Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Musical with the
song “Another
Suitcase in
Another Hall”
6 Petty distinctions,
metaphorically
11 Midriff punch
reaction
14 Noble gas
15 Former Illinois
senator
16 “Wait
Wait...Don’t Tell
Me!” network
17 Tidy sum, to a
coin collector?
19 Golf prop
20 “Most Excellent”
U.K. award
21 Emcee
22 Gooey treat
24 Muralist Rivera
26 Places for
rejuvenation
28 Tidy sum, to a
chairmaker?
31 Clobbers
32 Regrets
33 Rain-__: gum
brand
36 Financial pros
37 Tries
39 Many millennia
40 Fall mo.
41 Only person to
win both an
Academy Award
and a Nobel
Prize
42 Clock button
43 Tidy sum, to a
soothsayer?
46 Alleviate
49 Baggage
carousel aid
50 Color in une cave
à vin
51 Angers
52 Kin of org
55 Japanese 
capital
56 Tidy sum, to a
chess player?
60 Ready, or ready
follower
61 Theme park with
a geodesic
sphere
62 Slacken
63 Calypso cousin
64 They may be
Dutch
65 Potters’ pitchers

DOWN
1 Big show
2 Beg, borrow or
steal
3 “My bed is calling
me”
4 Kid
5 Country music?
6 Climbs aboard
7 Distract the
security guards
for, say
8 Actor
Somerhalder of
“The Vampire
Diaries”
9 LBJ successor
10 Agrees
11 Winning
12 Art form with
buffa and seria
styles
13 Emancipates
18 Meditative
practice
23 Flavor intensifier
25 Bugs a lot
26 Smear
27 Some Full Sail
brews
28 Basics
29 “Forget it”
30 Country inflection
33 Noble act, in
Nantes

34 Forsaken
35 “My treat”
37 Thick carpet
38 Grimm story
39 Ski resort near
Salt Lake City
41 Kissed noisily
42 Gallery event
43 Day light
44 They haven’t
been done
before
45 Frankfurt’s river

46 Hardly a
miniature gulf
47 Smooth and
stylish
48 Blitzen’s boss
51 “Young
Frankenstein” role
53 Ill-humored
54 World Series field
sextet
57 Wall St. debut
58 Sgt. or cpl.
59 Fresh

By Bruce Haight
©2016 Tribune Content Agency, LLC
01/27/16

01/27/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, January 27, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

WORK ON MACKINAC Island 
This Summer – Make lifelong friends. 
The Island House Hotel and Ryba’s 
Fudge Shops are looking for help in all
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Bell Staff, Wait Staff, Sales Clerks, 
Kitchen, Baristas. Housing, bonus, and
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www.theislandhouse.com

DOMINICK’S HIRING FOR spring 

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THESIS EDITING, LANGUAGE,
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Efficiencies: 
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610 S. Forest $870 
1 Bedrooms: 
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2 Bedroom: 
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pay electric to DTE; Limited parking avail 
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1, 2 & 3 Bedroom Apts on Arch
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1014 V
aughn #1 ‑ multilevel unit w/ carpet
CALL DEINCO 734‑996‑1991

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ARBOR PROPERTIES 

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 6 BEDROOM House May 2016 
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DEINCO PROPERTIES
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Avail Fall 16‑17
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2 Bed ‑ $1050 ‑ $1425
3 Bed ‑ $1955
Most include Heat and Water
Parking where avail is $50/m
Many are Cat Friendly
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 6 1019 Packard $3500
 6 335 Packard $3800
 4 1010 Cedar Bend $2400
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SUMMER EMPLOYMENT

FOR RENT

SERVICES

HELP WANTED

Stronger ‘Carter’ 

By SOPHIA KAUFMAN

Daily Arts Writer

“Agent Carter” had a strong first 

season. The premiere and finale 
were solid, and 
the overall story 
was intelligently 
crafted and skill-
fully 
executed. 

The second sea-
son’s 
premiere, 

“The Lady in the 
Lake,” 
carries 

over all the com-
pelling elements 
of the first, while 
also establishing 
some new, even 
stronger 
story-

lines.

