ACROSS
1 Diagram with
axes and
coordinates
6 Very top
10 Shift neighbor, on
PC keyboards
14 St. __ Girl beer
15 Guard site
16 Nabisco cookie
17 Like stickers that
smell when
rubbed
20 Buckwheat dish
21 Court order to all
22 Fruit seed
23 Drop-down __
25 Like some
microbrews
27 Little girl’s
makeup, so they
say
33 Crisp covering
34 Welfare
35 Firebird roof option
38 What cake
candles may
indicate
39 On the rocks
42 Bart Simpson’s
grandpa
43 See 44-Down
45 City near
Colombia’s
coastline
46 Leica competitor
48 Terse
51 Sounded
sheepish?
53 Pop singer
Vannelli
54 “Life of Pi”
director Lee
55 Flood preventer
59 Louisiana cuisine
62 Old Glory
66 Words starting
many a guess
67 Kind of dancer or
boots
68 Atlanta campus
69 “Auld Lang __”
70 Follow the leader
71 Metaphor for time
... and, when
divided into three
words, puzzle
theme found in
the four longest
across answers

DOWN
1 Navig. tool
2 Pool hall triangle
3 Saintly glow

4 Some flat-screen
TVs
5 Until now
6 Remnant of an
old flame
7 Blacken
8 Prefix with series
9 Remnants
10 Grifter’s
specialty
11 Exaggerated
response of
disbelief
12 Equip anew
13 Towering
18 “How many times
__ man turn his
head and
pretend that he
just doesn’t
see?”: Dylan
19 Freeway hauler
24 Boot from office
26 Work with a cast
27 Natural cut
protection
28 Strong desire
29 “Still wrong, take
another stab”
30 Alfalfa’s girl
31 Coming down the
mountain,
perhaps
32 Push-up target,
briefly

36 Reed instrument
37 Cooped (up)
40 DVD
predecessor
41 Catches, as in a
net
44 With 43-Across,
outstanding
47 Historic
Japanese island
battle site
49 Partner of 9-
Down

50 Merriam-Webster
ref.
51 Underlying
principle
52 Restless
56 “Othello” villain
57 Door opener
58 Periphery
60 Well-versed in
61 Uncool type
63 AAA suggestion
64 Dim sum sauce
65 Part of PBS: Abbr.

By Mark Bickham
©2015 Tribune Content Agency, LLC
09/29/15

09/29/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, September 29, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

Call: #734-418-4115
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6B — Tuesday, September 29, 2015
Arts
The Michigan Daily — michigandaily.com

COMMUNITY CULTURE NOTEBOOK
Get off Instagram 
and enjoy your life

Destroying the 

ability to live in the 
moment, one Insta 

at a time

By BAILEY KADIAN

Daily Arts Writer

My sisters have been tell-

ing me to get an Instagram for 
years.

But I refuse.
This isn’t some subtle indica-

tor of being “above” the age of 
social media, or my acting com-
pletely naïve to it; I just think 
pictures have become the cen-
ter of experiences. People need 
to take pictures while going out 
and doing something exciting.

While traveling or visiting 

friends or celebrating holidays, 
it’s fun to take pictures. And 
it’s necessary. We live in age 
where documentation is valued 
and is easily accomplished. I’m 
not denying what a gift photog-
raphy is, but it has become an 
obsession.

There is an obvious differ-

ence between taking pictures 
to remember, and engaging in a 
new experience just so you can 
have a bunch of stuff to post 
and share. These pictures seem 
less about remembering events; 
they are the event itself.

If you can’t imagine a week-

end spent doing something 
exciting without an album of 
pictures, you have likely missed 
the moment entirely. It’s no 
wonder live performances have 
such an effect on people. For 
two or three hours, the theater 
asks that you put your phones 
away and just allow yourself to 
enjoy the show. You aren’t dis-
tracted by the interruption of a 
camera, nagging you to docu-
ment every little thing you see.

There’s value to an experi-

ence where you allow your mind 
to be fully engaged. Memories 
are valuable, but they can’t be 
formed through taking a thou-
sand pictures just to remember 
something. Therein lies the 
irony. You want to remember 
what an exciting thing you saw 
or did. So you take pictures, 
again and again, to the point 

where the thing you’re trying to 
remember, you’re actually for-
getting thanks to your distrac-
tion.

Let yourself be fully engaged 

in the experiences that sur-
round you. It’s become an activ-
ity for people to sit around and 
take pictures of everything in 
sight and by the time that exces-
sively long task is finished, the 
thrill and excitement of the 
event itself has likely dwindled.

