Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Ones calling the
shots?
5 Rock blasters
9 Californie, for one
13 Apple variety
14 Goal for a runner
15 Renaissance
painter Veronese
16 Deep-sea
creature, literally
18 Mozart’s “King of
Instruments”
19 Seat of Dallas
County, Alabama
20 Alternative
strategies,
literally
22 Churchill, for one
24 “Who, me?”
25 1,000 G’s
27 Goes out for a
bit?
30 Fusion, for one
35 Receptionist on
“The Office”
37 It’s frowned upon
39 Yellowish tone
40 Infomercial
offers, literally
43 Time to say
“¡Feliz año
nuevo!”
44 Pioneers’
journey, say
45 Unpopular spots
46 Buck
48 1980s surgeon
general
50 Dennings of
“Thor”
51 __ lane
53 “Who, me?”
55 Toddler’s
transport, literally
61 Alley wanderers
64 Certain Middle
Easterner
65 Preflight
purchase, literally
67 Pirouette,
essentially
68 Settled down
69 “Truth in
Engineering”
automaker
70 First place?
71 Bothersome
parasites
72 Block (up)

DOWN
1 Steals, with “off”
2 Former “Fashion
Emergency” host

3 Surface fractures
4 Blockhead
5 Fire proof
6 Courses taken
consecutively?
7 Depressing
atmosphere
8 Energy
9 “Downton Abbey”
title
10 Draped garment
11 The first “A” in
A.A. Milne
12 Piles
15 Michael Jackson,
e.g.
17 Tip off
21 One on the other
side
23 Half a
philosophical
duality
25 “The Seven-Per-
Cent Solution”
author Nicholas
26 Adler of Sherlock
Holmes lore
28 Look down
29 Snideness
31 Numerical prefix
32 “Look at this!”
33 Battleground
34 Start over, in a
way
36 Sushi seaweed

38 Layered snack
41 Venue involving
a lot of body
contact
42 “Right Now (Na
Na Na)” artist
47 Rogers Centre
team, on
scoreboards
49 Majestic display
52 Like some
popular videos
54 Big brass

55 “Heavens to
Betsy!”
56 Crossword
component
57 Collapsed
58 Aware of
59 Where many
subs are
assembled
60 Really, really cool
62 Stir
63 Pass over
66 Downed

By Paolo Pasco
©2015 Tribune Content Agency, LLC
01/30/15

01/30/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, January 30, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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SUMMER EMPLOYMENT

6 — Friday, January 30, 2015
Arts
The Michigan Daily — michigandaily.com

New musical ‘Boom!’
For God’s sake, just 

watch ‘The Fall’

GENDER AND MEDIA COLUMN

A 

police chief hiding 
behind a scruffy beard 
and meekly bloody 

nose asks, “Why are women 
emotionally 
and spiritu-
ally so much 
stronger than 
men?” This 
happens after 
he drunkenly 
forces him-
self into the 
bedroom of a 
former flame 
— blonde, 
enigmatic 
Stella Gibson — and ineptly 
tries to make a pass at her. 

Stella responds with char-

acteristic 
softness, 
“Because 

the basic human form is female. 
Maleness is a kind of birth 
defect.”

Mic dropped. Game changed. 

Feminist icon born. 

For a while it seemed as 

though my mom and I were the 
only people in the world who 
watched “The Fall.” I wrote 
about it in this publication — 
twice, actually — and talked 
about it to everyone, includ-
ing the deli counter person at 
Meijer and the entirety of my 
90-count Marketing lecture. 
So you could say I like “The 
Fall.” The smart and surpris-
ingly erotic BBC crime thriller 
expertly meandered through 
its first season, following “50 
Shades of Grey” star Jamie Dor-
nan’s 
disturbingly 
seductive 

serial killer and Gillian Ander-
son (TV’s “Hannibal”) as Stella, 
the coldly brilliant investigator 
out to find him. 

