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Despite the increased spotlight on marginalized voices in the ever-evolving film landscape, criticism doesn’t particularly reflect that. The majority of film critics still tend to be straight, white males, unrepresentative of the world around them. The Call Sheet is a new magazine that aims to disrupt that.

“The gist of it is . . . to elevate emerging artists and films that aren’t necessarily really represented enough, like women, nonbinary [people], women of color,” cofounder Rebecca Martin Fagerholm says. 

But even more than that, cofounder Erica Duffy says The Call Sheet—comprising articles, interviews, and essays—uses those writers and stories to highlight the current state of filmmaking. “Our [in]formal kind of tagline has been, ‘This magazine will take you behind the scenes of the filmmakers of today,’” she says.  

Martin Fagerholm, a film journalist and film festival director, founded Cinema Femme, a magazine for women to write about film, in 2018. 

“I was just tired of middle-aged white men’s voices being elevated about cinema,” she says. “I was like, ‘You know what? We need more female voices out there.’”

This throughline for Martin Fagerholm struck a chord with Duffy, founder and CEO of Camera Ambassador. Camera Ambassador is a local equipment rental house that provides production rentals ranging from tape and cameras to lights and other on-set needs. It’s one of three rental houses in America owned by women. Once Duffy came across Martin Fagerholm’s weekly newsletter in 2020 and found out she was also based in Chicago, they connected, and the two held regular conversations, or an “informal brain trust,” as Duffy described it. This is where the idea for The Call Sheet—named after the sheets found on movie sets, dictating each actor’s shooting assignments—first emerged.

“When Rebecca mentioned it, I kind of had this lightbulb moment,” she says, noting that team members at Camera Ambassador have wanted to create a magazine for a while, but Duffy didn’t know where to start. “I saw both of our strengths and the strength of our companies, as well [as] in our audience, and that if we came together to do a collaboration like we are with The Call Sheet, that it would just be these worlds colliding and like a beautiful collaboration and playing to everybody’s strengths.”

Despite the rarity of women-owned businesses like Camera Ambassador, Duffy wants to emphasize that it’s not an “abnormal thing,” even though the numbers are “still grossly weighed one way.” In the same way, The Call Sheet strives not only to focus on underrepresented voices in film, but to also normalize them and “slowly [change] that narrative that this is the modern filmmaker. [These are] important stories and important voices in the industry now.” 

It’s important for The Call Sheet to feature filmmakers who don’t subscribe to the older, mainstream, white male gaze. The founders also want to create a space that isn’t just for the groups they tell stories about. Martin Fagerholm points to Barry Jenkins’s 2016 film Moonlight, which won the Academy Award for Best Picture, among many other accolades. The film creates such empathy and emotion that it can get any filmgoer to feel something deep, even if you’re not a queer Black boy in Miami. Martin Fagerholm wants to focus on films that do this same thing, giving “authentic, universal stories” and having marginalized writers touch on them.

Martin Fagerholm and Duffy hope that featuring underrepresented writers and films will be a draw for others who are hungry to see and create their own stories one day. But that, of course, doesn’t mean that The Call Sheet is only for one demographic. 

“I think this magazine is for everybody,” Duffy shares. “The way that the storytelling is done and the way that the magazine has been designed, it’s an enjoyable read . . . no matter who you are, where you’re from, what background you are.” The word “authentic” comes up a lot between Martin Fagerholm and Duffy when discussing the overall mood of The Call Sheet because they believe the authenticity of those writing for The Call Sheet and the stories they’re covering generates criticism about art that is real and matters. 

“I think when you can sit down with the magazine in the comfort of your own home, there’s a place of vulnerability with you in those words, and that will be something that people really gravitate to,” she says.

The very first issue debuts on January 19 in both print and digital form. Both Camera Ambassador and Cinema Femme released the cover art for The Call Sheet’s inaugural issue to Instagram, following the issue’s theme of “Healing Through Your Art.”

