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Monday, September 14, 2015 — 5A

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Call: #734-418-4115
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Have you 
purchased 
the 
Football 
Book 
yet?

Do the 
crossword,
then order 
one.

store.michigandaily.com

ACROSS
1 Cabbage side
dish
5 Costume shop
supply
9 Croatian-born
physicist Nikola
14 Spanish
appetizer
15 In couch-potato
mode
16 Like a cheering
capacity crowd
17 Happily __ after
18 Tidy
19 Destiny
20 *Publication
featuring Alfred
E. Neuman
23 Tidal retreat
24 The ones right in
front of us
25 Lt.’s superior
27 Engraved with
acid
30 “The Firm” author
John
33 Sea, to
Cousteau
34 Worker in a shaft
37 __ Gras
38 Coll. hot shot
40 Garden bulb
42 Tugboat sound
43 WF-3640 printer
maker
45 Traveler’s stop
47 “__ you happy
now?”
48 “Do not” follower,
on a closed-door
sign
50 Ride a seesaw
52 Roll call reply
53 Channel covering
Capitol Hill
55 Cute __ button
57 *Chinese food
staple
62 Light brown
64 Beech or birch
65 Many Keats
poems
66 Flub by a fielder
67 Balkan native
68 Cowpoke’s
footwear
69 “Yum!”
70 Knight times
71 “Born Free”
lioness

DOWN
1 Wineglass part
2 Volcanic output

3 Did an
impression of
4 Fireside feeling
5 Didn’t follow a
script, say
6 Brainstorms
7 Classic Krispy
Kreme coating
8 “The X-Files” org.
9 Get ready to
shoot
10 Open __: tennis
period since
1968
11 *Cold symptom
12 Rack of __
13 Many an Iraqi
21 “Excuse me ... ”
22 Big name in
ATMs
26 Exam for H.S. jrs.
27 Nestle snugly
28 Allegro, scherzo,
andante, etc.
29 *Lines that help
you 9-Down
30 Sandpaper
feature
31 Worship
32 Bishop’s
headdress
35 Unfeeling
36 Symphonic rock
gp.
39 Sheep shelter

41 Personal source
of annoyance ...
which might
make one feel
the first word of
the answers to
starred clues
44 Room with a crib
46 Starring role
49 On a pension:
Abbr.
51 Dress for the
choir

53 Monte __:
gambling mecca
54 Ink mishap
55 Aid in wrongdoing
56 Doris Day song
word
58 Online handicraft
market
59 Big screen star
60 Corp. heads
61 “¿Cómo __ usted?”
63 Understood, as a
joke

By Janice Luttrell
©2015 Tribune Content Agency, LLC
09/14/15

09/14/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, September 14, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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TV COLUMN

TV, where love 

goes to die

By CHLOE GILKE

Daily TV Columnist

Warning: this column contains 

major 
spoilers 
for 
“Grey’s 

Anatomy” 
and 
“The 
Mindy 

Project.”
I

f someone were to pick 
up a scalpel and open up 
my chest, he’d discover 

a skippy, sloshy heart. A 
surgeon would take one look 
and say, “That girl’s heartbeat 
is more irregular than a 
German verb conjugation,” 
and the nurses would groan 
and contemplate leaving this 
hospital and finding one where 
the doctors tell better jokes. 
To the layman, however, my 
heart’s most unusual quality 
would be the hundreds of little 
signatures decorating the atria 
and ventricles — Jim and Pam, 
Scully and Mulder, Alicia and 
Will, Kurt and Blaine.

I have a shipper’s heart. Since 

I was a little girl watching Doug 
and Carol on “E.R.” through 
the crack in my parents’ closed 
door (they thought “E.R.” was 
not an appropriate show for 
a 
seven-year-old, 
and 
they 

were probably correct), I’ve 
cultivated an appreciation for 
the thrill of will-they-or-won’t-
they 
relationships. 
There’s 

something so rewarding about 
following seasons and seasons 
of a show and anticipating the 
ignition of romance, waiting 
and waiting until some far-off 
season finale when those two 
will finally freaking kiss.

But what comes after that 

magical kiss? A relationship, 
a.ka. the shipper’s ultimate 
nightmare. It seems paradoxical 
that someone who loves TV 
couples would feel so negatively 
about … actual TV couples. 
But 
really, 
my 
hesitation 

makes 
sense. 
Relationships 

are 
terminally 
undramatic. 

Once the characters commit, 
fans can look forward to an 
inexhaustible stream of dates 
and smiles and sex and fights 
and tears as the ship reaches 
its endgame. It’s possible for a 
combination of these actions 
to be compelling — romantic 
comedies work so well as 
movies because the characters 
can have a fight and make up, 
and then the credits can roll. 
Unfortunately, TV shows rarely 
end when it’s convenient for 
the story. “Bones” is still on TV 
because people still care about 
Booth and Brennan, and for 
every person who cares, there’s 
another million dollars in the 
pocket of some FOX network 
executive.

