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Monday, October 5, 2015 — 5A
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ACROSS
1 Having been cut,
as grass
5 Stage showoffs
9 “The Prince and
the Pauper”
author Mark
14 The “E” in Q.E.D.
15 Parisian gal pal
16 Salon dye
17 In a precarious
situation
19 Fats Domino
genre, briefly
20 Tales of __:
misfortunes
21 Market shelves
filler: Abbr.
22 Ambles
23 Pabst brand
25 Swimmer’s path
26 Like a lake during
a dead calm
32 Dessert with icing
34 Mr. Rogers
35 __ Beta Kappa
36 Really mess up
37 Dude
39 Resting atop
40 State south of
Wash.
41 Jury member
42 Struggle
(through), as
mud
43 Permanent
48 Exiled Roman
poet
49 “Right away!”
52 Added financial
burden for drivers
55 Bag for a picnic
race
57 Massage
reaction
58 Pretended to be
59 Art form in which
the ends of 17-,
26- and 43-
Across may be
used
61 Glisten
62 Mr. Peanut’s
stick
63 Pac-12 member
64 “The Great” king
of Judea
65 Rec room
centerpiece
66 Number one
DOWN
1 Cat conversation
2 “To be, __ to
be ...”
3 One being pulled
behind a boat
4 High degree, in
math
5 “Don’t touch
that!”
6 “London Fields”
author Martin
7 “Three Blind __”
8 “Get my point?”
9 Big crowd
10 “Pop goes”
critter
11 Novelist Brontë
12 “500” race,
familiarly
13 Hauls off to jail
18 Texter’s “I
think ...”
22 Live __: Taco
Bell slogan
24 Black cat, to
some
25 Soup servers
27 Fearful
28 Her face
launched a
thousand ships
29 Puréed fruit
served with pork
30 “Scram!”
31 Perform a ballad
32 Gator’s kin
33 Ghostly
emanation
38 Section
describing the
United States
Constitution’s
amendment
process
39 Annapolis inst.
44 Cast a negative
ballot
45 Dodged
46 New Jersey
fort
47 Like a GI
scraping plates
50 Viscounts’
superiors
51 Glance sideways
during a test,
maybe
52 Serious cut
53 Throbbing pain
54 Mix in a glass
55 Large amount
56 Marie, to Donny’s
sons
59 63-Across, for
one: Abbr.
60 Place for a soak
By Brock Wilson
©2015 Tribune Content Agency, LLC
10/05/15
10/05/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, October 5, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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PARKING
By MATT BARNAUSKAS
Daily Arts Writer
“Quantico” is dumb. I just
want to establish that fact right
away. Created by Joshua Safran
(“Gossip Girl”),
“Quantico” aims
to bring soapy,
melodramatic
thrills
to
the
FBI
Academy
while mixing in
a chunk of ter-
rorist conspira-
cy. Reminiscent
of fellow ABC
series
“Grey’s
Anatomy”
and
“Scandal,” the show attempts
to be a sexy thriller, but some-
times veers into the absurd.
It begins with protagonist
Alex Parrish (Bollywood star
Priyanka Chopra) awakening
amid the rubble of a bombed
Grand Central Station; “Quan-
tico” relies on a flashback struc-
ture similar to “How to Get
Away with Murder.” Parrish
remembers her time at the FBI
Academy after she is informed
that one of her former fellow
trainees is a terrorist that per-
petrated the attack.
Some of the show’s twisty rev-
elations make sense — the death
of Shelby Wyatt’s (Johanna Brad-
dy, “UnReal”) parents during 9/11
and Simon Asher’s (Tate Elling-
ton, “Straight Outta Compton”)
origins as a conservative Jew
who went to Gaza to live among
the Palestinians provide inven-
tive, yet realistic backstories.
However, “Quantico” jumps
off the deep end with twists
including undercover agents,
secret
twins
and
Mormon
mission
trips
gone
terribly
awry. The cast of trainees is the
usual network TV ensemble of
attractive 20- to 30-somethings
all with deep dark secrets meant
to leave the audience gasping.
However, “Quantico” tries so
hard to draw these gasps with
constant reveals that the show
stops
becoming
shocking,
transitions into head-shaking
and at worst becomes laughable.
