The Michigan Daily — michigandaily.com
Arts
Monday, March 7, 2016 — 5A
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Garbage
6 Ziploc bag
feature
10 Catcher’s glove
14 “Slumdog
Millionaire”
country
15 Electrically
flexible
16 Not-so-nice smell
17 C-E-G triad, e.g.
19 Bandleader
Arnaz
20 Certain
Himalayan
21 __ Corps
22 High dudgeon
25 20th-century
Greek-American
soprano
27 Singer Etheridge
29 Little fruit pie
30 Prayer ender
31 Commercial
suffix with Sun
and Star
32 __ Angeles
35 Asian language
spoken by nearly
a billion people
40 Place for a mani-
pedi
41 Trent of politics
42 Make a soufflé
43 Accompanied by
44 “Get lost!”
47 Aladdin’s
transport
51 FDR agency
52 Make up (for)
53 Orange veggie
55 Allow to borrow
56 Rochester
medical center
60 Starbucks tea
brand
61 Unknown author:
Abbr.
62 Toastmaster, and
a homophonic
hint to this
puzzle’s five
longest answers
63 Load in a hold
64 Nine-digit IDs
65 Uncool group
DOWN
1 Buzz Lightyear
voice actor __
Allen
2 Genetic material
3 Wd. modifying a
noun
4 Priory of __: “The
Da Vinci Code”
conspirators
5 Women-only
residences
6 Nearly one-third
of Africa
7 Often harmful
bacteria
8 Sea between
Italy and Albania
9 Calculator image,
for short
10 Ford made only
in black from
1914-1925
11 Perfect
12 Puccini opera
13 Makes an effort
18 IRS pros
21 Trilogy’s first
section
22 Mosque leaders
23 Chart anew
24 Kagan of the
Supreme Court
26 Bills and coins
28 Not Rep. or Dem.
31 Only chess piece
that can jump
others: Abbr.
32 Hear (of)
33 Schindler of
“Schindler’s List”
34 “Ta-ta”
36 “Through the
Looking-Glass”
girl
37 Univ. military org.
38 Cornell University
townies
39 “The Blacklist”
network
43 Place for a pane
44 Cooks’ splatter
protectors
45 Sable automaker,
briefly
46 Pilfered
47 Fountain treats
48 Really got to
49 Purple-blue
Muppet with a
hooked nose
50 Silky synthetic
54 “Person of the
Year” magazine
56 Bell and Barker
57 ATM maker
58 Mil. roadside
hazard
59 These, in
France
By David Poole
©2016 Tribune Content Agency, LLC
03/07/16
03/07/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, March 7, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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HELP WANTED
‘Fuller House’ sucks
By ALEX INTNER
Daily Arts Writer
I’m having a hard time figuring
out what to make of “Fuller House.”
When I was younger, I would watch
repeats
of
“Full
House” every day
on ABC Family and
it was one of my
favorite TV shows.
But, as I grew
older,
I
stopped
watching the same
adventures of the
Tanner
family
(after having seen
them 10s or 100s
of times by that
point). When I heard about “Fuller
House,” I thought about one key
question that the show needed to
answer: “Why?” Why bring back all
these characters together besides a
need for another set of paychecks?
When watching the new episodes,
once all the nostalgia from seeing
all the characters back together
in their old roles wears off (which
happened for me around the third
episode), there’s nothing left to
support the series. The show is
sketched around the weakest of
pretenses and it struggles to tell
stories with comedic payoff.
“Fuller House” follows a new
generation of the Tanner family.
Stephanie Tanner (Jodie Sweetin,
“Full House”) and Kimmy Gib-
bler (Andrea Barber, “Full House”)
move in with their sister and best
friend (respectively) D.J. Tanner
(Candace Cameron Bure, “Full
House”) to help her raise her three
sons after seeing the amount of
stress she was under at a fam-
ily party, paralleling the way Jesse
(John Stamos, “Full House”) and
Joey (Dave Coulier, “Full House”)
moved in with Danny (Bob Saget,
“Full House”) after his wife died.
It seems like creator Jeff Franklin
(who also created and ran “Full
House”) just said “fuck it” when
coming up with a story and recre-
ated the same show all over again.
The first episode brings back
those six, as well as Becky Don-
aldson-Katsopolis (Lori Loughlin,
“Full House”), and because of this,
it’s the best of the four I watched.
