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ACROSS
1 Under the
weather
7 Like cotton candy
11 Fund-raising org.
14 Provoke
15 Subtle glow
16 Trip segment
17 Utopian
18 WWI aircraft
20 They may
coordinate with
floor mats
22 Quarterback’s
target
23 Payroll deduction
24 Volcanic debris
25 Big maker of chips
27 Till compartment
29 Bedstead part
33 MSN, for one
36 Meander
37 Under the
weather
38 Went different
ways ... or what
each of six sets
of circled letters
literally
represents
42 Homer’s path
43 Middle name on
many patents
44 BYU or NYU
45 In the opposite
order
48 Modern address
starter
52 Tickle
53 __ in November
56 Mama bear, in
Madrid
57 1980s Peppard
co-star
58 Some deal closers
62 Hit-by-pitch
consequence
64 West Point
students
65 Corner key
66 Italian noble
family
67 Danish port
named for a
Norse god
68 Pen
69 Hammer-wielding
god
70 Got nervous, with
“up”
DOWN
1 Deliberately
misinforms
2 Like llamas
3 Mountaineering
aid
4 Effort
5 City in New
York’s Mohawk
Valley
6 Cowboy legend
__ Bill
7 Fill and then
some
8 Run smoothly
9 “The Haj” novelist
10 Siesta
11 Often-fried
tropical fruit
12 With affection
13 “Act your __!”
19 Fallon’s
predecessor
21 TV channels 2-13
25 Computer debut
of 1981
26 Cholesterol
initials
28 Title for Noël
Coward
30 Seal-hunting
swimmers
31 Valentine card
hugs
32 Flat hats
34 Barrel support
35 Soccer legend
who turned 75 in
2015
38 Most like a
schoolmarm
39 Precision
40 Device for binge-
watching
41 “How relaxing!”
42 Gardner of the
silver screen
46 Cornerstone
abbr.
47 Furthermore
49 Arcade coins
50 African threat
51 Got a C in, say
54 Knotted
neckwear
55 Relief from the
sun
58 Diner breakfast
order
59 Chorus line?
60 Card or D’back
61 Yemeni
seaport
62 __ Moines
63 Wager
By Kurt Krauss
©2015 Tribune Content Agency, LLC
12/09/15
12/09/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, December 9, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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FOR RENT
CHILDCARE
SERVICES
TV REVIEW
‘Real Rob’ a real
flop for Netflix
Rob Schneider is
probably the only
person watching
By DANIELLE YACOBSON
Daily Arts Writer
Comedian Rob Schneider must
think his life is incredibly fasci-
nating. The failings of his 2012
CBS
comedy
“Rob” evidently
weren’t enough
to deter Schnei-
der
(“Deuce
Bigalow: Male
Gigolo”)
from
making a sec-
ond attempt at
documenting
his celebrity life, as he produced
a new series to showcase his
crude humor and political incor-
rectness. Closely based on real-
ity, “Real Rob” is a comedy so
dull and stilted that the only one
watching is himself.
The
eight-episode
Netflix
series is a self-proclaimed “exag-
geration” of Schneider’s real life
in Hollywood, and a way for the
actor-producer to unleash his
creative expression free from the
restrictions of network politics.
According to Deadline.com, the
low-budget production is mainly
financed by Schneider as he “puts
his money where his mouth is.”
The rest of the crew is made up of
family and friends, who are also
working under their regular sala-
ries. Co-producer and wife Patri-
cia Schneider plays herself, but,
instead of adding authenticity to
the series, serves her purpose by
allowing her husband to exploit
her Mexican descent for comedic
content. Their daughter Miranda
makes a silent and unmemorable
appearance on screen — yet anoth-
er reason the production should
be viewed solely for the Schneider
family’s home-video purposes.
Along with a glimpse into
Rob
Schneider’s
family
life,
“Real Rob” centers around an
incompetent assistant, played by
co-creator Jamie Lissow (“Red
Eye”), and an ever-present stalk-
er (whose creepy mustache could
very well be the most entertain-
ing factor of the entire show). The
anecdotes that are presumably
drawn from his real life experi-
ence are stilted and surprisingly
mundane; further dumbed down
to accommodate the lack of pro-
fessionals on set. Apart from
Schneider, the cast has minimal
acting experience, forcing them
to feed lines to the main star as he
delivers the final punchline.
The single camera-style com-
edy is interrupted by scenes of
stand-up, a potentially creative
way to showcase the abilities
that landed Schneider his job at
“Saturday Night Live” in 1988.
However, the stand-up scenes,
sprinkled sporadically through-
out, seem to come out of nowhere
and only tangentially relate to
the plot in the rest of the episode.
More often than not, Schneider
uses his wife’s antics as inspira-
tion for his monologues, depicting
her as a crazy Latina housewife
that makes his simple life oh so
hard. Naturally, Schneider uses a
mildly offensive Mexican accent
to drive his point home.
A trend of comedians starring
in their own productions has been
on the rise in the past few years.
Aziz Ansari created “Master of
None” and Mindy Kaling did the
same in “The Mindy Project.”
Such series allow the comedians
to showcase their sense of humor
and quirky charisma on screen,
and they have all received a fairly
positive response from viewers.
