue and there are different factors that can motivate the illegal trade. Some would say that it’s poverty, with people using the trade as a source of income,” he added. However, Sardari mentioned that socioeconomic status might not be the driving factor to engage in the trade, highlighting its complexity as a national issue. 

“It’s not one of the priorities for the government to look into this, not just the government but the Department for Environment in Iran.” This body’s main purpose is to protect and safeguard Iran’s environment; from the country’s biodiversity, to its protected areas. Sardari added that existing environmental problems in Iran, such as water shortage and pollution, are perceived as more important than illegal wildlife trade. “They have to invest resources to learn about the trade and learn about this issue before they can take action,” he mentioned. The task though, is monumental.

Sardari stressed that the trade is not a new phenomenon. “We have the physical traditional marketplace, which I would say is historical. People have been trading for thousands of years.” The trade’s proliferation both in Iran and globally has been aided by the rise of digital marketplaces. The boom in global internet use and connectivity has led to its increased popularity, enabling it to grow in the digital sphere.

By Sardari’s account, traditional and geographical factors influence the trade, with falcons being of particular interest to buyers. “In Iran and in the Middle East, falconry is part of the tradition there. So birds of prey are one of the targets of the illegal trade and you would see them more frequently being traded.” Adding on, he highlighted the global popularity of reptiles and amphibians, some of which are endemic to Iran, making them very popular amongst buyers globally. Nonetheless, the continued trade of these animals is unsustainable.

To curb the trade, Sardari said that understanding its dynamics was key. He noted the need for evidence-based research into the values and motivations driving it. Such an approach, in his opinion, will open the doors for public education and spur behavioural change in communities. “Investing in and educating people so they can enforce legislation may be a good way, but we first need to understand the trade.” 

When asked if regional support for this endeavour could be secured, Sardari cited Iran’s current geopolitical isolation as an obstacle. “Because Iran’s connections with other countries and conservation organizations are really limited, it’d be hard to do some work.” Undeterred, local conservationist groups like the Iranian Cheetah Society fight on. They protect Iran’s environment and wildlife, as well as raise awareness. He mentioned that such groups always need more support for resources and funding for their projects. 

Sardari believes that a vacuum of political will on the subject is due to government priorities rarely being aligned towards conservation. “Governments want to develop. They want to use their resources. It’s always this trade-off, this conflict, between development and sustainability.” 

Safeguarding and protecting the rights of the people is an ongoing  issue for the government of Iran. In the past years, the government has used lethal force on protestors and incarcerated peaceful activists. In September 2022, a young Iranian woman named Mahsa Amini died in a Tehran hospital following her arrest by the nation’s morality police; a unit of Iran’s police whose main objective is to enforce an Islamic dress code, mainly targeting women. Pourya opened a class presentation with a tribute to her. “It didn’t just affect me, it affected the whole Iranian community. It affected the whole world, I’d say.” Since the death of Mahsa Amini in September, there have been ongoing protests in Iran to end the “decades-long authoritarian rule of the country’s top clerics.” 

“When I heard the news, I was devastated, I was sad. I had a mix of emotions. I was angry. She was an innocent young woman who died.” Sardari said that in recent years, the institution has been emboldened in its suppression, with its main targets being Iranian girls and women. According to Iran International, at least 402 protestors have been killed by security forces and 16,813 have been arrested since the protests began back in mid-September. The Volunteer Committee to Follow-Up on the Situation of Detainees has been able to identify at least 1,600 prisoners including “969 ordinary citizens, 393 students, 145 civil activists, 42 journalists, 40 political activists, 38 women’s rights activists and 26 attorneys.” Sardari added, “It’s a violation of human rights.

“I was really surprised and happy to see all the Iranians and non-Iranians that came together in solidarity with what happened to Mahsa,” said Sardari of the worldwide protests that followed her death. “I was really happy to finally see the Iranian community coming together. I was happy to see unity in the community.” 

Sardari mentioned that he himself hasn’t had a face-to-face interaction with the morality police but that his friends have to think about them. “It’s really stressful because I know from many of my friends who are mostly girls and women. They want to go out to have a peaceful evening with their friends, but they have to think about what to wear so that they don’t get arrested by the morality police.” 

When asked about the ideological differences between Iran’s young population and the country’s theocratic leadership, Sardari said, “It’s not a gulf, it’s an ocean [ . . . ] With innovation, technology, the internet, people are more connected and share ideas with each other, so that’s why there’s this gap.” 

Sardari added that the government seems to not want to accept the fact that the young generation is thinking differently and that they want different values in their lives. He concluded by saying that Iran’s young population is more accepting of diversity of thought, opinion, and expression. 

What radical disability justice can teach us about care

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Two people hugging under blankets
PHOTO: Ron Lach / Pexels

By: C Icart, Staff Writer

The pandemic has been ongoing for over two years, and every possible conversation about masking has been had. All sides have expressed their reasoning, and at this point, with no mandates or requirements to self-isolate — it’s all up to “personal choice.” Now, many of us are choosing ourselves over anything else. Not even our own health, but our own comfort and “right” to go back to “normal.” I’m not looking to scare people with facts about the current, rather bleak, COVID-19 situation. This is much bigger than COVID-19 alone. I’m asking: what if we cared?

