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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ARBOR PROPERTIES
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EFF, 1 & 2 Bedrooms Avail Fall 2015-16
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6 BEDROOM HOUSE 511 Linden.
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exp. Please call M-F, 8-3: 734-995-0715
2 & 3 BDRM APTS IN A HOUSE
South Campus Fall 2015-16
1015 Packard - $1370-$1930 + Utilities
Call 734-996-1991 to sched a viewing
WORK ON MACKINAC Island This
Summer
–
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The
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STONEBRIDGE GOLF CLUB A2
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point of sale needed
Fantastic experience and free golf
email resume to
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course maintenance workers needed;
Competitive pay and free golf
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SERVICES
FOR RENT
HELP WANTED
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
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