ACROSS
1 “The Affair”
network, briefly
4 Feel the pain
8 Connect (with)
14 “How’s that
again?”
15 The season to be
jolly
16 Sprain
application
17 Lois Lane
portrayer in “Man
of Steel”
19 Accruing very
little interest?
20 Put one over on
21 Earliest recorded
Chinese ruling
group
23 Ranking card
suit
25 Sunrise direction
26 Tavern brew
28 Pantyhose
shade
29 Heavenly balls
33 Kevlar-lined vest,
e.g.
37 Pet’s reward
38 Blood typing
letters
39 Holy threesome
41 Multi-platinum
44-Across album
pronounced like
a continent
42 Abrasive
44 “Reelin’ in the
Years” rock
group
46 Frat party
barrels
47 Shine, in ads
48 Opposite of
paleo-
49 Arboretum sight
51 Big name in
cubes
55 High-definition
medium
61 Melt fish
62 Spring tweeters
63 What a nine-to-
fiver works ... or,
literally, what
each set of
circled letters
represents
65 Get payback
66 “I hear you”
67 See 32-Down
68 Corporate
consolidation
69 Give for a while
70 Make an effort
DOWN
1 Mining tunnel
2 Funny business
3 “What a joker!”
4 “Then what
happened?”
5 Sweet-talk
6 Prefix with
sphere
7 “Frozen” princess
8 Tripoli native
9 Clickable pictures
10 Lawn
maintenance tool
11 Nile wader
12 Director Gus
Van __
13 Like French toast
18 “The American
Look” cosmetics
brand
22 Luv
24 “The Bell Jar”
author Sylvia
27 Make a boo-boo
28 Pinto-riding
sidekick
30 Enjoy a book
31 Tijuana’s
peninsula
32 With 67-Across,
co-creator of
Spider-Man
33 Announce a
visitor, dog-style
34 Bassoon kin
35 Magician
Henning
36 Sent on a wild-
goose chase
37 Polk’s
predecessor
40 Rightmost
bowling pin
43 Stripper’s bottom
line?
45 Kid
47 Old Faithful, e.g.
50 Cooking stove
52 Constructed
53 Figure out
54 “Sons of
Anarchy” actress
Sagal
55 Novelist Stoker
56 Romcom subject
57 Over, in Germany
58 Celeb with a big
fan base
59 “Oh, for Pete’s
__!”
60 Color similar to
teal
64 Guitarist Barrett
By David Phillips
©2015 Tribune Content Agency, LLC
10/27/15
10/27/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, October 27, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
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6 — Tuesday, October 27, 2015
Arts
The Michigan Daily — michigandaily.com
BOOK REVIEW
‘Purity’ is pretty
good, not genius
By DREW MARON
Daily Arts Writer
If Jonathan Franzen’s previ-
ous novel, “Freedom,” was a gen-
tly prodding critique of liberal
activism,
his
latest
book,
“Purity,” is an
outright com-
plaint. Despite
his
conten-
tious
public
image,
Fran-
zen can still
spin a hell of a
tale.
We follow the titular char-
acter, Purity “Pip” Tyler, as
she seeks the identity of her
estranged father, which leads her
to the WikiLeaks-like Sunlight
Project and its enigmatic found-
er, Andreas Wolf.
It really isn’t until we meet
Wolf that the novel picks up,
with Mr. Franzen delivering one
of his most memorable creations
to date. Wolf is part-Mephistoph-
eles, part-Julian Assange and
part-Hamlet. While such a com-
bination might be ridiculous if
treated seriously, Franzen makes
the intelligent move and plays
up the absurdity of such an indi-
vidual, without losing the pathos
and intricate biographical detail
for which he is known.
Unfortunately, despite being
the titular character, Pip is rel-
egated to the background when
compared to Andreas and her
investigative journalist father
Tom. Consequently, the novel
might disappoint readers who
hope Franzen spent the past couple
of years working over his anxieties
about the opposite sex instead of
simply enabling them through his
fiction. For the most part, it could
be argued that this decision trans-
lates into his admittedly unique lit-
erary style. However, it’s also what
holds “Purity” back from being an
exceptional work of literature.
One of the key points where
“Purity” misses the mark is its
depiction of Anabel, Pip’s eccentri-
cally feminist mother and Tom’s
ex-wife. It’s a shame that in a
novel with such engrossing char-
acters like Pip, Tom, Colleen
and Andreas, a character as sig-
nificant to the story as Anabel is
reduced to a “crazy feminist” cli-
ché instead of a multidimension-
al human being. The novel lacks
the attention to her character
and history that would allow us
to understand how she became
who she is. Anabel knowingly
lies to her daughter about the
girl’s father and, in the face of
financial calamity, denies her
existence as a billionaire heiress.
The reasons and rationales that
would drive a character to do
these things could be fascinating
— had they been explored. How-
ever, we never get inside Anabel’s
head or understand why she has
put her daughter in such difficult
situations for largely selfish rea-
sons. We’re left with an utter lack
of “why” in regards to her char-
acter, and, as a result, the book
ineluctably suffers.