“Our cover story is on Emma Thatcher—she’s a Chicago filmmaker,” Martin Fagerholm shares. On December 23, 2022, Camera Ambassador shared a sneak peek of that cover story as well, including several photos from Thatcher’s first feature film, Provo. The interviews that went into making this cover story really helped inspire the rest of the issue and the theme. “Our other pieces are kind of like offshoots of that,” Martin Fagerholm says. “Different projects and different voices talking about healing through your art.”

The first issue features all Chicago-based filmmakers, which was by accident and isn’t “necessarily the future” of The Call Sheet, according to Duffy. But organically searching for filmmakers who represent the current state of film and are creating the most authentic art right now, and finding them all in Chicago, surely says something about the film scene in the Windy City. At the end of the day, they were searching for “timely, fresh voices, bringing up important things,” and Chicago-based filmmakers took the forefront of the project.

The Call SheetLaunching 1/19 at 7 PM with a free party at Camera Ambassador, 2425 W. 14th St. Unit B; digital version: thecallsheet.org and The Call Sheet app; print edition: contact [email protected]cinemafemme.comcameraambassador.com

The Call Sheet editorial team consists of Martin Fagerholm as editor in chief, Duffy as publisher, Rey Tang as assistant editor, Matt Carroll as circulation director, and Connor Smith as art director. Duffy says that the reception has already been so positive and far-reaching from the community, which poses a great opportunity for the future. Plus, Martin Fagerholm and Duffy’s respective teams have blended exceptionally well for this joint endeavor. With the ease of working together and the exciting possibility of more support, “there’s definitely a future,” Duffy says. 

Martin Fagerholm’s Cinema Femme magazine has been a really good basis to center The Call Sheet’s purpose around, and both projects aim to disrupt the status quo.

“We’re breaking down the walls,” Martin Fagerholm says. “We’re redesigning [the industry], and we’re showing a world that’s possible, which is exciting.”

Read More

Despite the increased spotlight on marginalized voices in the ever-evolving film landscape, criticism doesn’t particularly reflect that. The majority of film critics still tend to be straight, white males, unrepresentative of the world around them. The Call Sheet is a new magazine that aims to disrupt that.

“The gist of it is . . . to elevate emerging artists and films that aren’t necessarily really represented enough, like women, nonbinary [people], women of color,” cofounder Rebecca Martin Fagerholm says. 

But even more than that, cofounder Erica Duffy says The Call Sheet—comprising articles, interviews, and essays—uses those writers and stories to highlight the current state of filmmaking. “Our [in]formal kind of tagline has been, ‘This magazine will take you behind the scenes of the filmmakers of today,’” she says.  

Martin Fagerholm, a film journalist and film festival director, founded Cinema Femme, a magazine for women to write about film, in 2018. 

“I was just tired of middle-aged white men’s voices being elevated about cinema,” she says. “I was like, ‘You know what? We need more female voices out there.’”

This throughline for Martin Fagerholm struck a chord with Duffy, founder and CEO of Camera Ambassador. Camera Ambassador is a local equipment rental house that provides production rentals ranging from tape and cameras to lights and other on-set needs. It’s one of three rental houses in America owned by women. Once Duffy came across Martin Fagerholm’s weekly newsletter in 2020 and found out she was also based in Chicago, they connected, and the two held regular conversations, or an “informal brain trust,” as Duffy described it. This is where the idea for The Call Sheet—named after the sheets found on movie sets, dictating each actor’s shooting assignments—first emerged.

“When Rebecca mentioned it, I kind of had this lightbulb moment,” she says, noting that team members at Camera Ambassador have wanted to create a magazine for a while, but Duffy didn’t know where to start. “I saw both of our strengths and the strength of our companies, as well [as] in our audience, and that if we came together to do a collaboration like we are with The Call Sheet, that it would just be these worlds colliding and like a beautiful collaboration and playing to everybody’s strengths.”

