Classifieds
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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
Edited by Rich Norris and Joyce Nichols Lewis
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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.