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Satellite Signals

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WEB-woodwardWoodward’s

Woodward’s has got you covered this Thursday, June 25 with their Community Singers 2015 Workshop. This weekly community choir is hosted on a drop-in basis, kicking off each week at 9 p.m. at PHS Woodward’s on the 10th floor, and is open to all music lovers.

surreySurrey

Tuesday, June 23 will be a night to join together as a community over a Canadiana-themed meal at City Hall Plaza at 8pm. This dinner, “The Long, Long Table,” seeks to strengthen community ties of Surrey residents by engaging guests over a night of entertainment and lively conversation. Tickets are $35 at the Surrey BIA office for this gourmet feast and friendly company.

vancouverHarbour Centre

SFU’s “Danger Zones: The Changing Nature of Global Conflict” begins at 5 p.m. on June 24 and features special guest expert speakers from across the province who will share their insights on conflicts and the current global state of affairs. The event is free and will be held at SFU’s Harbour Centre campus in room 1400.

Steampunk silliness at Bard on the Beach

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Photo courtesy of David Blue.

Steampunk is one of those things that is quite difficult to describe, but very easy to recognize. Essentially, it’s a sub-genre of science fiction that features steam-powered machinery rather than advanced technology. But it’s more complicated than that: it also tends to feature fantastical elements and references to the British Victorian era, and it has an aesthetic to match that period. Scott Bellis directs this version of The Comedy of Errors in a whimsical world full of turning cogs and hissing steam, and it’s a delight.

This audience favourite is Shakespeare’s shortest play, and is based on a very simple premise: twins separated early in life, both named Antipholus, end up in the same town, and they each have identical-looking servants named Dromio. As Antipholus of Syracuse (Ben Elliott) and Antipholus of Ephesus (Jay Hindle) cross paths with each other’s Dromio, plenty of communications are conveyed to the wrong recipient and these meetings full of mistaken identities lead to increasingly confusing events and silly situations.

Despite all this comedy, the story begins with the Duke of Ephesus threatening Egeon, an old merchant, with a death sentence for having broken the rule of forbidden travel between Syracuse and Ephesus. Egeon explains that he has come to Ephesus to find his wife and two sons. Egeon and his wife Emilia had each raised one of the twins separately after being separated in a terrible shipwreck, and now he is on a quest to reunite the family.

Unbeknownst to Antipholus and Dromio of Syracuse, they have finally found the home of their twins, and we are treated to some hilarious scenes caused by mislaid communication. One such scene involves Dromio of Ephesus (Dawn Petten) beckoning Antipholus of Syracuse to come home to have dinner with his wife. When he refuses, his brother’s wife is shocked at her husband’s behaviour and goes looking for him.

The shrill, angry “Hello!?” that emanated from Adriana (Sereana Malani) as she approached Antipholus of Syracuse, calmly eating by himself, was impeccable, and Antipholus met her with a befuddled, high pitched “Hello” to match, which of course increased her frustration and caused a roar of laughter from the audience.

Antipholus of Syracuse follows Adriana back to her house while trying to figure out how he all of a sudden has a wife he wasn’t aware of, and he ends up falling in love with her sister, Luciana (Lindsey Angell). At their house, we meet Nell, the grunting kitchen wench (Andrew McNee), and Maud (Daniel Doheny), a chambermaid who is constantly brushing everything with her feather duster. The slapstick comedy shines with these characters, and Luciana’s performance had the perfect amount of innocence and fragility.

The brilliant humour is in the dramatic irony of the entire intricately woven plot. We know there are these identical looking people with the same names causing all the confusion, but we love laughing at the mess on stage. We are just waiting for the moment when the characters figure out what we’ve known all along.

To top it off, the beautiful, intricate set full of cogs, pipes, and a clock centrepiece was the perfect backdrop, and the costumes were equally elaborate with a riveted executioner’s helmet, lace-trimmed dresses, long, dapper pleated coats for Antipholus, and goggles for Dromio.

While the show didn’t receive a standing ovation and doesn’t rank among my favourite Bard productions, it features strong performances, lots of laughs, and a killer steampunk aesthetic.

The Comedy of Errors is presented by Bard on the Beach from June 4 to September 26 at Vanier Park. For more information, visit bardonthebeach.org.

