Search F News...

Striking a Balance

By and Featured, News

Illustration by Emily Zheng

An email popped up in the inboxes of students and faculty at the School of the Art Institute of Chicago on Oct. 30 that seemed a little out-of-the-ordinary. The subject line read, “Part-Time Faculty Union: Where We Stand On Negotiations,” signed by Martin Berger, provost and senior vice president of academic affairs, and Alexandra Holt, executive vice president for finance and administration. It came amid whispers of a potential strike by the Non-Tenure Track faculty members at SAIC in response to what NTT faculty members said they consider an unusually slow pace for bargaining negotiations.

When asked about the timing of the email, Berger said, “Given that the union raised the possibility of a strike for the first time, we thought it an appropriate moment to ensure that staff, students, and parents had accurate information about the School’s bargaining position.”

The email by Berger and Holt outlined the school’s economic proposal presented to the Art Institute of Chicago Workers United, addressing the primary concerns shared by the union. These included the following: a new healthcare stipend, guaranteed salary increases, longer contract lengths, elimination of promotion or leave prerequisites, and return of course guarantees. While some items lacked specifics, like the amounts for the new healthcare stipends, others were less ambiguous.

Speaking to the guaranteed salary increases, the email said the school would agree to “a more than 10 percent increase in course rates for all part-time faculty members,” with the caveat that this would be made actionable over the next four years.

According to the most recent NTT proposal guide, the primary demands pertain to access to health care; job stability; a three-step grievance process, ending in third-party arbitration; and pay parity with full-time faculty.

Referring to job stability, the NTT proposal addresses layoff requirements and states, “Layoff proposals include providing enough notice and compensation so that losing one or more courses would not be catastrophic.”

Addressing access to healthcare, the proposal states, “Health insurance is NOT a merit-based issue.” As supported by the Federal Law and Affordable Care act, the proposal states that faculty should not have to choose between going to the doctor or paying rent.

The grievance and arbitration process put forth by AICWU’s proposal addresses recourse for violations of the union contract. For instance, as it stands now, the administration has the ability to terminate or not reappoint any NTT faculty for any reason. AICWU has proposed that termination would require “a good and legal reason — for any such acts.”

In the summer of 2020, the museum and the school laid off 150 staff and faculty members. These layoffs were reportedly executed without discussion or warning.

Pay parity refers to equal pay for equal work. According to AICWU’s proposal, “We used the MLA Recommendation on Minimum Per-Course Compensation for Part-Time Faculty Members as a starting point to negotiate Per Course Rates (PCRs), but we won’t accept anything less than parity.”

The email from Berger and Holt was sent shortly after the AICWU NTT faculty held an event at a park across from the 280 Building, since they were not permitted to gather on campus to share updates. 

“[The administration] did not share what was happening in bargaining in a truthful manner, or obfuscated it a lot,” said Sarah Bastress, a lecturer and a member of AICWU.

Anjulie Rao, a lecturer and AICWU organizer, said that many of her students had approached her for clarification, as the content of the email was confusing.

There are three primary bargaining units under the AICWU umbrella. These include staff at the Art Institute of Chicago, staff at SAIC, and NTT faculty at SAIC.

AICWU faculty and museum staff negotiated their first contract with the AIC administration in August 2023, following 14 months of discussion. The NTT formed its bargaining team in April 2023 and began negotiations in the first week of June 2023. They are now 18 months in and are still bargaining.

“You can’t run a place where between 70 and 80 percent of your classes are taught by folks like me, and refuse to pay us a basic living wage, refuse to insure us, and refuse to give us any path towards stability or promotion, because you deem us interchangeable and disposable,” said Kristie McGuire, administrative assistant of academic operations and an AICWU bargaining committee member.

Berger pushed back on the suggestion that SAIC does not fairly compensate part-time faculty. He said, “SAIC currently offers the second highest per course rates of any [Association of Independent Colleges of Art & Design] school, along with robust benefits, including a health care benefit for the almost 200 part-time faculty who have the rank of adjunct.”

While the administration has direct access to the student body and staff, the union only has contact within the NTT faculty pool and the full-time faculty and students who have interfaced with them previously.

According to calculations done by the NTT unit of AICWU, it takes two to three tuition-paying students per class to compensate for the instructors’ pay. The smallest class size at SAIC has eight students, with the largest at over 30 students.

Berger said that tuition goes to covering more than faculty salary. He mentioned the cost of janitorial services, security, staff in the DLRC, Wellness Center, the Diversity, Equity, and Inclusion Office and more. “All of these offices — and their attendant costs — are needed to support each class,” Berger said.

“When the school tries to pit paying the NTT against raising student tuition, that is an absolutely false pairing,” said McGuire. McGuire said that hours spent working out of class for work-related tasks such as mentoring and writing letters of recommendation are not clocked.

“The raises they are offering us will still result in a pay cut once adjusted for inflation,” said Bastress.

On salary increases, Berger said that most U.S. higher education institutions do not factor inflation rates into compensation.

New research by the College and University Professional Association for Human Resources found that the median pay raises for employees of most higher education institutions in 2023 to 2024 “continued the upward trend seen last year (and exceeded the inflation rate for the first time since 2019 to 20).”

Bastress also highlighted how the contract affects everyone, noting that a large portion of the faculty are alumni and some current students will move on to join as faculty eventually. She expressed feeling disrespected not only as a faculty member but also as an alumnus.