Despite the rarity of women-owned businesses like Camera Ambassador, Duffy wants to emphasize that it’s not an “abnormal thing,” even though the numbers are “still grossly weighed one way.” In the same way, The Call Sheet strives not only to focus on underrepresented voices in film, but to also normalize them and “slowly [change] that narrative that this is the modern filmmaker. [These are] important stories and important voices in the industry now.” 

It’s important for The Call Sheet to feature filmmakers who don’t subscribe to the older, mainstream, white male gaze. The founders also want to create a space that isn’t just for the groups they tell stories about. Martin Fagerholm points to Barry Jenkins’s 2016 film Moonlight, which won the Academy Award for Best Picture, among many other accolades. The film creates such empathy and emotion that it can get any filmgoer to feel something deep, even if you’re not a queer Black boy in Miami. Martin Fagerholm wants to focus on films that do this same thing, giving “authentic, universal stories” and having marginalized writers touch on them.

Martin Fagerholm and Duffy hope that featuring underrepresented writers and films will be a draw for others who are hungry to see and create their own stories one day. But that, of course, doesn’t mean that The Call Sheet is only for one demographic. 

“I think this magazine is for everybody,” Duffy shares. “The way that the storytelling is done and the way that the magazine has been designed, it’s an enjoyable read . . . no matter who you are, where you’re from, what background you are.” The word “authentic” comes up a lot between Martin Fagerholm and Duffy when discussing the overall mood of The Call Sheet because they believe the authenticity of those writing for The Call Sheet and the stories they’re covering generates criticism about art that is real and matters. 

“I think when you can sit down with the magazine in the comfort of your own home, there’s a place of vulnerability with you in those words, and that will be something that people really gravitate to,” she says.

The very first issue debuts on January 19 in both print and digital form. Both Camera Ambassador and Cinema Femme released the cover art for The Call Sheet’s inaugural issue to Instagram, following the issue’s theme of “Healing Through Your Art.”

“Our cover story is on Emma Thatcher—she’s a Chicago filmmaker,” Martin Fagerholm shares. On December 23, 2022, Camera Ambassador shared a sneak peek of that cover story as well, including several photos from Thatcher’s first feature film, Provo. The interviews that went into making this cover story really helped inspire the rest of the issue and the theme. “Our other pieces are kind of like offshoots of that,” Martin Fagerholm says. “Different projects and different voices talking about healing through your art.”

The first issue features all Chicago-based filmmakers, which was by accident and isn’t “necessarily the future” of The Call Sheet, according to Duffy. But organically searching for filmmakers who represent the current state of film and are creating the most authentic art right now, and finding them all in Chicago, surely says something about the film scene in the Windy City. At the end of the day, they were searching for “timely, fresh voices, bringing up important things,” and Chicago-based filmmakers took the forefront of the project.

The Call SheetLaunching 1/19 at 7 PM with a free party at Camera Ambassador, 2425 W. 14th St. Unit B; digital version: thecallsheet.org and The Call Sheet app; print edition: contact [email protected]cinemafemme.comcameraambassador.com

The Call Sheet editorial team consists of Martin Fagerholm as editor in chief, Duffy as publisher, Rey Tang as assistant editor, Matt Carroll as circulation director, and Connor Smith as art director. Duffy says that the reception has already been so positive and far-reaching from the community, which poses a great opportunity for the future. Plus, Martin Fagerholm and Duffy’s respective teams have blended exceptionally well for this joint endeavor. With the ease of working together and the exciting possibility of more support, “there’s definitely a future,” Duffy says. 

Martin Fagerholm’s Cinema Femme magazine has been a really good basis to center The Call Sheet’s purpose around, and both projects aim to disrupt the status quo.

“We’re breaking down the walls,” Martin Fagerholm says. “We’re redesigning [the industry], and we’re showing a world that’s possible, which is exciting.”