Peak Publications Society board meeting agenda

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Peak Publications Society Board of Directors Meeting Agenda

June 18, 2015

The Peak Offices

 

Chair: Max Hill

In attendance:

Editor-in-Chief, Max Hill

Collective Representative, Melissa Roach

At-Large Representative, Natalie Serafini

Employee Representative, Katherine Gillard

Maia Odegaard (Board Secretary, non-voting)

  1. Approval of Agenda
  2. Approval of past minutes from May 21, 2015
  3. Investment update
    Maia to report on the status of the Society’s investments.  See appendix A.
  4. Financial update
    Maia Odegaard to summarize the Society’s finances through May 31, 2015. See appendix B.
  5. 50th anniversary  update

Maia and Katherine to update the Board on The Peak’s 50th anniversary reunion plans.

  1.  Election of new collective representative

Leah Bjornson has now officially resigned from The Peak Board of Directors. Max will bring up the election of a new collective representative on The Peak’s week 8 collective meeting, to be elected at the week 9 meeting on Wednesday, July 1.

  • Adjournment

____________

Peak Publications Society Board of Directors Meeting Minutes

May 21, 2015, 5:00 p.m.

The Peak offices

In attendance:

Editor-in-Chief, Max Hill

Collective Representative, Melissa Roach

At-Large Representative, Natalie Serafini

Employee Representative, Katherine Gillard

Board Secretary, Maia Odegaard (non-voting)

Guest, Brad McLeod

Regrets:

Collective Representative, Leah Bjornson

 

  • Called to order: 5:04 p.m.
  • Approval of agenda

 

Melissa/Natalie

 

  • Approval of meeting minutes from April 30, 2015

 

Melissa/Natalie

 

  • Investment update

 

Maia Odegaard outlined the Society’s investment account growth, with the overall portfolio value having gone up year to date, but the Market value having gone down $4,085.31 since March 31, 2015.

 

  • Financial update

 

Maia presented the final budget outcome from the spring semester, with the total revenue $4,767.88 higher than predicted, even though student assessments were $5,944.38 lower than projected. Total expenses were $12,818.57 under budget, despite improper budgeting for the Associated Collegiate Press conference, as the prices were quoted in USD.

 

  • Website update

 

The company contracted to restore the-peak.ca’s database, Raize, seemed to have hit a wall in regards to getting the site back up and running, so Maia asked David Proctor, creator of the WordPress theme and former Business Manager, to step in and complete the task.

 

  • Contributor pay policy amendment

 

Humour Editor, Jacey Gibb, asked that the Board approve an amendment to the current contributor pay policy as outlined below:

Be it resolved to amend the “Contributor Pay Policy” document, items 2. b) ii and iii to read:

iiI. “$20 per simple illustration, graphic, ​ or single panel comics generally defined as those taking less than an hour to produce;”

  1. “$30 for all other illustrations, graphics​, or multi-panel comics​​”​

​Whereas the current pay policy doesn’t specifically include comics, but the current rate is $10 per comic without taking size thereof into consideration.​

Whereas comic artists can spend multiple hours on one comic and the remuneration should ​reflect both the size of the end result and the effort put into it.

Melissa/Katherine

All in favour

 

  • Board meeting time for the summer semester

 

The Board will meet on the third Thursday of each month at 5:00 p.m. during the summer semester, unless otherwise decided upon to accommodate everyone’s schedule. This meeting time will be posted in the Classifieds section of The Peak on Monday, May 25, 2015.

 

  • Reunion update

 

Maia and Katherine Gillard, The Peak’s Promotions Coordinator, have been working steadily on plans for the 50th anniversary reunion celebration. The Highland Pub has been booked for Thursday, August 13, and Katherine is in contact with the pub’s manager regarding menu options for a BBQ and whether we’d like to have the event held on the patio or inside the pub. The T-shirt design contest is currently ongoing until June 5th, and once we have received all submissions, we can vote on a winning design. The invite list made up of past Peakies currently has approximately 60 email addresses and counting. We should be sending out a hard invite in the next few weeks.

 

  • Board representative for Tartan hiring panel

 

The Board appointed Melissa Roach as its representative on the Tartan hiring panel.

 

  • Addition from Max: hiring stipend for the Tartan

 

Max Hill proposed that those involved in hiring the three staff members for the pilot magazine project, the Tartan, receive a hiring stipend similar to that alotted to the hiring panel for The Peak editors: $50 for The Peak’s EIC, $200 for the Managing Editor of the Tartan, and $0 for the Board Representative. These funds will be taken from The Peak’s wage budget.

