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

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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.