ACROSS
1 Device in a
jogger’s
armband, maybe
5 Off-mike comment
10 Deck swabbers
14 Emperor with a
bow
15 Language of 14-
Across
16 Mayberry kid
17 Bureau of Indian
Affairs purview
19 Heating or
cooling outlet
20 Nationality suffix
21 BB-shaped
veggie
22 Pay attention to
23 1989 handheld
gadget release
29 “Magic Mike” actor
Channing __
30 Disparaging
31 Have yet to pay
32 Prof’s aides
34 Stat for Madison
Bumgarner
35 Chaplin of “Game
of Thrones”
36 Manhattan
landmark, and a
hint to this
puzzle’s circles
39 Word before drill
or engine
41 Clothes drier
42 Fish-on-the-line
sign
43 “__ knows?”
44 Gentle gaits
46 Implicit
50 Mr. Wilson’s
bane
53 Comparable
54 Modern, in Berlin
55 Through
56 “__ go bragh!”
57 Polynesian-
themed
restaurant chain
61 Data unit
62 Ready to hit
63 Event with
specials
64 1930s
heavyweight
champ Max
65 Oddballs
66 Mined materials

DOWN
1 Sharply focused
2 Empire
conquered by
Alexander the
Great

3 “Murder on the
__ Express”
4 Driver’s lic. info
5 “Midnight in
Paris”
writer/director
Woody
6 Light lunches
7 “Give __ rest!”
8 Racket
9 Come to a halt
10 “Philadelphia” or
“Chicago,” e.g.
11 Test type
12 Force to make a
commitment
13 Tennis match
part
18 Theoretical
evolutionary link
22 Bovary’s title:
Abbr.
24 Helen Keller, to
Anne Sullivan
25 In this world
26 Young lady
27 Alter to fit
28 Passing remark?
33 Planetarium
projections
35 Liver or kidney
36 Longtime
newsman with
the catchphrase
“And that’s the
way it is”

37 Prison uprising
38 Filmmaker with
a distinctive
style
39 F on a DVD
player, perhaps
40 Informal
“Understood”
44 Sardine
container
45 Writer/illustrator
Maurice
47 Pricey hors
d’oeuvre

48 Spiky winter
hanger
49 Pokes fun at
51 West Coast
NFLer
52 Hooks up with
56 Partner of flow
57 License plate
58 Postal worker’s
beat: Abbr.
59 Grandpa
Simpson
60 Brandy bottle
letters

By C.C. Burnikel
©2015 Tribune Content Agency, LLC
03/17/15

03/17/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, March 17, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

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

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SUMMER EMPLOYMENT

6 — Tuesday, March 17, 2015
Arts
The Michigan Daily — michigandaily.com

‘Stars’ for a cause

Comedy Central 

charity event raises 

awareness for 

autism

By HAILEY MIDDLEBROOK

Daily Arts Writer

In a room packed with enter-

tainers who tell jokes for a living, 
it’s sometimes hard to see the big-
ger 
purpose. 

The fact is that 
people laugh at 
misfortune 
— 

comedians make 
light of atrocities 
such as Ebola 
virus or dictator 
Kim Jong Un. 
When not joking 
about 
deathly 

serious matters, 
they impersonate the most glam-
orous and ridiculous of Hollywood 
— stars like Kim Kardashian (who, 
coincidentally, tops Kim Jong Un in 
a Google search of her first name). 

With a parody platform that 

alternates between topics too ter-
rible to believe and celebrities living 
unimaginable lives, a gaping space 
is left for reality. Few Americans 
(thankfully) are affected by North 
Korean politics and even fewer by 
Justin Bieber’s 21st birthday antics. 
What they are affected by are the 
unglorified challenges in life: For 
one in every 68 children and their 
parents, this means living with 
Autism Spectrum Disorder (ASD). 
Laughing at tragedy and mockery 
may allow a person to escape the 
moment, but is that all comedy can 
do?

The folks at New York Collabo-

rates for Autism (NYCA) didn’t 

think so. With its motto, “NYCA 
sees the possibility and creates the 
path,” the non-profit organization 
strives to dramatically improve 
the lives of people living with ASD 
through 
innovative 
programs, 

helped by partner charities and col-
laborations. 

“Night of Too Many Stars” 

was the brainchild of a collabora-
tion with Comedy Central, air-
ing first in 2006 as a marathon 
broadcast flooded with A-list 
comedians and performers. This 
year’s lineup included Steve Carell 
(“The Office”), Paul Rudd (“Parks 
and Recreation”), Maya Rudolph 
(“Bridesmaids”), 
Chris 
Rock 

(“Everybody Hates Chris”) and 
Adam Sandler (“Happy Gilmore”) 
to name a few, all raising awareness 
and funds for NYCA. 