Read More

Stepping into “Exact Dutch Yellow” is like finding a cool spot of shade on a scorching hot day. The light in the darkened fourth-floor galleries mainly comes from the work itself, LED- and neon-lit installations that seem to play tricks before our eyes. 

The exhibition plumbs the history of color classification, a subject that seems tailor-made for Luftwerk, the Chicago-based artistic duo of Petra Bachmaier and Sean Gallero. Luftwerk, which references the immateriality of light and air and the materiality of artwork, have staged similar architectural interventions across the world, from the Chicago Botanical Garden and the Farnsworth House, to sites in Barcelona and Zimbabwe. The show’s title refers to a shade renamed by Charles Darwin, perhaps one of history’s best-known classifiers, on his infamous trip through South America.

On view are LED-lit canvases which slowly shift in tone based on changing lights, like living color field paintings. Two wall-hung sculptures vacillate between light and dark, in an LED illusion reminiscent of Anish Kapoor’s work. Yet it is the final gallery that steals the show. The wall-sized The Sky at the Time Was Berlin Blue recreates a 1789 tool called a cyanometer, used for measuring the blueness of the sky. Opposite is a neon piece that spells out “Dusky,” a word repeatedly used to describe colors by an American taxonomist in the early twentieth century. Standing between the two is like watching night fall; they function as a sort of sunrise alarm antithesis, serving to calm instead of awaken. 

“Exact Dutch Yellow”Through 1/29: open daily 10 AM-5 PM, Chicago Cultural Center, 78 E. Washington, chicago.gov, free

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Stepping into “Exact Dutch Yellow” is like finding a cool spot of shade on a scorching hot day. The light in the darkened fourth-floor galleries mainly comes from the work itself, LED- and neon-lit installations that seem to play tricks before our eyes. 

The exhibition plumbs the history of color classification, a subject that seems tailor-made for Luftwerk, the Chicago-based artistic duo of Petra Bachmaier and Sean Gallero. Luftwerk, which references the immateriality of light and air and the materiality of artwork, have staged similar architectural interventions across the world, from the Chicago Botanical Garden and the Farnsworth House, to sites in Barcelona and Zimbabwe. The show’s title refers to a shade renamed by Charles Darwin, perhaps one of history’s best-known classifiers, on his infamous trip through South America.

On view are LED-lit canvases which slowly shift in tone based on changing lights, like living color field paintings. Two wall-hung sculptures vacillate between light and dark, in an LED illusion reminiscent of Anish Kapoor’s work. Yet it is the final gallery that steals the show. The wall-sized The Sky at the Time Was Berlin Blue recreates a 1789 tool called a cyanometer, used for measuring the blueness of the sky. Opposite is a neon piece that spells out “Dusky,” a word repeatedly used to describe colors by an American taxonomist in the early twentieth century. Standing between the two is like watching night fall; they function as a sort of sunrise alarm antithesis, serving to calm instead of awaken. 

“Exact Dutch Yellow”Through 1/29: open daily 10 AM-5 PM, Chicago Cultural Center, 78 E. Washington, chicago.gov, free

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Glenn and Greg Sims photographed in Tote & Carry vests at the Kimpton Gray Hotel, November 2022 Credit: Isa Giallorenzo

“We got a lot of swagger. We don’t even have to open our mouths—they just see it,” said Greg Sims, 34. I met Greg and his twin brother Glenn when we attended “Champions of Success,” a panel discussion about the state of the fashion industry in Chicago that happened in November at the Kimpton Gray Hotel. The discussion was hosted by Michelle M. Collins, the president and founder of the consumer experience consultancy A Non-Agency. Guests at the event were an eclectic mix of local fashion professionals from all kinds of backgrounds. Most attendees were dressed to impress, but the Sims brothers were at least twice as stylish as everyone else. 