Meanwhile,
Academy
instructor
Liam
O’Connor
(Josh Hopkins, “Cougar Town”)
and Academy assistant director
Miranda Shaw (Aunjanue Ellis,
“The Help”) are either ignorant
or assisting their trainees in
keeping secrets. The pair may
possess worse judgment than
Jack Crawford of “Hannibal.”
“Quantico” needs its audi-
ence to believe that the infor-
mation within these flashbacks
is of critical importance to Alex
as she tries to make a connec-
tion. But the show does itself a
disservice in this area, as FBI
trainees flirt and ogle at one
another while an indie-pop
soundtrack plays in the back-
ground. These inclusions kill
the urgent tone “Quantico”
establishes early on, and makes
the flashbacks feel meandering.
However, “Quantico” does work
on some levels. A few sequences,
including an interrogation room
exercise where one recruit really
doesn’t want something to come
out, are particularly effective at
ratcheting up suspense.
Meanwhile, Chopra is a solid
enough lead. She works best
at being a confident, assured
agent-in-training. For example,
Alex quickly analyzes a fellow
trainee, Ryan (Jake McLaugh-
lin, “Believe”), utlizing the
smallest details of his life.
Chopra conveys the right air of
assertiveness, creating an ini-
tial allure around her character.
But, when it comes to disbelief
and shock, Chopra can sound
very stilted, like someone feign-
ing surprise at a something they
already knew.
This becomes a concern when
the FBI arrests Alex for involve-
ment in the attack on Grand
Central Station. There’s some-
thing missing from Chopra’s
delivery as she pleads to know
what is going on. Hopefully she
improves as the series goes on,
the lacking elements of her per-
formance match her strengths.
“Quantico” is in many ways
an unapologetic guilty plea-
sure series. It’s meant to throw
its viewers around on a ride
that will occasionally make no
sense. As Alex finally escapes at
the end of the pilot, “Quantico”
displays the kind of show it is.
As FBI agents swarm the scene,
guns drawn, a sole figure in an
agency hat walks away. No one
questions, “Why is this agent
walking away from the scene of
an emergency?” — they just let
her go. The figure is Alex as pop
music soars and her hair bil-
lows back. “Quantico” may be
a fun ride, but make sure your
brain is turned off before get-
ting onboard.
‘Quantico’ premiere
can’t spark interest
C-
Quantico
Series
Premiere
Sundays at
10 p.m.
ABC
Three Daily Arts
writers cover the
Rebel Heart Tour
By MELINA GLUSAC, CARLY
SNIDER and CHRISTIAN
KENNEDY
Daily Arts Writers
Melina Glusac
The drive from Ann Arbor to
the Joe Louis Arena lent my fel-
low Arts writers and I the perfect
amount of time to brush up on all
things Madonna. She is, after all, a
pop icon — with a hefty, danceable
discography to match. The thing
about icons is: even if you think you
“forgot” their music, two verses
into the first song on your refresh-
er playlist you find yourself belting
“’cause the boy with the cold hard
cash is ALWAYS MISTAH RI-
IGHT.” And, even though you’re a
cold hard feminist, you find your-
self believing it for a split second.
Madonna just has that effect.
So by the time we rolled up to
the venue, the Rebel Heart Tour
had just begun its explosion of col-
ors, dancers and sexy acrobats. We
took our seats as the Queen of Pop
opened up with “Iconic,” perhaps
the trappiest of tunes off her latest
release. Splices of Chance the Rap-
per and Mike Tyson (yes, Mike
Tyson) video clips filled the big
screen as she was lowered from a
giant cage, only to break out at the
end — a beautiful metaphor and
visual
shindig,
simultaneously.
The concert continued on in these
phases of evolution: set chang-
es, dress changes and aesthetic
re-envisioning. Madge took her
audience on a consistently enter-
taining journey of Art Deco glam
(“Music”), Detroit gas station chic
(“Body Shop”), and rainy, film noir
desperation (“HeartBreakCity”).
But despite the performances’
technical
prowess
and
the
surprising athleticism of this ever-
changing, forward-thinking diva,
the most inventive aspects of the
whole night were the throwbacks.
