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ACROSS
1 Wild hogs
6 Wild animal
11 Bird in a cage,
often
14 Pinhead
15 Off-the-cuff
16 Hot feeling
17 Blanket
containers
19 Sign word often
seen before “next
exit”
20 Matzo meal
21 Some RSVPs
22 Punch source
23 “Born to Die”
singer Lana
Del __
24 Caspian Sea land
26 Diamond figure
29 Burrowing beach
denizens
34 Smart guys?
35 Spanish tourist
city
36 Knock on Yelp
37 Mall bag
38 Given (to)
39 Responded to
reveille
40 Former Energy
secretary Steven
41 No-frills
42 Hog lover
43 Lollipops, e.g.
45 On the ball
46 Like reporters, by
trade
47 Brief letters?
48 Artist’s pad
50 Arranged locks
53 Strips on a
sandwich
56 Frazier foe
57 Where much
classical music is
heard
60 Spoil
61 “Too rich for me”
62 Castle in the
1914 musical
“Watch Your
Step”
63 “Ciao!”
64 1975 Pulitzer
winner for
criticism
65 Put two and two
together

DOWN
1 Media Clic Ice
maker
2 Often emotional
works

3 Help on the Hill
4 Rolex 24 at
Daytona, e.g.
5 Parade venues
6 “That’s
hogwash!”
7 Big name in
organic foods
8 Furthermore
9 Isn’t active, as
equipment
10 “King of the
Nerds” airer
11 Sight-unseen
buy
12 Stretches of
history
13 Lab work
18 React to a
kitchen bulb,
maybe
22 Word after go or
so
25 Miley Cyrus label
26 Hidden problem
27 Hawaiian Airlines
greeting
28 Shoot back
29 Leftovers
preserver
30 Dodge
31 Doofus
32 One creating
enticing aromas
33 Hägar’s dog
38 Feign ignorance

39 One of two
baseball playoff
teams
determined next
week by a “play-
in” game in each
major league,
and a hint to this
puzzle’s circles
41 Lenovo products
42 Munich’s state
44 Small point
47 English channel,
briefly

48 Moussaka meat
49 Facial cosmetics
brand
51 Clarinet cousin
52 Disparaging
comment
54 Pigged out (on),
briefly
55 Ted Williams’
number
57 Chart shape
58 Addams family
cousin
59 Heavy ref.

By C.C. Burnikel
©2015 Tribune Content Agency, LLC
09/30/15

09/30/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, September 30, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6A — Wednesday, September 30, 2015
Arts
The Michigan Daily — michigandaily.com

TV REVIEW
‘Grandfathered’
ages John Stamos

Little potential for
FOX comedy past

its premise

By BENJAMIN ROSENSTOCK

Daily Arts Writer

“Grandfathered” might be a sin-

gle-camera comedy on FOX, but it
has the feel of a CBS sitcom with-
out
the

live studio
audience.
There
are broad
jokes occa-
sionally
based
on

race
and

sex,
with

simplistic characterizations and
saccharine
bonding
moments.

Based on the series premiere, it’s
difficult to tell whether the show
will go the way of “How I Met Your
Mother” or “The McCarthys.”
There are some promising ele-
ments, like the focus on family and
age, but it’s also hard to see where
the show can go past its pilot.

John Stamos (“Full House”)

stars as Jimmy Martino, a restau-
rant owner who discovers that
his ex-wife Sara (Paget Brewster,
“Criminal Minds”) had a child
years ago and never told him. Her
son, Gerald (Josh Peck, “Drake and
Josh”), visits Jimmy at work and
introduces him to his own daugh-
ter. Not only is Jimmy suddenly a
father, but he’s a grandfather.

The pilot proceeds exactly as

you’d expect. Jimmy’s world is
rocked by the sudden realization
that he has a family. He’s reluctant

to get involved until he spends
time with them, and then decid-
ing to dedicate himself to his new
family. His actions are completely
predictable — from Jimmy’s initial
hesitation to his eventual change
of heart — but it’s cute in a fluffy
heartwarming sitcom way. There’s
nothing really complex about it, but
it’s reliable for an “awww” or two.

Though the show has some

charming moments, it’s low on
laughs. The cast attempts nobly
to succed in remedying this, espe-
cially Brewster, who showed her
comedic chops on the last season
of “Community” earlier this year.
Her delivery is sharp, and her
lines are reliably funny, like when
she mentions that she accidentally
burned her baby with a seatbelt
and “I swear, he looked right at me
and gave me the finger.” Stamos, to
his credit, commits himself entire-
ly to the role of Jimmy, playing his
character as if Robert Downey Jr.’s
Tony Stark was suddenly given a
new family. Stamos is suave, con-
fident and vain, but the nuances
in the writing just aren’t there
beyond Jimmy’s predictable heart
of gold. He’s like Barney Stinson of
“How I Met Your Mother” without
any of the fun character quirks.

The rest of the cast is similarly

underdeveloped. Peck plays Ger-
ald as an overeager man-child,
thrilled to finally meet his dad and

receive relationship advice from
him, but any shades of resentment
he might have are toned down in
favor of their immediate bond-
ing. Christina Milian (“Baggage
Claim”) plays blank slate Van-
essa, the mother of Gerald’s baby
and the woman he hopes will be
more than a friend. Kelly Jenrette
(“Frisky Dingo”) and Ravi Patel
(“Past Life”) play two employees
at Jimmy’s restaurant who most-
ly just exist to make jokes about
Jimmy as a womanizer, though
there’s a fun aside where Jenrette’s
character makes friends with Sara.