Season one, which appeared 

on Netflix in 2012, spends 
much of its five episodes quietly 
building a feminist argument 
that parallels the misogyny of 
its woman-killer lead. Season 
two, which came out on Netf-
lix last Friday, takes those ideas 
and amplifies them, explicitly 
attacking the violent patriar-
chal structures women face. 

Paul Spector preys on young 

professional 
women; 
inde-

pendent, unabashedly sexual, 
beautiful. While season one 
preoccupies itself with Paul’s 
actions — stalking, strangling, 
lovingly bathing the dead bod-
ies — season two develops 
the psyche behind his hatred 
towards women; the abandon-
ment via suicide of his mother, 
his conflicted love of his daugh-
ter and tenuous relationship 
with his wife, who is blonde and 
soft and nurturing (read: noth-
ing like his victims).

But ultimately, he just feels 

threatened by these women, as 
Stella shows us. In a memora-
ble moment in the first-season 
finale, Chief Burns calls Spec-
tor a monster, a murderer of the 
most debased degree, inhuman. 
Stella answers with a requisite 
lack of dramatics: “No, he is 
just a basic misogynist.” She is 
a breath of fresh air in a trend 
of bullshit feminism on televi-
sion — she doesn’t make care-
fully 
politicized 
statements 

or brand herself as a “strong” 
woman. Stella states the facts 
the way they are, outlining our 
sexist world without self-pity or 
apology. 

Season two begins with Stella 

interviewing Spector’s sole sur-
vivor, only recently awakened 
from an injury-induced coma. 
Many “strong female charac-
ters” on television struggle con-
necting to other women; strong 
is termed as standoffish and iso-
lated, a one-woman army. While 
Stella cannot be described as 
warm, this scene portrays her 
incredible depth for empathy, 
and her passionate, concen-
trated hatred towards men who 
perpetuate violence. Stella may 
be a slight misandrist, hating 
men and using them for sex, but 
she is not a robot, and her emo-
tions are deeply tied to her pre-
cise instincts.

While “The Fall” is still 

relatively unknown (its odd 
release schedule and slow burn 
structure don’t add up to a far-
reaching hit), Anderson has 

been making waves for her per-
formance as Stella, a character 
unlike any other on TV. (Not to 
say that Dornan isn’t revelatory 
as Spector; brooding, magnetic, 
conflictingly foxy. But his sexy 
serial killer schtick isn’t exact-
ly new, whereas Stella’s mix 
of frankness and adeptness is 
rare.) Anderson wrote a profile 
piece for Yahoo, in which she 
directly addresses the enigma 
of Stella: 

“Is it that Stella is at once in 

touch with her femininity in a 
way we have not seen, and yet 
still able to stand up for her-
self with strength, intelligence, 
grace and self-containment? … 
I’m not so sure, and yet none of 
the usual (independent, intel-
ligent, focused, serious, profes-
sional, strong and, yes, feminist) 
character descriptions seem to 
define or explain the whole of 
her.”

That’s the crux of it. I just 

spent 700 words trying to 
describe why I love Stella, and 
why we need Stella on television 
today. But like any real woman, 
she defies explanation, a mix 
of complexities, mysteries and 
idiosyncrasies.

Please, please, for the love of 

God, watch “The Fall,” if you 
don’t already. If well-devel-
oped and stylishly executed 
feminist manifestos aren’t your 
thing, watch for the terrify-
ing suspense. If you don’t like 
regular crime thrillers, watch 
for the fascinating dichotomy 
between killer and investigator, 
the blurred lines of right and 
wrong. And if none of that does 
it for you, there’s skewed power 
dynamics, 
salacious 
crimes 

and impeccable dialogue, even 
a pretty memorable make-out 
scene between Anderson and 
“The Good Wife” ’s Archie Pan-
jabi — you know, if that’s your 
thing.

Gadbois is re-watching that 

scene with Gillian Anderson 

and Archie Panjabi. To join, 

email gadbnat@umich.edu.