I don’t want to scroll through 

all my photos and see every part 
of my life laid out. I want to be 
able to see a few snapshots of 
moments that I could talk end-
lessly about. So no, I don’t have 
countless pictures from every 
life event I’ve ever experienced. 
Nor will I be able to provide 
that for friends and family who 
want to follow me in a picture 
play-by-play.

But I’ll have my memory. And 

if someone asks about it, I’d be 
happy to talk endlessly about 
everything I saw, because I can 
guarantee you, the picture can’t 
speak for itself. You must be 
the one to do it.

FILM REVIEW
‘Intern’ ’s mature look 
at office friendship

By NOAH COHEN

Daily Arts Writer

Who knew Robert De Niro 

and Anne Hathaway still had this 
movie in them? De Niro (“Taxi 
Driver”) plays 
Ben Whittak-
er, a cute old 
man looking to 
re-engage with 
a brave new 
world; 
Anne 

Hathaway 
(“The 
Devil 

Wears Prada”) plays Jules Ostin, 
a 30-year-old corporate people-
person, beset on all sides by the 
pressures of an environment that 
calls for 30 hours in a day. The 
magnetism of these two won-
derful human beings bleeds into 
every aspect of the movie, shim-
mering over the movie’s molasses 
plot and dumbed-down dialogue 
until this otherwise forgettable 
comedy glows with peace and 
warmth. The two of them conjure 
a universe where people come 
before business.

We know De Niro as a man 

of hardness, but he plays soft-
ness so convincingly, the audi-
ence wonders if maybe De Niro 
was really a sweetheart all along. 
Through all those years of play-
ing the antagonist, no one ever 
gave him a chance to be gentle. 
This was probably his last chance, 
and he knocks it out of the park. 
From start to finish, “The Intern” 
is a conspiracy to make us fall in 
love with Robert De Niro all over 
again.

“The Intern” falls perfectly 

into the golden center of Hatha-
way movies, more serious than 
“Ella Enchanted” or her more 
forgettable rom-coms, less seri-
ous than “The Dark Knight 
Rises” or “Les Miserables.” “The 
Intern” fits snugly between “The 
Princess Diaries” and “The Devil 
Wears Prada.” Hathaway plays 
the suffer-smiling people-person 
as an island in an ocean of person-
al and bureaucratic turmoil. De 
Niro paddles his little boat up to 
her island to dock, and it’s exactly 
what both of them need.

“The Intern” features a more 

benevolent 
portrayal 
by 
De 

Niro. He draws the directionless 
to him, and the cast, fraught 
with 20-somethings, exchange 

competencies with him with 
remarkable 
ease 
in 
mutual 

learning experiences. The best 
emotional comedy flows with 
unnoticed direction – friction 
that could have been, but wasn’t. 
“The 
Intern” 
navigates 
the 

glaciers of its terrain marvelously. 
Hathaway spends a large part 
of the movie looking for a CEO, 
and the audience can’t help but 
imagine De Niro climactically 
filling this role. The movie is 
smarter than the audience here; 
it doesn’t give us what we think 
we want. It gives us De Niro as the 
unassuming emotional CEO, who 
offers guidance when prompted, 
but never does anything to take 
power away from Hathaway. In 
many ways, this is the movie our 
decade has been waiting for.

Contrary 
to 
the 
trailer, 

Hathaway is the protagonist, not 
De Niro. The dialogue isn’t perfect, 
but one major win is its fearlessness 
with the F-word. Feminism isn’t 
leveraged as a prop. Instead, we 
get a gentle reminder to take a step 
back and ask ourselves how gender 
politics are working in context, 
and what we would feel if we were 

in Hathaway’s shoes.

Though young men get the 

narrative shaft in this movie, 
it’s nice that we, the protagonist 
princes of Hollywood, can get 
the experience of being left-
of-center-stage 
without 
undue 

scolding. The trailer utterly fails 
here. Sure, there’s the one scene 
where 
Hathaway 
compares 

her 
20-something 
employees 

unfavorably to De Niro, but that’s 
the worst scene in the movie. 
Judgement 
and 
interpersonal 

criticism, thankfully, do not pierce 
to the gooey heart of this comedy.

Orbiting that gooey center 

are several fleshy minor arcs. 
Zack 
Pearlman 
(“Mulaney”), 

newcomer Christina Scherer and 
“Workaholics” stars Adam DeVine 
and Anders Holm each get time 
in the sun as the people whose 
lives revolve around Hathaway’s. 
De Niro handles each with care. 
DeVine rambunctiously lowers 
the cast’s mean IQ, but maybe the 
movie needed that.