Bastress added that the NTT faculty are often left in the dark about their course assignments until just weeks before the semester begins. She said that, like many of her colleagues, she is forced to rely on side gigs to maintain financial stability.

Last year, the part-time faculty at Columbia College Chicago went on the longest adjunct strike in U.S. history. This 49-day strike shed light on how higher education institutions in the U.S. have been increasingly relying on adjunct faculty who have little to no job security and low pay.

Following suit, in spring 2024, AICWU faculty began to mount a serious strike threat by asking NTT colleagues to sign strike pledge cards.

“Most of the team members started teaching because they care about student education,” said McGuire. Bastress, Rao, and McGuire all agree that a strike would be destabilizing for faculty and students. NTT faculty members signing the strike pledge are concerned about going unpaid for the duration of the strike. A priority for AICWU faculty members is to raise a strike fund to financially support faculty members during a potential strike. Research for this fundraising has been ongoing since April 2023.

“We’re making sure that we’re raising funds so that people are financially supported,” said Rao.

“Our offer to the part-time faculty strives to balance our desire to offer them a fair contract with our obligation to provide students with an excellent and accessible art and design education,” Berger said.

There is no expectation on the part of AICWU faculty members for students to get involved in the strike. However, often, students do get involved in faculty unionization efforts worldwide.

When asked how students were approaching the potential strike, Mira Simonton-Chao (MAAE 2025) said that the past year had demonstrated the need for the community to unite in order to get the administration’s attention.

“One strategy that other schools have used successfully is organizing tuition strikes, and I definitely think that could be an effective approach at SAIC, along with generally building campus solidarity,” said Simonton-Chao.

(A tuition strike is a form of protest where students refuse to pay tuition fees in order to demand changes in policies, practices, or financial transparency.)

It’s important to have conversations with families or folks financially supporting our education to raise money for the strike and hardship fund,” said Nao Goldstein (BFA 2027).

Across the world, students have supported faculty unions as they prepared to go on strike. In the United Kingdom, over 70,000 students signed a petition demanding universities to pay them for loss of class time when the University and College Union went on a 14-day strike. More than 1,700 students from the University of Auckland led a petition in support of their faculty union to support their pay raise in 2022.

At SAIC, faculty and students have often stood in solidarity with one another. Just this year, SAIC faculty issued a letter in support of the May 4 protestors, many of whom were students. AICWU then released a statement echoing the demands of SAIC student protestors.

“If I was a student, I would be concerned if I was being taught by faculty that is perpetually exhausted and underpaid,” said McGuire. Both McGuire and Bastress iterated that given how tuition-dependent SAIC is, students hold an immense amount of power and agency.

“[Students] should ask questions, they should be talking to their professors. Sometimes when you’re faculty and you’re teaching one class, it’s really easy to feel like you’re not really a part of the SAIC community. Having students express any type of support for this builds a sense of togetherness,” said Rao.

The NTT faculty said they feel confident that, based on the support they are seeing, they have a strong base of colleagues ready to take action if needed.

Illustration by Emily Zhang

Read More

My Heart, My Home

By Literature

Illustration by Wynter Somera

 

I feel lost for the first time in a long time as I walk to school today. 

I know where to go, just down the street. I still feel lost. 

My heart is not in Chicago, because my heart is in Bint Jbeil. 

I imagine my neighbors would shout, “Sabah al khayr” (“Good morning”)

From their balconies, where they drink their morning coffee.

I’d respond with, “Sabah an-noor.” 

My heart is not in Chicago, because my heart is in Bint Jbeil. 

A place my Jido calls, Heaven on Earth

He tells me stories that are meant to say, “Our homeland is resilient” 

I have begun to write about how my homeland is resilient. 

My heart is not in Chicago, because my heart is in Bint Jbeil. 

As I walk down Wabash, I hear a low rumbling from the train above me. 

I imagine this sound as a sound that means, “Something is coming,”

In my homeland, this is a sound that means, “Something is coming.”

My heart is not in Chicago, because my heart is in Bint Jbeil. 

But everyone in Bint Jbeil has fled, except for few who refuse to go. 

The ones who left are seeking safety and shelter for their families. 

The ones who stayed no longer fear death, only fear losing their homeland. 

My heart is not in Chicago, because my heart is in Bint Jbeil. 

Only one thing remains here, and that is my body. 

Similar to those buried under the rubble of their homes. 

Same brown skin, same bones, same blood. 

My heart is not in Chicago, because my heart is in Bint Jbeil. 

But I am here, approaching my school where I smile and say I had a good weekend and people ask what I’ve been up to and tell me I’m always so bubbly as if it’s something I want to hear and I go to the bathroom to catch my breath and listen in class and I act like I’m happy and — 

I don’t have the guts to admit that it’s all for show and 

my heart is not in Chicago, because my heart is in Bint Jbeil. 

Read More

Make Way for the Comics MFA!

By and Arts & Culture, Comics, Infographics, SAIC

Transcript:

This comic is made of four pages, each of which is rimmed by green bushes and purple flowers. The last page has a tall ever green tree.

The background of the first page in the first panel depicts a building labelled SAIC, with four students in the background and two in the front. The two in the front are huddled together, and one of them is showing off a sparkly comic. There’s a block of text under the panel that reads:

“The Undergraduate Program at the School of the Art Institute of Chicago is expansive and encompasses a myriad of different practices. Among these is … comics!”