Most of the jokes in “Grand-

fathered” fail to elicit more than
a vague smile, and every charac-
ter’s role can be summed up in
a sentence or less. Arguably the
most important flaw to address,
though, is how “Grandfathered”
can continue past its pilot. Will
it be possible to sustain a whole
series of television based on its
simple premise? Will the show find
a comfortable groove as a hangout
comedy like “New Girl,” or will it
fall back on obvious subplots like
a re-coupling of Jimmy and Sara?
With its cast and its heart, “Grand-
fathered” could join the other
high-concept sitcoms whose audi-
ences have grown over the years.
The real question is whether view-
ers will be willing to watch past
the uninspired first episode.

FOX

Where’s the damn Oikos, John?!?!

C+

Grandfathered

Tuesdays at 8 p.m.

FOX
New doc shines light
on Black Panthers

By SOPHIA KAUFMAN

Daily Arts Writer

“The Black Panthers: Van-

guard
of
the
Revolution,”

directed by Stanley Nelson, is
the first fea-
ture-length
documentary
to
tell
the

Black Panther
Party’s story
from
begin-

ning to end. It
is mesmeriz-
ing the entire
way through,
not
only

painting
a

three-dimen-
sional picture
of the Party, but lending itself to
comparisons to the present day
without once explicitly calling
“today” into focus.

Nelson never inserts his voice

into “The Black Panthers”; for-
mer and current Panthers speak
for themselves, as do journal-
ists, FBI informants and police
officers who were involved.
Each tells his or her own side of

a story — stories that are often
neglected, forgotten or white-
washed in tellings of the Civil
Rights Movement today. “The
Black Panthers” deconstructs
the popular conception of the
Party
as
the
trigger-happy

radical alternative to civil dis-
obedience, and it paints a vivid
portrait of the Party’s charis-
matic leaders.

The documentary also covers

much more than the timeline
of events that led to the Party’s
eventual split, capturing how
the
Black
Panthers
shocked

and fascinated the nation. He
devotes a significant amount of
time to how the Black Panthers
represented a different kind
of pride, a new kind of fashion
iconography and an obvious
sex appeal that attracted young
people. Former Panthers talk
about how the majority of the
Party was in their late teens and
early twenties, and the youthful
vibrancy radiated when they
marched down the street. Some
who joined later on discussed
how the Panthers represented a
new kind of image that they could
aspire to as younger children.

It’s unfortunate that the

chauvinist sexist aspects of the
Party, while addressed, only
take up a few of the 116 minutes
in the documentary. However,
the strength and resilience of
the many black women in the
Panther Party break through.
Women describe answering the
phones with one hand while
bouncing their crying children
in the other or asking to carry
guns along with the men. One
describes how a woman volun-
teered to be the first person to
walk out of a house unarmed,
waving a white flag in the mid-
dle of a bloody shootout with
police officers.

Overall,
the
documentary

deserved a better ending, artisti-
cally and technically. It ends with
a “where are they now” epilogue,
focusing on only some of the Pan-
ther’s more famous leaders, end-
ing the dynamic story on a softer
note. This concluding tactic also
fails to add the element of cohe-
sion to tie it all together. While

this is unfortunate, it doesn’t
detract too much from the over-
all work.

A documentary is only ever as

good as its story, and this story is
electric. It’s impossible to avert
one’s eyes from the stunning
black-and-white
photographs

and the video footage, grainy as
they may be.

This story is one of anguish

and heartbreak, of a collective
response and rally in the face of
police brutality and societal pres-
sure to back off and back down.
It is a story of the passion for
change found in youth, but also of
the dangers faced by movements
that become too big too quickly.
It is a story of hope and relentless
refusal to give up the fight for jus-
tice, quiet victories and bloody
defeats and unapologetic pride.
In short, it’s a similar story, more
or less, of the Black Lives Matter
movement today.

Nelson chooses not to make

any explicit comparisons to the
civil rights struggle that occurs
today, but the comparisons are
blindingly obvious. They repre-
sent a different kind of pride in
being black in the face of bigotry
and hatred, heard loud and clear
in their chant “Black is Beauti-
ful.” Across social media, trends
like the #melanin tag and orga-
nized events like #Blackout have
taken off, especially on photo-
friendly platforms like Twitter
and Instagram. There are pho-
tographs of the Panthers stand-
ing in the middle of the street
handing out their newspaper to
people in cars, subtly highlight-
ing the group’s recognition of
the media’s impact. This makes
for another comparison with the
Black Lives Matter movement,
which largely stems from social
media. Perhaps most obviously,
one of the focuses of the Pan-
thers was police brutality, an
issue that has become a focal
one in the movement today. Nel-
son’s unflinching gaze at police
brutality stripped bare doesn’t
feel understated or overem-
phasized; it just feels like the
truth. It feels familiar. This may
be why the documentary hits
home — it reflects it.

STANLEY NELSON

Jackets that would make ‘The Matrix’ jealous.

A-

The Black
Panthers:
Vanguard
of the
Revolution

Stanley Nelson

Detroit Film Theatre

Will viewers
watch past the
uninspired first

episode?

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