This 
movie’s 
trailer 
was 

dreadful, 
totally 
overlooking 

the centrality of Hathaway and 
the warmth of intergenerational 
friendship. The ill-toned hype 
will punish it at the box-office and 
leave it an underrated gem in the 
annals of IMDB.

It’s true that the ending is a bit 

heavyhanded. This is a comedy 
that teaches to forgive, and some 
audience members will disagree 
with it. But if you’re the kind 
of person who can sidestep the 
political dance, you’ll come back 
to this movie more than once, and 
you’ll like it more each time.

A-

The Intern

Quality 16

Warner Bros.

WARNER BROS. ENTERTAINMENT

Robert De Niro’s very last chance to play nice?

BOOK REVIEW
Fascinating ‘Earth’ 

By SOPHIA KAUFMAN

Daily Arts Writer

There is no doubt that the 

Holocaust was one of the blood-
iest events in 
the 
history 

of the West-
ern 
world. 

But in “Black 
Earth: 
The 

Holocaust as 
History 
and 

Warning,” 
Yale 
Prof. 

Timothy Sny-
der 
argues 

that to rele-
gate the Holo-
caust to the 
context of our 
history class-
es is to do our-
selves a great disservice, and a 
potentially dangerous one. He 
argues, using sources from a 
variety of languages, that we 
need to delve deeper into the 
causes of the Holocaust, espe-
cially Hitler’s worldview and 
the role that ecological panic 
and the destruction of state-
hood played.

Snyder begins in Hitler’s 

mind. He fleshes out Hit-
ler’s beliefs in detail, going far 
beyond the idea that Hitler 
hated Jews to claim that Hitler 
didn’t consider Jewish people, 
along with Soviets and Ukrai-
nians, part of the human race. 
He explains that Hitler’s preoc-
cupation was about the survival 
of Germans and the cleansing of 
the land by the extermination 
of Jews, as he conflated poli-
tics and the natural order. This 

comes back again in his conclu-
sion — Snyder points out that 
we as a current society have 
already begun to adopt the cat-
astrophism so prevalent in Hit-
ler’s mind. He reminds us of the 
need for a separation between 
science and politics.

Snyder’s explanation of Hit-

ler’s beliefs and perspective are 
riveting, but he also tends to 
focus on details, like the roles 
of Polish politics and Palestine, 
that, while interesting, don’t 
feel immediately necessary to 
understanding the Holocaust. 
It’s at parts like these where 
Snyder gets caught up in politi-
cal theory details that aren’t 
necessary for the average read-
er; much more relevant are the 
parts in which he deconstructs 
popular Holocaust rhetoric and 
debunks myths about Nazis and 
concentration camps. In one of 
the most fascinating chapters, 
he unpacks the significance of 
Auschwitz, what it really was 
and what it has become in our 
current discourse. But while 
thorough knowledge of Euro-
pean history and the World 
Wars is presumed in most of 
this book, and though the heavy 
academic rhetoric can be dense, 
it’s almost always clear.

As with any true story, the 

personal accounts leap out from 
the page, striking the sympa-
thetic chords in our hearts. 
We’re familiar with not only 
the horror stories that have 
come from the weary mouths 
of survivors, but also stories 
of improbable, miraculous life 
in the face of almost certain 
death, and stories of those few 

who braced their backs against 
the tide and reached out their 
hands to help.

But Snyder warns we must not 

let ourselves fall into this pattern 
of those emotions we’re used to 
feeling. We can’t just bear witness 
to these stories and let ourselves 
get caught up in the pathos. We 
have to understand them in their 
complexity.

Snyder reminds us that for a 

long time, the study of history was 
dry; it was about facts and figures 
and the heroes who won the wars. 
Then there was a cultural shift, 
and we started caring more about 
the three-dimensional stories — 
about the people who had been 
relegated to the footnotes, if men-
tioned at all. But caring about the 
experiences, though important, 
can’t take the place of understand-
ing.

The idea that something like the 

Holocaust could happen again is 
terrifying and feels impossible, but 
Snyder argues it wasn’t just a phe-
nomenon. It wasn’t only a hideous 
combination of time and space and 
a madman who wielded hypnotiz-
ing rhetoric. It really could happen 
again — especially if we fail to rec-
ognize the warning signs.

Black 
Earth: The 
Holocaust 
as History 
and 
Warning

Timothy 
Snyder

Timothy Dug-

gan Books

Sept. 8, 2015

Snyder warns 
against falling 
into the trap of 

pathos.

Write for Arts.

Email chloeliz@umich.edu 
and adepollo@umich.edu 

for an application.

ALWAYS ON THE CUSP 
OF THE ZEITGEIST? 

De Niro paddles 
his little boat up 
to her island to 

dock.