Natalie/Melissa

All in favour

 

  • Adjournment 5:30 p.m.

 

Approved by ________________________________ & __________________________________ on April 9, 2015.

How Canada can mend relationships with Aboriginals

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EIC
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The children in residential schools suffered severe abuse and neglect. - Photo courtesy of Truth and Reconciliation Commission

After spending six years listening to testimonies across the country from nearly 7,000 residential school survivors, Canada’s Truth and Reconciliation Commission (TRC) released a final report on June 2 that outlines measures by which Canada can fully mend its relationship with the Aboriginal Peoples.

The 360-page document recounts stories of Aboriginal children taken from their parents, and the abuse these children faced in residential schools.

The report provides 94 recommendations for amendments in government, communities, churches, schools, and Aboriginal municipalities, ranging from government policy and programs to the simple way Canadians interact with each other.

The Commission uses the establishment of residential schools as the main the basis for the report, and confronts Canada on the “cultural genocide” inflicted upon Indigenous communities across the country.

Among the many suggestions, the report cites the creation of a national Centre and Council for Truth and Reconciliation, the implementation of Aboriginal health-care rights, the creation of new legislation for indigenous languages and education, as well as an inquiry into missing and murdered Aboriginal women, a statutory holiday to honour those who attended residential schools, and the implementation of the UN Declaration of Indigenous Peoples.

“If you were to ask people at SFU who the local First Nations are, probably 80 per cent of the students here couldn’t tell you.”

William Lindsay,

Director for the Office of Aboriginal Peoples at SFU

The Commission now calls for political parties to take action over words, and implement these strategies into their regimes.

SFU professor of public policy, Doug McArthur, told The Vancouver Sun that one of the most important things now “is for our provincial and federal governments [. . .] to respond to this report and to clearly indicate [. . .] that they do understand what this report is all about. The next step [. . .] is to take action around education, healthy communities, and those sorts of issues.”

In particular, the Commission emphasizes “education” as a main course of action in “closing the gap” between between the First Peoples and the country.

In an interview with CBC on June 2, head of the Commission, Justice Murray Sinclair, emphasized the imbalance between educational funding and the accomplishments of Aboriginal students, claiming that “education is the the key to reconciliation because we need to look at the way we are educating our children.”

The Peak sat down with William Lindsay, Director for the Office of Aboriginal Peoples at SFU, to discuss the education of First Nations issues at the secondary and postsecondary levels.

“There has to be education about the First Peoples,” he continued. “In particular, local peoples, because if you were to ask people at SFU who the local First Nations are, probably 80 per cent of the students here couldn’t tell you.”

“Right now the high school kids get bits and pieces. [. . .] They have a grade 12 course [on First Peoples] that’s an elective in British Columbia, but isn’t [a course] they have to take.”

Lindsay noted the recent work that SFU has undertaken with both the TRC and Reconciliation Canada, in implementing the university’s Aboriginal Strategic Plan. He referenced SFU’s recent residential school education week in February of 2013, and other subsequent workshops held at the university on the issue.

Then turning his focus to the future, Lindsay commented, “The Faculty of Education and First Nations Studies are doing an excellent job at educating students, but it’s something that could done better across the university. My office will be working for the next year on developing some in-house Aboriginal awareness workshops [. . .] designed for the staff and faculty.”

Cinephilia: Greg is an unlikely hero in Me and Earl and the Dying Girl

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EIC
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If Me and Earl and the Dying Girl were a person, I would wrap my arms around them and squeeze as hard as I could. Based on a single viewing, this is one of the most affecting and lovely films I’ve ever seen. It’s funny, sad, touching, and profound. It also subverts almost every expectation while reinventing tropes I’ve seen a million times, making it that much more unpredictable and moving.

Greg, an awkward high school senior, interacts in the safety of his empty social cocoon and befriends a girl with leukemia. He has attributes which I see in myself: awkwardness, unattractiveness, complete ineptitude in interactions with girls, and an illogical head-over heels love for cinema.

I adore the moment where Greg — who makes terrible homages to classics like Midnight Cowboy, A Clockwork Orange, and Breathless (and many, many more of my favourite movies) — is in his room directly above where his parents are fighting about his grades and the fact that he won’t be admitted into college the following year.

Greg has spent so much time with Rachel, the titular dying girl, that he has done “literally zero homework” all year. Like it’s a drug, Greg injects himself with a dose of Francois Truffaut’s 400 Blows, escaping to another world of sadness to express his emotion and frustration. I don’t know about you, but I’ve done that.