Hosted by Jon Stewart (“The 

Daily Show”), the 2006, 2012 and 
2015 shows have collected well 
over $18 million for NYCA through 
ticket sales for the live show in New 
York City’s Beacon Theatre, online 
donations and (perhaps the best 
way) miscellaneous celebrity auc-
tions. Currently on Comedy Cen-
tral’s website, bidders can enter to 
win the chance to be drawn into an 
episode of “The Simpsons,” or bid 
on a gold rotary phone signed by 
“Call Me Maybe” babe Carly Rae 
Jepsen ($230 current bid) and a 
“World’s Best Boss” mug signed by 
Steve Carell ($750 current bid). And 
unlike throwing down hundreds 
of dollars for a birthday candle 
blown out by J-Biebs, the money is 
going towards an excellent cause — 
allowing hundreds of people diag-
nosed with ASD access to proper 
education and the attention neces-
sary to live a happy, fulfilling life. 

If the online auctions are fun, the 

live auction on the show was even 
better. Between watching stand-up 

acts like Amy Schumer’s fantastic 
riff on being a “real” woman in Hol-
lywood, audience members could 
buy an endorsement from Chris 
Rock (won by designer Tommy 
Hilfiger for $35,000) or the chance 
to “commit a crime” with British 
comedian John Oliver.

Good humor and grand dona-

tions aside, the best part of “Night 
of Too Many Stars” was when the 
real purpose took the spotlight. 
Owen Suskind, a teenager with 
ASD, had grown up reenacting 
scenes from Disney’s “Aladdin” 
with his father as a way to commu-
nicate. He would play Jafar while 
his father acted as Iago, the parrot 
who’s voiced by Gilbert Gottfried 
(“The Celebrity Apprentice”). In 
the most heartwarming appear-
ance in the show (surprising even 
Jon Stewart), Gottfried brought 
Suskind onto the stage to reenact an 
“Aladdin” scene with the real Iago. 
Though Gottfried forgot his lines 
— “Ah fuck, it was 20 years ago!” 
— Suskind filled in for both parts, 
his megawatt smile outshining the 
celebrities on stage. 

Though we seek comedy to for-

get the seriousness of life, moments 
like these remind us that our basic 
routines — like pretending to be 
Disney characters — are the most 
powerful, because they make us 
who we are. “Night of Too Many 
Stars” is unique because though it 
has a stacked roster of celebrities, 
the stage is given to the real all-
stars in our lives. 

A+

Night of Too 
Many Stars

TV Special

Comedy Central

Commit a crime 
with John Oliver.

TV REVIEW
FILM REVIEW
‘Timbuktu’ unnerves

By ZAK WITUS

Daily Arts Writer

“Timbuktu” transports us. 

Not simply in the sense of trans-
porting us through space and 
time, as any film does, but in 
the sense of 
transport-
ing us into a 
foreign 
con-

sciousness. To 
tell its story, 
“Timbuktu” 
intervenes 
in 
the 
nor-

mal flow of 
Western con-
sciousness. 
This 
begins 

with simple changes of scenery 
(vast and mostly empty desert 
backdrops, black and silent des-
ert nights, sand-colored cities, 
humans with brown skin liv-
ing in tents, etc.) and ends with 
changes in our cultural and ide-
ological filters through which 
we experience life. Whether 
and to what degree these deep-
er changes endure after the film 
has ended is up to you.

“Timbuktu” stations view-

ers in the highly volatile city 
of Timbuktu, Mali, located 
in northwestern Africa. The 
infamous black flag that most 
Americans will associate with 
the Islamic State appears in the 
first few minutes of the film. 
Interestingly, the characters 
never call this ruling band of 
Islamic jihadists by that name 
or any of its variations (IS, ISIS 
or, Obama’s preference, ISIL). 
That’s because the militant 
jihadists occupying Timbuktu 
in this film are not in fact ISIS, 
but Ansar Dine. To many Amer-
icans the difference may appear 
negligible – these Islamic fun-

damentalist militants are still 
killing people for seemingly 
ridiculous reasons, like playing 
music or smoking cigarettes. 
But American audiences cannot 
avoid noticing that these mili-
tants’ victims are not Ameri-
cans, but Africans. (Indeed, 
the United States is never men-
tioned in the film.)

The film’s slow pace builds 

tension 
gradually, 
accenting 

key moments of action and vio-
lence (similar, in this regard, 
to “Foxcatcher,” and the polar 
opposite of the “Fast and Furi-
ous” series). The strict economy 
of dialogue and the effective 
use of silence may irk (and 
perhaps intrigue) those of us 
accustomed to rapid-fire con-
versation, either in our personal 
lives or in film. As it turns out, 
everything need not always be 
communicated 
so 
explicitly 

or done so obviously. Indeed, 
“Timbuktu” demonstrates great 
reservation in dialogue, and yet 
the precise diction along with 
choice of shots and other non-
verbal elements develops into 
a language that communicates 
more than the most verbose 
Hollywood motion picture.

