ACROSS
1 Punch kin
4 Refuse
9 Debussy’s sea
12 __ Scotia
14 Makes
arrangements for
15 Chopper
16 Three-time Rock
and Roll Hall of
Fame inductee
18 Sleep phase
initials
19 1990s Polish
president
20 Ocean State sch.
21 California’s __
Valley
22 Master thespian’s
skill
25 Pretentious sort
27 Used Grecian
Formula on
28 Uses for a fee
29 Civil War
nickname
30 Artist’s shade
31 “La Bamba” actor
Morales
33 Burroughs’ feral
child
35 Welcomes to
one’s home
39 Actress Sommer
41 Sets for binge
watchers
42 Rapid-fire
weapon
43 Fireplace piece
46 Maker of Air
Zoom sneakers
48 Eyewear, in ads
49 Brew produced
without
pesticides
52 Regatta
implements
53 Shout of support
54 Burglars’ concerns
57 Former AT&T
rival
58 “One Thousand
and One Nights”
transport
60 See 62-Across
61 Endless,
poetically
62 With 60-Across,
big name in
desserts
63 Harris and Asner
64 Gave the wrong
idea
65 Duplicates, briefly
... and a hint to
16-, 22-, 49- and
58-Across

DOWN
1 Once again
2 Latina toon
explorer
3 Superhero’s
nemesis
4 Long Island Iced
__: cocktail
5 Public stature
6 Not sidesaddle
7 Hard to arouse
8 Sweetie pie
9 Ohio county or its
seat
10 Not obliged to
pay
11 Neglectful
13 Harsh
14 Focus of an
annual 26-Down
contest
17 Jefferson Davis
was its only pres.
21 Mideast chieftain
23 Reply to Bligh
24 Ill-mannered
25 Convened
26 Hoops gp.
30 Drummer Alex
Van __
32 Avoid
embarrassment
34 Epsilon followers
36 Large political
spending org.
37 Ending with civil
or social

38 Put the kibosh on
40 Behind bars
41 Ring result, briefly
43 Help in many a
search
44 Like many violent
films
45 Goes with the
flow
47 Asian MLB
outfielder with a
record 10
consecutive 200-
hit seasons

48 Craftsman
retailer
50 Really boiling
51 Jeb Bush’s st.
55 Cougar maker,
for short
56 Dots on a
subway map:
Abbr.
58 Voice legend
Blanc
59 Channel 
founded by
Turner

By John Lieb
©2015 Tribune Content Agency, LLC
10/21/15

10/21/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, October 21, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6A — Wednesday, October 21, 2015
Arts
The Michigan Daily — michigandaily.com

I 

remember back in Decem-
ber when “The Interview” 
was released — all of the 

talk surrounding the contro-
versial depiction of North 
Korea and 
Kim Jong-
Un. But 
that didn’t 
bother me; 
I was more 
concerned 
about online 
streaming. 
Because of 
the threat 
of North 
Korean 
“retaliation,” many theaters 
refused to show the film, but 
YouTube, in an act of bravery, 
offered to stream the movie 
online so it could get a proper 
release. Though I was thankful 
YouTube — this binary Reagan 
— could lay waste to the Com-
munist regimes as in the days 
of old, I was worried.

Was 
this 
the 
future 
of 

cinema? Would people resort 
to online streaming for their 
movie 
going 
needs? 
Would 

there even be a reason to leave 
the house anymore? Would we 
all end up looking like those 
flabby, gelatonous humans that 
“Wall-E” so prophesized? 

My fears were unfounded: 

“The Interview” took a major 
hit at the box office, raking in 
less than a third of its budget 
(though 
Sony 
contends 
it 

recouped its losses through 
the online rentals), and cinema 
would go on to have one of its 
most lucrative summers ever in 
2015. I overreact sometimes.

But as of this last Friday, 

cinema 
faces 
a 
similar 

development: Netflix released 
its first feature length film, 
“Beasts of No Nation.” This 
film, unlike “The Interview” 
isn’t 
slapstick 
satire 
about 

daddy issues and poop jokes and 
general racism. This is a film 
with award season aspirations, 
and, based on early reviews, 
might actually get them. What’s 
interesting 
here 
is 
Netflix 

is streaming the film online 
and releasing it in theaters at 
a later date. And I am deeply 
curious what exactly happens 
here: will “Beasts” prove a box 
office dud? Will it garner the 
awards attention Netflix thinks 
it deserves? And how do you 
measure the success of a film 
that’s being distributed through 
an online service that most 
people already own?

