ACROSS
1 Publishing tasks
6 Jack letters
9 “Hotel Imperial”
(1927) star
14 Best New Artist
Grammy winner
after Alicia
15 Tesoro de la
Sierra Madre
16 Horse play
17 Kitchen drawer?
18 It can be cured
19 “Beats me”
20 Québec quiche,
e.g.?
23 Start of a weekly
cry
24 “Either thou, __
... must go with
him”: Romeo
25 Ran into
26 Saying “It wasn’t
me” when, in
fact, it was?
33 Digitize, in a way
35 Squawk
36 Greenwich
Village sch.
37 Set apart, as
funds
39 Layer
40 Eastwood’s
“Rawhide” role
42 Ref. book
43 Retail giant with
stores in 23 U.S.
states
45 Bit of power
46 “Wish we had
built a bigger
pyramid,” e.g.?
51 Feel poorly
52 Source of bills
53 Stretcher, to
Huck Finn
56 Greeting from a
faithful friend?
61 Sitar
accompaniment
62 Citrus cooler
63 Sarge’s superior
64 “Hamlet” 
courtier
65 Fix
66 Supports 
illegally
67 Mary’s upstairs
neighbor
68 Cooper creation
69 Performed, in the
Bible

DOWN
1 Pass
2 Modern kerchief
cousin
3 How many O.
Henry stories end
4 Writer Janowitz
5 Sunny day
phenomenon
6 Angora fabric
7 Republic since
1979
8 Search high and
low
9 Legendary
Australian outlaw
10 Fairness
11 “Treasure Island”
castaway Ben
12 Step up?
13 Prefix with bar
21 George’s lyrical
brother
22 __ alcohol: fusel
oil component
27 Bed-in for Peace
participant
28 “Blowin’ in the
Wind” songwriter
29 Early spaceflight
proponent 
Willy __
30 Like petroglyphs
31 Nikita’s no

32 Sudden blow
33 Word processing
command
34 Blockage
38 Bolivian border
lake
39 Shade of green
41 Botanical beard
44 Smuggler’s unit
47 Wan
48 Caesar salad
dressing
ingredient

49 Acting guru
Hagen
50 “Good for you”
54 OK components
55 Throw out
56 Load in a basket
57 River of Spain
58 Con man’s target
59 Falco of “Nurse
Jackie”
60 Silk Road desert
61 2015 A.L. East
champ

By James Sajdak
©2016 Tribune Content Agency, LLC
02/26/16

02/26/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, February 26, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

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Daily Film Writers 
predict Oscar wins

By DAILY FILM-WRITERS

Best Picture:
Who Will Win: “The Big Short,” 

the sensationalized account of the 
2008 financial crisis, is sure to take 
home Best Picture, and it certainly 
deserves it. With the swerving 
cinematography and electrically 
intricate storyline, director Adam 
McKay (“Anchorman”) finds a 
way to simultaneously entertain 
and educate the American public 
about arguably the stodgiest, most 
boring industry. With its fresh, 
populist take on big business 
alongside some of the biggest 
names in Hollywood, “The Big 
Short” is hard not to root for.

Who Should Win: “Room,” 

the indie darling of this awards 
season, is the excruciating but 
uplifting tale of Jack (Jacob 
Tremblay, “Before I Wake”) and 
his Ma, played to perfection by 

Brie Larson (“Trainwreck”). The 
beauty of “Room” comes from 
the dichotomy of being the most 
anxiety-producing film of the year 
and existing as a quiet testament to 
growing up, highlighting the love 
between parents and children. The 
humanity of the plot and the subtle 
but 
effective 
cinematography 

bolster the unadulterated power 
of the performances of Tremblay 
and Larson, leaving the viewer 
unnerved and exhilarated by the 
film’s close.

— Rebecca Lerner
Best Original Screenplay:
Who Will Win: It can be easy to 

look toward the most harrowing or 
dramatic film when predicting the 
Best Original Screenplay winner, 
but overlooking equally clever 
but lighter films can lead to some 
unexpected upsets. “Spotlight,” 
which presents an incredibly 
precise mix of honest fact and 
subtle 
emotion 
in 
depicting 

Boston Globe journalists exposing 
the Catholic Church molestation 
cover-up, seems like the most 
likely winner for 2016.

Who Should Win: Don’t let 

“Inside Out” ’s clever and engaging 
exploration of emotions within a 
developing mind fall completely 
to the side — it’s an unexpected 
but equally viable candidate for 
its ability to characterize such a 
complex concept. We often have 
trouble understanding feelings 
within ourselves, but “Inside Out” 
makes it look easy.

— Lauren Wood
Best Director
Who 
Will 
Win: 
On 
the 

Oscar campaign trail, there’s 
no shortage of “The Revenant” 
hardship stories. Between the 
frigid temperatures and unique 
natural-light shooting, director 
Alejandro 
González 
Iñárritu 

(“Birdman”), who induces as 
much pain in his characters as 
Darren Aronofsky (“Noah”) or 
Stanley Kubrick (“The Shining”), 
crafted a mind-blowingly visceral 
survival story in the American 
West.