NATALIE 
GADBOIS

EVENT PREVIEW

By CAROLYN DARR

Daily Arts Writer

The term “musical” is often 

associated with certain images, 
usually involving large casts, show-
stopping songs 
and 
elaborate 

dance 
num-

bers. However, 
Ann 
Arbor 

Civic 
The-

atre’s 
(A2CT) 

upcoming pro-
duction of the 
three-person 
musical “tick, 
tick … BOOM!” 
fights 
against 

these precon-
ceived notions.

“tick, tick … 

BOOM!” is an 
autobiographi-
cal musical written by Jonathan 
Larson, composer of the hit musi-
cal “RENT.” The show details 
the life of Jonathan, a struggling 
musical author nearing his 30th 
birthday, who is trying to juggle a 
girlfriend that wants to get mar-
ried and move to the suburbs and 
a best friend that wants him to give 
up on his dreams and come work 
for him at his big firm.

“Jonathan Larson wrote (this 

show) in response to getting 
another 
work 
rejected 
on 

Broadway,” said director Rachel 
Francisco, who is also the Manager 
of Marketing, Promotion & Special 
Events at the School of Music, 
Theatre & Dance. “So it talks about 
him trying to come to grips with 
his choices in life. So it’s about him 
kind of wrestling with where he 
is.”

While Francisco has directed 

and performed in a number of 
A2CT’s shows in the past, “tick, tick 
… BOOM!” was a new experience 
for her, particularly when it came 
to directing such a small cast.

“When you work with only 

three people, you can immediately 
jump in and start some really heavy 
work on music and character and 
dialogue because you’re not trying 
to coordinate 20 people, which is 
sometimes hard to even get them 
all in the same room at the same 
time,” Francisco said. “So it’s 
created an incredibly intimate and 
tight cast.”

The show is not very well 

known, as it never opened officially 
on Broadway, instead premiering 
off-Broadway at the Jane Street 
Theater in 2001. Because it is so 
small, there aren’t a lot of past 
productions that directors can 
draw inspiration from. Francisco, 
however, was lucky enough to see 
the show when it opened and went 
into the production with a clear 
image.

“There’s only so much you can 

do with this particular show. It’s 
very clear on what it is and when it 
is,” Francisco said. “It’s also meant 
to be a small show so it doesn’t call 
for crazy sets or lots of costume 
changes, so it really has to be all 
about the characters.”

Despite being limited in set and 

costume choices, Francisco found 
a way to make the show more 
character-focused and unique.

“There 
was 
one 
song 
in 

particular that really didn’t seem 
to fit the show at all. It didn’t 
do anything for the plot, it was 
pretty misogynistic, it was just 
not working,” Francisco said. “So, 
instead, my music director wrote 
a new song to put in the show 
that actually takes the characters 
further along a path that is really 
only hinted at, but ends up giving 
the entire show much more depth.”

In the end, though, Francisco 

simply wants the audience to have 
a good time at the show. 

“I just hope they enjoy it because 

it’s a great production and we have 
really great performers in it,” she 
said. “But also, just a moment of 
thinking about choices we make 
in life and how sometimes, in the 
moment, you think you’ve made a 
mistake but maybe later on you’re 
able to look back and say ‘no those 
kind of choices helped create who I 
am today.’”

‘tick, tick ... 
BOOM!’

Jan. 30-Feb.1 
& Feb. 6-8

Fridays at 8 
pm., Saturdays 
2 p.m. & 8 
p.m., Sundays 
at 2 p.m.

A2CT Studio 
Theatre
$15

Aussome ‘Babadook’ 

FILM REVIEW

By ANDREW MCCLURE

Daily Arts Writer

Horror 
movies 
are 
almost 

invariably funny. Until they’re 
not. There’s a good reason that, 
to 
cineastes 

and armchair 
moviegoers 
alike, Kubrick’s 
“The Shining” 
and Polanski’s 
“Rosemary’s 
Baby” 
have 

remained 
in 

the 
horror 

canon, 
the 

discourse — the millennial atten-

tion span — for this long. And that 
reason is the same reason why the 
tits-every-two-scenes 
“Hallow-

een” or “Nightmare on Elm Street” 
franchises loop without end on 
cable, as if shown by sheer con-
tractual obligation and not in any 
remote effort to, you know, scare. 
And the reason is this: Good hor-
ror movies make you look inward, 
in the mirror, wondering, “What if 
I, rather than some monster, could 
be breathing behind that chestnut 
door”? Rookie director Jennifer 
Kent splashes big and dark in her 
debut, “The Babadook,” which is 
not only among the best pictures 
of 2014, but one that’ll surely 
secure her seat at the not-big table 
of Aughtie indie filmmakers to 
watch.

