Volume 52 Issue 9

REGENESIS @UTM

Healthy food options are few and far between at the University of Toronto Mississauga (UTM). The available healthy options are unaffordable, often discouraging students from choosing healthy options and promoting unhealthier alternatives.

>> read more on page 12

BLACKWOOD GALLERY SUPPORT FOR STUDENTS

The words jump out from one of the light boxes scattered around the campus. Numerous thought-provoking messages can be found on these, but where do they come from? The source lies in the Kaneff Center, where we find the Blackwood Gallery.

>> read more on page 08

Undergraduates, graduates, and professors gathered at the Kaneff Rotunda on October 2 to mark another exciting “Classics and the World Today” (CaWT) event, held by the Department of Historical Studies at the University of Toronto Mississauga (UTM).

>> read more on page 03

FEATURES NEWS

Two Halloween pub nights rock the Student Centre in October

The UTMSU and campus clubs hosted spooky celebrations in the lead-up to reading week.

Aaron Calpito, News Editor

Diana Varzideh, Contributor

A poet youth laureate’s mission to empower you

Avneet Kaur

Contributor

Poet Youth Laureate of Mississauga, Tahira Rajwani, shares her story in finding strength through poetry and her determination in spreading empowerment.

T hrough her passion for poetry, Tahira Rajwani loves giving back to her community. As the Poet Youth Laureate of Mississauga, she is on a mission to make spoken word known and celebrated. Through her consistent efforts in open mics, writing workshops, and community events, Rajwani works to ensure that young people feel the empowering and connecting effect of poetry.

In an interview with The Medium, Rajwani talks about what motivated her to share this art form with others and the role of poetry in her life. She also lays out her clear vision to make spoken word accessible, digestible, and alive in the places where youth gather.

>> POET YOUTH continues on page 12

You can’t rich right

Mariana Domínguez Rodríguez Contribut0r

It’s time we stop pretending there’s a moral way to flaunt inequality

There’s talk online about how some wealthy people present themselves. It centers on those showing off pricey lifestyles: luxury beauty products, Italian villas, and fancy food products. But, it also seems like being rich now requires a certain approach: it should look good, feel grounded, and be considerate.

Take Becca Bloom, an American socialite, entrepreneur, and rich influencer. On the internet, she is frequently lauded for being wealthy “correctly” by keeping displays subtle, favoring artistic imagery over ostentation, and contributing to worthy causes. Yet, her efforts to make these extreme riches seem human just doesn’t land right. Not

when people across the globe struggle daily. Any displays of affluence—even if styled as down-toearth—comes across as jarring and tone-deaf. It simply feels off.

This notion of a good rich person, the idea that wealth is ok as long as those with it act appropriately, feels off. It has become a thing online, hinting that quiet displays of humility from the rich will somehow make systemic disparities easier to swallow. However, it reads more like damage control for people who have plenty, aiming to polish a deeply uneven landscape. Audiences admire rich people who present riches as effortless; clothing choices lean toward muted pallets, posts emphasize thankfulness, dwellings appear uncluttered boasting eco-friendly furnishings. The intent? For onlookers to believe that this person mirrors my life…with a trust fund!

>> CAN’T RICH RIGHT continues on page 11

02 NEWS

Historical Studies Department hosts eighth annual Classics and the World Today event

Editor

The program included lectures from professors from the University of Oxford and California, Berkeley and a graduate research workshop and dinner.

Undergraduates, graduates, and professors gathered at the Kaneff Rotunda on October 2 to mark another exciting “Classics and the World Today” (CaWT) event, held by the Department of Historical Studies at the University of Toronto Mississauga (UTM).

This was the eighth event in the ongoing CaWT series, which began in 2017 to give the public and the U of T community a chance to hear from distinguished guest speakers who would give their insight into the ancient world and its relevance to our modern one.

The most recent installment featured lectures from Dr. Kathryn Stevens and Dr. Carlos Noreña, two international professors of classics who were invited to discuss the event’s theme: “Connecting Places in Greek and Roman Antiquity: The Role of Empires.”

Dr. Stevens is an Associate Professor and Tutorial Fellow at Corpus Christi College, Oxford and a former postdoctoral fellow at the University of Copenhagen and Trinity College, Cambridge. She has authored and co-authored articles and books for several publications, with a focus ranging from Hellenistic Greece and ancient Mesopotamia.

Dr. Noreña is a Goldman Distinguished Chair in the Social Sciences, Director of Ancient History and Mediterranean Archaeology, and Professor of History at the University of California, Berkeley. Numerous books, articles, reviews, and translations on Roman history, culture and society are among Dr. Noreña’s repertoire of authored and co-authored works.

In the tradition of previous installments, UTM Department of Classics Professor Andreas Bendlin opened with a land acknowledgement and an introduction to the theme of this semester’s event, “The Role of Empire,” highlighting the spirit of the CaWT as a bridge between the ancient and modern worlds as well as the ever-present legacy of empire.

After an introduction to the two guest speakers, Professor Bendlin called on Dr. Stevens to begin the event. Her lecture tackled the complexity of identity in the ancient world, especially for people who resided within large and organized empires on the crossroads of vast and far-flung cultures.

Dr. Stevens focused on the Seleucid Empire—an ancient state that stretched from the Aegean Sea to the Hindu Kush at its greatest extent—and its Mesopotamian

holdings as a case study for her lecture. Utilizing archaeological evidence within the context of the colliding Hellenistic and Near Eastern cultures, Dr. Stevens articulated how the intermingling and exchanging of material and culture was certainly increased by the existence of the vast state — yet processes of “Hellenization” were less than surely a centralized affair. It seems a mix of top-down and bottom-up was more likely the reality, the finer details of which we may never know.

Dr. Noreña’s lecture followed and served to propose a model of viewing complex ancient empires as active and impactful centralized states that played significant roles in the governance and prosperity of their constituent parts.

Pushing back on the “World-systems” model proposed by Immanuel Wallerstein, Professor Noreña used the eastern city of Palmyra—its ruins now in modern Syria— and its rise over two centuries of Roman rule to demonstrate the active involvement of the Roman state in civil and military infrastructure, taxation, and monetization. Palmyra may have always been destined for some riches at least, given its placement at the crossroads of east-west trade. However, it reached its great heights, Dr. Noreña argued, as an active benefactor of the Roman Empire’s systems. The active policy of centralized states in administering their holdings was said to be the difference between prosperity and mundanity.

A customary Q&A period for the two speakers followed the lectures, after which the cohorts of undergraduates, graduates, and professors assembled somewhat clumsily into a column and marched their way to Maanjiwe nendamowinan (MN) for what some may have anticipated as the more tantalizing half of the event: the reception, with free food and drinks.

While students, faculty, and guests scrambled for servings, The Medium interviewed the two guest speakers for their insight regarding what they see as the benefits of studying the ancient world for learners today and what impact they hope to see CaWT has on the UTM community.

Addressing the larger themes of the CaWT event, the two professors offered encouragement to anyone looking to study the classics, no matter the reason.