There are many moments where the film calls attention to its construction by having Greg narrate a contrast between this movie and a conventional Hollywood one. For example, when he and Rachel begin to have some chemistry, he breaks up the moment by saying, “so if this was a touching romantic story, our eyes would meet and suddenly we would be furiously making out with the passion of 1,000 suns. But this isn’t a touching romantic story.”

This approach is often very funny, but more importantly, it serves the story by creating an ironic distance that Greg not only creates between himself and the other characters, but also the spectator. As Greg learns to open up to those around him, the narration also becomes less self-reflexive and more of a tool to express emotion.

When Greg tells us that the movie we’re watching won’t end with Rachel dying because it’s not that kind of low-level film, it is like a defence mechanism against the audience judging him. So in the end, once his arc is complete, the film allows itself to go into more conventional story beats (albeit in a different way from what you’ve seen) because Greg is no longer hiding behind his pretensions.

This approach is so apparent in the final scene that it seems almost ripped out of the film Extremely Loud And Incredibly Close. What ends up separating this film from more gooey manipulation is that it uses these tropes to tell us something about the character.

Greg is unlike the teen-movie protagonists to whom we’ve become accustomed. He doesn’t drink. He’s not trying to lose his virginity. He doesn’t do drugs, although he does once accidentally. He’s not obsessed with finding a date for prom. He’s not a jock, a nerd, a geek, a bookworm, or any other stereotype. He is clunky and unrefined. He says excruciatingly stupid things yet still remains entirely endearing to us because we could see ourselves acting that way — in fact, most of us probably have.

Pixar succeeds with adult-oriented hit Inside Out

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EIC
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Life is like a long bike race: a grueling trek to the finish that consists of exhilarating ups, depressing downs, and moments of uncertainty where you feel like quitting. Inside Out takes place near the beginning, during the exhilaration period. This is a film about what happens when the training wheels come off and innocence is lost. There are bound to be some scraped knees, but we all get back to pedaling.

The plot could be told in a trite 10 minute short film: a young girl whose upbringing was driven by joy has to deal with overwhelming, conflicted emotions when she has to leave her friends behind to move to San Francisco, where she embarrasses herself at school during an emotional breakdown. The past fades, imaginary friends dissolve, and old companions evaporate into the fog of memory. What remains are feelings and emotions. You may not remember exactly what happened, but you’ll always know how you felt.

Inside Out is less concerned about the particulars of the situation — the story of the girl is generic and universal — and more embroiled in the emotions fighting behind it. That’s not just my own jibber jabber. This movie actually takes place inside an 11-year-old’s head as her five emotions (Joy, Anger, Fear, Sadness, and Disgust) attempt to navigate Riley’s ever-changing world.

This is an ambitious concept, but it’s clear that if you’re trying to look at this deeper layer throughout, not everything fits as a metaphorical representation of Riley’s psyche. At times this can be frustrating, but the film must be interpreted as a whole rather than considering each instance on its own.

The ensemble manages to form a fairly deep palette of characters, and a lot of this characterization is done through meticulous visual design. Although Riley’s external world is fairly banal and grounded, it accentuates the vibrancy and detail of the production design inside her head. Each feeling is modeled around preconceptions that we already associate with feelings: Joy is a star-shaped glowing beam of yellow light with lively big eyes; Sadness is short, blue skinned, chubby, and covered head to toe in a turtleneck. Each character has distinct details that make you recognize the feeling they represent even without any other factors.

If you thought Pixar had lost the magic from Wall-E, Up, Ratatouille, Toy Story, Monsters Inc. and The Incredibles, you can take solace; Inside Out is a welcome addition to that list. Without a doubt the funniest film they have ever made, this high-concept emotional rollercoaster takes a simple and familiar story and tells it with creativity and heart.

This is a film of great moments such as when Riley’s “facts and opinions” boxes get mixed up, or when the crew in charge of Riley’s long-term memory decide to not throw the annoyingly catchy gum commercial into the dump. There is also a slapstick bit that doubles as a history of abstract painting. Kids in the theatre were laughing, but this might be the most adult-oriented Pixar film to date.

Older audiences should be thoroughly wrapped up in this story about growing up and transitioning into a new part of life. The last line of dialogue, after Riley’s control board gets an upgrade with new buttons including swear words and puberty, is Joy saying, now that she’s 12, “what could possibly go wrong?”