If I consider all the pairings 

I’ve loved on TV, I’d be hard-
pressed to find one that didn’t 
turn sour somewhere along the 
line. Time, the very thing that 
makes following TV couples 
such a gratifying experience, 
is also capable of sinking a 
ship faster than a surprise 
courtroom shootout. All those 
beloved names tattooed on 
my heart read like epitaphs 
on 
a 
gravestone, 
memories 

of pairings that were great 
until somebody died or the 
relationship 
eroded 
into 

something so droll I’d wish 
somebody would die and liven 
things up.

Derek 
and 
Meredith 
on 

“Grey’s 
Anatomy” 
are 
an 

archetypal case of a great pair 

turned awful. In the early 
episodes of “Grey’s Anatomy,” 
Derek Shepherd was a knight 
in shining navy scrubs who 
mentored new intern Meredith 
through the crazy halls of 
Seattle Grace hospital (and did 
a lot more than mentoring in 
the on-call room). But Derek 
was married and trying to 
work on patching things up 
with his icy wife, which meant 
that Mer would have to move 
on and accept that Derek was a 
fantasy. He’d never choose his 
sad mistress over his gorgeous, 
successful wife — except that 
he did. Derek and Meredith got 
married, had babies and inched 
toward stagnation as the show 
dragged onto its 11th season. 
I stopped watching around 
season eight, but I jumped 
back in last winter when I felt 
a fleeting pang of nostalgia for 
my beloved MerDer.

On 
Apr. 
23, 
2015, 
an 

Entertainment Weekly article 
about 
Patrick 
Dempsey’s 

departure 
from 
“Grey’s” 

leaked just hours before the 
penultimate 
episode 
of 
the 

season. I read the headline and 
immediately gasped, clicked out 
and decided immediately that 
I was done watching “Grey’s 
Anatomy.” I read my friends’ 
lamentations on Twitter: Derek 
was in a terrible car accident, 
somehow lived through the 
injuries and died at the hands 
of a hack surgeon. His demise 
dragged out over the course of 
an entire episode, punctured 
by cruel stabs of hope that were 
ultimately a middle finger to the 
viewers who grew to care about 
Derek in the 11 years he graced 
“Grey’s.” Just like Denny, Henry, 
Mark and George before him, 
Derek was ultimately a pawn 
for the show, more valuable 
as a ratings-bait corpse on the 
table than a dynamic, living 
character. “Grey’s Anatomy” 
delivered seven languid seasons 
of MerDer dates, smiles, sex, 
fights 
and 
tears, 
stringing 

viewers along only to punch 
viewers with the reveal that 
Derek Shepherd is dead, and so 
is TV romance.

TV shippers can also face 

strife more tragic than death. 
For many couples, the simple 
act of staying together kills the 
romance. “The Mindy Project” 
used to be one of my favorite 
shows, 
because 
Mindy 
and 

Danny were such an exceptional 
couple. 
In 
the 
beginning, 

Danny was highly unlikeable, 
ridiculing Mindy’s curves and 
bubbly personality and treating 
her like an insubstantial ditz. 
The two had chemistry, but in 
the same vein as Daniel Cleaver 
and Bridget Jones — the kind 
of chemistry that might lead 
to a volatile, doomed courtship 
before she finds someone nicer 
who will appreciate her spunk. 
“The Mindy Project” surprised 
me by spinning Danny from 
handsome 
scoundrel 
to 

romantic 
hero, 
redeeming 

him 
with 
deft 
character 

development 
and 
genuine 

change. Suddenly, he was good 
enough to deserve Mindy’s 
attention, and the show evolved 
into a close approximation of 
movie rom-com cuteness and 
magic.

But of course, this is TV, 

and every flame of a good 
couple is doomed to burn out 

spectacularly. 
For 
Mindy, 

the 
deciding 
tragedy 
was 

an ill-timed pregnancy. The 
pregnancy 
exposed 
cracks 

in 
Mindy 
and 
Danny’s 

relationship, but these struggles 
were a far cry from the frothy 
Bridget Jones-style romance 
“Mindy” delivered in earlier 
seasons. Mindy struggled with 
whether to prioritize her career 
or the baby, Danny balked at 
the idea of his conservative 
Catholic mother meeting the 
unapologetically nontraditional 
Mindy, and Mindy resented 
that Danny kept making her 
the villain. Mindy hoped for 
marriage, while Danny shirked 
commitment. Suffice it to say 
that 
will-they-or-won’t-they-

get-married is not enough to 
keep the show’s romantic heart 
beating strong. Dismal ratings 
following the marriage plot 
were enough to get series was 
canceled on FOX, but “Mindy” 
will return for a fourth season 
on Hulu this fall. I’m not sure 
I’ll be watching.

Having a shipper’s heart 

is a blessing and a curse. I’m 
glad that I’m wired as a true 
romantic, and can appreciate 
blossoming love on TV and 
in real life. I’m glad that I can 
rewatch scenes from the first 
season of “Glee” and still smile 
at Finn and Rachel singing 
“Faithfully” at their regional 
competition, and I’m glad (and a 
little embarrassed) that I can go 
back to Nick and Jess’s first kiss 
on “New Girl” and still surprise 
myself by squealing in my empty 
living room. I’m glad I can 
watch shows like “Looking” and 
“Jane the Virgin” and feel the 
beginnings of another favorite 
couple etching themselves into 
my affections. TV romance has 
let me down a thousand times 
— but I’m still hopeful that one 
day, somebody will get it right.