In its beginning season, Peggy 

Carter (Hayley Atwell, “Captain 
America: The First Avenger”) had 
to struggle with overt and covert 
sexist behavior from her superiors 
and co-workers, constantly need-
ing to prove that she was just as 
capable as the men. In the first few 
minutes of the premiere, we see the 
men’s shifted perspective. Her cur-
rent chief, Jack Thompson (Chad 
Michael Murray, “One Tree Hill”), 
trusts her to begin the interroga-
tion of Dottie (Bridget Regan, “Jane 
the Virgin”) as others watch from 
behind a mirror, commenting on 
how impressed they are with her 
technique. When Thompson sends 
Peggy to Los Angeles per Daniel 
Sousa’s (Enver Gjokaj, “Dollhouse”) 
request for a talented agent, Mur-
ray and Atwell convey that the ten-
sion between them isn’t predicated 

upon a lack of respect — but rather a 
desire on Thompson’s part to move 
ahead in his career.

When Carter arrives in Cali-

fornia, there is some uneasiness 
between Sousa, now the chief of 
the S.S.R.’s West Coast branch, 
and Peggy, but the romantic sub-
plot exposition doesn’t derail from 
the actual plot — solving a strange 
murder case involving a woman’s 
body encased in a block of frozen 
lake water.

Edwin Jarvis (James D’Arcy, 

“Broadchurch”), Peggy’s ally from 
the first season, introduces her to 
his wife, who is a little too wide-
eyed to seem real. It’s the only 
scene in the episode that feels 
forced, but Mrs. Jarvis (Lotte Ver-
beek, “The Fault in Our Stars”) 
makes up for the awkwardness 
when she gives Peggy the kind of 
present every woman truly wants 
— a garter that also functions as a 
holster.

A new villain, Whitney Frost 

(Wynn Everett, “The Newsroom”) 
is introduced, ill will simmering 
under the polite conversations 
she holds with other characters, 
and there’s also a new romantic 
interest for Peggy, Dr. Jason Wil-
kes (Reggie Austin, “The Omen”), 
who may or may not be in cahoots 
with Frost. With the inclusion of 
Wilkes’s character, the writing of 
the premiere sets up conversations 
about the racial discrimination of 
the time period. Wilkes and Carter 
have an understanding look in their 
eyes when they speak to one anoth-
er; their chemistry feels natural.

As always in “Agent Carter,” the 

dialogue is organic, and the actors 
deliver it well. There’s even a cute 
nod to today’s popular jargon — 
when Jarvis is injured, and Peggy 
reassures him that he’ll live, he 
replies crossly, “Of course I’ll live. 
I’m worried about the aesthetic.”

The elegance of the shots of 

1940s New York in the first season 
is echoed in the second season’s 
glamorous shots of Old Hollywood, 
in setting, costuming and makeup. 
Subtly chic details, like the color 
of Peggy’s sunglasses matching 
her lipstick, create an aesthetically 
rich viewing experience. The first 
shot of “The Lady in the Lake”— a 
perky red hat bobbing along in a sea 
of grey suits — is beautifully framed 
and reminiscent of the contrasts 
between Peggy and her male co-
workers in the first season, but the 
differences of the power structures 
this season are emphasized when it 
is revealed that the red hat belongs 
to Dottie, not Peggy.

The beauty of “Agent Carter” 

never detracts from the story, nor 
from the themes that organically 
arise from it. Neither Carter nor the 
female antagonists are weaker for 
their femininity, nor do they apolo-
gize for it. Peggy Carter and co. are 
continuing a conversation that they 
helped start with the first season, 
which was followed by the likes of 
“Supergirl” and more recently (and 
successfully) “Jessica Jones” about 
whether there’s space and/or inter-
est for female superheros.

Peggy might not have powers, 

but she doesn’t need them. As she 
proves over and over, she can still 
kick anyone’s ass.

A-

Agent 
Carter

Season 2 

Premiere 

Thursdays 

at 9 p.m.

ABC

TV REVIEW
MUSIC INTERVIEW

Exclusive interview 
with Protomartyr

By REGAN DETWILER

Daily Arts Writer

Detroit-based Protomartyr, 

a post-punk foursome with a 
sound that’s mellow yet explor-
ative, but still angry, released 
in October The Agent Intel-
lect, their third and without a 
doubt their best, album in four 
years. Frontman Joe Casey, 
guitarist Greg Ahee, drum-
mer Alex Leonard and bassist 
Scott Davidson are alumni of 
the University of Detroit Jesuit 
High School and Academy, and 
who have been playing local 
gigs for years. The funny thing 
is, Casey is a whole 10 years 
older than the others.

With their upcoming tour 

including a stop at the Blind 
Pig on Jan. 29, I had a chance 
to sit down for a chat with the 
group’s 
dark-humored 
and 

semi-fatalistic front man and 
talk about the tour, the albums 
and the emotions thus far. 