These thoughts I had about 

the future of cinema started 
to come back. “Beasts of No 
Nation” isn’t B-movie popcorn 
trash/a Saturday night time-
killer like “The Interview.” 
The people who watch it aren’t 
looking 
for 
entertainment, 

they’re curious about what the 
movie has to say, they want to 
see what Cary Fukunaga can do 
as a director with a full length 
feature, they want to find the 
substance at the heart of the 
feature and they want to see 
Idris Elba continue to be one of 
the best working actors in the 
game.

“Beasts of No Nation” is a 

game changer — this is real 
cinema, coming to you in the 
comfort of your own home. I 
can’t say I approve.

Moviegoing is an experience, 

and is something that takes 
commitment. You have to want 
it because, when you think 
about it, moviegoing is kind 
of ridiculous — it is the act of 
deliberately going out of your 
way to pay to stare at a giant 
screen in a dark room, with the 
assumption that you will shut 
yourself off from all contact for 
a minimum of 90 but upwards 
of 325 minutes (for at least some 
films, like Lars Von Trier’s 
“Nymphomaniac”). 
Further, 

for nourishment, you will pay 
exorbitant prices for foodstuffs 
that lack any nutritional value. 
Should you need to relieve 
yourself, the screening that 
you have paid for will not stop 
for you; rather, every second 
spent outside of the theater is a 
second you are literally flushing 
down the toilet. And upon your 
return, when you inquire of 
your movie going brethren what 
transpired events you may have 
missed, you will be promptly 

hushed (by me, for example) for 
daring to speak over the sounds 
of film. In short, moviegoing 
requires unspoken rules that 
absolutely run counter to the 
freedoms one experiences when 
watching film at home.

But that’s the beauty of the 

thing. The movie is the be-all 
and end-all of the excursion: 
the 
darkness 
prevents 
you 

from seeing the few extraneous 
details of the theater; the 
chairs (especially if they’re the 
reclining ones many theaters 
are implementing) force you 
to look directly at a screen the 
size of a wall; there is no pause 
button; you will be publicly 
shamed 
when 
you 
decide 

Tinder is a better use of your 
time. There is, simply, nothing 
but the movie. It’s immersive — 
a full-on experience.

When you watch a movie 

at home, at least when it’s 
your first viewing of that 
movie, you’ve really missed an 
important element of its full 
force — something is lost on 
your television. And I get that 
sometimes you can’t make it to 
the theater, or you just didn’t 
care enough to go. But urgency 
or 
convenience 
shouldn’t 

outweigh 
the 
complete 

experience of movie going.

What I’m trying to say is 

this: don’t watch “Beasts of No 
Nation” on Netflix, wait for 
the theatrical release. Don’t 
give 
studios 
the 
idea 
that 

convenience is more important 
than the movie itself. Believe it 
or not, the consumer does have 
power in this business.

I 
understand 
that 

streaming new releases won’t 
singlehandedly kill the business, 
but it is symptomatic of a shift in 
what we as a movie-going culture 
care about. I get that accessibility 
and speed and “move or die” is 
what matters today. But they 
got something very right in 
1905 when the Nickelodeon 
opened in Pittsburgh, and it’s 
something 
worth 
preserving 

and continuing.

Bircoll is surfing the binary 

Reagan. If you’re a true American, 

email your open carry permit 

to jbircoll@umich.edu.

FILM COLUMN

The fear of online 

streaming

JAMIE 

BIRCOLL
Netflix’s new 
“Beast of No 
Nation” is a 

game changer.

Real cinema is 
coming to your 
home — I can’t 
say I approve.

TV REVIEW
‘Fargo’ continues 
evil and violence

Characters lash out 

in Season Two of 

FX series

By MATT BARNAUSKAS

Daily Arts Writer

Violence is always bubbling 

under the surface in “Fargo.” 
Against the mundane existence 
of the Minne-
sota 
expanse, 

viciousness 
and 
criminal-

ity explode in 
gunfire 
and 

red blood that 
seeps into the 
snowy 
white-

ness. Driven by 
dissatisfaction 
and repression, 
characters lash 
out violently against their pres-
ent reality in an attempt to carve 
out their own chunk of the world, 
not caring about who’s hurt in 
the process.

These forceful attempts at con-

trolling one’s existence after end-
less humiliations are perversions 
of the tale of Job told by the Judge 
(Ann 
Cusack, 
“Nightcrawler”) 

to Rye Gerhardt (Kieran Culkin, 
“Scott Pilgrim vs. The World”) 
before the season premiere’s first 
explosion. Not everyone can take 
ceaseless indignities — in fact, 
most can’t. In the first season, 
Lester Nygaard (Martin Freeman, 
“Sherlock”) struck out against his 
meek life after being exposed to 
the influence of Lorne Malvo (Billy 
Bob Thornton, “Sling Blade”).