Every ’80s staple she performed
(“True
Blue,”
“Material
Girl,”
“Holiday,” “La Isla Bonita,” etc.)
was executed in an unconventional
way
—
radically
different
instrumentation, tempo changes
and isolated vocals. The night’s
shining, ecstatic moment was a Día
De Los Muertos-themed interlude
of “Dress You Up,” another techno
classic
rebooted
and
stripped
down to intricate Mexican acoustic
guitars, pounding bongos and
congas, and bursts of pink and
green and red flowers. Only she
could get away with this: a complete
180 and a surprised yet entranced
— always entranced — audience to
boot. Bitch, she’s Madonna.
Carly Snider
Madonna: performer, cultural
icon, innovator. To be able to see an
artist that has been perfecting her
craft for over three decades was,
to put it lightly, astounding. The
impact of her music on her fans
was obvious as the pop queen drew
a widely mixed crowd – parents
and children, women clad in the
star’s signature leather and lace,
middle-aged men rocking bedaz-
zled Madonna t-shirts, and, like
myself and my fellow arts writers,
a few young souls looking to bask
in musical greatness. Spanning
two hours and multiple costume
changes, Madonna’s veteran status
was obvious in her performance.
It is only fitting that the opener
was as “Iconic” as its singer. Mov-
ing on to “Bitch I’m Madonna,” the
set list was kept fairly recent, but
did touch upon some of her biggest
throwback hits – “Like A Virgin,”
“Material Girl” and “Holiday.” Her
performance style was nothing if
not theatrical, featuring circus-
esque backup dancers, an inclined
portion of the stage and a large cat-
walk shaped like a cross, ending in
a heart.
One of my only qualms with the
overall experience would be the
lack of impression left by the open-
ing act – DJ Kaytranada – who
played good songs from his booth,
but did little to interact with the
crowd. Don’t get me wrong, some-
one like Madonna really doesn’t
need a banging opener, but it
would have been nice. But, back to
what’s important.
Madonna’s performance fur-
ther proved her already renowned
stamina,
multi-faceted
perfor-
mance style and creativity as an
artist. She incorporated Día De
Los Muertos, flags from around
the world, biblical references all
while putting her signature stamp
on things. Even as someone who
just recently got into the music of
the mega-star, her cultural-per-
manence and iconic status made
it seem as if I had been a super
fan for years. And I plan to be for
many more.
Christian Kennedy
My journey to the Rebel Heart
Tour was an odd one. I reviewed
Rebel Heart when it was first
released in March. Now, the
majority of songs I love I had shit
on. Therefore, I didn’t buy tickets
when they went on sale as I nor-
mally would, but eventually I did
and then slowly, over months, I
listened to more Madonna, and
finally it settled in about the week
before that I was seeing Madonna.
Like, that’s a big deal. Her career
began far before my birth year.
She has influenced the culture
I’ve lived in my entire life. What I
learned is that going to a Madonna
show is something to always write
home about.
The production was on-par,
if not above, every other pop-
arena spectacle touring around
the world today. Her moves were
on point and her vocals were far
beyond what she’s given credit for
nowadays. The juxtaposition of
new Rebel Heart tracks with clas-
sics like “Material Girl” or “Who’s
That Girl” only proves the fact that
Madonna can (and still is) slaying
the pop game.
Moreover, new age Madonna
isn’t quite the same, but that’s
good. Instead of focusing on shock
or politics as she has in the past,
the Rebel Heart Tour focused sole-
ly on the music and its songstress.
The progression from the self-
reflective, yet egocentric opener
“Iconic” to the altruistic “Holiday”
closer goes to show all of Madon-
na’s facets.
Ultimately
though,
“Rebel
Heart,” the title track off Madon-
na’s thirteenth album, was what
the night was about. The night was
about looking back on accomplish-
ments and hardships and coming
out stronger than ever — knowing
yourself more than ever.
MAVERICK RECORDS
“I can swallow this in five seconds.”
Madonna dazzles
Detroit on tour
The most
inventive aspects
of the night were
the throwbacks.
New age
Madonna isn’t
quite the same,
but that’s good.
TV REVIEW
CONCERT COVER