In response to the first inquiry, Dr. Noreña, highlighting “practical” purposes, noted the question of if our modern world was an inevitability or the result of “random change and contingency,” the answer to which he states “hinges on what we think was happening in the ancient world.” Ultimately, this discussion speaks to our future and how we approach it, as the latter circumstance means that there is more scope moving forward for alternative arrangements than what the former situation allows for.

Dr. Stevens spoke about how studying the often “alien” variance that underpins historical studies can lead one to “encounter a lot of things which don’t seem natural to you, that maybe challenge some of your ideas about the world” and “makes you put all societies into a different perspective.”

Dr. Stevens also emphasized how the limits of studying ancient history mandate extreme attention being paid to every minute piece of evidence available—a practice of contextualization and critical analysis that we should strive to apply to any piece of information which comes our way in today’s modern world, “which is so flooded with information and opinions,” according to Dr. Stevens.

Both guests spoke of their pleasant reactions to the UTM community’s turnout at the event. Dr. Noreña believed that the event’s popularity “showed the continued relevance of the Classics,” while Dr. Stevens commented on the number of nonClassics students in the audience, a testament to the reach of Classics to so many at UTM, saying, “I hope that [the event] just sparks more interest and more conversations.”

CaWT concluded on October 3, with a graduate-focused workshop in the Collaborative Digital Research Space in room MN 3230, which was open to all students. The workshop was followed by an evening dinner in Toronto.

Two Halloween pub nights rock the Student Centre in October

(From page 01)

Aaron Calpito, News Editor

Diana Varzideh, Contributor

The UTMSU and campus clubs hosted spooky celebrations in the lead-up to reading week.

Twice this October, students took over The Blind Duck for Halloween-themed pub night festivities. Seven student groups co-hosted “Halloween Pub Night” on October 17, while the University of Toronto Mississauga (UTM) Students’ Union (UTMSU) hosted its annual Halloween pub night on October 23, this time titled “Fright Night.”

Each function featured games, drinks, and live performances and attracted several students, many of whom turned up in costume.

The UTM Urbanism Club, the UTM Filipino Student Association (FSA), the UTM Art Club, the Erindale Gaming Association, UTM Esports, the Harmonix Music Club, and CFRE Radio organized the pub night on October 17 and offered free admission.

Starting at 7 p.m., a sequence of cover bands took the stage at The Blind Duck, playing songs ranging from new wave to pop rock ballads. The cover band roster was followed by a DJ who kept up the dance music through the tail end of the night. The gathering at the stage was large but spread thin for the most part, as club photographers snaked through bubbles of audience members and the occasional dancing duo.

In the adjacent Square One Presentation Room, partygo-

ers cycled through a massive collection of card and board games. Along rows of tables, several groups locked in for friendly bouts of poker, Katan, and Anomia, among dozens of other options.

Around the corner was a photo booth featuring a makeshift police lineup backdrop and handheld props, courtesy of the FSA.

Event organizers set up several video game stations throughout the Student Centre. Some attendees stopped by for sessions of Guitar Hero and Mario Kart in the Board Room, while others played matches of Super Smash Bros. and Tekken across from Chatime. Though it was drizzling outside, that didn’t stop a few attendees from setting up a game of mahjong in the outdoor seating area.

The Students’ Union ran their pub night on October 23. The event was coordinated by UTMSU Vice President Campus Life Lois Ogunnubi-Oriade, who shared some of her experiences from the process of setting up the pub night in an interview with The Medium.

“Honestly, one thing I’m really passionate about is student engagement on campus because it was something that I felt I was lacking in my first year,” she said, discussing what she likes about organizing such pub nights. “So, my goal is to make an event that students will want to come out for, that they’re excited about, and that … they have a good time during.”

Speaking on the event collaborators and attendees who came out, Ogunnubi-Oriade added, “I’m very happy that we were able to bring artists for the first two pub [nights] that we’ve had so far … we have a really good crowd of

students this year who are hyped, so I like that.”

Ogunnubi-Oriade said that fatigue was the biggest obstacle she faced while planning the event overall. “Logistically, everything has been going well. We have Shane [Madhani], our building manager, who handled the artists and everything, so that aspect was pretty taken care of. My team just kind of worked on promotion, and decor, and all of Halloweek. So where the fatigue comes from is that Halloweek as a whole is also my portfolio, so it’s like back to back to back events, sometimes two events in a day, so by Thursday, I’m tired.”

The payoff began as the night went into full swing, and lines formed outside The Blind Duck. Participants came prepared in costumes ranging from DC heroes to pickles. The highlight of the night was Toronto-based rapper, Smiley, most known for his song “Over the Top” featuring Drake. He was joined on stage by Crow From The 905 and Murda Beatz.

Everyone got into the Halloween spirit as the night progressed. Participants gave lightsticks and drinks to the decorative scarecrows and took pictures of the stage, which hosted a range of graves. Event organizers also engraved the graves with the names of lost Student Centre amenities, listing 2025 as the death year of things such as “Free Breakfast” and “Student Autonomy” in reference to the UTMSU’s ongoing Hands Off Our Education campaign.

The party ended after 11 p.m., when the winners of the Halloween Haunt tickets and the costume contest had been announced, and it was time to prepare for the final day before reading week.

Campus administrators meet to discuss support for student initiatives

Sara Al-Shrouf Contributor

The Campus Affairs Committee convened for the second time this academic year to discuss co-curricular programs and student services.

On October 16, the University of Toronto (U of T) Mississauga (UTM) Campus Affairs Committee (CAC) held its cycle 2 meeting in the William G. Davis Building’s Council Chamber. The CAC held the meeting to discuss experiential education, the promotion of health services at UTM, the university’s progress on its ongoing “strategic priorities,” and its various plans for the future.

“In general, the [CAC] is concerned with matters that directly concern the quality of student and campus life” and is “responsible for monitoring, reviewing and making recommendations concerning” co-curricular programs and student services, according to the Office of the Governing Council’s website. The Committee comprises students, administrative staff, and teaching staff at UTM.

In its second cycle, the committee welcomed its two newest members of administration, Tim Fricker and Career Outreach Consultant April Forbes. Forbes won her seat through a recent fall by-election, while Fricker will be taking on the role of interim dean of student experience and wellbeing.

The meeting took place amid ongoing debates on how to increase ongoing university-wide progress amid potential budget cuts in three key areas: student life, academics, and future opportunities. Many committee members presented data on tracked progress to identify the areas in which UTM is doing well and which areas could be improved to maintain U of T’s high national and global rankings, especially regarding sustainability, student welfare, and research.

Interim Associate Dean Academic Experience Vivienne Luk started by discussing how she plans to “direct her vision to expand the three distinct parts of Experiential Learning by working with both domestic and global institutions to offer UTM students more opportunities to learn inside and [outside] the academic context.”

Her plans include expanding the UTM Co-op Internship Program (UTMCIP) through incremental strategic growth by admitting “50 new students per year” until the cohort admission reaches “770 students by the 2034-35 school year” across all of its offering departments. These departments include the Departments of Biology, Math-

ematical and Computational Sciences, Chemical and Physical Sciences, Economics, the newly joined Department of Management, and the Institute of Communication, Culture, Information and Technology.