This theme, initially manifested 

within Jerry Lundegaard (William 
H. Macy, “Shameless”) in the Coen 
Brothers’ 1996 film and continued 
with Lester in series form by writ-
er Noah Hawley (“Bones”), touch-
es on the trappings of everyday life 
and the primal drive to gain what 
people think is theirs. When Rye, 
the beaten down youngest son of 
the notoriously criminal Gerhardt 
clan, snaps and kills the Judge 
after she strongly rejects his busi-

ness proposition it is the continua-
tion, or predecessor, in a sustained 
cycle of malevolence.

Set in 1979, the second season of 

“Fargo” is a prequel to the anthol-
ogy’s first season that took place in 
2006. While the events of “Fargo” 
are terrifying, they aren’t isolated 
incidents. They’re parts of an end-
less sequence that’s been going on 
since before the tale of Job. Hawley 
controls these recurrent themes 
through continuously strong char-
acters and a setting that presents a 
blank canvas for the moral conflict 
that violently plays out. This excel-
lence in synthesizing themes into 
the narrative and character arcs 
makes “Fargo” one of the strongest 
series on television.

To combat the cycle of evil is 

a constant good that forms the 
emotional and narrative heart of 
“Fargo.” Defined by Lou Solver-
son (Patrick Wilson, “The Con-
juring”), the father of season one 
hero Molly (Allison Tolman, “The 
Gift”) now played by Raven Stew-
art (“Cracked”), this morality 
expresses itself in small moments. 
Moments like Lou reading Molly a 
bedtime story, father-in-law Hank 
Larsson’s (Ted Danson, “CSI”) 
personal knowledge of small-town 
citizens and the quiet moments 
of intimacy between Lou and his 
wife Betsy (Cristin Miloti, “How 
I Met Your Mother”) during their 
conversations are small but infi-
nitely sincere and meaningful. It’s 
this sense of community that keeps 
the side of good together, even in 
the face of powerful evils like the 
Gerhardts and the encroaching 
Kansas City mob.

Stuck in between these sides 

are the Blomquists, Peggy (Kirst-
en Dunst, “Melancholia”) and Ed 
(Jesse Plemons, “Breaking Bad”). 
The young couple displays both of 
the sensibilities that could draw 
them to either side of “Fargo” ’s 
eternal struggle. Ed’s a simple 
man, humorously introduced in a 
sequence that makes ample use of 
the phrase, “OK then.” He loves 
his wife and wants to support her 
through his job as a butcher. Peggy 
is more complicated, as a sense of 

dissatisfaction with her monoto-
nous life seems to pervade every 
moment of her existence. As evi-
denced by her plans to take part in 
self-improvement seminars and a 
stack of self-help books and maga-
zines, she wants more. While Ed 
wants to preserve this grounded 
existence, Peggy has ambitions 
beyond Ed’s dreams of having kids 
and owning the butcher shop, and 
it quietly tears her apart.

Hawley’s devotion to detailing 

his characters with the smallest of 
particulars crafts a cast of charac-
ters that organically fit within the 
isolated Minnesota environment. 
In this world, forces push and pull 
characters towards different sides 
of a moral compass. While these 
influences can appear in everyday 
conversation, a passing compli-
ment or derogatory insult, they can 
take the form of elements beyond 
explanation.

As a set of mysterious lights 

resembling a UFO leads Rye 
out into the road after his diner 
massacre, the driving force of 
the unknown comes into play. 
Peggy’s car slams into the young 
criminal; in this moment she is 
tested, choosing to drive off with 
Rye’s unconscious body still on 
the windshield. It’s a choice that 
will lead her and everyone in her 
immediate circle down a twisting 
path of tricky ethics.

Underneath the conceived sim-

plicity of everyday life, the labyrin-
thine underworld of “Fargo” plays 
out. “This thing’s only getting’ 
bigger,” Lou’s conspiracy-minded 
friend, Karl Weathers (Nick Offer-
man, “Parks and Recreation”) says 
in regards to the murders at the 
diner. With rival criminal organi-
zations preparing for war and per-
haps larger forces of good and evil 
at work, “Fargo” will only grow 
more complex as the simple moral-
ity of people like Lou will struggle 
against the complicated lawless 
element that rears its head. Yet, in 
the capable hands of Hawley and 
his team, “Fargo” continuously 
delivers storytelling excellence 
that remains unmatched by most 
of its competitors.

A

Fargo

Season 2 
Premiere 
Mondays 
at 10 p.m.

FX

I KNOW WHEN THAT 
HOTLINE BLING, _____.

A. THAT CAN ONLY MEAN ONE THING

B. I SHOULD DO A SEARCH ON BING

C. I FORGOT TO PAY MY PHONE BILL...

CHA CHING $$$

D. THE CAPITAL OF CHINA IS BEIJING

THE ANSWER IS IN YOUR SOUL. 

COME SHOW US THE WAY.

WRITE FOR DAILY ARTS.

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