Caring for ourselves and others starts with caring about ourselves and others. The pressure to be self-sufficient tells us we can take care of ourselves alone: that healing and wellness comes from within. Mainstream mental health discourse teaches us all we need is a therapist and a warm bath. These are solutions that are inaccessible for some and simply unhelpful for others. Don’t get me wrong, self-care is incredibly important and counselling has helped so many people. But, the truth is we need each other and should show up for each other. Just because we can, and because people are born deserving of care. Care is not transactional. It’s not about what we get out of it. Some of us need more than we can give, and vice-versa. We need community care.

The pandemic has really put into perspective that health is not individual. Healthcare is communal. A community care model challenges ableist stigmas about being a burden when you ask for help, and rejects the idea that people who need care should deal with it in an individualized way that doesn’t disturb others. Activist Leah Lakshmi Piepzna-Samarasinha asks the following question in their book, Care Work: Dreaming Disability Justice: “How do we create care webs that are fair to all parties involved, without people being afraid to request and receive assistance?”

Unfortunately, many lives are shaped by “failures of care.” Failures of care are when attempts to provide care don’t meet individual needs. In the face of these failures, disabled, queer, trans, racialized, and otherwise marginalized folks have found ways to come together and develop care practices for survival. Exclusion from society-at-large shouldn’t shape someone’s experience of care, or lack thereof. Reimagining community care is about solidarity for everyone. That requires a shift in how we understand the concept of care. 

Community care means giving what you can, when you can. It could look like volunteering with a local organization, or simply being conscious of the needs your friends and acquaintances might have. A community care model encourages people to seek and give support. No one should be afraid to ask for help.  

When faced with the possibility of making a space more accessible, we should take it because we care. When faced with the opportunity to wear a mask or get vaccinated, we should do it because we care. When you can donate to a GoFundMe campaign, make a sick friend a meal, or meaningfully check in with someone who’s been going through a difficult time — you should, because you care. 

Canada has no intention to reduce its carbon emissions

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industrial plant with smoke
PHOTO: Ella Ivanescu / Unsplash

By: Evan Eschelmuller, SFU Student

Canada has plans to be “net-zero” by 2050, which means cutting greenhouse gas emission rates to as low as possible. Beyond that, the country intends to cut its emissions to roughly half of 2005 levels by 2030. How is this possible given Canada’s proposed increase of domestic oil and gas production and expansion projects? In short — it isn’t possible. Canada is not on pace to reduce its emissions to stated targets. And, even if we were to meet our specific goals, the way countries count emissions is impeding our ability to reduce emissions globally.

Typically, a country’s CO2 emissions are measured based on domestic production. This means that Canada, like other countries, measures its carbon footprint by assessing only CO2 emitted at home. As a result, Canada produces oil and gas for other countries to emit, while claiming we’re reducing emissions. We see this with Canadian oil companies committing to be “net-zero,” while still producing fossil fuels for global consumers.

This system is problematic for a couple of reasons. The currently rising global temperature means we’re in store for a range of increasingly bad climate change related issues in the coming decades, and we know CO2 emissions have a direct impact on climate change. Given our government’s subpar efforts to combat carbon emissions, we won’t be able to keep the global temperature rise below 1.5C compared to pre-industrial levels. There’s also a problem with the incentive structure of “going green:” since oil and gas will be produced on smaller levels in the coming years, corporations are rushing to be one of the last few producers. Because other countries have lower emissions targets, companies will provide them with fossil fuels for as long as possible. 

Allowing fossil fuel producers to misrepresent the full scope of their emissions by excluding global exports incentivises production and expansion projects. This system encourages everyone to continue producing fossil fuels, and even expand their production, as long as their emissions on the production side of things decrease dramatically. When individual oil and gas producers all have this same incentive, the sum total of these emissions will be disastrous for the planet

Why are we doing things this way? Surely it’s not lost on policymakers that emissions in one region affect the entire planet’s climate. We may be in this situation in part due to the fossil fuel industry lobbying governments for more friendly policies for themselves. For example, there’s been an increasing number of fossil fuel lobbyists at the annual UN Conference of the Parties (COP) climate conference, with over 600 in attendance this year at COP27. Regardless of the causes, we need to rethink the way we measure emissions globally. The current system doesn’t do enough to disincentivize fossil fuel producers from continuing and expanding production. Instead, corporations should be incentivized to move away from fossil fuels entirely. This could be achieved by phasing out government fossil fuel subsidies and replacing them with renewable energy subsidies.

A radical shift away from fossil fuels will be necessary if we want a livable planet. This will be difficult, especially for countries whose economies rely on fossil fuels. That being said, it’s hard to see what other options we have. Anything other than a radical shift towards renewable energy, and global downscaling of oil and gas, will leave our planet in an unrecognizable state. The fossil fuel industry’s lobbying power needs to be addressed. Canada also needs to take responsibility for the emissions we produce, whether they’re emitted at home or abroad. Failure to do so will leave future generations paying heavy costs so current generations can continue living comfortably. None of the options here are easy, but the current path we are on is not sustainable — the sooner we admit this, the better.