Health and Counselling Centre (HCC) Medical Director Dr. Erin Kraftcheck and Fricker expressed they hope to increase support for student and staff wellbeing after reviewing how 77 per cent of the 16,000 appointments at the HCC last year found counselling to be helpful.

They plan to improve the HCC through continuous offerings of same-day clinic appointments, expanding Ask the Nurse initiatives, and developing partnerships with Peel health institutions to address the notion of AI integration into healthcare and ensure meaningful student engagements.

The committee also discussed how the university uses the Beginning College Survey of Student Engagement to inform decision-making regarding the allocation of funds for campus resources. Available for incoming students to fill out each year, the survey displays what students anticipate from their journey at U of T in terms of experiences and challenges.

By identifying common challenges in the survey, UTM staff can help bridge the gap

between students’ expectations and actual experiences by organizing events and opportunities in anticipation of those challenges.

What

is yet to come

Towards the end of the meeting, Chief Administrative Officer Deborah Brown remarked that “staff are at the core of our institution.” Considering this, she noted that departments are attempting to cut back in terms of budgets in most areas aside from those areas where staff need the most to ensure support for student initiatives.

Upcoming discussion topics include the 2025-26 school year mural currently un-

OPINION

derway at the Hazel McCallion Central Library, the launch of UTM-based nursing programs in 2026, the opening of the new residence building by Oscar Peterson Hall, and reviews of meal plan rates, student housing parking, and renovations.

These topics, alongside data on the university’s progress towards its current goals, will be reviewed during the third CAC meeting on January 26, 2026.

Are we too harsh on BookTok?

Sahrish Mirza Contributor

Don’t hate the reader; hate the system shoving the same stories down our throats

You scroll through TikTok—swiping past five-minute mug cake recipes, absurd Reddit stories tucked beside Subway Surfers gameplay, and that one meme that just never gets old—and there it is again: someone sobbing into their annotated copy of Fourth Wing by Rebecca Yarros. The captions always say something like, “this book broke me </3,” and the comments are flooded with people who haven’t read since their assigned high school reading of Romeo and Juliet.

You scroll past, a little amused, a little horrified, and then you realize this is BookTok, the corner of the internet that can turn any paperback into a bestseller overnight.

But for every viral book haul and mascara-streaked review, there’s a wave of backlash: critics, writers, and other readers tearing down the community for its shallow taste and questionable moral standards. The question is, are we hating on BookTok too much? Or are we not being honest enough about the stories we consume? Is this an issue of “bad writing,” or are we gratuitously shaming what’s largely become a space for many people—mainly women—to find comfort and escape?

BookTok deserves critique, but not contempt.

Sure, many of its bestsellers read like extended fanfiction with a marketing budget, and yes, some of their authors handle sensitive topics with all but the subtlety of a sledgehammer. But, while these books require thorough examination before they can be deemed acceptable literature for most, mocking the readers themselves misses the point. The problem isn’t that women are reading shallow stories, but rather that publishing keeps rewarding them for it. The conversation shouldn’t be about scorning people who find joy in easy, romantic escapism; it should be about asking why so much of that joy comes wrapped in clichés, trauma, and poor editing.

It’s hard to deny that much of BookTok’s literary empire runs on tropes. Enemies to lovers, morally grey male leads, “she’s-not-like-other-girls” heroines—stories that rely less on craft and more on emotional sugar highs that litter the platform. The problem isn’t that these tropes exist, but that they often replace actual storytelling. Authors like Colleen Hoover or Sarah J. Maas have built entire franchises on predictable arcs and paper-thin character development, yet their books dominate readers’ to be read

(TBR) lists.

It Ends With Us by Colleen Hoover, for example, faces criticism for romanticizing domestic abuse. It has become a “must read” novel on TikTok for its portrayal of an abusive relationship, but its glossy writing and romantic framing has made many readers forget that abuse isn’t character development. Hoover fails to tactfully capture what is a very sensitive topic and uses it as a mere plot point instead, defaulting to popular tropes.

Similarly, A Court of Thorns and Roses by Sarah J. Maas has been praised for its fantasy worldbuilding, but its male characters often tread too close to the “possessive equates to passionate” love trope. These stories promote intensity and danger disguised as love, and BookTok eats it up because it is dramatic, addictive, and easy to consume.

Of course, not every book needs to be morally pure—literature should make us feel, not just behave. However, there is a difference between exploring darkness and romanticizing it. When emotional impact outweighs moral awareness, we end up praising stories that confuse power with passion.

But here is the thing: we can critique the books without mocking the people who actually read them. For many women—who make up the bulk of the BookTok community—these stories are a rare space where female emotion takes centre stage. Sure, they might be messy or melodramatic, but after a long day of coursework, commuting, or corporate drudgery, who can blame someone for wanting

a little romance and escapism? We don’t degrade people for watching cheesy rom-coms or reality T.V. shows, but the moment women find comfort in “bad” writing, it suddenly becomes a cultural crisis.

Many women have expressed viewing the BookTok community as a safe space where they can freely discuss their opinions and reactions. Maybe the problem isn’t that women are reading the wrong books, but that people still don’t take women’s pleasure seriously. Not every story has to reinvent literature—sometimes, you just want a morally questionable fae prince and a plot twist that makes you throw your Kindle across the room.

BookTok doesn’t deserve a free pass, but it doesn’t deserve all the blame either. The inherent issue isn’t that women are reading “bad books,” but rather that the publishing industry keeps feeding us the same fantasies dressed up in prettier covers. These stories romanticize pain, power imbalance, and trauma, yet they’re marketed as empowerment because that’s what sells. We can call out lazy storytelling and shallow tropes without sneering at the people who find comfort in them. If anything, the popularity of BookTok should make us ask why so many readers are turning to these worlds to begin with—and what that says about the one we live in.

Don’t hate the reader; hate the system shoving the same stories down our throats.

MASTHEAD

EDITORIAL BOARD

Editor-in-Chief

Aya Yafaoui editor@themedium.ca

Managing Editor Samuel Kamalendran managing@themedium.ca

News

Aaron Calpito news@themedium.ca

Opinion

Yasmine Benabderrahmane opinion@themedium.ca

Features

Gisele Tang features@themedium.ca

A&E

Yusuf Larizza-Ali arts@themedium.ca

Sports

Joseph Falzata sports@themedium.ca

Photo

Melody Zhou photos@themedium.ca

Design

Sehajleen Wander design@themedium.ca

Podcast

Jia Bawa

Social Media

Jannine Uy

Outreach

Mashiyat Ahmed

Copy

May Alsaigh may@themedium.ca

Anaam Khan anaam@themedium.ca

The court of public opinion

Emilia Madala Contributor

When legal battles feel more like entertainment than a reality

The court of law is a place of judgment; where fate is determined and punishment is dealt. But it is also a place where you might see someone leaping over the bench at a judge.

Over years, our image of the courtroom has distorted from one of order to that of a stage set for drama. This change can be partially attributed to the televised trials and the viral spread of clips from court proceedings on social media.

The first major televised case was that of O.J. Simpson in the 90s. His celebrity status as an NFL player and actor prior to the murder charges captured the public’s attention. Media outlets jumped on the chance to broadcast the proceedings of the case, and audiences were glued to their screens. As the drama unfolded in front of millions of viewers, the precedent for courtroom coverage was set.