Under the text is three panels in a row. The first is a student showing off their comic with another student saying “Cool zine :D”. The next is a person saying “-uh oh!”, their pen having broke while inking a panel. The third is a professor teaching students with a presentation behind them that says “What is narrative? In comics”. A box of text under the panels reads:

“Through the efforts of comic artists who came before, the Painting and Drawing Department now hosts upwards of 13 different comic courses. ”

Under this text box is one large panel. In the top left corner is a portrait of Beth Hetland, wreathed in flowers. A quote from her reads:

“When I was a student there were four or five [comics] classes total. The department’s grown exponentially. I’m really jazzed by how many different kinds of classes exist now! – Beth Hetland”

Under this quote are students talking and working, with bubbles that show peeks of the comics they are working on. Below this is a box that reads “Now, SAIC is opening its doors for the new”, and in purple bubble letters, “Comics MFA!”

The second page has text at the top pointing to a graph below it, which reads:

“In a survey distributed to comics students at SAIC, only 60 percent of responders knew about the program.”

Another arrow to the right of the graph reads “Only 7% new how to apply!” There is a frowning face next to the arrow. Beneath the graph is John in 16th century dress, and Nat dresses as a which with a staff. Between them is a purple exclamation reading “What is it?”

There is another box of text under this that reads:

“The Comics MFA is a new program hosted by the Print Media Department includes several others:”.

Under this box is three panels in a row again, the first with papers being flung by a student. There is text that labels it “Painting and Drawing”. The next panel has a student with a pen, and a paper reading “Writing”, with a scroll underlining the word. The final panel is a student holding a computer displaying the word “Viscom”. Under this is another panel with Nat on the left, looking at a scroll that reads “Ye land of 280” and has a vague green map that really looks like two scraggly dinosaurs trying to fight each other. To Nat’s right is a text box that reads “Nicole Hall and Delinda Collier (the heads of SAIC’s graduate department) hope the program will allow students to navigate these departments in a way that is aligned with students’ specific interest in comics.

The third page has a header that reads “What is this program looking for in applicants?”

A portrait of Nicole Hall is framed in purple scrolls, reading “Narrative is a big one, [but] there’s a huge variety of approaches to comics… We want to stick with what SAIC has always done best: critical orientation, DIY ethos, Chicago-based dirty media away from big companies. We’re also looking for students who are interested in the interdisciplinary culture! – Nicole Hall”.

Another header under the quote reads “Whats the cost?” After this is three panels in a row. The first is two students looking worriedly at a computer; the second is a two graph bars at about the same height, and text that reads “$53,375”; and the third is two people chatting against a Chicago skyline, saying “Oh wow!”.

The next header, under this, reads “What resources will be provided?”

A framed portrait of Delinda Collier says “All MFA students get a studio, access to new seminars and one on one sessions with faculty. There’s more time and space and autonomy given to think through projects. – Delina Collier”.

The last header of the page reads, in purple bubble letters, “Who will this impact?”

Students under this header cheer with sparkles, and yell “Everyone!” A dome of text under this reads “This new program is now taking applicants!”, and under this are two boxes, the first reading “Apply here :3” with an arrow pointing to the second box, which is a purple QR code.

The final page starts with a box of text that reads “The MFA program seems to be gearing up to provide its students with a deeper knowledge of comics nad narrative. Alongside providing these resources, they will keep the heart:”, and under this, against a night skyline with buildings is purple bubble text that reads “Community”.

Under this is another portrait of Beth Hetland framed in purple. She is quoted as saying “I feel really Jazzed by how many comics courses are available, and I’m proud to continue expanding!” – Beth Hetland”.

Under Beth is a scroll that is as wide as the page, reading “Outside of SAIC, there is a vibrant comics community within Chicago. There are spaces where comics culture thrives, like Zine Fests’ (Including Chicago Zine Fest, Zine Not Dead, and Chicago Alternative Comics Expo) and Xerox Candy Bar, a student run anthology that publishes a new zine every semester. ***”

Under this scroll is an open book of comic panels, which are blank but different shades of brown, purple and white. To the right is a sleeping bunny and a person reading a book. Under this person is a final text box that reads “The SAIC comic community has come a long way, and it continues to grow and push the boundaries of what is and isn’t considered ‘Fine Art’”.

See More

Fast

By Literature

Illustration by Uy Pham

The man’s eyes at the register were black, and in them she saw only nothingness, as if inside him nothing raged and nothing ruled and if she were to split open his veins now upon the cash register and her two dollars and 39 cents in change, nothing would pour out in a deafening stream onto the white countertop and its grease-stained tiles and cover her body with his soul.

“The soda machine’s over there,” he said with a jerk of his head toward the black box against the wall. His whole body seemed very large to her, humongous and towering like a lone mountain; his head a hard-boiled egg salted with sparse gray hair. The stubble on his chin and his cheeks, she thought, was shockingly dark and flat against his pale skin. His nose reminded her of knotted tree roots and his small ears (grown so unfortunately close to his neck), pointed out like two tiny bulbous heads. His white apron was immaculately clean as was his red-and-white striped shirt beneath it; his bare, hairless arms almost seeming of muscle despite their mass and their size; soft, but coarse and cruel and mean. The white and pink hat he wore looked far too much like a paper boat with its shadowed crevices and wrinkles — the white of it shining out too starkly against his pale pink skin. His name-tag said, Ronda, decorated here and there with neon stickers that made Deborah’s eyes ache.

She realized that she’d been staring for far too long.

