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Answer:
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ACROSS
1 Peru’s __ Picchu
6 Angle iron
10 Highest point
14 Kindle download
15 SeaWorld
performer
16 Ellington’s “Take
__ Train”
17 Older name for a
passenger bus
19 Glass darkener
20 Responded in
court
21 Cape NNW of
Cod
22 Saguaros, e.g.
23 Covered up
24 Wedding gown
follower
27 Place in
quarantine
29 Legal thing
30 Came down with
31 Kate, before
Petruchio’s
“taming”
32 Bit of legislation
33 U2 lead singer
34 Like one resisting
innovation
38 Die dots
41 Thumbs-up
42 Best man’s
offering
46 Santa __ winds
47 Fellows
48 Stir-fry vegetable
50 Pirate
Blackbeard’s real
name
53 Rank below cpl.
54 Believer in the
Great Pumpkin
55 NYC airport
56 Narrow opening
57 Installed, as
carpet
58 Hole-making tool
61 Years, to Nero
62 Wows, and how
63 Stone marker
64 Droops over time
65 Peel in a cocktail
66 Filled with cargo
DOWN
1 Tennessee home
of the NBA’s
Grizzlies
2 Do away with
3 French
department that
translates to
“golden slope”
4 Robin __
5 Kiev is its cap.
6 Canadian coin
nicknamed for
the bird on it
7 Lego or Eggo, for
example
8 Duke Univ.
conference
9 Stadium shout
10 Rose essence
11 Lake Michigan
metropolis
12 Bring up
13 Chip away at
18 Golfer’s ride
22 Dollar divs.
24 Cry out loud
25 Curved foot part
26 “Dallas Buyers
Club” actor Jared
28 Some summer
babies,
astrologically
32 Summer coolers,
for short
33 What winds do
35 Like Easter eggs
36 Emailed
37 Texter’s “From a
different angle ...”
38 Spanish rice
dishes
39 Gary’s home
40 Hocking
43 Answered a
help-wanted ad,
say
44 Whence
Rossini’s barber
45 Spilled the beans
47 Dalloway’s title
48 Most judicious
49 Virg. neighbor
51 German cars
52 Actor Cary
56 Latina lass: Abbr.
58 Peace, in
Acapulco
59 Be indebted to
60 High-speed www
option
By David Poole
©2015 Tribune Content Agency, LLC
04/07/15
04/07/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, April 7, 2015
Los Angeles Times Daily Crossword Puzzle
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6 — Tuesday, April 7, 2015
Arts
The Michigan Daily — michigandaily.com
Lives are bleak in
‘Shameless’ finale
By CHLOE GILKE
Managing Arts Editor
A manic mother smiles, looks
into her son’s uncertain eyes and
says, “People like us, we can be
happy.”
She’s
not
clear what kind
of “people like
us” she is refer-
ring to. Maybe
she
means
people
with
bipolar
disor-
der. Maybe she means South Side,
working class people. Maybe she
means queer people — mother is
bisexual and son has a devoted
boyfriend who is worried sick and
calling every three seconds. Mon-
ica Gallagher (Chloe Webb, “Sid
and Nancy”) probably intended for
those words to evoke a combina-
tion of meanings. That look into
her son’s eyes is an attempt to prove
that she understands who he is and
where he’s coming from, but also
a plea for him to stay by her side
so they can search for happiness
together.
In the fifth season finale of
“Shameless,”
every
character
desperately grabs for happiness,
with some finding more success
than others. Of all the Gallagh-
ers that would merit sunshine and
smiles, star-crossed lovers Ian
(Cameron Monaghan, “Gotham”)
and Mickey (Noel Fisher, “Teen-
age Mutant Ninja Turtles”) need
a break the most. Ian’s struggle
with bipolar disorder has taken a
huge toll on Mickey, who’s trying to
push through the waves of frenetic
mania and anger and be Ian’s sup-
port system. Monaghan and Fisher,
who have always been among the
strongest of “Shameless” ’s ensem-
ble, stepped up even further and
packed the “Gallavitch” scenes with
even stronger emotional punches.
But Ian finally decides he can’t let
Mickey wait around to try and fix
him. “Too much is wrong with me!”
he cries, and the camera cuts back
to Mickey, who is standing dumb-
struck like Ian just reached into his
chest and squashed his heart with
both hands. They’re broken up, but
something tells me that Mickey
will keep waiting until Ian’s ready
to love him again.
Eldest son Lip Gallagher (Jeremy
Allen White, “Bad Turn Worse”)
falls further into his entanglement
with professor Helene (Sasha Alex-
ander, “Rizzoli and Isles”). He’s still
a little fuzzy on the details of their
relationship, especially with why
she’s so interested in pursuing this
relationship if she’s married and
her husband knows about the affair.