Long considered trendsetters by their crew, Glenn and Greg decided to capitalize on their remarkable sense of style in 2016. Together they created Dope Soulz, a lifestyle brand that encompasses fashion, art, and an upcoming podcast. Their clothing line includes customized T-shirts, hoodies, jackets, vests, bags, hats, socks, and other items. They mostly advertise their one-of-a-kind products via social media. Dope Soulz makes sales on Instagram and TikTok and also IRL at pop-up shops, group art shows such as the Pancakes & Booze series, or simply out of their vehicle’s trunk. The twins are adept at collaborating with other creatives and brands: the vests they were wearing at “Champions of Success” were part of a deal with Tote & Carry. 

Greg Sims: ““We like bright colors. You stand out more where you go, and you feel a little bit of that sunshine. You brighten other people’s days as well.” Credit: Isa Giallorenzo

Glenn and Greg develop their work in their tidy and colorful Bronzeville studio, filled with thrifted and upcycled decor that displays their vibrant aesthetic. “We like bright colors. You stand out more where you go, and you feel a little bit of that sunshine. You brighten other people’s days as well,” said Greg, who was wearing a neon-yellow hoodie and matching sneakers when I visited the studio. Glenn had a similar outfit on, with a few differences. 

“It’s just chemistry. We come together as a collaborative force,” said Greg. According to Glenn, though he and his brother are mostly in sync, Glenn has a streetwear and retro vibe, while Greg is a bit more interested in luxe. They don’t have that introvert/extrovert dynamic common to twins. Their mom said that they “take turns being extra.”

Dope Soulz baseball caps sit on a counter amongst the eclectic decor of the Dope Soulz studio in Bronzeville Credit: Isa Giallorenzo

Positivity, discipline, creativity, community, and entrepreneurship seem to be the name of the game for the Sims brothers. Those are some of the values they expect to impart with their Dope Soulz podcast, where they’ll interview guests such as the owner of a top-shelf whiskey brand and a sports agent who will talk about financial literacy. While they are still in the process of growing their business, Glenn and Greg double as instructors for the Chicago Park District. 

“We’re always around the community. I work with six-year-old tots, teenagers . . . all the way up to a veteran that just turned 91 and was one of the first Black baseball players,” said Glenn. “I’m always getting inspiration from different kinds of style and culture and definitely getting that leadership role from the elders,” he added, as he and his twin carve out a path to become leaders themselves.

Dope Soulz @dopesoulzchicago on Instagram and TikTok, or email [email protected]

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Glenn and Greg Sims photographed in Tote & Carry vests at the Kimpton Gray Hotel, November 2022 Credit: Isa Giallorenzo

“We got a lot of swagger. We don’t even have to open our mouths—they just see it,” said Greg Sims, 34. I met Greg and his twin brother Glenn when we attended “Champions of Success,” a panel discussion about the state of the fashion industry in Chicago that happened in November at the Kimpton Gray Hotel. The discussion was hosted by Michelle M. Collins, the president and founder of the consumer experience consultancy A Non-Agency. Guests at the event were an eclectic mix of local fashion professionals from all kinds of backgrounds. Most attendees were dressed to impress, but the Sims brothers were at least twice as stylish as everyone else. 

Long considered trendsetters by their crew, Glenn and Greg decided to capitalize on their remarkable sense of style in 2016. Together they created Dope Soulz, a lifestyle brand that encompasses fashion, art, and an upcoming podcast. Their clothing line includes customized T-shirts, hoodies, jackets, vests, bags, hats, socks, and other items. They mostly advertise their one-of-a-kind products via social media. Dope Soulz makes sales on Instagram and TikTok and also IRL at pop-up shops, group art shows such as the Pancakes & Booze series, or simply out of their vehicle’s trunk. The twins are adept at collaborating with other creatives and brands: the vests they were wearing at “Champions of Success” were part of a deal with Tote & Carry. 