Legal proceedings are a gold mine for content, especially when it comes to celebrity cases. We put public figures on a pedestal so it becomes shocking, and even thrilling, to watch them judged. Due to their wealth and status, their cases are usually far removed from our own lives and realities, allowing us to indulge in the entertainment without concern for personal consequences.

With celebrities on trial, it’s all about the drama, not the facts. A prime example of this is the Johnny Depp v Amber Heard defamation case. With cameras in the courtroom, every moment was clipped, taken out of context, and made viral. The more outrageous the scene, the faster it would spread, often becoming a meme. The case quickly became a battleground of public opinion, drowning out the truth. The majority expressed open support for Depp, vilifying and ridiculing Heard. Rather than engaging critically with the presented evidence or doing further research, many social media users and corporations simply hopped on the bandwagon.

Public reaction to Depp v Heard revealed our love of judgement. Celebrity trials are the new legal reality TV where we get to play the role of Judge Judy. The digital age has only amplified our instinct to judge, giving anyone a platform to make their views and opinions known.

aging people from negative behaviours. However, when gossip becomes a court of public opinion, it leaves little room for fact and true accountability.

Social media has not only amplified this, but given rise to a new form: memes. Any facial expression, comment, or reaction can be turned into a punchline, no matter its real context and legal value. Rather than focusing on the “plot” of the trial, people zero in on the “characters” in it.

Take Gwyneth Paltrow’s ski collision trial. The public was less concerned with liability and more with Paltrow’s deadpan behaviour. Her now-famous quote, “I lost half a day of skiing,” and the fact that she counter sued for only $1 only added to the unserious perception of the case. Then there’s Cardi B’s recent assault trial. The internet went crazy for her sassy attitude, exaggerated facial expressions, and iconic outfits, comparing the whole proceeding to an SNL skit. After winning the trial, Cardi B capitalized on this publicity by releasing court cover variations of her new album Am I the Drama? Even “serious” cases are not immune to being memeified. The murder charges faced by Luigi Magione didn’t stop people from thirsting over his mugshots or admiring his music taste.

With growing interest in legal pop culture, we have begun to move away from true crime, which has long held our collective fascination. We are drawn in by the motivations of criminals and captivated by the thrill of watching a real-life mystery unfold. But recently, there has been a shift of public intrigue to courtroom drama. Much like high-profile crime cases, celebrity trials offer spectacle, but without the fear factor, making these cases feel safer to engage with. We allow ourselves to judge freely and unapologetically since celebrities, elevated by status and wealth, seem distant from our everyday lives. Their legal battles feel more like entertainment than reality.

The rise of popularity of courtroom drama calls for a deeper reflection of our perception and interaction with the justice system. Are we undermining its purpose by not taking it seriously? Are we more invested in the drama than the legal complexities? And most importantly, are we directing our attention to the right places?

The justice system already leaves much to be desired, often failing marginalized communities. We spotlight celebrity drama and “funny moments” while overlooking cases not deemed “noteworthy” enough to capture the media’s attention. If the court of public opinion is going to be louder than the court of law, we must ask ourselves: what are we really advocating for?

TO CONTRIBUTE & CONNECT: themedium.ca/contact @themediumUTM @themediumUTM @themessageUTM social@themedium.ca outreach@themedium.ca

Without an evidentiary basis, this whole proceeding devolves into glorified gossip. Gossip can be useful—it defines societal norms and gauges public opinion of right or wrong, discour-

The melanchonic trap

Blair Donald Contributor

We’ve created a quiet religion of suffering If you spend even a few minutes on Instagram, Youtube, or Tiktok, a clear emotional tone emerges. Everything feels lighthearted. Fun. Digestible. It might feature Clash Royale memes and Adam Killa dancing at the St. George campus. A performative male with a matcha proclaiming his undying respect for women.

This might not even be relevant to you, but the trend of meme-fication is the same, regardless. Everything is playful, silly, trivial, and surface level—it’s a happy distraction, something we look at, smirk at, and scroll past. And when something heavier does appear—because it always does—it’s filtered through layers of irony. The music is funny or otherwise exaggerated. The caption uses meme-speak—“me when”, “the lion doesn’t,” or greentext—and references to do with faulty relationships, bad grades, or other sources of insecurity. Depth like this almost exclusively appears when connected to something of pain, and only when wrapped behind humor.

On social media, personal struggle is acceptable, but only when it is aesthetic, performative, and plausibly deniable as a joke. What we’re left with is a digital culture where joy is shallow, and sadness—so long as it is stylized—is the only thing allowed to feel real. Though this dynamic may not seem like a big deal, its hegemonic grip over digital culture is exactly where our problem begins. What we see online isn’t just a mirror, it’s also a script that teaches us how to feel, and what feelings are valuable.

Across the endless scroll, happiness is rarely displayed as something deep or fulfilling. It’s a punchline, a gag, a transitory blip. We are taught that happiness must be sought out, while sadness is what remains when we are alone, stationary, and unoccupied; what we experience when we are alone with our thoughts.

Happiness is portrayed through the models of fun, silliness, thrill, and excitement, and thus temporary, while sadness is grief, self-contempt, heartbreak, and failure, and thus permanent: everpresent. Over time, we internalize this logic. Sadness begins to feel more authentic than happiness, more real. And nowhere is this clearer than in the archetypes

of masculinity that dominate online spaces.

In online subcultures like the redpill, blackpill, inceldom, and toxic fitness communities, a single script repeats itself with dogmatic consistency: happiness is overrated. Optimism is naive. Hope is a weakness. These spaces revere deeply broken men as moral exemplars and role models—not in spite of their suffering, but precisely because of it. Men like Guts (Berserk), Patrick Bateman, Tyler Durden, and Ryan Gosling’s sad-eyed cast, are each idolized as admirably tragic figures who have “understood” life.

According to these archetypes, to be happy with life is to be blind or sheltered from reality. Emotional torment is not a problem to overcome, but a rite of passage, and an indication of maturity. Something that, if endured stoically and without complaint, signals insight and strength. The more broken you are, the more admirable you become; so long as you endure. This may come from a romanticization of sadness, or a disillusionment with the possibility of happiness altogether.

But, it also stems from something simpler: a learned belief, endlessly reinforced on social media, that joy is childish, or worse, feminine. True masculine maturity is imagined as suffering: grinding, enduring, hiding behind a stoic mask. Even Bateman, who smiles, socialises, and laughs, does so with a deadness in his eyes; and that contradiction is the point. He performs normalcy like a role, and in this perverted culture, that mask is the masculine ideal.

Of course, there is nothing new or inherently unnatural about performance.

Most people, in most social situations, are always acting. We shape our tone, fake a laugh, compete—subtly—for a preferable place within the friend group. It’s a natural part of living in the social world. Yet digital culture has exaggerated this instinct to an unhealthy extreme. It reinforces this mode of being perpetually through constant repetition, becoming what French sociologist Jean Baudrillard called a hyperreality.

