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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