All season, Lip has been struggling
to navigate his identities as a South
Side kid and a college undergrad, a
little too brainy and concerned to
fit in as well with his hometown
friends, but more impulsive and
risky than the average RA. Helene
is a sexual step toward the aca-
demic, a Benjamin Braddock-esque
rung in the liminal period before
adulthood and his choice of wheth-
er he wants to be a drug-dealing
thug or a robotics genius. At the end
of the episode, Lip confesses to Ian
that he might be starting to develop
feelings for Helene, yet another
force pulling him to school and fur-
ther away from the South Side and
his chaotic family.
Fiona (Emmy Rossum, “The
Day After Tomorrow”), who is usu-
ally the glue keeping the Gallagh-
ers from falling apart at the seams,
has descended into an increasingly
messy personal life. Her impulsive
marriage to musician Gus (Steve
Kazee, “Working Class”) lacked a
solid foundation, and his time away
on tour only made him reflect on
the sad state of their union. Fiona
finally acted on her feelings for
her boss Sean (Dermot Mulroney,
“August: Osage County”), express-
ing her hopes that maybe they
could ditch their misery and actual-
ly be happy together. He replies that
“happy is overrated” and that Fiona
needs to “grow up.” The two paral-
lel romances that Fiona has been
following this season both end at a
standstill. For Fiona, happiness and
love are synonymous, and appar-
ently she’s got some growing up to
do before she’s ready for either.
14-year-old Debbie (Emma Ken-
ney, “Epic”) seems to be heading
down the same path as Fiona —
making thoughtless decisions and
taking on responsibilities before
she’s mature enough to handle
them. Debs is desperate for a stable
and loving family, kind of like the
one her boyfriend has. She thinks
the only way to get a real family is to
go off the pill and try and start her
own. Fiona tries to convince Debs
that she’s not thinking her decisions
through, and could “ruin her life”
by signing up to build a family with
a guy she barely knows. When Debs
reminds Fiona that her marriage
to Gus was essentially the same
situation, Fiona realizes that no
matter what she says, Debbie is
going to make her own decisions
and her own mistakes. Debs ends
the episode by smiling at the
results of her pregnancy test —
for Debbie’s sake, I truly hope it’s
negative. Her boyfriend seems
only tentatively committed, tak-
ing his time to say “I love you”
and not committing to spending
the night.
All these storylines reach a
thrilling rush in the finale, but
several others are less com-
pelling and riddled with nar-
rative
problems.
Gallagher
patriarch Frank (William H.
Macy, “Fargo”) has always been
one of the weakest links of the
show, an unsympathetic and
pathological drunk who’s impos-
sible to root for and whose tricks
are more annoying than funny.
His relationship with dying
doctor Bianca (Bojana Nova-
kovic, “Rake”) was the closest
to paternal he has ever been.
Bianca brought out refreshing
shades of Frank’s personality
(and Macy’s performance) that
were heretofore unseen. Appar-
ently, Frank is capable of caring
for someone other than himself.
Their symbiotic friendship was
one of the best parts of the sea-
son, and I’d have liked seeing the
two share more scenes together.
Bianca’s ending her own life felt
unnecessary, like there was still
more story left to tell and that
wouldn’t have happened if this
weren’t a finale that was sup-
posed to have some dramatic
turn of events.
Ah, finale fireworks. If a need-
less character death weren’t
enough,
“Shameless”
also
brought the actual antichrist
back for a final shootout. Sammi
(Emily Bergl, “Desperate House-
wives”) is the most despicable
character to ever appear on this
show full of despicable char-
acters: She sent Ian to military
prison, shot her father in the
arm, tattooed a swastika on her
son’s forehead to help him sur-
vive in juvie — the list of her
deplorable actions could go on
forever. Bergl is a fine actress,
but her character seems to be
around just as a catalyst to set the
Gallaghers on edge. As she runs
around the yard shooting aim-
lessly and hollering and chasing
Mickey, I can’t help but lament
the fact that Mickey’s plan to kill
her didn’t end successfully.
“Shameless” is the kind of
show that’s steeped in chaos and
unhappiness. Dysfunction, drugs,
mental illness, tumultuous rela-
tionships and neglect seem to
run in the Gallagher blood. As
“Shameless” embraces its tragic
elements more and more with
each year, it’s fitting that this
season ends on so many ambiva-
lent notes. If Monica Gallagher
wonders if “people like us” can
be happy, this “Shameless” fina-
le does not provide an answer.