Who Should Win: There’s 

an incredibly strong case to be 
made for George Miller (“Happy 
Feet”), 
whose 
“Mad 
Max” 

revival, “Fury Road,” stunned 
critics 
and 
audiences 
alike 

with its phenomenal effects, 
nearly 90 percent of which were 
practical. But my choice is Tom 
McCarthy (“Win Win”), whose 
Boston-focused journalism story, 
“Spotlight,” is perhaps the only 
movie ever to make a Microsoft 
Excel 
sequence 
absolutely 

riveting.

— Daniel Hensel
Best Actor
Who Will Win: Leo’s not going 

to win because he deserves to 
(the Academy loves snubbing 
“deserving” winners). He’s going 
to win because he gave the sort 
of immersive performance award 
shows go crazy for. Remember 
when Matthew McConaughey 
almost starved to death for 
“Dallas Buyers Club,” or when 
Daniel Day-Lewis broke two ribs 
getting into character for “My 
Left Foot?” The Academy loves 
when actors suffer for their art, 
and Leo’s performance in “The 
Revenant” this year finds the 
actor at peak suffering. He slept 
in animal carcasses and ate raw 
liver for a month. He’s practically 
killing himself for the Oscar. And 
the Academy is going to go crazy 
for that. 

Who Should Win: “Room” 

featured 
both 
of 
the 
year’s 

strongest 
performances. 
Brie 

Larson is a deserving shoe-in 
for Best Actress, and her co-star, 

nine-year-old Jacob Tremblay, 
should be a shoe-in for Best Actor. 
But he’s not even nominated. 
He’s not even nominated for Best 
Supporting Actor. And yet his 
performance as a young child who 
is born and raised in a small room 
is full of the one thing lacking 
in that of the actual nominees: 
honesty. The scene in which 
Tremblay comes eye-to-eye with 
the sky for the first time in his life 
is one of the year’s most powerful 
because Tremblay’s performance 
is so simple and pure. This year’s 
actual nominations for Best Actor 
are weak and disappointingly 
typical of the Oscars — older white 
guys playing biographical roles. 
Why not bring in a ringer and 
give Tremblay the recognition his 
performance deserves?

— Madeleine Gaudin
Best Actress
Who Will Win: She has won 

Best 
Leading 
Actress 
from 

BAFTA, the SAG, the Golden 
Globes and Chicago Film Critics 
Association. If past awards are 
any indicator of who will win 
the Oscar (which they are), odds 
are good for Brie Larson as Ma in 
“Room.” Her performance is, in 
fact, incredible. She elicits such 
raw, visceral emotion, primarily 
interacting with only one other 
actor in a very confining set in 
the first half of the movie. Her 
liberation from the room that 
coincides with her emotional 
and mental incarceration is a 
frightening experience that’s well 
delivered by Larson. Through 
Larson’s performance, “Room” 
creates a vivid reality.

Who Should Win: Although 

all the nominees are deserving 
of the Oscar in some respect, 
Saoirse Ronan’s (“Atonement”) 
performance 
in 
“Brooklyn” 

is 
especially 
heartwarming 

and beautiful — that said, her 
character in the movie naturally 
lends itself to this type of 
performance, so the difficulties 
of playing such a character 
are 
limited. 
Brie 
Larson’s 

performance, on the other hand, 
is downright impressive. She had 
little to work with (a single set and 
a child actor), yet she makes Ma 
feel like a real person. Larson has 
earned this Oscar.

— Joe Wagner
Best Cinematography
Who Will Win: 13 nominations 

later, is it finally time for the 
acclaimed Coen brothers (“Hail 
Caesar!”) 
cinematographer 

Roger Deakins (“Unbroken”) to 
take home the gold? Not likely. 
Sicario looked great in a horribly 
dismal sort of way, but methinks 
the 
Academy 
will 
recognize 

Chivo’s downright breathtaking 
accomplishments 
with 
“The 

Revenant” as the visual splendor 
to win it all this year. It will be the 
third time Emmanuel Lubeszki’s 
(“Birdman”) won consecutively, 
and the only hat trick ever by a 
cinematographer at the Oscars.

Who Should Win: Sorry Roger, 

but I’m going to have to go with 
one Mr. John Seale (“The English 
Patient”) on this one. “Mad Max: 
Fury Road” is the rare big-budget 
film where every single cent of the 
however-many-millions went to 
make sure every single frame was 
masterful — the intimate kind of 
masterful that can’t just be done 
in post. “Fury Road” had a unique 
splendor completely unmatched 
by 
any 
other 
action 
movie, 

even including films within its 
own franchise. Not even “The 
Revenant” ’s jaw-dropping nature 
photography could beat Seale’s 
ultrastylized wasteland.