By all accounts in the first half-

hour of this 90-minute horror 
pic, this is less a horror pic, more 
a drama bleeding into comedy. 
Kent is in no rush to force-feed 
us obvious narrative omens, ones 
that lead to death knells of char-
acters we (probably) couldn’t care 
less about. She stays local, opting 
for the brain-space of the mother 
Amelia (played sleeplessly by 
Essie Davis, TV’s “Miss Fisher’s 
Murder Mysteries”) whose sev-
en-year-old son Samuel (played 
with brilliance by newcomer 
Noah Wiseman) redefines what 
it means to “have it rough” as a 
widowed mother (the father died 
on the car ride to the ER, survived 
by the pregnant Amelia carrying 
their son). He acts out at school, 
has no friends, obsesses over DIY 
magic kits and, most importantly, 
drives his mother mad, whose 
blondish hair grows whiter, thin-
ner, her forehead more wrinkly — 
parenting taking its toll, and fast.

This well-directed dramedy 

then inhales darker fumes. One 
night while Samuel demands his 
mother read him to sleep, she 
grabs an unfamiliar, ancient-
looking red book titled “Mister 
Babadook.” The black-and-white 
words and illustrations quickly 
signify that Mom definitely made 
the wrong choice. Uttering the 
rhyming pages aloud, like, “You 
start to change when I get in / The 

Babadook growing under your 
skin … ,” Amelia has summoned 
something inhuman. What fol-
lows is sort of what you’d expect: 
Samuel claims to have had con-
versations with Mister B, bizarre 
noises at night, a knowing dog. 
But Kent only flirts with these 
tired exercises to unpack fur-
ther what becomes increasingly 
unclear: Does Amelia’s flagging 
disposition make her so less a 
credible, protagonistic character 
that we may have to entertain less 
linear alternatives?

The best monster movies have 

none. Jack Torrence in “The Shin-
ing” saw weird stuff, but his reli-
ability as our guide was always 
moot, his psyche unfamiliar with 
emotional equilibrium. The mon-
ster rested inside Torrence, hun-
gry to disrupt yet smart enough 
to be patient. Ultimately, this is 
what we find in Amelia, a woman 
whose eyes avert so incessantly to 
her wild child that she cannot see, 
or acknowledge as real, the terror 
before her, inside her.

Make no mistake, “The Baba-

dook” can be most easily shelved 
as a cheap, albeit clever allegory 
to motherhood. And your point? 
If anything, this speaks to the 
film’s gilded strength: its inher-
ent femaleness. Kent uses old 
tricks, yes, but eschews the shitty 
ones, like the vapid talking pair of 
breasts or the pitiable mother or 
the bitchy bitch. Her gender-neu-
tral, egalitarian approach works 
because nobody is your friend, 
everyone has demons and Mister 
Babadook is inarguably haunting 
with his cutlery fingers and black 
lips.

The finest scene happens when, 

after a couple failed attempts to 
destroy the book, it appears magi-
cally on the doorstep after a door-
bell ring. Amelia tentatively totes 
it onto her kitchen table, opening 
it with glacial care. The images 
shown within this revised edition 
of the book could be the scariest 
minute of filmmaking in recent 
memory. No editing gimmicks, no 
athletic lensing, just a book and 
nothing else. The film itself feels 
like this.

A-

The 
Babadook

State Theater

IFC Films

IFC FILMS

“What the fuck, Mom?”