This nature repeats ad nauseum, and exaggerates itself: TV characters try harder to fit in than real people ever would, and the polarity between their pretend and real selves becomes laughably extreme. We see it in Kendall Roy in Succession, Joe Goldberg in You, and both Rue and Nate from Euphoria; but countless other examples exist. This dynamic—the widening gap between our performed and authentic self—has already been widely discussed in other places. But what makes this situation uniquely damaging is how this structure collides with the emerging emotional tropes of our culture.

Through the perverse categorization of emotions glamorized on social media—joy as temporary facade and sadness as permanent depth— we begin to believe that our authentic selves must be hollow, wounded, or unwell; and begin to think it is inescapably so. We not only become distant from the actor we present to the world, we come to assume that what lies behind our mask must necessarily be broken. This creates not only a pathos of performance, but a pathos of emotion, between our real and social selves. Over time, this assumption becomes a self fulfilling prophecy.

The more we consume and reproduce this emotional script, the more real it becomes. The performance of sadness hardens into sincerity, and the culture’s distorted model of feeling becomes our own. We learn to inhabit our misery as though it were truth, and to mistake the endurance of that perversion as depth of character. In doing so, we trap ourselves in a sick emotional loop—alienated not only from happiness, but from the very possibility of it—taught to believe that our pain is both inevitable and somehow noble. We’ve created a quiet religion of suffering.

The man who smiles is a fool; the man who suffers, a philosopher. Sadness isn’t our virtue, but our truth—and our value lies in bearing it. The poets we idolize—Kafka, Plath, Dazai, Dostoevsky—lived in agonising despair.

Perhaps the saddest thing is not that we feel this way, but that we think it’s all we can be.

You can’t rich right (Contd. from page 01)

Mariana Domínguez Rodríguez Contributor

It’s time we stop pretending there’s a moral way to flaunt inequality

Online, making the super-rich seem relatable means turning their spending into pretty pictures. It’s a way to show off fortunes while calling it simple elegance. Money remains money, regardless. It arises from structures where many face hardship.

Influencers who seem down-to-earth while being wealthy aren’t motivated by goodness; it’s smart thinking. Knowing people dislike boastfulness, they build an image people can connect with. This isn’t merely publicity, but how minds work. A rich influencer might show off her coffee, a quick boost to get through Mondays like

everyone else, but the drink rests on expensive marble in a multi-million New York City apartment. Likewise, their self-care video features saunas, pricey workout classes, alongside skincare costing as much as monthly rent elsewhere. But, a quick shot of them slurping ramen—a few seconds spared for relatability—the comment section explodes. Consequently, genuine feeling gets lost within calculated moves, making truthfulness impossible to discern.

It also feels strange to argue for the rich honorably when things are falling apart. The economy is burning and we’re watching lifestyle reels. An average one-bedroom apartment in Mississauga now costs more than two grand a month. School debt payments loom on students. Meanwhile, on TikTok, people are seriously discussing how many purses is too many.

Online, making the super-rich seem relatable means turning their spending into pretty pictures. It’s a way to show off fortunes while calling it simple elegance. Money remains money, regardless. It arises from structures where many face hardship.

Influencers who seem down-to-earth while being wealthy aren’t motivated by goodness; it’s smart thinking. Knowing people dislike boastfulness, they build an image people can connect with. This isn’t merely publicity, but how minds work. A rich influencer might show off her coffee, a quick boost to get through Mondays like everyone else, but the drink rests on expensive marble in a multi-million New York City apartment. Likewise, their self-care video features saunas, pricey workout classes, alongside skincare costing as much as monthly rent elsewhere. But, a quick shot of them slurping ramen—a few seconds spared for relatability—the comment section explodes. Consequently, genuine feeling gets lost within calculated moves, making truthfulness impossible to discern.

It also feels strange to argue for the rich honorably when things are falling apart. The economy is burning and we’re watching lifestyle reels. An average one-bed-

room apartment in Mississauga now costs more than two grand a month. School debt payments loom on students. Meanwhile, on TikTok, people are seriously discussing how many purses is too many.

Enjoying good fortune isn’t the issue. Showing it off when others struggle simply lands poorly, however delicately presented. Seeing someone celebrate luxuries, while many cut back on essentials like food, doesn’t inspire. It stings. Acknowledging good fortune doesn’t alter who holds the leverage. Being thankful won’t cover expenses.

So, why do we still defend the rich? Perhaps, it feels good to think certain wealthy individuals are genuinely decent. This offers a cozy thought—maybe having lots of money won’t turn someone evil, so perhaps we too could be rich and stay moral. A way to soften the blow of knowing that the system keeps many from ever getting there. We assign goodness to riches because facing unfairness is hard.

Consequently, believing the rich deserve their fortunes makes things less upsetting. So when we say someone “riches right,” what we’re really saying is: hey make us

07 FEATURES

feel less angry about not having what they have. It’s a subtle shift, yet really it means those with less are handling the feelings about vast fortunes, accepting them rather than asking how they grow so large.

It’s easy to dismiss social media as shallow, a place where nothing truly matters. However, these platforms are actually where we build understanding today. They influence our views on things like success, politics, and everything in between. Daily pictures aren’t objective, particularly for those of us gearing up for uncertain careers. Instead, they shape what we think counts as winning or losing.

Influencers feigning modesty actually influences us—we begin to empathize with those in power, which lessens any anger toward the structures causing hardship for everyone else. When we accept riches simply because they look good, we cease to wonder at the imbalance.

So, can you rich right? The core issue isn’t just how we display disparity—it’s that such displays are inherently problematic. With everything getting expensive and decreasing qualities of life, perhaps true prosperity lies in keeping it quiet. Once money turns into a show, understanding others seems to get lost along the way.

Editor

A poet youth laureate’s mission to empower you (contd. from page 01)

Avneet Kaur Contributor

More than a literary genre

For Rajwani, poetry isn’t about exclusivity or literary complexity. “Poetry doesn’t have to be complicated,” she said. “It is a genre that’s crafted by marginalized groups for marginalized narratives.”

Rajwani sees spoken word as deeply rooted in marginalized histories — a form created by communities whose stories have often been overlooked. Poetry is a vehicle for those communities to resist against oppression, fight for representation, and reclaim their identity.

A pathway to express and connect

To Rajwani, her role as Poet Youth Laureate is more of a commitment than a title. She saw it as a motivation to actively create space where poetry can be shared. Through participating in open mics and writing workshops, Rajwani strives to build a culture where young people feel empowered to share their stories through poetry, whether on stage or on paper.

“Poetry is more accessible, digestible and more understandable [than most think],” she said. “Poetry is for everyone. It can be whatever you want it to be.”

Rajwani expressed that spoken word poetry can be both personal and collective. It can be a medium for one to build and connect with the community, while amplifying their individuality.

From teenage angst to youth laureate

Rajwani’s journey as a poet began as a secret she kept to herself. In her early teenage years, writing wasn’t about stages or audiences — it was about release. Poetry was something that Rajwani turned to when she didn’t yet have the language to explain how she felt. Over time, those private reflections turned into purposeful verses.

While Rajwani’s writing skills improved, one thing remained unchanged: poetry is something that she wants to pursue out of joy, not pressure. It’s a part of who she

is, not a career she tries to mold herself into.

