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ACROSS
1 Stop the launch
6 Perfume
compound
11 Sailor
14 Off-the-cushion
shot
15 Usually
multilayered
dessert
16 Load off one’s
mine?
17 Yorkshire pudding
or bangers and
mash
19 Sundial topper
20 Classic Belafonte
song opening
21 Not tricked by
22 Homeric classic
24 Where heros are
made
26 __ button
28 Sufferer healed
by Jesus
31 Game-ending
declaration
35 Bledel of “Gilmore
Girls”
37 Creative output
38 Where billions
live
39 Watch someone’s
kids
40 Lightweight shirts
43 Television
44 Ellington’s “Take
__ Train”
46 “Et alia” lang.
47 Letter-erasing key
49 Genre of the ’60s
hits “Pipeline” and
“Wipe Out”
52 Wyoming’s __
Range
53 Benjamin of “Law
& Order”
54 Ibuprofen target
56 Trapdoor location
58 Capital south of
Lillehammer
60 Ottawa-based law
gp.
64 Not in the clergy
65 Wholeheartedly,
or words that can
precede the first
and second parts,
respectively, of
17-, 31- and 49-
Across
68 __ well
69 Actress Téa
70 “Inferno” poet
71 Opposite of post-

72 Diving ocean
birds
73 Prince
Charming’s
mount

DOWN
1 More than just
passed
2 See 25-Down
3 Frenzied revelry
4 Low-tech card file
5 “No more details,
please”
6 Sharing a
common culture
7 Low on the Mohs
scale
8 Highway officers
9 WWII area
10 Symbol of losses
11 Dead weight in a
portfolio
12 Opera number
13 Senator Harry
18 Sun, in Sonora
23 Peru’s largest city
25 With 2-Down,
“Hulk” star
27 Did something
28 Endures
29 Philanthropist
Yale
30 “Everybody Loves
Raymond” actor

32 French-speaking
island country
33 Connect with
34 Consumed
36 Pierre’s toast
41 Elephant ancestor
42 Son of Adam
45 __-American
48 Ogles obliquely
50 Sculptor’s
medium
51 French port on
the Strait of Dover

55 Sell a bridge to,
say?
56 Producer’s
nightmare
57 Hideaway
59 Word sung after
the ball drops
61 Construction area
marker
62 Remote button
63 Begged
66 Not ’neath
67 Canine doc’s deg.?

By Victor Barocas
©2015 Tribune Content Agency, LLC
11/25/15

11/25/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, November 25, 2015

Los Angeles Times Daily Crossword Puzzle

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6A — Wednesday, November 25, 2015
Arts
The Michigan Daily — michigandaily.com

TV REVIEW
‘Chicago Med’ is 
standard ER fare

Latest in “Chicago” 
franchise another 
stale medical show

By ALEX INTNER

Daily Arts Writer

Over the course of the past few 

seasons, NBC has shifted their 
programming following a decade 
of a low-rated 
shows. 
Riding 

off of the mas-
sive 
success 

of 
the 
“The 

Voice,” 
the 

network 
built 

a schedule out 
of 
procedur-

als, 
following 

a similar strat-
egy to CBS’s in 
the early 2000s 
(which led to the launch of “CSI” 
and “NCIS,” among others). A 
major part of that plan has been 
the “Chicago” block, created by 
the mind behind NBC’s other 
big franchise, Dick Wolf (“Law 
& Order”). Starting with the 
respectable hit “Chicago Fire” 
in 2012, the network has created 
a group of shows that don’t bring 
in the audience of an “NCIS,” but 
do keep the lights on in what used 
to be difficult timeslots for the 
network. The premeiere of “Chi-
cago Med” solidified the show 
as a representative entry of the 
franchise. It’s as generic as they 
come, but it will find an audience 
who enjoys medical dramas with 
help from a post-“Voice” timeslot.

“Chicago Med” follows a group 

of doctors at the fictional Chicago 
Medical. In the pilot, a subway 
train derails downtown, caus-
ing the hospital to overflow with 
patients. Witnessing the acci-
dent is the new trauma fellow, Dr. 
Connor Rhodes (Colin Donnell, 
“Arrow”), who’s in his first day 
on the job. The cast also includes 
S. Epatha Merkerson (“Law and 
Order”) as Chief of Services and 
Oliver Platt (“Fargo”) as the Chief 
of Psychiatry.

The show is a generic medi-

cal procedural, and it relishes 
the genre’s tenants; it’s full of the 
clichés that have defined dramas 
like “ER” and “Grey’s Anatomy.” 
There’s a cute male doctor attract-
ing the female staffers, morally 
ambiguous 
medical 
decisions, 

patients who die and doctors who 
save their patients in heartwarm-
ing fashion. There’s nothing in 
this show that hasn’t been done 
better before. The episode’s main 
story involves a surrogate mother 
with a critical brain injury. The 
baby’s parents, who have power of 
attorney, have to make a decision 
about a surgery which could save 
the surrogate’s life, but puts their 
child at risk. It was too famil-
iar to have an emotional impact. 
And how many times have medi-
cal shows put children in dan-
ger? The episode has a little girl 
come into the ER and go through 
a death scare. It doesn’t take 
enough time to establish her as a 
character instead of a type, which 
means the story lacks emotional 
impact and feels too familiar.