One might think that the 

stark 
cultural 
differences 

between us (e.g., Westerners) 
and them (e.g., the characters 
in “Timbuktu” and the people 
they represent) would over-
whelm us to the point of not 
understanding basic aspects of 
the drama. Not so. The weight 
of the drama hangs heavy on 
us all the more. Though we 
may not fully agree with, say, 
Kidane’s 
retaliation 
against 

the fisherman who slayed his 
cow, if we allow ourselves to 
be cinematically immersed in 
this other world and its people’s 
way of life, we can understand 

the causes and motives of his 
action. “Humiliation” is the key 
word here, as elsewhere in this 
film, to describe the enduring, 
underlying cause that moves 
the people toward desperation 
and then toward evil. But I don’t 
wish to mislead: You won’t be 
spoon fed any easy moral truths 
in “Timbuktu.” If you’re looking 
for that, I hear pirated copies 
of “American Sniper” are now 
available. 

Where “American Sniper” 

failed, “Timbuktu” succeeds: 
The film invites us to empa-
thize 
with 
its 
characters, 

including the Muslims. It does 
not invite empathy with the 
so-called “terrorists,” although 
there’s certainly room for that; 
rather that is to invite us to 
empathize with the ordinary 
folk, like the poor fisherman, 
the orphan shepherd boy or the 
odd-but-wise rooster lady. By 
empathizing with these char-
acters, we extend our minds 
across the artificial boundaries 
set between ourselves (e.g., the 
U.S.) and other peoples, and we 
recognize that “they” are fun-
damentally just like “us.”

“Timbuktu” doesn’t let one 

drop of blood go unnoticed: 
It’s almost as if the filmmakers 
are crazy enough to believe that 
human blood is sacred! (an idea 
for which Hollywood war mov-
ies rarely have regard). Instead 
of Call of Duty-style shootouts 
killing faceless, soulless non-
entities, “Timbuktu” makes you 
realize that when you kill your 
enemy, an actual person dies. 
This highly sensitive treatment 
of human life might challenge 
our 
gun-slinging, 
American 

cowboy sensibilities, but it’s 
worth experiencing if for no 
other reason than to appreciate 
the contrast.

COHEN MEDIA GROUP

Better than ‘American Sniper.’

STYLE RECAP
New Miu Miu 
collection

By CAROLINE FILIPS

Daily Arts Writer

Since its founding in 1993, 

Miu Miu has been intellectual-
turned-fashion-mogul 
Miuccia 

Prada’s outlet for her playful, girl-
ish side. The brand prides itself 
on being a cheekier version of its 
older, more sophisticated parent 
brand, Prada, and often does so in 
a bold, whimsical fashion. For its 
fall ready-to-wear line for Paris 
Fashion Week, Miu Miu show-
cased its strengths — opting for 
a collection consisting of vibrant 
colors, conspicuous prints, bold 
statement jewelry and its signa-
ture over-the-top footwear. 

While a vast majority of fashion 

houses showcased ’70s inspired 
collections, Miu Miu wasn’t overtly 
subject to a specific decade, though 
it did feature the era’s exaggerated 
blouses and generous amounts of 
gingham. Pastoral button-downs 
mimicked 
19th-century 
fash-

ion, A-line dresses channeled the 
mod ’60s and metallic outerwear 

added a futuristic flair. If anything, 
the show exuded mainly ’80s 
vibes with chunky jewelry and 
a soundtrack fresh out of a John 
Hughes film. Overall, the collec-
tion offered uber-feminine silhou-
ettes, with no pants in sight and 
figure flattering cinched waists. 

The show’s overarching theme 

seemed to be one of refined chaos, 
shying from any succinct mini-
malism and brimming with ener-
gy. The collection’s overzealous, 
youthful overtones extended to 
the accessories as well, featuring 
footwear in a Candyland-esque 
color scheme, accentuated with 
clunky heels and belts. Smaller 
handbags complete with braid-
ed handles also stood out. The 
quintessential quirkiness of Miu 
Miu defined the collection, as it 
included polished separates con-
trasted by avant-garde additions. 
Ultimately, a refreshing depar-
ture from common fall shades of 
jewel tones and greys, Miu Miu’s 
coquettish aesthetic is arguably 
PFW’s biggest standout.

A-

Timbuktu

Michigan 
Theater

Cohen Media 

Group

Excited for “Game of Thrones?”

WE ARE TOO.

Daily Arts is looking for new writers.
To request an application, e-mail

CHLOELIZ@UMICH.EDU
ADEPOLLO@UMICH.EDU