As she grew more confident in her voice, Rajwani’s work began shifting toward themes of feminism and diaspora, which allowed her to connect deeply with her audience. At 15 years old, Rajwani placed second in her first on-stage experience at a poetry slam (a competitive art form where poets perform their poetry against fellow poets and in front of an audience).

Rajwani commemorates that experience as a turning point, from writing in the margins to standing proudly in the spotlight. It was the moment Rajwani realized what once felt like a secret could also be a bridge.

Building community through art

Rajwani’s work is reshaping how young people in Mississauga engage with poetry. Her workshops bring people from all over the GTA together and create a space where youth can explore and experiment with poetry, and express themselves. “I want youth to know this space is theirs,” said Rajwani. “Whether they write one line or perform a full piece, their voice matters.” Through her efforts, spoken word is becoming a community practice.

Looking forward

Rajwani’s long-term goal is to make spoken word a sustained and celebrated part of Mississauga’s cultural fabric. Her focus is to create more opportunities for youth to perform, collaborate, learn and grow.

“Poetry is for everyone, and everyone should know that.” She reiterated for all the writers in the Mississauga community. Rajawani’s experience demonstrates the transformative power of art when it serves not only as a form of expression but also as a means to uplift the community.

To learn more about Rajwani’s work and Mississauga poetry events, check out her Instagram page, @saugapoetry.

How clothing shapes our mood and motivation

April Roy Contributor

A glimpse into what UTM students are wearing, and whether it has an impact on their motivation and mental state.

I’ve always been inspired by people who aren’t afraid to express themselves. One of the most powerful ways to do that is through clothing. Curious about how what we wear might influence our mood and productivity, I spoke with three friends at the University of Toronto Mississauga (UTM). Each of them has a personal style that reflects their priorities and daily goals, from comfort to confidence to a balance of both.

First, I interviewed Natalia Gonzalez Escobar. Escobar finds that dressing up is one practice she does to boost her confidence. During the interview, Escobar wore a pair of lowrise flared jeans and a fitted brown blouse.

When asked to rate her mood, she gave it a score of six and a half out of ten, with one being the worst and ten being the best. Escobar explained that the medium score was mainly due to stress induced by midterm examinations.

“My motivation level, on the other hand, is pretty high!” said Escobar. She shared that her outfit definitely “did the trick” in making her feel confident and played a role in her high motivation level.

I also interviewed Esheeta Goga, who typically prioritizes comfort in her clothing choices. On the day of the interview, which was a weekend, Goga chose to stay cozy in her pyjamas.“Just an oversized shirt and fluffy long pants,” she described. Goga finished off her weekend outfit with a pair of fuzzy socks.

She shared that this outfit was great for a relaxing weekend after a busy school week. Goga found that it had achieved the goal of providing comfort while keeping her warm.

When asked to rate her mood from one to ten, she answered nine. “It’s been a good day so far,” she said. “Plus, my room has a lot of sunlight today, which gives a nice ambience.”

In contrast to Escobar, Goga’s motivation level was rated as a five. She found that she wasn’t motivated to do much. “If I need to do something, it’s not like I would be too lazy to do it,” she said. “I feel like I can still get work done today, but at the same time, I’d rather rest.”

Lastly, I interviewed Maya De Oliveira, who believes her outfit succeeds in both providing comfort and boosting confidence.

On the day of the interview, Oliveira wore a turtleneck sweater with a pair of dress pants. Having planned to visit the gym that day, she put on a pair of active shoes to finish off her outfit. She also wore a short-sleeved shirt underneath her turtleneck sweater, in case she gets hot during the day. A separate outfit Oliveira brought for the gym was a pair of yoga pants with a t-shirt.

Oliveira rated her mood at a score of eight out of ten. She shared that her good mood stemmed from being able to get to campus early in the day to get work done. She was also looking forward to going to the gym for the first time since the start of the semester.

On the other hand, Oliveira found that her motivation differed between various tasks. Academically, she rated her motivation level as a ten out of ten due to deadlines. “I know I have to get those things done,” she said.

As for her motivation for physical exercise, Oliveira rated it at a six out of ten. “It’s my first

time going in a while, so I’m kind of nervous. But I would say I’m motivated. I’m trying to get back into it [the gym],” she said. After sharing her determination in getting back to a consistent exercise schedule, Oliveira felt a new surge of energy.“Actually, I’d bump that up again to an eight.”

She believed her outfit provided a good balance between providing comfort while also making her look put-together. “It’s just putting the right pieces together to create a comfortable but confident outfit,” she said.

Escobar, who focused on boosting her confidence through her outfit, rated her motivation level higher than her mood. This shows that dressing for confidence can help increase motivation and self-assurance, even on stressful days. However, as seen with Escobar’s experience, our mood can be influenced by many factors, not all of which relate to what we wear. Still, overlooking comfort can affect how at ease we feel while studying or handling day-to-day tasks.

Goga, on the other hand, prioritized comfort, which resulted in a better mood but slightly lower motivation. Comfortable clothing can certainly improve our state of mind, but that same coziness can sometimes make it harder to stay driven or task-focused. Creating an environment that encourages productivity, such as working in a library or a quiet cafe, can help balance comfort with focus.

Oliveira found a middle ground by combining confidence and comfort in her outfit, rating both her mood and motivation highly. Just as we try to balance work and rest, blending style and comfort can help us feel capable and productive. An outfit that’s expressive yet practical can subtly signal to our brains that we’re in “work mode.” For some, that balance may also come from alternating between more aesthetic outfits and more relaxed ones throughout the week.

While our clothing doesn’t determine how well we perform, it can shape our mindset, which, in turn, affects how we approach our daily tasks. What we wear often reflects more than just personal taste; it can reveal our mood, lifestyle, and even our current state of mind.

So, the next time you’re waiting for the bus, working out, or studying in the library, take a look around. You might notice that there’s more heart and more story on a stranger’s sleeve than you’d expect.

The Blackwood Gallery UTM’s Own

Diana Varzideh Contributor

A special place where art, community, and expres-

How do you sense and comprehend the complexity of forces that shape our world?

The words jump out from one of the light boxes scat-

tered around the campus. Numerous thought-provoking messages can be found on these, but where do they come from? The source lies in the Kaneff Center, where we find the Blackwood Gallery. The gallery has operated since 1969, but changed its name in 1992 from the Erindale College Art Gallery to honor the Canadian artist David Blackwood for his contributions to the arts at UTM. The gallery aims to lower barriers and increase access to the arts by putting on several exhibitions throughout the year.

Currently, the STIM CINEMA exhibition can be found at both locations on campus: at Kaneff and at the eGallery in the CC building. Compiled by Christine Shaw, the exhibit compiles personal profiles of its creators, the Neurocultures Collective, and their research, mixing cinema and stimming. The e-Gallery contains various papers to read, as well as a wall display and stim toys. The main gallery displays short clips with eye-tracking technology to demonstrate different levels of stimulation, and it also combines the repetitive nature of stimming with the history of cinema through three zoetropes.

Marissa Maennling, a fourth-year student in the Art and Art History specialist program, was willing to provide more insight into the gallery.

The Medium: What is your role at the Blackwood?