“The first guy I ever went out with called it soda,” she said, a little absentmindedly — perhaps too slowly, the words, she thought, coming out of her mouth at a slant, circling in the air before her eyes as a blaring yellow subtitle to her own stupidity — S-O-D-A. She watched him stand there and thought him very unaffected and stiff — sweaty, too; she noticed as the smell of burgers and fries and the heat of grills and fry-bats wafted over her face and stuck there like a cream.

“Needless to say, that relationship didn’t last very long.” She tried to laugh, moving her mouth as if her dry chuckles had made it to her tongue and not died in her throat. Her shoulders bounced up and down, the jean jacket she wore began to stick to her long, thin hair with static.

Still, the man only stood there and stared at her. Or rather, stared behind her, past her — maybe even, she thought, beyond these white and gray walls to green hills and heather meadows and purple streams glimmering in the sun with yellow butterflies gliding in the air and birds twittering in a sky so blue and so clear.

Suddenly, the sun broke through the thick, swollen clouds outside and burned into Deborah’s eyes, shining through the windows onto every wall and tile — the silver tables and red vinyl booths alighted. And for a moment, as the man handed her the much-too-large paper cup across the counter, Deborah swore he might really be seeing her. That he actually saw her.

She stared at him with her mouth somewhat agape and her snarly, yellow teeth on full display, and he slammed the paper cup down on the counter and yelled gruffly back into the chaos of the kitchen, “I’m going on break!” before tearing off his apron right there in front of her, with all the customers lined up behind her, the Ronda name-tag falling to the floor with a click-clack.

Deborah sat at the window and watched him smoke his cigarette outside through the dirty glass. She could see children’s little handprints and nose marks on the window, but she could not see the man’s face as he stared out toward the highway and the automated cars that sped along its cold concrete. The staffers came out from behind the counter and began singing happy birthday, to whom Deborah couldn’t tell — the Ronda name tag adorning another chest.

A child cried and screamed. Deborah ate her burger, but it all seemed to turn to ash in her mouth. There was no taste. It clumped together in her cheeks like a paste of salt and stale bread, sticking to the roof of her mouth. She’d pulled back her hair to eat, but still felt a tangled strand of it on her tongue. With her chipped, sparkly pink-polished nails, Deborah went in to pull it out. It was long, and she pursed her lips as it left her mouth. She thought of sword-eaters and then snake charmers as she watched the golden hair crawl out from her throat and flicked it to the floor with a quick wag of her finger. She stared at it there on the tiles, curled up like a worm dying on concrete and then glanced back out the window again. The sun had gone, the sky had turned back to gray, and the man was striding toward the highway, his body growing smaller and smaller, becoming a smear of red pulp as Deborah ate.

Read More

I Hope You Know How Much You are Worth.

By Comics

Transcript:

Panel One: Panel one depicts the character wearing a pink top with a red heart on the middle and blue pants. Their left hand is lifted up, as if they are saying hello to the readers and inviting them in. The background shows a dark blue sky with yellow stars and green grass, which are present on all panels, except for panel two, where grass is not present. Drawn in a speech bubble, the character says “Hey! I’m Sim, an emerging mental health advocate and a self-care enthusiast. I have a couple reminders for you.”

Panel Two: This panel draws the character offering three pink, red, and blue flowers to the readers to show support. They say “You might be giving yourself less credit than you deserve. You are already doing all these amazing things, remember to celebrate your small milestones,” and “As your friend, your wellbeing matters to me. I’m here to support you. Hope you like the flowers I got you.” The character invites the readers to engage in conversations around mental health, which is a highly stigmatized topic in our day. By being here, she shows that support is available to those who seek and need it.

Panel Three: The character says “Your feelings will always be valid. It’s okay to experience and feel things deeply – you are human. Sitting with our emotions is important to create spaces for self-compassion. Their mouth is wide open as if they are shouting, they say “Saying it louder for those in the back: IT’S OK TO FEEL THAT WAY!” There are eight question marks placed around this text in the speech bubble to put emphasis on the sentence.

Panel Four: The character holds a big red heart on their right hands offering it to the readers to show them their love. They say “You are good enough and deserving of all the beautiful things that happen to you. You are amazing – embrace your worth!”

Panel Five: This panel shows the character with their both arms lifted up, as if they are inviting the readers for a hug. They are centered on the middle of the panel. They are holding a notebook paper in their left hand. Their speech bubble reads “there is support available. People are genuinely interested in helping you with what you are going through.”

Panels Six and Seven: These two panels offer close ups to the notebook paper that was shown on Panel Five. The first page reads “YOU ARE NEVER ALONE” and the second reads “I LOVE YOU AND I’M HERE FOR YOU,” which is a direct message from the artist herself to everyone who reads the comic, telling them how it is okay to experience things and that there are wonderful people and resources available for those seeking services.

See More

“…”

By Comics

Transcript:

Panel 1: We see an unknown figure holding a phone. They are on social media and looking at a photo of a happy girl – she has horns and is making a peace sign.

Panel 2: We see the person holding the phone. They have horns, glasses, and are wearing a sweater. They look solemnly at the phone. A goopy figure is behind them with a hand on their shoulder, half obscured by shadows. The figure says,

“She was Beautiful.”

Panel 3: An all black panel. The text in the center reads in response to the goopy figure’s words,

“Yeah…”

Panel 4: In a long panel, we see a side-profile of the two characters. The person with horns is looking down at their phone still, and the goopy figure remains behind them. They have hair which extends largely into abstract, scribbly, and swirling lines behind them. The person continues their response,

“She was, wasn’t she?”