We know there will be more memories, more buttons, and more sadness. Until we bike across the finish line, life’s going to put forks in the road and maybe even a few flat tires. The key is to learn how to manage our emotions, inside and out.

Comic Connoisseur: Quantum and Woody cap series with side-splitting hijinks

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EIC
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Quantum and Woody are the worst crime fighters ever created. There is no duo in comics today that can match the hijinks of these two mismatched protectors. Joined by a supporting cast that includes a sexy clone named Sixty-Nine and a goat who can shoot lasers from its eyes, it is enough to make one wonder if Valiant Comics were stoned when they announced the comic’s return after a 13-year hiatus. However, since their reboot in 2013, the characters have seen more success than anyone expected.

In a time where virtuous superheroes are innumerably prevalent, it is a welcome surprise to see two characters that share none of those admirable qualities. Quantum and Woody are not even ruthless vigilantes; they’re just a pair of nitwits that should have never been granted superpowers. Their adventures are nothing less than a train wreck from start to finish, and this earns the comic the distinction of being a side-splitting odyssey of grandiose stupidity you have to see to believe.

In Quantum and Woody: Crooked Pasts, Present Tense the series comes to its grand conclusion with the same loveable craziness readers have come to expect. Complete with a Voodoo Heist and an evil reanimated Thomas Edison, it is everything readers have always wanted but could never articulate with words.

At its core, Quantum and Woody is story about two estranged adoptive brothers who would not hesitate to kill one another if given the opportunity. Brought together to try and solve the murder of their father, the un-dynamic duo are accidently imbued with superpowers in the process. To make matters worse, Quantum and Woody cannot be away from each other for a period of over 24 hours or every atom in their body will come apart.

As they progress closer to the mystery surrounding their father’s death, tensions between the brothers mount astronomically. In the end, they create twice as much conflict for themselves than all the antagonists in the series combined.

The banter between the brothers is what makes up a majority of the series’ charm. James Asmus perfectly encapsulates their petty squabbles with his witty, fast-paced dialogue. Every panel in the series packs hilarity — you cannot help but laugh hysterically as these characters find new and exciting ways to make things worse for themselves. The brothers are magnets for catastrophe, and every situation is better than the last.

The series is not perfect, though. For instance, it suffers from inconsistent artwork throughout the whole volume. This is not to say the artwork doesn’t service the story, but it does become distracting when artists change chapter to chapter. The series could have benefitted from having the same artist for every issue; it would have made the overall collection more well-rounded.

All in all though, Quantum and Woody is a series which can brighten even the darkest day with its humour — and remind only-children everywhere how lucky they are to be alone.

HUMOUR: Has Game of Thrones gone too far in new leaked season six script?

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EIC
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Photo courtesy of HBO

Remember earlier this year when four episodes of Game of Thrones were leaked online before the season even aired? Unfortunately, the security breaches keep coming for the HBO mega-hit, as, not even a week after the show’s season finale, a supposedly leaked script for next year’s premiere has revealed the fate of at least one fan favourite character.

The leaked document, which HBO has yet to comment on the authenticity of, includes a scene where bastard son Jon Snow has his right hand sliced off and his stump of an arm crammed into his mouth, causing him to choke on his own blood, all before he is slowly lowered into a vat of mystical acid, which not only burns through flesh and bone but also incinerates a person’s soul, ensuring an eternity of hell in the afterlife.

Fan reaction to the script’s leak has been overwhelmingly negative, with many criticising the showrunners for digressing too far from George R.R. Martin’s source material, the book series A Song of Ice and Fire. At the end of A Dance With Dragons (spoiler alert), Jon Snow only gets three of his fingers cut off before being lowered into the cauldron of boiling mystical acid, a much tamer send-off than the one HBO has allegedly cooked up for the character.

In fact, many fans have been posting online since the leak, threatening to boycott the show unless HBO changes the script to be more representative of Snow’s fate in the novel.

“I get that it’s a violent show,” one reviewer for TVLine said in response, having read the season six premiere script, “and I know the showrunners have been deviating further and further from the books, but they’re ruining the character of Jon Snow for me. The way he goes out in the novel is poetic and so heroic; what the show does is just torture porn, plain and simple.”

While the show has never shied away from controversial topics like violence against women, last season was particularly brutal with the rape of Sansa Stark in the sixth episode and Stannis Baratheon sacrificing his only daughter to be burned at the stake in the season’s penultimate episode.

