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?”