Marissa Meannling: I work as a work-study position, so I do gallery attendant shifts, I help with public outreach, and kind of act as an ambassador for the gallery. I help with facilitating the gallery operations, and kind of, you know, putting together the final bits of things to do with the exhibitions and events.

TM: What is the purpose of the Blackwood Gallery?

MM: I would say that the Blackwood Gallery is dedicated to presenting contemporary art and interdisciplinary research practices, and particularly plat-

forming art that has to do with various social justice concerns and issues.

TM: Are the boards around campus also part of the Blackwood Gallery?

MM: Those are our light boxes. So they kind of act as a separate sort of cycle. We switch them out every now and again, but they’re like these vinyl graphics of either film stills or photography, all sorts of things. Sometimes they’re related to the exhibitions, and then sometimes they’re separate.

TM: Are the exhibitions student-led?

MM: A lot of our exhibitions center around artists, both international and specific to the GTA-J region. So, kind of a wide variety, but occasionally, we do student exhibitions. Our spring-summer exhibitions are typically focused around the graduating class for art and art history. So students in their graduating year will present their studio work in our exhibitions. Then, the exhibitions are partly put together by the curating classes in the art history stream.

TM: Thank you for sharing your perspective with The Medium.

Detailed explanations of the gallery’s ideas can be found on their website, where the information is easily obtainable for students, no matter where they are. The Blackwood receives numerous visitors every day, drawn in by outreach programs, the gallery’s SDUK publications, or other interactive elements around the campus, such as the light boxes. This brings us back to the question: How do you sense and comprehend the complexity of forces that shape our world? The answer appears to be the Blackwood Gallery itself, with its accessible, inclusive, and curious approach to the forces that run our world.

How The New Port Credit Active Transportation Bridge Will Benefit Tourism

Port Credit’s upcoming new addition will make it easier for people to walk, bike and connect, giving locals, students and visitors a smoother path into the vibrant neighborhood

The new Port Credit Active Transportation Bridge is expected to provide a direct and easy way to walk or cycle through Memorial Park connecting communities to the Port Credit GO station. The bridge is also expected to benefit tourism in relation to the arts as councillor Stephen Dasco said he expects the bridge to “Make it even easier to experience all that Port Credit has to offer.”

Strolling Port Credit’s Lakeshore? You likely sensed a vibrant energy; Musicians, artists, the bustling farmer’s market—it simply feels creative, inviting, utterly charming. For years, getting around Port Credit without a car felt awkward. No clear path drew walkers or cyclists directly into the lively core.

Now comes the Port Credit Active Transportation Bridge;

this new walkway and bikeway will span the Credit River, linking Memorial Park, Lakeshore’s shops, alongside the GO train station. Consequently, students, visitors, and those craving art experiences can more easily explore everything this spot has to offer.

The work underway suggests good things for those who enjoy art and travel. The city plans a 66-meter bridge spanning the Credit River, alongside a pathway linking parks and streets. Furthermore, there will be improved lights, intersections, plus landscaping along the riverbank. It isn’t simply construction; instead, these changes promise a pleasant, secure route ideal for evening strolls to see exhibits, open-air artwork, or listen to concerts—effectively expanding events and attracting visitors later into the night.

Stephen Dasko, a local councillor at the bridge’s start, stated its potential “It felt good to being work on the Port Credit Active Transportation Bridge—it will change how people get around here, making it simpler to enjoy everything Port Credit provides.” This wasn’t just hype; instead, it revealed the plan: the bridge aims to encourage walking or biking over driving.

So what does this mean for art around here? Port Credit already pulls people in with happenings like Buskerfest, the Southside Shuffle, a farmer’s market featuring musicians, likewise juried exhibits—Arts on the Credit—attract attendees throughout warmer months. This bridge eases travel for those using public transport, bicycles, or simply walking. Consequently, people tend to linger, explore shops and restaurants, plus enjoy several happenings during a single visit—a notion backed by studies and experience. Moreover, improved pathways alongside brother park illumination facilitate after-dark performances while boosting visitor security when artistic gatherings flourish.

The bridge is built to work well. Plans call for a 66-meter gap across the river—no support pillars needed—along with path lights and better crosswalk signals on Front

Street alongside Mississauga Road. These changes make nighttime events safer while welcoming walkers and cyclists. Consequently, we can host more evening activities such as impromptu concerts, open-air art installations, or after-dark strolls that were once difficult due to limited access or poor illumination.

How quickly things happen matters, alongside size. Initial news suggested building would take approximately eighteen months once started—records confirm movement from design to actual purchasing and initial groundwork starting in 2025, demonstrating the bridge is becoming reality. Consequently, for students considering trips or free time, this isn’t far-off talk; alterations will occur during a timeframe potentially impacting upcoming summers or school years.

Because of improved walking access via the GO train, people throughout the GTA—even those lacking vehicles—can now visit Port Credit, subsequently expanding attendance at local shows alongside displays well past the area itself. A slight bump in customers means a lot to little shops and arts groups—a musician making a bit more, a gallery getting new faces following a gig, or a market stall

emptying quicker. These small successes strengthen the area’s art scene. Port Credit BIA backs events like festivals, concerts, alongside seasonal markets; better access turns attention into people showing up. Roads themselves won’t birth creativity, yet they open new doors.

Accessible transport doesn’t manufacture performers; however, it makes it simpler for people to experience their work. You walk, cycle, or take the bus—so this bridge is for you. It means easier, eco-friendly ways to find concerts, markets, art, street performers. Think of it as a small chance bringing unexpected discoveries for your free time.

Stay informed. Check Mississauga’s website for news concerning building work, alongside opportunities to share your thoughts. Also, watch what Port Credit BIA and Arts on the Credit are planning. Once the bridge is ready, consider walking or cycling over it. Students interested in writing or art might document the area’s creative life, perhaps through photos, interviews with artists or a brief video exploring how easier access affects who comes along.

A Stage For All Styles: Hart House Theatre’s Vivid Festival of Dance Fall Showcase

Aqeel Shahid Ullah Contributor

Exploring the history of the Festival of Dance and examining the various performance styles being presented

Since opening its doors in 1919, Hart House Theatre has been a core part of Canadian Theatre, having nurtured and highlighted numerous directors, actors and playwrights. Over the decades, it has maintained its status as both a professional theatre venue and a supporting ground for new talent, showcasing multiple student produced shows each year.

One of these shows is the annual Festival of Dance, a week-long commemoration of dance that incorporates a variety of diverse genres, from K-Pop to Bollywood. The Festival of Dance has been a long-standing showcase hosted by Hart House Theatre, initially created to allow a platform for the many creative dance talents across UofT’s vast student base. The festival occurs over the period of a week, presenting a broad array of dance styles from various cultures in each performance, such as ballet, jazz, hip-hop, Afro-Caribbean and numerous other traditional styles. For the students who take part in it, the festival is a massive opportunity to showcase their talent and hard work on a professional stage, with complete technical assistance, lighting and sound to fully support their performances, being nearly indistinguishable from a professional dance production.