See More

Wrestling with Lunchly

By Entertainment

Illustration by Winter Somera

It’s impressive, really, how quickly things went wrong.

Lunchly was just launched Sept. 16, by the internet titans and YouTubers Logan Paul, JJ “KSI” Olatunji, and Jimmy “Mr. Beast” Donaldson, and has been on a downward plunge ever since.

These superstars of content creation have dazzled so many people with their ability to sell cheap merchandise and make millions. They seem to believe that any venture they back will succeed due to their prestige and wealth, but with Lunchly, they’ve flown too close to the sun with child endangerment via moldy products.

But what is exactly going wrong with Lunchly? Has Lunchly already been recalled because of mold? Why is there a bomb threat? It can feel hard to parse. But F Newsmagazine is here for you! Let’s dive in.

So, what the hell is happening with Lunchly?

What Is Lunchly?

Lunchly is a lunch kit snack that emulates classic grab and go lunches, comparable to Lunchables. The goal of Lunchly according to Donaldson is to “disrupt the lunch market for kids with healthier, better-tasting options.” This entrepreneurial trio attests that this endeavor is “something that’s never been done” — even though this is not entirely true. (More on that later.)

Lunchly has three meal options: “The Pizza” (which is how Lunchly officially stylizes it), Turkey Stack ‘Ems, and Fiesta Nachos. All three are compared to and inspired by several meals by Lunchables. The Lunchly website provides nutritional information for all three meals and attest that they are healthier than other lunch kits for kids.

Lunchly has been heavily criticized for many reasons. YouTuber Daniel “DanTDM” Middleton posted on X “[Lunchly] is selling stuff for the sake of making money, simple. How does this benefit their fans?” adding that Lunchly is “selling crap to kids who don’t know better than to trust the people who are selling it to them.”

Middleton’s critique was impactful not only because he is a well-known and well-regarded YouTube creator, but because he is not known for making accusations towards other creators.

Other well known YouTubers, especially within the food and health spheres, critiqued Lunchly not only from an ethical perspective, but also based on health.

Is Lunchly Healthier?

According to health professionals, Lunchly is not a healthier alternative to Lunchables.

While Lunchly and its creators tried to promote the snack as a healthier option (their website directly compares the nutritional values of Lunchly meals with the Lunchable counterpart), this is deceptive. They not only leave out important nutritional values in their quick comparisons (such as saturated fat and sodium), but highlight electrolytes, which are labeled as potassium in the meals themselves.

Lower calories and more protein may be considered healthy for adults, but children need a lot more nutrients than the average adult per meal. Electrolytes are also not an essential or even healthy part of a normal diet. Directly compared with the USDA standard of nutrition for children’s meals, Lunchly falls short. According to the USDA, most children should consume 1,800 to 2200 calories a day. Lunchly’s meal kits range from 230 to 360 calories per meal, which is unreasonably low for any child who consumes 3 meals a day.

Mike Varshavski of the YouTube channel “Dr. Mike” broke it down succinctly in his video on Lunchly, saying that “if a company was truly interested in creating a healthier lunch kit for kids, the USDA standards should be the minimum starting requirements, otherwise they’re simply propagating the problem further.”

Rosanna Pansino, a well-known YouTuber who makes videos on desserts and food, tested the Lunchly kits herself in a video comparing the brand to Lunchables. She notes that the packaging doesn’t have an ingredients list, the tray holding the food is poorly sealed, sauce packages do not have tear lines and require scissors to open, and the cheese in “The Pizza” is moldy due to poor packaging. After testing each product against each other, she concludes that while some of the Lunchly products are of higher quality, both are highly processed snack foods that ultimately do not taste the best, nor are they healthy for children.

“[Lunchly is] just ripping off other brands; they don’t bring anything new and original to the table. Even the flavors they chose are exact rip offs of Lunchables, and what really bothers me is that they have the financial resources to make a truly better for you Lunchable — if they wanted to, they could fully reinvent this and make it good for kids,” Pansino says in her video. “This is like taking a Hostess Donette and just slapping your logo on it and being like, ‘These are great and healthy and better for you […]’, but it’s cherry picking.”

Lunchly isn’t even the first lunch kit to challenge Lunchables. There are many lunch kits already on the market that, while they don’t actively pit themselves against Lunchables, are still on the market as alternatives. Brands like Good Gather, Little Spoon Lunchers, and Taylor Farms all have lunch kits intended to be healthier alternatives to Lunchables.

So while it is true that Lunchly is the first to “disrupt” the lunch kit market by directly announcing a rivalry with Lunchables, they are not the first to create a healthier alternative to Lunchables to promote better nutritional health to kids.

Did Lunchly HQ receive a bomb threat?

According to Logan Paul, the Lunchly headquarters has received a bomb threat which the FBI has identified as coming from someone in London. There has been no other information released on this, other than Paul saying that it’s “crazy” that the caller is from London, “because we don’t even distribute there.”

Is the food in Lunchly moldy and has Lunchly been recalled? 

Yes. There is mold. But it has not been pulled from shelves  — yet.

Rumors online about Lunchly being recalled came from a post that went around on the internet of a sign stating that Lunchly was recalled due to public health concerns and would be pulled from shelves until the FDA deemed it safe to restock. This paired with multiple instances of various Lunchly customers discovering mold in their products, leading some to assume Lunchly was being recalled due to mold.

