Province commits funds for RWB campus plan

Today’s horoscope

MOON ALERT: Avoid shopping (except for food and gas and important decisions until after 8:30 a.m. After that, the moon moves from Sagittarius into Capricorn.

ARIES (March 21-April 19)

You couldn’t pick a better day for sports training or improving a skill in the arts, music, welding, sculpting, pottery making or doing anything that requires repetition to improve. That’s because you have the patience and the perseverance to keep trying.

TAURUS (April 20-May 20)

Author Emily St. John Mandel’s Exit Party a story of hope in dark times

If Emily St. John Mandel’s new novel Exit Party is in any way prophetic, Americans should be worried.

The B.C.-born, New York-based author’s bestselling fourth novel, 2014’s Station Eleven, chronicled a performing troupe in a post-pandemic world. The novel experienced a second wave of popularity when the COVID-19 pandemic took hold, and when HBO’s Station Eleven miniseries premièred in late 2021.

Mandel launches Exit Party, her seventh novel, at McNally Robinson Booksellers’ Grant Park location tonight, where she’ll be joined in conversation by Winnipeg novelist Joan Thomas.

Published in September by HarperCollins, Exit Party sees Mandel once again working in the near future, in this case in a novel that features two timelines — one (dubbed the A-side in the novel) where the U.S. has fractured into a number of small countries following a civil war, and another (the B-side) where a singular, autocratic surveillance state has tightened its grip over its citizens.

Jets salvage point in Chicago

CHICAGO — Ever have one of those days where you should have just stayed in bed? That pretty much sums up how Thursday went for the Winnipeg Jets here in the Windy City.

It began with the bad news that top defenceman Josh Morrissey’s wrist issue is more serious than feared, and he likely won’t be back in the lineup any time soon. Then, veteran forward Vlad Namestnikov, coming off his best game of the young season, crashed into the boards at the end of morning skate, suffering an upper-body injury that sent him to the sidelines.

Off to the game itself, which began with Dylan DeMelo hitting the post on the first shift, a parade of Winnipeg penalties helping the home team build a healthy early lead and, last and certainly least, an eventual 4-3 overtime loss at United Center.

It actually could have been worse.

Not much of a race when most of the field can’t find their running shoes

In Winnipeg's mayoral race, there are few truly bad ideas, but hardly any really good ones.

Women wearing appropriate clothes to gym not asking for men’s opinions

Prior to last Saturday, I was the blissful sort of person who could say “who is that, again?” when I heard the name Shane Gillis.

Now, I know him as the comedian who said “women just dress like whores now” at the gym during his opening monologue on Saturday Night Live — a show that fired him in 2019, by the way, for being racist and homophobic on a podcast yet continues to invite him back as a host for some reason.

Gillis also likened women’s short shorts (the kind one might wear to lift weights, say) to neon fishing lures.

“And don’t look. You’re not allowed to look. For real, don’t look, because they are filming,” he said.

Austen adaptation a handsome, delicate cinematic dance

Marianne (Esmé Creed-Miles) can look rather bedraggled in this new version of Jane Austen’s first published novel, which has once again ignited the “loose hair” controversy that has raged among Janeites since the casually coiffed 2005 reimagining of Pride & Prejudice.

Purists might be vexed, possibly even discomfited or discomposed by some of the details in this take on Sense and Sensibility, part of a wave of Austen adaptations and Austen-adjacent material released to mark the 250th anniversary of the writer’s birth.

Would prudent Elinor (Daisy Edgar-Jones) be penning letters to a man to whom she is not engaged? Would even spirited Marianne be running barefoot through the woods?

Possibly not. But if director Georgia Oakley (Blue Jean) and rookie screenwriter Diana Reid don’t adhere to the strict letter of Austen’s work, they catch much of its spirit. This is a vivid and deeply felt examination of the enduring power of sisterhood, which is at the core of not just the 1811 novel, but of Austen’s own life in the profound importance of her relationship with her sister Cassandra.