For this year’s fall showcase, the Festival of Dance occurred between the 16th and 18th of October, with multiple workshops taking place over the course of the week before culminating in the final performance on the 18th. Each of these workshops were free for U of T students to attend and featured at least one of the seven genres presented at the fall showcase. The first two workshops occurred on the 16th, with the first one consisting of two Chinese dances, the Traditional Chinese Dance and the Dunhuang Dance, while the second workshop focused on the basics of hip-hop choreography. The rest of the workshops took place on the 17th, with the third workshop delving into West African Afrobeat and South African Amapiano. The

fourth workshop revolved around urban dance, while the last two workshops revolved around Bollywood style dances and K-Pop respectively. Lastly, the performance for the showcase happened on the 18th, featuring all of the previous mentioned genres of dance in a singular, complete production.

In addition to allowing talented students to present their skill in a professional set

ting, the Festival of Dance offers viewers a distinct and exhibition, with each show being a coordinated effort of performances that promises a vibrant experience that is sure to resonate with them. As a mainstay of Hart House Theatre’s many programs, the Festival of Dance honours the establishment’s core principle by being a massive passion project for students, offering an inclusive and nurturing platform that not only highlights existing talents, but also invites new students to immerse themselves in the rich performance arts culture of UofT.

David Blackwood Art Featured at AGO Myth & Legend Exhibit

Emma Catarino Contributor

The Art Gallery of Ontario has over 80 of Blackwood’s art pieces, spanning his entire life, on display

David Blackwood is a world-renowned Canadian artist. He was born in Newfoundland in 1941, and, by the age of 15, had already opened his first art studio. At age 18, he received a scholarship to attend the Ontario College of Art and Design, and he later became an Art Master at Trinity College school. Then, at 23 years old, Blackwood had his artwork exhibited at the National Gallery of Canada.

Blackwood is famous for using an art style called “intaglio.” This art form requires making small etchings on a malleable surface, coating the surface in ink, and finally wiping away the ink so the only ink remaining gives colour to the etchings.

Between 1967 and 1971, Blackwood worked as an artist-in-residence at UTM (then called Erindale College). While working on campus, he had a hand in establishing our Blackwood Gallery. The gallery is located adjacent to KN137, in the Kaneff Building on the south side of campus. It was originally named the Erindale College Art Gallery when it opened in 1969, though it was renamed to the Blackwood Gallery in 1992 to pay tribute to the artist.

The Art Gallery of Ontario (AGO), located in downtown Toronto, is home to the largest collection of Blackwood’s art, which consists of over 80 of his drawings and intaglio prints. Inspired by his Newfoundland ancestry, Blackwood’s art consists mainly of depicting seafaring life, hunting, boating, and animals like seals or whales. It showcases a mixture of childhood memories, folklore, and historical events. One of Blackwood’s more famous collections is a series of 50 prints, titled The Lost Party, which showcases a sealing disaster that occurred in 1914. The collection took him

over a decade to complete.

As with many of the AGO’s exhibits, Myth & Legend is interactive. “Scent stations” are present, which are meant to create an atmosphere around Blackwood’s art by resembling core themes of his work. One of the scents resembles what Blackwood’s studio may have smelled like by replicating the scents of the ink he used for his artwork, the scent of the metal tools he would’ve used to create the etchings in his pieces, and the warm, wood-like smell of an indoor studio. The second theme being replicated through scent is the aura of the Newfoundland coast. This will be done by combining the scent of the salty ocean water, seaweed, and synthetic ambergris, a distinct musk created by Sperm whales.

For those who are interested in viewing the Myth & Legend collection, the exhibit opened at the AGO this October, and will run until March 6th 2026. Ontario citizens can sign up online to be an AGO annual passholder, which gives free admission to the museum for anyone under 25 years old.

12 SPORTS & HEALTH

Regenesis refreshes UTM’s food scene

Health Editor

Regenesis aims to address the UTM students’ desire for healthy and affordable food options

The Regenesis Flow

Healthy food options are few and far between at the University of Toronto Mississauga (UTM). The available healthy options are unaffordable, often discouraging students from choosing healthy options and promoting unhealthier alternatives

Regenesis is a student-led non-profit organization that sells affordable, healthy food to the university community. Director of Regenesis UTM, Christina Casciaro, recently shed light on how her organization is working to address the food crisis on campus, and some of the setbacks they have faced along the way.

“Everything’s sourced from a company called FoodShare—a non-profit organization based in Toronto.” Casciaro went on to explain that the food is bought in bulk from FoodShare, who then distribute it to food organizations that have agreed to sell the food for the same price it was bought at.

“Food on campus is really expensive, it’s unaffordable, it’s not really healthy food, and a lot of the time it’s not really good food either,” said Casciaro, reiterating her commitment

to healthy and affordable options for students. “An apple at Davis can be like double, triple the price of what we’re selling it for.”

What UTM students have to say

UTM students and athletes are in desperate need of healthy food options at UTM. Kirk Gibson, philosophy student and U of T varsity baseball player, made his thoughts clear on the current food options available at UTM.

“I think for what we get, it’s pretty expensive, especially the yogurt parfaits. I like those because they’re fast-acting carbs—I normally get them for a workout—but they’re tiny, so I finish them within a minute. I got a sandwich a few days ago, and the amount of meat it came with was very little, considering the price.”

Gibson also explained that the high costs and small portion sizes are deterring people from enjoying the healthy food that is on campus. “I didn’t eat on campus today, and I’ve been here since 9 am [5 hours] mainly because the portion sizes just aren’t worth the price.” This is an especially issue for student-athletes like Gibson as food is a major factor in his performance on the field. “If you don’t eat properly before training, you don’t have the energy to perform.”

Aryan Mahajan, a fourth-year student in DEM, also expressed his opinion on the limited healthy food options at UTM. “I always bring my own lunch. It’s not worth eating the junk from Tim Hortons, Harveys or Pizza Pizza.” Mahajan also agreed with Gibson that the cold-cut sandwiches are not good value for money.

The demand for healthy food is there for all to see. Regenesis has teamed up with the UTM Student Union (UTMSU) to help supply that demand.

Partnership with UTMSU

Casciaro was also asked if Regenesis had faced any difficulties or pushback from the university. “We’ve never experienced that from the university. Because we are tabling outside of the UTMSU legally, UTMSU can do whatever it wants in terms of food. That’s why when you go to events at UTMSU, they can have different food and things and different variety.”

But if you have any other event on campus in any other building, you have to go through their hospitality and catering. Christina was also quick to mention that Regenesis is grateful to the UTMSU for providing table space to sell their food outside the building.

Casciaro thanked UTMSU for their support towards Regenesis’ efforts, but the same cannot be said for UTM as a whole. “We wanted to do this in Davis, and we were kind of refused,” admitted Casciaro. Under university regulations, Regensis was restricted from selling fresh produce in certain buildings.

Hopes to Expand

When asked about growth possibilities, Casciaro emphasized her willingness to expand Regenesis’s presence to everyone at UTM. “Having a space on campus where we can provide that service would be so cool, so amazing, and so beneficial to everyone on campus, including staff and faculty, to have something where they can buy affordable produce that’s accessible and high quality.

If you want to revitalize your diet this school season, check out the Regenesis food stand outside the Student Centre on Thursdays from 12-5 pm. To learn more and get involved with Regenesis, visit their website or Instagram.