However, some fans are pleased with this new supposed development, if only because it’s a male character being put through such torturous events.

“I’m sad we won’t get to see Kit Harington’s beautiful, bearded baby face anymore,” commented Jezebel columnist Sarah Ranger, “but whether or not the showrunners are aware of it, the death of Jon Snow has a lot of feminist undertones to it. His character is literally left to simmer and boil in the broth of patriarchy and he pays the ultimate price because of it. Perhaps the most surprising part of this latest twist is how progressive Snow’s mutilation is.”

It’s unlikely we’ll find out anytime soon if the leaked script is real or not, but one thing’s for certain: Game of Thrones fans sure like to complain about stuff.

This week in comics

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EIC
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AGORA #6
The Adventures of Agoraphobia Man: World Defender (Jacey Gibb)

FIXED Peers 6
Peers (Leslie Lu)

Pun 2 3
Pun 2 3 (Sarah Walker)

Seagull Square #6
Seagull Square (Jill Mandrake)

HUMOUR: SFU alum to Kickstart documentary on the Universal Studios rides that almost were

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EIC
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Photo courtesy of BrokenSphere (Wikipedia)

For Jas Khattra, the choice between going to Disneyland or Universal Studios was always an easy decision to make — even at the age of five.

“Universal Studios,” he said, laughing. “Mom and dad would always roll their eyes at me and say, ‘Jas, let’s visit Disneyland instead.’ Then I’d throw a fit until we went to Universal [Studios]. It didn’t always work but hell, I was five so it was worth a shot [laughs].”

At the age of 25, this SFU grad has taken his passion for the well-known theme park and turned it into something quite unexpected: a Kickstarter-funded documentary centred on scrapped Universal Studios rides, a project that Khattra promises is even more controversial than you would expect. The Peak recently caught up with Khattra to learn more about his daring documentary.

The Peak: So, Jas, tell us about the documentary.

Jas Khattra: It’s going to be about the Universal Studios no one knows about. The dark side, man.

P: The dark side?

JK: Hell yeah, It’s going to be about all this “behind-closed-doors” stuff. Bribes. Corruption. The rides they don’t want you to remember.

P: Can you disclose to The Peak one of the rides that was swept under the rug?

JK: Well, I shouldn’t. . . but I got to build up some hype for this thing somehow. I have significant proof and documentation about a ride that was going to feature Jaws and E.T. the extra-terrestrial teaming up in an audience interactive studio ride.

P: You’re kidding.

JK: I’m not even joking, man. It was going coincide with Spielberg’s scrapped reboot for Jaws. Jaws was supposed to be a sort of alien-shark hybrid and E.T. returned to Earth to stop him, but they team up in the end. It was totally bonkers.

P: How did you come across this information?

JK: When Sony had its leak, I found an email that referenced a long-forgotten Spielberg film which was going to cross market with an ill-fated Universal Studios ride. I snooped around some more and found an original handwritten proposal posted on an Instagram account by a temp who was sorting some files for the studio.

P: Wow. What else did you find when you were gathering information for this project?

JK: Well, attendance at Universal Studios has been down the last few years. As such, someone put forward the idea to cater to a more mature audience.

P: Meaning what exactly?

JK: What if I told you that at one point a 50 Shades of Grey ride was in development?

P: No. . .

JK: I’m absolutely serious. The repercussion of this project’s cancellation is still being felt at Universal Studios. It’s also lead to schism among management. Like I said, dark side.

P: Have you told anyone else about this? What were their initial reactions?

JK: People have looked at me like I’m crazy for doing this. And I totally get it. But if people knew even a fraction of some of the lousy ideas that get thrown around in a Universal Studios board room, it’s mind-blowing stuff.

P: Any projects on the back burner after this one concludes?

JK: I do actually, and I’m very excited about it. I plan to Kickstart another documentary on two corporate giants that have been secretly at war with each other since 2010.

P: And what companies are those?

JK: Lego and Minecraft.

Khattra is now accepting pledges online through Kickstarter for his documentary, The Good, The Scrapped, and The Ugly.

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Simon Fraser University’s independent student newspaper since 1965.

Contact us: [email protected]

© The Peak Publications Society 1965-2024

Simon Fraser University’s independent student newspaper since 1965.

Contact us:
[email protected]

© The Peak Publications Society 1965-2024