Some characters look to be head-
ing down the road to stability or
growing up or legitimate change,
but knowing “Shameless,” this
will probably descend to more
chaos and complication in the
seasons to come.
B+
Shameless
Seaon 5 Finale
Showtime
FILM REVIEW
‘Furious’ lives on
Action sequel pays
tribute to late Paul
Walker ... and blows
shit up
By JAMIE BIRCOLL
Seniro Arts Editor
Here’s the deal: You already
know if you want to see “Furious
7.” If you’re reading this review
and
you’re
thinking, “Gee,
I’m really split
on the fast car
explosions
movie,
maybe
this review can
help me,” do not
go. Just don’t
even
bother.
Because what you’re going to get
is a standard action-revenge flick,
jacked up on steroids — all of the
steroids. It’s got so much audacity
and American shoot-em-up pride
that it whisks away its characters
to Abu Dhabi so they can steal an
unnamed Middle Eastern prince’s
monster of a vehicle by jumping
it across the sun-kissed sky into
three skyscrapers from the ump-
teenth floor. That is the kind of
movie you’re getting.
And what, say you, could com-
pel our heroes to commit such
acts of daring? The sins of the
past, come back to haunt. After
Dom (Vin Diesel, “Guardians of
the Galaxy”) and his crew beat
down on baddie Owen Shaw in
the previous “Fast” film, Shaw’s
brother Deckard (Jason Statham,
“Homefront”) seeks vengeance
by hunting down the remaining
members of the crew. In response
to Shaw’s vengeance, Dom swears
vengeance of his own, but to find
Shaw he needs to first steal the
God’s Eye, a super powered track-
ing device that I imagine is the
stuff of Dick Cheney’s bedroom
fantasies, for the government.
But the plot doesn’t matter,
nor is it particularly cohesive.
Because its plot is so full of holes
(from both a writing standpoint
and an “adherence to the laws of
physics” standpoint), “7” requires,
more than most films, that you
suspend your disbelief. It knows
exactly what it wants to be, and it
doesn’t want you dropping logic
and negativity on it.
“Furious 7,” like all of the
films in the franchise, isn’t about
“making sense.” In fact, it spits
on “making sense.” It’s the ulti-
mate expression in movie escap-
ism — big, bold, self-aware. It is
so self-aware that it takes time to
explicitly name each character’s
stereotype, from Dom’s alpha
male to Roman’s (Tyrese Gib-
son, “Transformers”) jokester.
It wears its big, juiced-up Hemi
of a heart on its sleeve, and it’s
damn proud of it.
And for good reason, because
“Furious 7” might be the most
fun you have at the movies this
year. It exists in a world all on
its own, a world where, when
it’s cars versus, say, a predator
drone, it’s a pretty fair fight; a
world where The Rock (“Hercu-
les”) flexes out of the cast on his
broken arm and walks out of the
hospital to go look for a chain
gun. “7” ultimately amounts to
a series of action set pieces, each
more outrageous than the last,
and it revels in its excess.
Director James Wan (“The
Conjuring”), taking over for
four-time “Fast” director Justin
Lin, stages those sets effectively,
using a steadicam so the audience
can actually follow the action
without feeling dizzy. There’s
nothing complex — some slo-mo
here, some fast-mo there — so as
to let the action speak for itself.
But for as much as it’s about
action, it’s also about fam-
ily. Seven films in, these actors
don’t so much as act as they do
pal around. There’s a unique
chemistry here that gives the
film an uncanny amount of
life, more life than anything
with “7” in its title deserves. Of
course, it comes under unfortu-
nate circumstances.
For as much as we see Brian
O’Conner, the man who plays
him isn’t there much at all. Paul
Walker
(“Hours”)
tragically
died in November 2013 before
any of the film’s action sequenc-
es were shot. Using sly camera-
work (framing Walker’s scenes
at a distance in usually dark
settings) and some unparalleled
digital wizardry, the filmmak-
ers bring Walker back to life, his
face smiling, his eyes animated
and shining. “Furious 7” is his
coda, one last supercharged
orchestration of machismo and
heart and bravery; the last five
minutes are perfect and, dare I
say, beautiful.
That’s probably why “Furi-
ous 7” turned out the way it did
— it needed to pack enough life
into itself to raise one of its own
from the dead. And it works.
That’s the power of movies,
even the popcorn trash. For two
hours, you give yourself to that
silver screen; sometimes you get
entertainment, sometimes you
get rubbish, others still you’ll
get thinkpieces. With “Furious
7,” you get energy, vivacity —
life.
A-
Furious 7
Universal
Pictures
Raven Quality 16
SHOWTIME
Bitch better have my money.
TV REVIEW