“Chicago 
Med” 
delivers 

its exposition in a clunky and 
forced way, which doesn’t help. 
Throughout the episode, it uses 
specific lines of dialogue to relay 
the backstory of characters. For 

example, when characters talk 
to pregnant ER-doctor Dr. Nata-
lie Manning (Torrey DeVitto, 
“One Tree Hill”), they empha-
size that she’s a single mother by 
saying the line “we’re not going 
to let you do this single mother 
thing by yourself.” This type of 
dialogue hits the viewer over 
the head with information that, 
while necessary, could have been 
delivered in a less on-the-nose 
manner. Still, the drama showed 
that it’s capable of revealing char-
acter facts without talking down 
to the viewer. In the pilot’s last 
act, Dr. Manning is in the locker 
room looking at a picture of her 
dead husband and she explains 
what happened and how much 
she struggled. This is how you 
deliver information to the viewer. 
Show without telling, and maybe 
lead the viewer to feel something 
while you’re at it.

“Chicago Med” is not a bad 

TV show; it just falls into many 
of the tropes of the medical 
drama, while not doing anything 
new with them. The show will 
attract viewers who like the doc-
tor genre and people who already 
watch the “Chicago” franchise. 
However, if a viewer doesn’t find 
himself within those groups, he 
shouldn’t bother. 

C

Chicago 
Med

Series Premiere, 

Tuesdays 

at 9 p.m. 

NBC

NBC

“It looks like he’s dead.” “He’s going to be all right.” 

MUSIC NOTEBOOK

Still dark and twisted 
on Ye’s masterpiece

By MELINA GLUSAC

Daily Arts Writer

I have been listening to 

so much Kanye West lately. 
Something 
about 
this 
pre-

Thanksgiving grind has had me 
craving his artful aggression. 
The countless tests, papers 
and homework assignments on 
crack — all are last-minute feats 
of strength designed to tickle 
our academic resilience. We’re 
burned out but we’re fighting to 
hold on. In these trying times, 
we need squirrel-ized, soulful 
Chaka Khan samples with bril-
liant, mordant lyrics on top. We 
need robot cacophony. We need 
a little Kanyeezy time.

Yeezus, West’s last album, has 

proven itself a prodigious stitch 
in the quilt of hip hop. By now, 
we all know those indecipher-
able opening moans on “Black 
Skinhead.” 
Uh 
huh, 
honey, 

we have seen that god-awful 
“Bound 2” video, and we’re well 
aware of the fact that “Blood 
on the Leaves” has a drop to 
make Skrillex weep for 40 days 
and 40 nights. Only a madman 
would dispute that Yeezus is, 
indeed, one of the best albums 
of the decade. Maybe West 
would go so far as to say “of all 
TIME.”

But this month marks the 

five-year anniversary of West’s 
oft-overlooked fifth album, My 
Beautiful Dark Twisted Fan-
tasy. A complex, disturbing 
beast it is, written on the heels 
of several embarrassing public 
incidents (shake it off, Taylor). 
Fantasy pulls from combat-
ing genres, opaque themes and 
synths galore. West has shelved 
the work as a mere “apology 

album” — a conglomeration of 
ways he wanted to better him-
self at the time it was created, 
which entailed a Hawaiian 
hiatus and necessary hairstyle 
improvements. But Fantasy is 
so much more than that.

The album is wild at its best: 

“Monster” is the violent peak 
of its zany energy, armed with 
Jay-Z and Nicki Minaj’s unde-
niable verbosity. The incom-
parable “POWER” dips into 
King Crimson’s 1969 prog-rock 
fixture “21st Century Schizoid 
Man,” and it’s accented with 
West’s increasingly belligerent, 
mounting power. “Hell of a Life” 
gives us the height of fame’s sin-
ful pleasures, and we feel the 
throwback groove of “Devil in 
a New Dress” with Rick Ross. 
Taken at surface value, Fantasy 
feels hype. Fun. Flirty.

The thematic nadir comes, 

though, when West flirts with 
heavier subject matter. “Blame 
Game,” featuring John Leg-
end, deals with infidelity and 
other personal qualms. And 
“So Appalled” is as catchy as 
it is serious, a cathartic ode to 
West’s 
outbursts. 
Ironically, 

Fantasy’s bleakest products are 
some of its best, an assertion 
summed up superbly on (my 
personal favorite) “Runaway.”

Watching the VMAs with 

my mom some five years ago, 
I vividly recall West standing 
completely alone on stage, lit-
tle white piano in front of him. 
He stepped up and just started 
banging it with one finger, hit-
ting these minimalistic, raw 
chalk-sounding notes that held 
both nothing and the world. 
This was the apology song to 
Swift, “Runaway.” And then 
the beat dropped, woven with 
repeated yells of “Look atcha!” 
(A part that still gives me chills, 
if I’m in the Yeezy mood.) Mom 
said, “What the hell is this? 
Why would you want to toast 
to douchebags?” Melina said, “I 
have no idea.” Melina thought, 
“This is absolutely incredible.”

