ACROSS
1 Visits
8 Legal test,
familiarly
14 Reporter’s needs
15 Punk rock
surname
16 Like some
watches
18 Cost-of-living fig.
19 Feed in a bag
20 “Am __ the right
track?”
22 Bath floater
26 Gumbo veggie
27 Nylons, fishnets,
etc.
28 Petty squabbles
29 Penny-__
30 “I’ll have another”
responder
34 Neon, or fuel for
a Neon
35 Patchwork
plaything
36 Public image,
briefly
39 Freaked out
40 One-eighties
41 Freak out
44 Shows proof of
46 Player with a
record 14 100-
RBI seasons
47 Running a
marathon may be
on it
50 ’90s “SNL”
regular Meadows
51 “__ Jim”
52 Knack for snappy
comebacks
53 Project suggested
by the starts of
16-, 22-, 35- and
47-Across
59 River through
Toledo
60 Hall who won on
“Celebrity
Apprentice” in
2012
61 Linen closet
stack
62 Jones with a
diary
DOWN
1 Cincinnati-to-
Nashville dir.
2 Shelley’s “__
Skylark”
3 Pariahs
4 Private school
student
5 Parchment user
6 Atmo- kin
7 “Ash
Wednesday”
poet’s monogram
8 __ by fire
9 Speed
10 Ambulance VIPs
11 Fluffy scarf
12 Golfer
Sorenstam, who
was among the
first women to
become
honorary
members of St
Andrews golf
club in February
2015
13 Comeback
17 More than sniffle
21 “One Mic” rapper
22 Carpet type
23 The last Mrs.
Chaplin
24 __ renewal
25 How some wines
are sorted
26 Facing: Abbr.
28 Pommes frites
sprinkling
31 Nutritional stat
32 Coin for Putin
33 …cole attendee
35 Korean soldier
36 Speaking from
memory
37 Spud sprouts
38 Furtive attention-
getter
39 Saturn, for one
40 Like sketchbook
paper
41 Collected dust
42 Rainbow makers
43 Big brass output
45 Formal
admission
47 Lisa of “Enemy of
the State”
48 They can be hard
to fight
49 Atlanta-based
health agcy.
51 Sherbet flavor
54 Repent
55 Photo __
56 Throw too low,
say
57 Merkel’s “never”
58 Captured
By Carol Lachance
©2015 Tribune Content Agency, LLC
03/25/15
03/25/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, March 25, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
FOLLOW US ON TWITTER
@michigandaily
NOW.
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6A — Wednesday, March 25, 2015
Arts
The Michigan Daily — michigandaily.com
On Feb. 22, Patricia Arquette
won an Academy Award for her
supporting role in “Boyhood.”
On March 4, her new series
“CSI: Cyber” premiered on CBS.
She
may
not be the
first
actor
with
Oscar
credit
to
topline
a
crime
procedural
franchise
—
Forest
Whitaker in
“Criminal
Minds:
Suspect Behavior,” Terrence
Howard in “Law & Order: Los
Angeles” and Elizabeth Shue in
the “CSI” mothership, to name
a few — but Arquette’s journey
from Academy-darling to Jerry
Bruckheimer’s leading lady is
certainly the most intriguing.
When the news broke that
Arquette would star in the
latest “CSI” spinoff on March 5
of last year, “Boyhood” was still
a largely untested, 12-years-in-
the-making experiment. And
with no way to predict that
the film would become her
breakout film role at the age of
46, Arquette’s potential return
to network television seemed
like exactly the right move.
Let’s just say, a lot can
change in a year.
As we all know, “Boyhood”
became one of the year’s biggest
success
stories,
Arquette
especially singled out for her
role as Olivia Evans. TIME
Magazine
even
declared:
“Forget The Boy” — “With
just a few alterations, Richard
Linklater’s
‘Boyhood’
could
just as easily have been called
‘Motherhood.’ ” In the end,
Arquette not only won the
Academy Award, but also the
Golden Globe, the SAG Award
and
countless
others.