Greg Sims: ““We like bright colors. You stand out more where you go, and you feel a little bit of that sunshine. You brighten other people’s days as well.” Credit: Isa Giallorenzo

Glenn and Greg develop their work in their tidy and colorful Bronzeville studio, filled with thrifted and upcycled decor that displays their vibrant aesthetic. “We like bright colors. You stand out more where you go, and you feel a little bit of that sunshine. You brighten other people’s days as well,” said Greg, who was wearing a neon-yellow hoodie and matching sneakers when I visited the studio. Glenn had a similar outfit on, with a few differences. 

“It’s just chemistry. We come together as a collaborative force,” said Greg. According to Glenn, though he and his brother are mostly in sync, Glenn has a streetwear and retro vibe, while Greg is a bit more interested in luxe. They don’t have that introvert/extrovert dynamic common to twins. Their mom said that they “take turns being extra.”

Dope Soulz baseball caps sit on a counter amongst the eclectic decor of the Dope Soulz studio in Bronzeville Credit: Isa Giallorenzo

Positivity, discipline, creativity, community, and entrepreneurship seem to be the name of the game for the Sims brothers. Those are some of the values they expect to impart with their Dope Soulz podcast, where they’ll interview guests such as the owner of a top-shelf whiskey brand and a sports agent who will talk about financial literacy. While they are still in the process of growing their business, Glenn and Greg double as instructors for the Chicago Park District. 

“We’re always around the community. I work with six-year-old tots, teenagers . . . all the way up to a veteran that just turned 91 and was one of the first Black baseball players,” said Glenn. “I’m always getting inspiration from different kinds of style and culture and definitely getting that leadership role from the elders,” he added, as he and his twin carve out a path to become leaders themselves.

Dope Soulz @dopesoulzchicago on Instagram and TikTok, or email [email protected]

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After 40 years with the Chicago Bears and 23 as the President and CEO, Ted Phillips has retired. He spent a lot of time with the Chicago Bears but most of it was spent as a losing franchise so the decision for him to retire will almost certainly help the Bears as an organization.

Now, the Bears have their replacement for him. For the fifth time in its 103-year history, they are going to have a new president. This is also the first time that they are hiring a person that wasn’t previously in the organization which is a really good thing.

Kevin Warren is the guy who has now been named to be the President and CEO of the Chicago Bears. He is 59 years old with 21 years of time spent in the NFL. He was with the St. Louis Rams, Detroit Lions, and Minnesota Vikings as an executive over those 21 years.

For the last handful of seasons, however, Warren was the commissioner of the Big Ten Conference. That is a pretty big responsibility as the commissioner of a power five NCAA conference.

The Chicago Bears have hired Kevin Warren to be the new President and CEO.

Following all of that NFL experience ahead of that time with the Big Ten, he has learned the leadership trade well. Getting a job like this with the Chicago Bears is amazing and he should be incredibly proud. He should also be excited as it is a new time for this franchise.

Now, the Bears have a new president in addition to a second-year General Manager, a second-year head coach, and a young developing quarterback that they believe in. This team is doing things a little bit differently which is probably a good idea.

What they were doing hadn’t worked very well since 1985 and they even found a way to mess that amazing team up in the years that followed. Now, with a new president in place to run the show, things might actually start to change.

We have a long way to go before we start fully believing in everyone but this is a really nice first step toward building that trust. With one of the biggest off-seasons in franchise history ahead here, it is time to build something great. Hopefully, Warren and his staff executes.

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For a few days now, Chicago Bears fans have been obsessed with the team’s notching the first overall pick in the 2023 NFL Draft.

It’s all the fans can talk about — and rightfully so. This has not happened for decades.

While there are some who want to bring up the idea of trading Justin Fields and drafting Alabama’s Bryce Young, that’s not the most likely scenario for Chicago. Instead, the Bears will plausibly trade the pick to the highest bidder in exchange for a haul of picks they can use to build around Fields and into that defense as well.

One of the more ideal trade candidates just became abundantly clear on Thursday, as Las Vegas Raiders quarterback Derek Carr posted a sincere goodbye via his Twitter.

The Las Vegas Raiders are officially a likely trade destination for the Chicago Bears’ number 1 pick.