In reality, the Fred Meyer that the sign was put up in pulled Lunchly off of their shelves because of the nationwide listeria outbreak in precooked products earlier this year, which was affecting grocery stores nationally. The FDA has not yet issued a formal recall of Lunchly products, though it would not be surprising if it did so soon. The Fred Meyer sign was taken down within a day.

The mistakenly placed sign snowballed into a disaster after Logan Paul publicly responded to these assumptions by exposing the employee who put up the sign’s name, face, and store location while also calling him a “dumbass” and a “hater.” This led to the employee losing his job and getting harassed online by fans of Paul.

The employee talks about his experience in an interview with Pansino, how he was taken completely off-guard by the representative Paul had sent to the store, and that he was laid off from Fred Meyer for his own protection. He has been struggling financially due to Paul’s actions. More information about this can be found on Pansino’s channel.

Does Mr. Beast being sued have anything to do with Lunchly?

Jimmy Donaldson is under legal fire due to various events that are, unfortunately, completely unrelated to Lunchly.

What has KSI been doing?

JJ Olutanji has been engaging in a one sided feud with Daniel Middleton ever since his post on X, which Middleton has been ignoring in favor of being present in his life and family.

So what the hell is happening with Lunchly?

Essentially, Lunchly is a company created by three somewhat questionable members of internet fame and all resulting controversies comes from their lack of  emphasis on earning more money and preserving their own pride.

Read More

Routine

By Comics

Transcript:

PANEL 1:

Image of person sleeping on bed, surrounded by cozy pillows and stuffed animals. The person has short hair and bangs,

PANEL 2:

Image of the person checking themselves in the mirror, with their hand on their head

PANEL 3:

Image of mug with steaming drink and toaster with toasted bagels

PANEL 4:

Image shows multiple stages of getting ready, including person putting on jeans, putting on shirt and putting on earrings

See More

Documenting the Undocumented

By and Arts & Culture, Multimedia

Illustrated by Sanjana Joshi

The text of this article was read aloud and recorded for your greater accessibility and viewing pleasure:

Audio voiced by Sisel Gelman and recorded and edited by Gren Bee.

What is it like being a formerly undocumented writer?

Wangeci Gitau is a formerly undocumented writer from Kenya. They identify as Black, Indigenous (they are of Kikuyu, a Bantu ethnic group that are native to Kenya’s central highlands), and queer. The intersection of all these identities inform their art practice and activism.

féi hernandez (who doesn’t use capital letters when spelling her name), is a trans formerly undocumented writer from Mexico. She is a multidisciplinary artist and writer whose work focuses on indigeneity and the undocumented experience.

“Here to Stay” (Harper Collins 2024) by the Undocupoets is a collection of poems, streams of consciousness, and visual text-based art that accompany a personal reflection from their authors. The Undocupoets are a group of undocumented writers who mainly operate online until they activate in physical readings and workshops. They try to grapple with the dissonance of being so simultaneously visible and invisible — undocumented people receive so much visibility and critique as a targeted monolith, but the individuals themselves fall through the cracks of society. The choices of form and narrative in the Undocupoet community communicate that dissatisfaction with limitations, and yet, a need to play by the rules to survive.

Both Gitau and hernandez identified finding information on navigating their legal status as one of the most difficult aspects of being undocumented.

“Of course there is shame and stigma — both interior from yourself and exterior from the outside world — but there are also legal issues,” Gitau said. They added that people are hesitant to publicly talk about the topic in fear that they will be putting themselves or their friends at risk.

“It’s not easy, because I can’t forthright say all the things [I want to say]. So how do I write about undocumentedness, and the nooks and crannies of it, without outing myself?,” hernandez said.

There are many hardships to being an undocumented writer, said Gitau, and they range from the bureaucratic to the ideological.

“As undocumented, you can’t work. You can’t travel to see family in other countries. You can’t study at some colleges — and the colleges that do accept you are because of undocumented activists who have fought hard for that opportunity. You can’t drive because you don’t have a driver’s license. Part of the undocumented experience is seeing other people hit milestones that are barred from you,” Gitau said. They added that it is logistically difficult to find funding or payment for a writing project, or to apply for a grant, without a social security number.

“I couldn’t leave the state; I was afraid to. I was paranoid of cops. [I] became very law-abiding because I couldn’t be the reason my family got deported if I was ever caught [commiting a crime],” hernandez said.

Ideologically, Gitau touched upon the concept of how “Black Excellence” and “Migrant Excellence” — the internalized belief from the perspective of a marginalized person that they must work harder than others to prove their worth to the community — compounds with “Undocumented Excellence.”

Gitau said they have had difficulty finding marginalized writing spaces that fully understand their perspective.

“There are not a lot of stories about Indigenous African Black people in America,” they said. Their experience has been that most undocumented spaces in the United States are Latino spaces, and most of these spaces operate in Spanish. And although Gitau experiences the struggles of being Black in America, this Black space is not an undocumented space. Gitau’s compromise in navigating this is to write about being an undocumented Kikuyu in a way that resonates with people who are queer, Black American, or Latino.

“Only delusional people want to be writers, but this is magnified for undocumented people. To document the undocumented is a paradox,” Gitau said.

“I think publishing is my way of documenting the undocumented experience. I don’t give a fuck about being a literary award winner; I’m doing this for my people,” hernandez said.

hernandez considers archiving to be evidence that she and others like her are here and taking up space. There isn’t much text on undocumented individuals, so she considers it her responsibility to create that archive. She also sees the responsibility of discerning what needs to be brought into the future. What stories and histories are we taking with us?