But
unlike most awards season
victors, for whom their next
project is a source of much
intrigue and chatter among the
press, Arquette had already
wrapped filming on her latest
series. Less than two weeks
after
her
groundbreaking
and controversial acceptance
speech calling for equal pay,
the actress made her debut
as Special Agent Avery Ryan,
officially trading in Sundance
for CBS. Ethan Hawke for
James Van Der Beek. An Oscar-
winning role for cyber sex with
a chat-bot named Kitty.
If a “CSI” spinoff is already
the lowest rung of the network
television ladder, consider “CSI:
Cyber” ’s feet planted firmly
on the ground — an offensively
terrible entry into the lucrative
franchise, one that could only
feasibly satisfy snarky bloggers
or dozing grandparents. In the
two episodes since its debut,
Arquette and her team — also
consisting of Shad “Bow Wow”
Moss
—
have
investigated
online baby auctions and gore
porn forums, twice-initiated
online sex (“The more you pet
me, the more I purr”), swabbed
an infant’s dirty diaper for
fingerprints and used a ham
sandwich to explain computer
technology. Even more so than
the many “CSI” ’s or “NCIS” ’s
that came before it, “Cyber” ’s
character development is thin
(Ryan was a victim of cyber
crimes herself!). Its dialogue
is laughable (“You work dark
alleys, I work the dark web.”)
and its be safe online mantra
typed with quite the heavy
hand. (It can, and most likely
will, happen to you.)
It’s sad to see “CSI: Cyber”
fail so spectacularly, not only
given Arquette’s recent success,
but also her history with this
particular genre. As Allison
Dubois on “Medium,” one of
the greatest procedurals of all
time, Arquette played a family
woman with a supernatural
gift, one that she used to solve
crimes for the Phoenix District
Attorney’s
Office.
Whereas
“Cyber” is decidedly all crime,
no character, “Medium” was a
delicate balancing act — there
was more to the NBC series
than chasing clues and catching
bad guys.
At its center was the Dubois
family, Allison and Joe (Jake
Weber, “The Following”) —
a strong, equal partnership
reminiscent of (dare I say)
Eric and Tami Taylor and their
three daughters. The crimes
were always of a secondary
concern; they were important,
of course, but informed a larger
narrative goal that brought
all
of
“Medium”
’s
pieces
together. They weren’t random
or
meaningless
or
entirely
forgotten week-to-week. Their
consequences — on Allison, on
her family, on her colleagues —
lingered. As a result, “Medium”
was
multi-dimensional
and
fully realized, intended for a
more loyal audience than the
late-night “CSI” rerun crowd.
“Medium” and “CSI: Cyber”
represent
opposite
ends
of
the
procedural
spectrum
—
one original, thoughtful and
sincere, the other a franchise
cash cow. In fact, “Medium” is
almost impossible to define in
so few words, at once a master
of the family drama, the crime
procedural and the supernatural
thriller. Ultimately, it’s not the
jump-in-anywhere kind of crime
series that any “CSI” thrives on,
but rather one that demands its
audience’s dedication. And at its
core, Arquette’s Emmy-winning
performance guides “Medium”
’s
beauty,
a
narrative
that
accomplishes so much without
spreading itself too thin.
“CSI:
Cyber”
is
both
“Boyhood” and “Medium” ’s
foil. It’s experimental in no way.
The stories span little time,
emotions or growth. Character
development is sacrificed for
another trail that runs dry. And
even with just one storyline, one
angle and one goal, it always feels
as though the wheels are spinning
too fast. But worst of all, Arquette
is wasted and interchangeable.
Avery Ryan could be anybody and
be played by anybody. And for a
newly minted Oscar winner with
an accomplished history within
the genre, that is “CSI: Cyber” ’s
most egregious downfall. Even
worse than cyber sex with Kitty.
The more you pet Stern, the
more he purrs. For a good time,
email alecs@umich.edu.
TV COLUMN
From ‘Boyhood’ to
‘CSI: Cyber’
ALEC
STERN
MUSIC NOTEBOOK
Underrated genre
deserves closer
listening
By CLAIRE WOOD
Daily Arts Writer
Bernstein is a rockstar.