The longtime Raiders quarterback knew his time was up when head coach Josh McDaniels opted to sit him for the team’s final two games of the regular season. In fact, Carr took a leave from the team after he learned he would be inactive during those contests.

Now, the Raiders have a gigantic hole to fill under center. They need to establish a plan, and in a hurry, because there’s a good chance Davante Adams is a bit ticked off about this entire situation.

Adams and Carr were college teammates and have been close friends for years now, and Carr’s leaving undoubtedly casts a bit of doubt on Adams’ immediate future as well.

For the Raiders to keep Adams happy and commit to winning football games, drafting Bryce Young could do the trick. The Raiders own this year’s no. 7 overall pick, which would be the starting point for Chicago in any trade.

A likely package from Vegas’ side would be something along the lines of: no. 7, 2023 second-round pick, 2023, third-round pick, 2024 first-round pick, 2025 first-round pick. The Raiders might even be forced to throw another second or third rounder in there in order to become the highest bidder.

For the Bears, a situation like this is gold. We already know the Houston Texans own the no. 2 and no. 12 picks in this year’s draft and could be a prime trade candidate, along with teams like Indianapolis and Carolina, among others.

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It’s no surprise that after an abysmal first half, the Chicago Blackhawks are in the running for the highest odds to land the number 1 overall pick in the 2023 NHL Entry Draft. What if they actually land it?

If the Blackhawks land the top pick in the draft, the list of ‘What ifs’ and ‘Who to draft?’ is longer than a hot summer day in the sweltering Arizona heat but it’s an important issue to address.

Here are the top 3 scenarios of what should happen if the Hawks land the spot.

#1 – Not the pick you expect…?

Sure, his projected 138 points in the WHL is ridiculous and his 23-point Gold Medal run with Canada in the World Juniors showed his bright spots as a player but the size of Connor Bedard’s head isn’t the only way he’s challenged in size.

With 5 foot – 10 inches and 187 pounds of pure Canadian man, Bedard belongs in a locker room with guys who aren’t looking for a menacing puck carrier and has silky hands to make defenders look like they have their ankles tied together.

I see your Connor Bedard hype and raise you a 6 foot – 3 inch “Captain Serious” dumb to pass up on type of player. Adam Fantilli, University of Michigan.

He is a consensus top 2 pick and overlooked because Bedard’s bedazzling puck skills have mesmerized scouts. Fantilli is in a roster flooded with talent at Michigan and is still standing out with 11 goals and 15 assists for 26 points in 16 games played for Mel Pearson’s Maize and Blue.

Not only that, he posted as many assists as goals in 2 years for the Chicago Steel (55-55-110). That was also a loaded roster of NHL Prospects like Josh Doan, Sam Lipkin, Zam Plante, and Joe Miller, which is impressive.

His size and ability to make plays with the puck show his extreme ability to be a difference-maker in the future.

The Chicago Blackhawks have a lot of decisions to make this off-season.

#2 – Use Patrick Kane as leverage to pull in a high pick in the 1st round, and start the future there

The clock is ticking and the grains of time are draining on Kane in the Windy City, but don’t wastefully dump him. Dealing Kane is all but written in stone and needs to be done correctly.

He should get dealt at the deadline and the front office needs to make sure they have a strong base to start a draft in which they are guaranteed a top 5 pick.

They should make a deal with a team that has a lot to give and can make you look better than you did on the ice. They should be able to trade Kane away for a 15th or higher pick, be able to get 2 top players early on, and start there.

#3 – Make them forfeit the pick

Look, let’s all be honest here. No one wants to talk about it, but the way Rocky Wirtz and the entire circus handled the Kyle Beach situation, and what they allowed to happen to a player who wanted to make it big as an atrocity to the name of the franchise.

It also harmed the league as a whole and a worthy punishment needs to be handed down. There should be more than a $2 Million fine and a settlement. There has been no accountability.

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