Gilke is getting a tattoo of 

Will and Alicia from “The Good 

Wife.” To express your concern, 

e-mail chloeliz@umich.edu.

‘Enemies’ plays nice

By KARL WILLIAMS

Online Arts Editor

1968 was a seminal year in 

American politics: Bobby Kennedy 
and Martin Luther King Jr. were 
assassinated 
within a few 
months 
of 

one 
another; 

Richard Nixon 
was elected the 
37th President 
of the United 
States; and, last 
but 
probably 

least, 
ABC 

News 
hosted 

William 
F. Buckley Jr. and Gore Vidal 
participated in a series of debates 
backgrounded by the lily-white 
Republican Convention and the 
brutality of the Chicago P.D. at its 
Democratic counterpart. 

“Best of Enemies,” the lively, 

skillfully 
crafted 
creation 
of 

directors Morgan Neville and 
Robert Gordon, documents the 
histories of the debate and its 
combatants. ABC News developed 
the debates out of economic 
necessity. The network was a 
perpetual bronze medalist in 
a three-horse race, lacking the 
stalwart to attract regular viewers 
that both NBC and CBS had in 
Chet Huntley and David Brinkley 
and Walter Cronkite, respectively. 
Thus, they put all their money 
on an unlikely but provocative 
winner, but their gamble paid off. 

William F. Buckley, Jr. was the 

founder of the highly influential 

National Review and the St. Paul 
of the Neoconservative movement. 
He thought Gore Vidal, and 
his best-selling novel about the 
titular transgender woman Myra 
Breckinridge, Satan. And vice 
versa. After being hired, Buckley 
said he would not debate any 
Marxists. Or Gore Vidal. 

So, of course, ABC hired him.
Well-practiced in arrogance 

and wit, Buckley and Vidal were 
just close enough in their effete 
affectations and just far enough in 
their cultural and political views to 
light the spark of a television bomb. 
Both were aristocrats, but also 
distanced from the aristocracy. 
They spoke in “languid, patrician 
tongues,” as Buckley’s surviving 
brother summed it up, gilded by all 
the benefits of their class. Buckley 
went to Yale, but Vidal — who 
attended prestigious prep schools 
— had the sea as his Harvard and 
his Yale. 

But, most importantly, they 

were respected and influential 
intellectuals of their day. It is the 
most startling anachronism of the 
film. “Best of Enemies” harkens 
back to a day when (some) leading 
intellectuals frequented television. 
It also reveals how ineffectual of 
a format television is for nuanced 
intellectual 
debate. 
Television 

adores the sound bite and the clip. 
Ephemerality is its fuel. So, for 
men who write 600-page novels, 
television is bound to fail.

The 
Buckley-Vidal 
debate 

was not just a political battle, 
but a cultural one in the massive 
cultural warzone of the ‘60s. Their 

debates were a contemptuous 
conflagration that reached its 
incendiary 
apotheosis 
in 
one 

infamous moment: In a battle 
of skilled and savage wits, Vidal 
provided a fatal sting by calling 
Buckley a “pro- or crypto-Nazi.” 
Buckley’s 
response 
was 
the 

original “George Bush doesn’t care 
about Black people” moment: he 
leaned toward Vidal with absolute 
hatred, cracking the placidity of his 
aristocratic facade, and said: “Now 
listen, you queer. Stop calling me 
a crypto-Nazi or I’ll sock you in 
the goddamn face and you’ll stay 
plastered.”

In the aftermath, Vidal cannot 

contain his glee, nor Buckley his 
devastation. Vidal coaxed him into 
self-mutilation, and he obliged. 
Although Buckley would continue 
to have a successful career (he was 
influential in landing the Messiah 
of the Neocons in the Oval Office), 
the moment would linger within 
him 
with 
great 
regret. 
The 

Buckley-Vidal debate would spill 
over into multiple Esquire articles 
and subsequent litigation. 

One of the documentary’s main 

arguments is that the Buckley-
Vidal debate laid the foundation for 
modern network news television, 
that it was the progenitor of the Bill 
O’Reillys and Sean Hannitys of the 
world. This is a slightly hyperbolic 
claim; television was headed in this 
direction from the beginning. But 
if the Buckley-Vidal debate didn’t 
breed contemporary talking-heads 
television, it undoubtedly made 
the soil more fertile and the field 
more vast.

MAGNOLIA PICTURES

“I really value my chin. That’s why I have two of them.”

ARE YOU ONLY, LIKE, 60% SURE 

WHO JIM HARBAUGH IS?

(WE’RE ALSO STILL TRYING TO 

FIGURE IT OUT.)

WRITE FOR DAILY 

ARTS!

To request an application, e-mail adepollo@umich.edu and 

chloeliz@umich.edu

A-

Best of 
Enemies

Magnolia 
Pictures

Michigan Theater

FILM REVIEW

