The Tribune
TUESDAY, JANUARY 20 2026 | VOL. 45 | ISSUE 15
SPORTS
Published by the SPT, a student society of McGill University
Know Your Athlete: Luca Nicoletti PG. 16
OFF THE BOARD
The bittersweet reality of homesickness PG. 11
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FEATURE
Medical revision: Putting women in the narrative PGS. 8-9
NEWS
Multiple activist groups will collaborate again for the upcoming Fair Against the Empire. (Amelia H. Clark/ The Tribune)
Activist groups across Montreal unite against U.S. military invasion of Venezuela Protesters chant, “Yankee, go home”
McGill’s newlyproposed identification policy is a form of carcerality EDITORIAL
The Tribune Editorial Board
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cGill regularly presents itself as an open and accessible campus, dedicated to offering the “best possible education” while ensuring academic freedom, equity, and inclusivity. Yet the university’s newly proposed Identification Policy for Access to Properties Owned, Occupied, or Used by the University, presented to the McGill Senate on Jan. 14, is grounded in a different premise altogether: That the university’s openness is contingent upon identification, monitoring, and the ability to regulate who inhabits its public spaces. Presented informationally to the Senate, the policy now moves directly to the Board of Governors for approval.
The proposed Identification Policy would empower “authorized personnel” to demand students, faculty, or visitors to produce McGill or government-issued identification and, if necessary, remove face-coverings for identity verification. The policy outlines several “legitimate purposes” for requesting ID: Supporting the integrity of campus or online activities, upholding university policies, ensuring the physical safety of community members, and protecting McGill property. Although McGill frames the proposed Identification Policy as a neutral tool for campus safety, it extends discretionary surveillance powers across campus. In practice, this framework risks uneven enforcement while independently discouraging student organizing and entrenching a carceral approach PG. 5 to campus governance.
PG. 2
‘Cutlass:’ A story of fleeting and forgotten queer love
ARTS & ENTERTAINMENT
Impactful sapphic drama takes the stage at Tuesday Night Café Theatre
Lia James Contributor
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an. 15 marked the opening night for Cutlass’s debut workshop performance at Tuesday Night Café Theatre, directed by Ruby Isaacs and written by Elise Holbrook. The show follows pirates Anne Bonny (Elise Holbrook, U2 Music Composition) and Mary Read (Abby Wyland, U3 Art History Honours), who sailed the Caribbean in the summer of 1720. Both Anne and Mary disguised themselves as men on their excursion to ensure their safety, but the moment they discovered their mutual secret, their rela-
tionship ignited. The show features a live band of cello, violin, and piano, which elevates the drama in each scene. The score spans a wide range of emotions, with the cello evoking a dark moodiness while the piano uplifts the score, conveying excitement. The dialogue also drives the emotional rollercoaster: You’ll laugh at the absurd jokes made by the comedic-relief pirates, then cry as Anne and Mary’s relationship faces its tragic fate. Anne is a complex character whose story completely enraptures the audience. She is eccentric and angry, yet her chaotic humour makes her lovable. PG. 7