Schneider’s personality, however,
does not come off as relatable or
intriguing in “Real Rob,” as he
attempts to pull most of his laughs
from deprecating himself or his
fellow cast members. The lack of
emotional attachment between
the characters on-screen trans-
lates to a lack of connection with
the viewers, further alienating
Schneider’s life from a realm of
genuine interest.
Filled with crude humor and
uncomfortable jokes, “Real Rob”
lacks wit, innovation and charm.
Even in his fictionalized auto-
biography, Schneider can’t find
a way to make his life’s story
worth watching.
NETFLIX
“I’m not dead?!”
NETFLIX
“Fuck Rob Schneider.”
How ‘Jessica Jones’
gets feminism right
C-
Real Rob
Series
Premiere
Netflix
By SOPHIA KAUFMAN
Daily Arts Writer
Two weeks ago on a Friday
evening around 5:30, I sat down
in the East Quad lobby with
my computer and a red anti-
Christmas
Starbucks
coffee,
and pressed “play” on the first
episode of Marvel’s new “Jessica
Jones.” I was slightly skeptical
of the premise, intrigued by
the trailers, and worried that
people would walk by during
a sex scene and assume I was
watching porn in a lobby.
But all of those emotions
faded away after 30 minutes in.
(Except the sex scene thing —
that may have happened.)
A couple hours later, I figured
I had watched enough for one
night, so I closed my laptop,
tossed
my
coffee,
walked
upstairs to my room, sat on my
bed, reopened my computer and
pressed “play” again.
So now having watched the
entirety of “Jessica Jones” in
less time than may be considered
“normal” or “healthy,” I feel
confident saying that it isn’t
just Marvel’s best show — like
I believed after watching the
first five episodes — but one of
the best shows of the year.
It’s also one of the most
feminist shows on TV right now.
We so rarely see female
superheroes in TV that aren’t
fighting
fucktoys
or
other
inherently misogynistic tropes.
Jessica (Krysten Ritter, “Don’t
Trust the B—— in Apt. 23” )
stomps all over those cliches
(wearing the same pair of
jeans almost the entire time,
I’m
convinced.)
The
show
destroys not only the idea that
women can’t be interesting
superheroes, but that women
can’t be complex anti-heroes.
Jessica isn’t always likable; she
makes selfish decisions and
often treats the few people
close to her very rudely. But
her unlikability isn’t force-fed
to us, and is coupled with a
vulnerability that we viscerally
feel. Though she is complicated,
none of her complexity is
contrived.
Half of the show’s strength
is found in its representation
of
the
abusive
relationship
which Kilgrave, the villain,
(David
Tennant,
“Doctor
Who”) held Jessica captive in
— a relationship that see only
through flashbacks and through
its current effects on her.
For reasons best known to
himself — though we catch
glimpses of them when his
composure
cracks,
which
happens more often as the
season progresses — Kilgrave
is
infatuated
with
Jessica.
Though we see right away how
scared Jessica is of him, it takes
the whole season for us to fully
comprehend their history. It’s
presented with much more
nuance than just “emotional
manipulation
plus
sexual
assault equals abuse.”
Their relationship is one of
the most realistic portrayals
of abusive relationships that
I’ve ever seen on TV. It’s not
exploitative,
gimmicky
or
victim-blaming.
The
effects
of Kilgrave’s emotional and
psychological manipulation and
isolation of Jessica from her
friends are given just as much
screen time and discussion
as his actual sexual assault.
Jessica
organically
cycles
through
periods
of
fight,
flight or freeze throughout the
whole season. She struggles
to
recapture
her
agency
throughout the 13 episode arc,
and has more success at some
points than others.
Our disgust at how Kilgrave
has
treated
Jessica
and
our
understanding
of
his
backstory grow and deepen
simultaneously. But the reveal
of
Kilgrave’s
own
rough
childhood
isn’t
utilized
as
an excuse for how he treats
Jessica — the writers forcefully
make that clear. There’s a very
obvious, easy possibility for a
redemption story with Kilgrave,
but the writers refused to
write it that way. The atrocity
of how Kilgrave treats her is
highlighted by the disbelief
we feel when we realize he
doesn’t see the relationship as
abusive, but as complicated and
potentially loving.
There are so many other
aspects of “Jessica Jones” that
I could talk about (again) for
hours — lesbian representation
on TV, a near perfect score,
beautiful
cinematography,
Tennant’s
hypnotic
performance as Kilgrave and
Ritter’s nuanced portrayal of
Jessica — but though those are
all important, the gritty and
realistic portrayal of an abusive
relationship is what sticks with
me the most. In a TV world
where sexual assault and rape
are so often used as gratuitous
plot-drivers or for shock value,
“Jessica Jones” explores these
difficult topics with an eye and
ear for subtlety and empathy.
Women on TV in general are
still overwhelmingly given flat,
two-dimensional
roles
that,
in the words of my eloquent
roommate, “could be played
by a broom with a blonde wig
and balloons that look like tits
taped on them.” We need more
shows like “Jessica Jones” with
unapologetically feminist vibes.
Until we get another one,
we’ll just have to keep our
fingers crossed for a second
season.
If you haven’t jumped on the
“Jones” train yet, you really
should.
None of
Jessica Jones’s
complexity is
contrived.
If you haven’t
jumped on the
‘Jones’ train yet,
you should.
We need more
shows with
unapologetically
feminist vibes.
TV NOTEBOOK
6A — Wednesday, December 9, 2015
Arts
The Michigan Daily — michigandaily.com