TMD: I know you guys 

have had three albums in 
four years, which is very 
impressive. What were some 
of the driving forces behind 
this latest release?

JC: Well, we wanted to kind 

of keep recording as fast as 
we could. We had a bunch of 
songs ready to go, so our sec-
ond album pretty much started 
with our new stuff right away. 
We tried to keep working as 
much as we could ... We decid-
ed to go back, for this record, 
back to the same studio. We felt 
like we wanted to record in the 
same studio just to see what it 
would be like to go back to a 
place where we now feel com-
fortable, whereas the first time 
we were kind of like in awe of 
being in a studio for three days 
... it was amazing, whereas the 
first record, we recorded in 
a day. Now we have a whole 
week! We really wanted to kind 
of use the studio as much as 
possible.

TMD: It really seems like 

you guys are just constantly 
creating music. How can you 
describe your creative pro-
cess, if you want to use that 
terminology?

JC: Laughs. I don’t! You 

know, it’s unfortunate because 
we work pretty hard ... We’re 
about to go out on this tour 
where we’re gonna be gone 
until the end of July. That’s the 
first time that’s ever happened. 
And I don’t think we’re neces-
sarily a band who can come up 
with new stuff on the road. You 
hear stories about somebody 
recording something in a hotel 
room or something but ... we’re 
still a band who can’t stay in a 
hotel room — we have to sleep 
on some floors. So yeah, I don’t 
know how people can record on 
the road. I don’t think there’ll 
be another album coming out 
this year.

TMD: So what is this 

urgency 
behind 
creating? 

Why the four albums in three 
years?

JC: Well, I feel like there are 

two drastic extremes for put-
ting music out: one is to spend 
a long time working on it, like 
three or four years, and anoth-
er is to record it really fast 
and put it up online. I like to 
think we’re somewhere in the 
middle. Putting out an album, 
especially 
nowadays 
where 

you can just throw it up online, 
you can come up with an idea 
and record it and put it online. 
So there are people that have 
released a lot more stuff than 
we have, but I think we’re actu-
ally somewhere in the middle 

where we take a little bit of 
time, work on it, and then we 
move on to the next thing. And 
we do put in a lot of work and 
effort, especially into the last 
two records ... but then after a 
while you just kind of have to 
let it go. And also, a band itself 
... most bands don’t last more 
than five years. On average, 
some bands only last a couple 
weeks. You know, you can’t 
find a drummer or something. 
There are few bands who have 
that creative spark.

TMD: Definitely, definite-

ly. A little fatalistic.

JC: Laughs.

TMD: Going off of what 

you were saying about that 
perfect piece, I think what 
fans love about what Pro-
tomartyr has done is that it 
does have that kind of raw 
feel. Now we have so much 
music that’s recorded and 
then edited, so you end up 
with that perfect product at 
the end. But I think people 
like that raw sound that you 
guys have. Some people have 
even described you as giving 
this kind of musical realism. 
Comments?

JC: Well, you know, you can 

live in a world where you lis-
ten to very smooth, perfectly 
constructed music and enjoy 
it. If you think music is kind of 
like visual art, some very raw 
things are still considered art. 
There are some things that are 
sculpted out of marble and took 
decades to make. And a world 
can exist where both of those 
things are going on. There’s a 
book that just came out about 
the Swedes or whatever who 
make pretty much every hit 
song that all have the same 
things in them. There’s really 
only one or two people writing 
the Top 40. That happens and 
people get sick of it. They want 
something raw. I don’t know if 
we’re very musical-realistic but 
you know ... we want to sound 
better but I guess we sound as 
good as we are. Laughs. The 
band is getting better but we 
play at our level.

TMD: 
No, 
you 
guys 

sound great. It’s a realistic 
response.

JC: Laughs.

TMD: People are describ-

ing Agent Intellect as your 
best work. Do you think this 
album is a departure from 
what you’ve done in the past?

JC: No, I’d call it a continua-

tion. And, you know, it’s always 
a good sign when people tell 
you it’s the best. What’s inter-
esting is understanding that 
people respond. I’m not going 
to say, ‘Oh, I can take that bad 
review’ because I can’t. You’re 
responding to it. So it’s good 
to see people are thinking 
that we’re developing or get-
ting better or changing. That’s 
good. 

COURTESY OF ABC

“Are you wearing the Chanel boots?” 

COURTESY OF PROTOMARTYR

You know what the Midwest is? Young and restless.

We do put in 
a lot of work 
and effort.

6A — Wednesday, January 27, 2016
Arts
The Michigan Daily — michigandaily.com