Gitau also considers themself an archivist and spent the summer of 2024 doing research on their heritage at Oxford University.

Gitau said “Here to Stay” was an accessible way for an undocumented person to be published by one of “The Big Five” publishers. The submission process was a simple Google Form with no querying, and the writers received monetary compensation for their work.

Gitau and hernandez see art as an important place for political work. Art is the bridge between activism, creativity, critical thinking, and micro and macro experiences. What allies of undocumented people can do today is educate themselves on the topic of undocumentation and vote in support of laws proposed by undocumented people. As undocumented people in the United States cannot vote, allies hold the responsibility to magnify marginalized voices and embrace the privilege of being able to vote as a United States citizen.

Read More

Out-Moshing Inflation

By Entertainment, Multimedia

Illustrated by Sanjana Joshi

The text of this article was read aloud and recorded for your greater accessibility and viewing pleasure:

Audio voiced by Kit Montgomery and recorded and edited by Gren Bee.

Last year, Square Roots Festival, a once-free street festival in Chicago, had to ask its attendees for donations because of the rising price of fees associated with putting on a music fest.

In the last two years, three festivals have left Chicago. Starting Last year with The Silver Room Block Party, initially a free single-day event that turned into a ticketed two-day event, which came to a close after 19 years due to the cost of production for the event. The next was Hyde Park Summer Fest, which announced it would be shutting down after nine years following this year’s fest. Organizers cited rising costs for running the two-day event as the main reason for its closure. The last, and most significant, was the Pitchfork Music Fest, which hasn’t announced why it was leaving, or where it was going .

On the organization side, the price of organizing a music festival is increasing, especially in the Post-pandemic economy.

Outside of Chicago, the prices for music festival tickets have increased across the United States. Over the last decade ticket prices have increased at a rate higher than inflation. The daily general admission prices have increased by 55 percent since 2014.  Inflation has raised 33.34 percent since 2014, $1 in 2014 is worth $1.33 today.

Lollapalooza, Chicago’s most popular music fest, has also experienced ticket price gouging. Lollapalooza ticket price for three-day general admission passes in 2024 was  $409 (before taxes. 10 years ago the ticket price for three-day General Admission was $250. In 2005, Lollapalooza’s first year in Chicago, the ticket price for two-day GA passes (as the festival started with two days) was $85 if you bought from the initial sale, as it got closer to the festival it was increased to $115. Despite the ticket price increasing well past the cost of inflation (which would have made passes $140.70), the fest saw record attendance this year.

Another major festival in Chicago, the Windy City Smokeout, a country BBQ themed festival, also saw a price rise that outpaced inflation. This year’s ticket price for a four-day GA pass was $255.95. In 2013 (the year the festival debuted) and 2014, Windy City Smokeout’s ticket prices were  $75.

Pitchfork Music Festival’s ticket prices this year were $219 for three-day GA passes. A decade ago, three-day GA passes were $130. In the fest’s first year (2006),  two-day GA prices were $25.

North Coast Music Festival, one of the largest EDM music festivals in the U.S., had the same issues with the rise in ticket prices. This year’s three-day GA passes were $232. In 2014, three- day GA passes were $149. In 2010, the fest’s first year, three-day GA prices started at $75.

Riot Fest, one of Chicago’s largest independently run festival, also outpaced inflation with its ticket prices. This year’s three-day GA tickets were $249.99. In 2014, three-day GA passes were $149.98. In 2005, when the fest first started, three-day tickets (each sold separately) were $82.50 ($27.50 each).

This summer alone Chicago had over 4o music festivals. As the third largest city in the U.S., and one of the most central cities, Chicago is ripe with fests of all kinds. But the tides are changing.

On Nov. 12, 2024, Pitchfork Music Fest announced it would be leaving Chicago after 19 years.  Pitchfork’s official announcement said, “To our Chicago Festival community:

As the music festival landscape continues to evolve rapidly, we have made the difficult decision not to host Pitchfork Music Festival in Chicago in 2025.”

Earlier this year, Riot Fest announced it would be moving from Douglass Park, in the city, to Seat Geek Stadium just outside the city, before moving back to Douglass Park one month before the fest. Riot Fest cited Chicago’s Park district’s new tax and  denial of the fests’ proposal as their initial reason for leaving Douglass Park.

The price of music festivals is higher than ever for attendees and organizers alike. Even outside of tickets, music festivals are costly events for consumers, with all kinds of unexpected expenses, like travel, lodging, and food (which is often at a high markup).

Read More

Set Up to Fail

By Opinion, SAIC

Illustration by Uy Pham

The School of the Art Institute of Chicago proclaims inclusivity as a core value, but a consistent lack of transparency and accessible resources undermines this goal. Despite SAIC’s efforts, unclear guidelines and fragmented support systems leave marginalized students feeling isolated and frustrated as they navigate essential services. One of the critical areas which remains grossly neglected, leaving the institution inaccessible to many, is Student Financial Services. 

Nakiyah Longstreet (BFA 2026)  said he received surprise charges that resulted in a leave of absence.

“They gave me a balance of $5,000 and I could not understand why … It led to me being enrolled and unenrolled multiple times before the [Fall 2024] semester even started. It was unclear if I could go to class or not and left me to play catch-up,” said Longstreet.