Yet, “Purity” is still worth
readers’ time. While the book’s
length
might
test
readers’
patience, Franzen’s non-linear
plotting brings a certain level of
suspense rarely seen in literary
fiction. It’s not quite as genre-
bending of Franzen’s contem-
poraries, but it still provides a
welcome example of the author’s
interest in connecting meaning-
fully with the culture at large.
Franzen’s public image often,
perhaps unfairly, overshadows
the work he produces. Most who
haven’t read him might just see
a pretentious-looking man who
dissed Oprah and hates Twitter.
His image, however, doesn’t do
justice to the time, attention and
work that goes into every sen-
tence of his novels. In the end,
Franzen proves with “Purity”
that his humor, dialogue and
skillful
characterization
still
provide rewarding experiences
for anyone seeking time with
interesting, engaging, opinion-
ated human beings — both real
and imagined.
Purity
Jonathan
Franzen
Farrar, Straus
and Giroux
Sept. 1, 2015
TV NOTEBOOK
‘SNL’ is not mine
It’s weird to feel
nostalgic for
something before
your time
By SOPHIA KAUFMAN
Daily Arts Writer
Over the summer, I went with
a friend to see Saturday Night
Live: The Exhibition, which
boasted “40 Years of Saturday
Nights.”
We were welcomed by a slide-
show narrated by Alec Bald-
win, who gave a brief history of
how “SNL” started and took off
immediately, giving the Ameri-
can public something they want-
ed — something that pushed
boundaries and injected humor
into situations that didn’t always
feel funny in real life. It was
satirical, never afraid to skewer
those in the public eye. It was
pop culture with an unflinch-
ing spotlight on politics. It was
fresh; it was funny; it was multi-
faceted — and people loved it.
After the slideshow, we were
invited to walk down a red car-
pet into Studio 8H, where the
exhibit was organized by the
days of the week, chronicling
the process of making an epi-
sode and putting on a live show.
There were original scripts and
props and entire sets recreated.
There were screens where Seth
Meyers, Jimmy Fallon, Aidy
Bryant and Cecily Strong each
explained how “SNL” pieces
came together. Some things
we could touch and some we
couldn’t (though that didn’t stop
a lot of people), and people didn’t
even bother putting their phones
back in their pockets after tak-
ing pictures — every spot was
another perfect Instagram shot.
We sat at the table where the
cast does pre-air table reads,
we stood in the dressing rooms
next to Gilly, we smelled the
faint paint fumes in the room
with some of the original plas-
ter casting molds. We saw every
cast member’s original headshot
and, for the finale, we sat in front
of the complete stage while a
recording of Tina Fey thanked
us for coming to visit.
The exhibit, showed the best
of “SNL,” with all the bonus fea-
tures and extras come to life in
front of us. It felt like our favorite
characters were waving goodbye
as event-goers left the stage.
Or at least, that’s how the
emotional middle-aged couple
who followed my friend and me
out of the gift shop and onto 5th
Avenue felt.
Personally, I felt a little con-
fused. And then confused about
my confusion. And then a little
sad. And then guilty about feel-
ing sad, and then I started to
slightly resent my parents.
Here’s the thing: obviously, an
exhibit of “40 years of Saturday
Nights” would have to be boiled
down into only the essentials.
And while I recognized a lot of
it, there was a lot I didn’t recog-
nize, too. Some I recognized only
from hearing my parents talk,
and didn’t personally experience.
I can only lay claim to a few of
the most memorable exploits in
the past few years: Kate McKin-
non’s Justin Bieber, Tina Fey’s
Sarah Palin and Amy Poehler’s
Hillary Clinton, Justin Timber-
lake’s Dick in a Box, Shy Ronnie
and anything Kristen Wiig. But
the majority of “SNL” ’s “golden
years” happened before I was
born, or old enough to appreci-
ate their material. (Incidentally, I
once made the mistake of refer-
ring to the stint of “SNL” with
Tina Fey and Amy Poehler as
the “golden years” to my parents,
who, remembering the likes of
Gilda Radner and co., cringed.)
But at the same time, I also felt
like I could appreciate and con-
nect to the older seasons since I
saw so much of it on the web. Our
generation is really the first one
to have grown up with the abil-
ity to look into the archives of
history on the Internet and find
a limitless wealth of text, audio,
visual and multimedia. I see
something on the Internet every
week about “ ’90s kids” (which,
in case you were wondering, is
sometimes held to include those
born anytime between 1990 and
the early 2000s), and it isn’t
weird to hear young adults talk-
ing about the ’80s, ’70s or even
’60s, as if they were there, with
a kind of familiarity that used to
belong just to historians. They
speak as if those years belonged
to them — because they can
immerse
themselves
in
the
media of those times. Because
of this, the lines between gen-
erational TV trends or pop cul-
ture trends are becoming more
blurred; the importance or influ-
ence of certain pieces of media
can’t be documented in as linear
a fashion as they used to be.