— Jacob Rich

A24

This movie is too sad to joke about. :(

FILM PREVIEW
TV REVIEW
‘Girls’ grows up

By HAILEY MIDDLEBROOK

Daily Arts Writer

When “Girls” debuted on HBO 

in 2012, the show filled a hole in 
the media: a realistic portrayal 
of young people in New York 
City. 
Before, 

there 
was 

“Sex and the 
City,” a show 
about success-
ful 
women, 

established in 
their 
careers, 

looking 
for 

romance; 
and 
“Gossip 

Girl,” 
about 

the drama of 
trust fund teens on Manhattan’s 
Upper East Side. To viewers, 
the women on these shows were 
certainly #goals; there was no 
wardrobe more strongly coveted 
than Carrie Bradshaw’s, no love 
affair more worshipped than 
Blair Waldorf and Chuck Bass’s. 
They were glamorous and fun, 
their problems always fixed 
with a mimosa and a new pair 
of Louboutins. And they were 
totally unrealistic.

“Girls,” 
the 
semi-autobio-

graphical brainchild of Lena 
Dunham 
(“Tiny 
Furniture”), 

tells a much less glamorized 
story of young women trying to 
make it in the Big Apple. Han-
nah (Dunham), Marnie (Allison 
Williams, “Peter Pan Live!”), 
Jessa (Jemima Kirke, “Tiny Fur-
niture”) and Shoshanna (Zosia 
Mamet, “The Kids Are Alright”) 
live as dysfunctional 20-some-
things, 
navigating 
unpaid 

internships, disheveled apart-
ments, college classes and awk-
ward hook-ups.

The girls of “Girls” are cring-

ingly narcissistic, needy and 
often self-destructive in their 
personal and professional lives 
— and while we try hard not 
to, we see our own millennial 
selves in them. Or, better yet, we 
know a self-absorbed Hannah, 
a micromanaging Marnie, an 
annoyingly aloof Jessa. Despite 
the show’s serious flaws — there 
isn’t a single person of color in 
the core cast, for instance — the 
series’s ugly familiarity, the raw 
and unfiltered misadventures, 
has kept an audience coming 
back for five seasons.

But there’s a shift in season 

five: “Girls,” believe it or not, 
seems to be growing up. Since 
Lena Dunham announced in 
January that the show will end 
after six seasons, some clo-
sure is inevitable — as it’s still 
a scripted series, albeit a more 
realistic one, the girls need to 
find solidity (in life, jobs, rela-
tionships, etc.) by the show’s 
finale.

For Marnie, adulthood is 

coming in hot — maybe a little 
too hot. Season five opens with 
Marnie standing before a win-
dow in an upstate New York cot-
tage, dressed in full nude Spanx, 
glaring down at the preparations 
for her outdoor wedding.

Turns out, she and her sing-

ing partner Desi (Ebon Moss-
Bachrach, “The Lake House”) 
have decided to marry after 
all, even though he’s a grade-
A jerkface. But then again, it’s 
hard to feel sympathy for Mar-
nie, who fails miserably at keep-
ing her inner bridezilla under 
wraps. Though she insists on 
being a breezy bride — she tells 
Bebe (Bridget Everett, “Train-
wreck”), the makeup artist, that 
she wants an artsy wedding that 

still reflects her heritage as a 
“white Christian woman” — 
Marnie would rather die than 
have a hairpin out of place.

Naturally, everything falls 

apart. Hannah, fresh from her 
stint as a junior high teacher, is 
back to her old selfish ways — 
bringing her date into the bridal 
room to hang out, then later 
sneaking out for a romp in the 
backseat of his car — and gener-
ally not paying attention to Mar-
nie on the one day she deserves 
it. Jessa has a sneaky hook-up 
as well, with none other than 
Hannah’s ex-boyfriend, Adam 
(Adam Driver, “Star Wars: The 
Force Awakens”). Even Bebe’s 
in the wrong: she misinterprets 
Marnie’s “Joni-Mitchell-meets-
Ralph-Lauren” hair and makeup 
vision as “Selena-Gomez-meets-
Jesus,” giving the bridal party 
shockingly bad makeovers. And 
on top of everything, Marnie’s 
biggest fear comes true: it rains 
for her outdoor wedding.

After a hurricane-level melt-

down, in which Marnie con-
fronts Hannah about her lack of 
support as a friend and maid of 
honor (“The very least you could 
do right now is to pretend that 
I’m doing the right thing,” she 
says) the girls hug it out, Marnie 
wipes off her makeup and they 
all throw raincoats over their 
dresses. When life gives you 
lemons, I guess.

Though Marnie’s marriage 

seems too unstable to last, her 
actions hint at more growth to 
come in “Girls,” which will be 
refreshing to see after years of 
the characters’ same old antics. 
But then again, the show prides 
itself on being realistic — and 
there’s nothing more human 
than sticking to habit.

B+

Girls

Season 5 
Premiere, 
Sundays at 
10 p.m.

HBO

6 — Friday, February 26, 2016
Arts
The Michigan Daily — michigandaily.com