The balance stemmed from SFS’s struggles with the updated Free Application for Federal Student Aid system. Longstreet’s experience echoes that of many students who feel unsupported, trapped in debt, and at risk of non-enrollment due to administrative issues.

I have faced similar obstacles. Shortly before the Fall 2024 semester, a mysterious $26,000 balance appeared on my account. After visiting the SFS’s office several days in a row, I never received answers why I had the charge or what it was for. 

Essentially ghosted by the entire SFS department for the remainder of the summer, I was subsequently unenrolled from SAIC during the first month of Fall 2024 semester as a third-year student. When seeking help from SAIC, the error was continuously flipped back to me, the student, as an issue my parents and I created. After heavy involvement and pressure on SFS with the help of my outside support system, the issue was silently resolved without explanation. 

Unfortunately, not everyone has an understanding of their finances and is able to voice the complexities of their financial aid needs or struggles with SFS. When students lack familial or other outside support systems to advocate for themselves, these challenges become overwhelming. 

Longstreet, a first generation student, said he was heavily discouraged by SAIC’s administration to continue searching for financial clarity, leaving him “running in circles to find an answer on my own.” 

The lack of information, communication and transparency exacerbates what may already be a challenging road to an SAIC graduation. Students who depend on financial aid consistently have lower graduation rates, a trend shaped by the financial challenges that often accompany their education. Required expenses such as meal plans, MacBooks, and costly art supplies add to the economic strain on low-income students, making it harder for them to stay on track and graduate within the standard amount of time.  

The Integrated Postsecondary Education Data System graduation demographics show that in 2022, only 49 percent of students graduated within the “normal time” of four years for a four-year degree, while 69 percent of those remaining needed double that time to complete their programs. With the majority of students needing more than the standard four years to finish their degree, the extra time significantly impacts financial aid. These students tend to be domestic students of color. 

Aid packages, particularly federal loans and grants, are often structured to cover a standard four-year timeline. Students who take longer may exhaust their eligibility, leading to reliance on private loans or out-of-pocket expenses. Sometimes, these students don’t graduate at all. 

Addressing these challenges requires a comprehensive effort to tackle the underlying issues that prolong graduation timelines. SAIC’s data reveals that students identifying as Black have a graduation rate of 35 percent. Meanwhile, “non-resident aliens” or international students, achieve the highest graduation rate at 80 percent — surpassing other groups such as Latinx, Pacific Islander, and Indigenous students. This success gap demands attention as its presentation misrepresents the disparities in graduation rate of students of color. (White students graduate at a rate of 66 percent.)

The school’s website publishes demographics on consumer information, which show how diversity reports can obscure an actual demographic breakdown, painting an incomplete picture of the institution’s population. 

According to IPEDS Graduation Demographics,  “The National Center for Education Statistics (NCES) categorizes any student who is studying in the United States on a temporary basis as a ‘Non-Resident Alien.’” International students, grouped under “non-resident aliens,” currently make up the second-largest demographic after white students at SAIC

According to the college data hub College Factual, “At least 42 countries are represented [at SAIC] … the largest on-campus communities are China, South Korea, and India.” As of now, the institution’s published data continues to portray the international population as a monolith, excluding them from comparison to other domestic students and those that share the same identities. This obscures the low rates of graduation as at a quick glance, the rates appear strikingly high for minority groups. 

Although not required, being fully transparent allows for more accurate institutional reflection. Genuine inclusivity requires transparency, robust support systems, and a sustained commitment to making SAIC a place where all students — regardless of their background — can thrive.

Read More

How to Spice College Up

By Comics

Transcript:

Page 1: This comic is in black and white. This title page reads, “Bored? Overwhelmed? How to Spice College Up By Ankleglue.” Next to the title is a headshot of Mr. Fry, an anthropomorphic shrimp wearing a cap that reads “FUCK” and holding up their hand with their index finger pointing up. Below the title reads, “This comic is formatted to be read as a one page zine!”

Page 2 + 3: On the right, a raccoon and floppy-eared dog stand next to each other. The raccoon looks to the side, while the dog is waving and saying, “Hi Mr. Fry!” Below them reads, “1) Create one-sided beef with people in your head.” On the left, Mr. Fry is wearing a backpack, gripping the backpack straps and looking dejected. He says, “They all hated me.”

Page 4 + 5: Mr. Fry and a bunny are in a booth eating lunch together. The bunny says, “So nice to see you again!” and Mr. Fry replies “You too!” He thinks, “How do I know them again? It’s the tenth week of the semester, too late to ask for their name again. Of course your Instagram only has your nickname.” He holds his phone and scowls, saying, “I know your name isn’t Ankleglue.” The caption below reads, “2) Forget acquaintances’ names so that every conversation feels like a psychological thriller.”

Page 6 + 7: The top of the page reads, “3.) Stalk someone you pretended to forgive years ago,” but the text is crossed out. Mr. Fry sits at a computer, looking back and grinning evilly. A speech bubble below him reads, “Stop with all this edgy shit!” To the left, Mr. Fry stands in front of a question mark. His hat reads, “WUT.” He asks, “So what do I do then?”

Page 8: The page is captioned “3.) Connect with people! Catch up with old friends and make new ones too.” Mr. Fry stands with his hands on the heads of a schnauzer dog and a monkey wearing a propeller hat. Below them, Mr. Fry’s skull wears a cap that reads “RIP” and says, “But never let your guard down!”

See More