Seeing the “SNL” exhibit
made me feel nostalgic, which
was disconcerting. Even though
I’ve seen most of the important
or popular sketches on the Inter-
net (including the ones that hap-
pened before I was born), it felt
weird to be nostalgic for some-
thing that was literally before
my time.
While it was and still is a
huge part of my adolescence,
partly because it reminds me of
my favorite things about living
in New York City, “SNL” simul-
taneously does and does not
belong to me. But maybe in five
or 10 years, it will.
NBC
I want to go to there.
NEW MEDIA NOTEBOOK
Vine a youth issue
By SAM ROSENBERG
For The Daily
Many know Vine as the hugely
successful app that allows people
to produce six-second videos on
their phones. Since its inception in
2013, Vine has become the go-to
service for creating and sharing
inventive, hilarious and bizarre
clips. The most popular Vines are
created by people who are consid-
ered “Vine famous,” based on their
large number of followers and the
amount of likes and “revines” their
videos receive. While the “Vine
famous” community may not be the
most socially conscious group in
the country, their influence could
change our technology-obsessed
generation for the better.
Recently, Vine partnered with
Michelle Obama’s new campaign,
Better Make Room, which pro-
vides creative and educational
opportunities for high school stu-
dents around the United States.
According to a press release from
the White House, Vine’s purpose
in the campaign is “creating enter-
taining content that will spread the
campaign’s key messages,” using
the hashtag #BetterMakeRoom.
This past week, a group of Viners
traveled to the White House to
promote the campaign, and even
created some Vines with the First
Lady during their trip, which can
be seen on Vine’s video playlist
“Viners go to the White House.”
Among this group are some of
Vine’s top-rated users: KingBach
(14.1M followers), Lele Pons (9.7M
followers), Jerome Jarre (8.5M fol-
lowers), Us the Duo (4.9M follow-
ers), AmyMarie Gaertner (4.1M
followers) and Chris Melberger
(749.4K followers).
As an avid Vine user myself, it’s
interesting to see these particular
Viners come together as spokespeo-
ple, considering how different their
content is. KingBach and Lele Pons
make everyday scenarios into the-
atrical, over-the-top clips; Jerome
Jarre plays pranks on unsuspect-
ing strangers; AmyMarie special-
izes in freestyle dance Vines; Us the
Duo comprises of a young married
couple singing pop songs; Melberg-
er’s Vines contain self-deprecating
humor and parodies of other trend-
ing Viners. But although these Vin-
ers may be radically different from
one another, their collaboration
to promote Better Make Room
reinforces their goal of creating a
positive change in America’s youth
through social media. As Melberg-
er pointed out when he introduced
the First Lady at the Better Make
Room event, creating content on
Vine and other apps can help build
creativity, productivity and time
management skills.
But alas, social media is known
to be a double-edged sword — and
Vine is no exception. I believe
many top viners, including King-
Bach and frequent collaborators
Destorm Power (5.8M followers)
and MelvinGregg (3.5M followers)
tend to perpetuate racial stereo-
types in their Vines, yet they still
receive millions of followers, likes
and revines. An example of this
includes a Vine created late last
year called “Choir in the hood,” in
which KingBach and other African-
American Viners scream in operatic
unison as a Jordans shoe is being
cut up. Other top Viners, including
Jerry Purpdrank (8.7M followers)
and BigNik (2.7M followers), simply
make videos that are pointless, lazy
and unfunny — especially if they are
titled “That moment when you…” or
“How it feels when … ”
Some of these viners, such as
Piques (2.8M followers) and Brent
Rivera (7.9M followers), have even
been known to plagiarize their
material. Around two weeks ago,
Piques posted a vine called “A Mod-
ern Day Romance” that took almost
the same exact approach as anoth-
er Vine created by DonteMacc
(513.2K followers) last month.
Viner Nash Grier (12.2M followers)
has received lots of controversy for
making racist, sexist and homo-
phobic jokes in his Vines. Yet, Grier
profits from a devoted fan base on
Vine and in person. At a travel-
ing meet-and-greet event called
Magcon in early 2014, hundreds of
young girls paid money to see Grier
and his posse, known as the “Vine
Boys,” make awkward pun jokes,
sing, dance and do backflips — so,
normally what Grier and his posse
would do in their own Vines.
Perhaps Vine’s growing celeb-
rity culture could be the main
issue here. How will American
teens be motivated to create their
own content if all they see is their
favorite Viner moving around on
an oxboard or making a lame joke
about iPhones? Even if a Viner has
an insane amount of followers,
it doesn’t mean he or she should
be recycling the same material in
every Vine for the sake of gaining
followers. Considering that more
than 200 million people watch
Vines every month, the content
produced and whom it affects
matters. Now that Better Make
Room has become an official ini-
tiative, top Viners now have the
responsibility to generate content
that is more than just entertain-
ment for teenagers. The same can
be said about anyone who creates
and shares videos on Vine: It’s
not about having as many follow-
ers as possible, but about making
creative, relevant content that
engages our society through social
media. And what better way to
connect to the youth than doing
just that?