There are a lot of people that 

don’t “get” Kanye West. They’re 
either so distracted by his col-
orful behavior, his marriage to 
the ever-eloquent Kardashian 
dame or they simply dismiss his 
music as “noisy rap crap.” But 
I can’t urge those listeners to 
move past these preconceived 
notions enough. Start with 
“Runaway.” Start with “Gor-
geous.” Start with My Beautiful 
Dark Twisted Fantasy. Though 
it doesn’t hit as high of a mark 
as Yeezus, it’s essential Kanye 
because it is so listenable — 
hostile, depressing, erratic and 
dark. It’s human, above all else.

Then again, “human” is not 

an apt moniker for West. He 
calls himself a God, a hybrid 
of Jesus and himself. But when 
I think about Kan, one barely 
audible exclamation from the 
intro to Jay-Z’s “Lucifer” plays 
over and again in my head: 
“Kanyeezy, you did it again! You 
a genius!” And I can’t hear any-
thing else.

Adele’s style is too 
much for us peasants

STYLE NOTEBOOK

By CARLY COLONNESE

Daily Arts Writer

With the release of “Hello” 

and her new album, 25, British-
singer/songwriter 
Adele 
has 

regained the world’s attention 
after a three-year hiatus. Adele 
is back with a vengeance, as 
a complete vocal and fashion 
powerhouse. Known for her vin-
tage-esque looks and mod-glam 
makeup and hair, Adele’s person-
al style has cultivated something 
analogous to her very essence.

Adele’s first album, 19, was 

released in 2008 and, as she 
ages, so does her style. She does 
so gracefully, as each year her 
clothing choices continue to 
raise the bar. She never fails to 
dress for her maturity or her 
body type. As someone who 
intrinsically dresses conserva-
tively, her style has evolved into 
something polished and true to 
herself. The phrase “dressing 
conservatively” often suggests 
negative connotations, but in 
Adele’s case, the phrase is syn-
onymous with a semblance of 
class in its purest form.

It seems that Adele’s go-to 

outfit for red carpet events is 
a Little Black Dress. For this, I 
can’t blame her; everyone looks 
amazing in black dresses. She 
loves mixing it up from the sim-
ple, more toned down LBD to 
variations with lots of sequins, 
sparkles, lace and beading. Of 
course, fancy or casual, Adele 
never fails to look flawless.

Adele makes up for her heav-

ily black — and what some would 
call minimalistic or plain — 
wardrobe with her retro hair 
and makeup. Her go-to makeup 
includes a matte face with heavy 
contoured cheekbones, subtle 
nude eyes and impeccably pre-
cise black winged eyeliner (seri-
ously, teach us peasants your 
ways!). Her effortlessly pouted 
lips are often colored nude, or 
occassionally red.

Adele has played around with 

her hair — bangs, no bangs, 
blonde or brunette. She tends to 
stick with medium to short cuts, 

always styled with big volume 
(think Jackie O hair). Even after 
years of hiatus, Adele hasn’t 
deviated from her style norm 
and signature cat eye in the 
emotional music video “Hello.” 
Whatever her hairdresser does 
now needs to stay, because she 
looks incredible not only in the 
music video, but all throughout 
her 25 press tour.

The green-hued black-and-

white music video opens with a 
sunglass-clad Adele in her newly 
lobbed (long bob) blonde locks 
blowing across her face, donned 
in a fringe-inspired fur coat 
with a plaid shirt underneath. 
Between her hair blowing and 
the shaggy coat, Adele adheres 
to her vintage-esque roots by 
dressing in a way that comes 
straight out of the ’70s.

Although the world knows of 

Adele’s weight loss (from nixing 
her smoking habit, going veg-
etarian and taking up jogging), 
Adele dresses in loose clothing 
and billowing coats to cover her 
frame, so viewers can’t explicit-
ly tell how much weight she has 
lost. When shots of her complete 
body are shown, the camera is 
very far away, diminishing her 
overall size. Unlike other celeb-
rities who go through major 
health 
transformations 
and 

subsequent weight loss (think 
Jessica Simpson and Jennifer 
Hudson) who are known to have 
very publicly showcased their 
fitness goals and achievements, 
“Hello” does quite the opposite. 
It also calls into question the 
way Adele displays her inher-
ent sexuality in her musical and 
personal style. Taking cues from 
older eras of entertainment and 
music, she uses not her body or 
her clothing choices, but instead 
her face, eyes and talent to evoke 
emotion from her listeners.

Like many other students 

here at the University, I can’t get 
enough of Adele (and “Hello”). 
With the first track from her 
new album, I can’t wait to see 
what the album holds, as well as 
what fashion Adele explores in 
future work. 

We all need a 
little Kanyeezy 

time. 