It’s no lie. His rhythms, argu-
ably, jam harder than Zeppelin.
Despite this, Bernstein’s ground-
breaking works, along with the
rest of classical music in general,
goes largely unnoticed by the col-
legiate community. As choruses
of “I Don’t Fuck With You” and “0
to 100” bump out of the stereos of
every bar, all things classical slip
under the radar like paper clips on
a messy desk.
Classical works of decades past
are some of the most intricate, cap-
tivating overlaps of sound in exis-
tence. The drum claps of Mahler’s
“The Titan” beat more bass than
any R&B hit, and the singing cello
of Saint Saen’s “Swan” gives every-
body shivers. Tchaikovsky’s Violin
Concerto in D Major beckons us
with the intersection of passionate
violin and orchestral accompani-
ment, and Bernstein’s “West Side
Story” captivates audiences in a
jazzy ensemble of snaps and thun-
derous brass.
But nobody jams out to classical.
We don’t stride into bars demand-
ing four shots of whiskey and a
swig of Gershwin. We dance to the
unending arpeggiated saxophone
of “GDFR” and drink to cheers of
“my anaconda don’t.”
Now here’s the question: why
the obsession with pop? Why is
classical music so off the radar?
How does Katy Perry’s “Last Fri-
day Night” music video rake in
over 455 million views while the
online recording of Beethoven’s
5th Symphony barely reaches the 2
million marker?
Let’s take a look at one of my
personal favorite music groups:
2Cellos. Two strapping men, com-
plete with leather jackets and an
Abercrombie gaze, gripping two
glimmering black instruments.
It’s Luca Sulic and Stejpan Haus-
er, posed on their album cover in
a sharp combination of intellect
and audacity that has girls check-
ing out more than just the title.
The 2Cellos duo boasts more than
undeniable pulchritude: the two
men are brilliant cellists. Combin-
ing classical and contemporary,
the duo records covers of big-
time pop hits — “With or Without
You,” for example, or my personal
favorite, a killer arrangement of
Michael Jackson’s “Smooth Crimi-
nal.” To cut to the chase: they rock.
In their music video “Thunder-
struck,” it’s Angus Young-gone-
cello as the two stars redefine wild
in a string-ripping, head-banging,
bow-flying spree of classical-hard
rock goodness. Their music video
doesn’t quite hit Katy Perry’s 455
million, but it rakes in a great deal
more than YouTube’s Beethoven’s
5th. The duo enthralls us not only
with sound, but with a passion-
ate, impressive visual energy that
attracts viewers and keeps them
there. Enthusiasm is sexy, and
they’ve got it.
Traditional classical perfor-
mances, on the other hand, take
a 180 degree turn from the rivet-
ing swagger of 2Cellos. It’s formal
to say the least: black tuxedos
and shiny shoes, all summed up
in austere elegance. The music is
beautiful (indeed, the passion of
Tchaikovsky is undeniable), albeit
the presentation of such classi-
cal pieces is, ironically enough,
quite dispassionate. In the face of
break-dancing Jason Derulo and
string-flinging Stejpan Hauser, it’s
no real surprise that dark-clothed,
little-movement symphonic per-
formances plateau at a low viewer
count.
The fact is, music isn’t all ears.
Enthusiastic, rock-out visuals can
be just as captivating as what we
hear, and — performance-wise,
at least — classical music is a little
stiff. Beyoncé wouldn’t rake in
as many fans without irresistible
stage presence and Michael Jack-
son wouldn’t be as renowned with-
out brilliant choreography. We
have to wonder how vast a fan base
classical artists like Bernstein and
Tchaikovsky would collect if their
works were performed with the
vibrant spunk of 2Cellos. Sound
may be what we dance to at frats
and drink to in bars, but it isn’t the
only aspect of music that sells.
Classical music
can rock out, too
Rock-out visuals
can captivate
just as much as
the music itself
It’s sad to see
‘CSI: Cyber’
fail in such a
spectacular way.
The stories
span little time,
emotions or
growth.