It relied on my having watched the
original to get me involved, calling
back to some moments and lines
from the show’s past. I admit, it put
a smile on my face to hear another,
“Have mercy!” from Jesse, a “Cut it
out!” from Joey (though, Coulier’s
overuse of the phrase on social
media did diminish the impact
when hearing it onscreen) and the
closing use of “The Flintstones”
’s theme song to put the baby to
sleep. Also, the best joke came from
the reunion, where Danny says
“Michelle is busy running her fash-
ion empire in New York” and the
entire cast just looks at the camera,
as if speaking directly to the Olsen
twins (who declined an opportu-
nity to return). It was the only big
belly laugh the show got out of me
during the run.
Once the older actors leave and
the show is left to the new genera-
tion, “Fuller House” fails to justify
its existence with shoddily put
together stories that don’t bring
any laughs. The fourth episode is
the first without any of the core
cast members from “Full House,”
and it features such illustrious sto-
rylines as kids attempting to break
out of school and Stephanie getting
accidentally sprayed by a skunk.
The jokes and “lessons” surround-
ing these stories are lazy (including
a scene where we’re supposed to
laugh at the sight of Stephanie and
the baby in a barrel of tomato juice)
and forced in there for the sake of
having them. There’s a lack of inter-
est in developing any unique or
original stories, instead taking the
lazy way out.
It doesn’t help that none of the
newer generation of actors bring
any sense of charm or screen pres-
ence. The series features four kids,
three of D.J.’s and one of Kimmy’s.
Newcomer Elias Harger, who plays
D.J.’s middle child Max, gives a
broad and hammy performance.
He attacks each joke and punch-
line with enthusiasm, but it’s hard
for one to land when he’s literally
shouting it at you. He’s playing to
the cheap seats in the studio, and
not to the folks at home. Director
Mark Cendrowski (“The Big Bang
Theory”) didn’t reign in his young,
inexperienced actor enough. In
addition, twins Dashiell and Fox
Messitt don’t nearly have the same
level of cuteness as Mary Kate and
Ashley Olsen did playing Michelle
Tanner in the first season of “Full
House,” and a shot putting the two
next to one another didn’t help.
“Fuller House” is not a good
comedy. It fails in pretty much
every way in building any sort of
comedic energy from its perfor-
mances or storylines. Because of
this, the show never really justifies
a reason for existing. Sure, it brings
the characters back together, but
after the others move back to their
careers, we’re left with nothing
more than some shells of characters
and sad attempts at humor.
NETFLIX
Puppies make everything funnier, right?
TV REVIEW
C-
Fuller
House
Series
Premiere
Netflix
Movies too pricey
By JOE WAGNER
Daily Arts Writer
The price of a movie ticket is
about 10 bucks these days, and for
the average Joe, that’s not so easy
on the wallet — especially when
I can so easily watch Netflix,
Amazon Prime Video, HBO GO,
Showtime, Xfinity TV Go or any
of the numerous streaming ser-
vices all of which I have already
paid for. More importantly, I can
do so from the comfort of my own
home. The theater must offer
something special for the modern
moviegoer, yet it does not.
There was a time in which the
movie theater was the only place
where one could go see a movie.
This time has long come and
passed. There is something magi-
cal about sitting in a dark room
with people who you don’t know,
whose faces you’ve never seen,
waiting in anticipation to watch
a story be told. You sit in silence
while the movie is projected and
you take in every last detail of the
film. But quite honestly, is it really
worth leaving your couch?
The movie theater, try as it
might, simply can’t compete
with digital releases. Sure, they
can make their theaters more
comfortable by installing cushy
reclining chairs with refrigerated
cup holders but it still can’t match
your own private viewing area.
The theaters can have waiters
serve drinks and gourmet food,
but your kitchen is still closer,
cheaper and more convenient.
With the simultaneous releases
(when films are released digitally
and theatrically simultaneously)
happening more frequently, it
seems the movie theater is losing
value. Distribution companies
are realizing that people are lazy,
that it’s easier and more comfort-
able to watch a movie in one’s
own home and people are will-
ing to pay the price. Digital first
releases may be more expensive
to watch than an older movie but
the premium price is still likely
cheaper than movie tickets for
two.
Additionally, many movies are
not widely distributed in the-
aters yet interest those who don’t
have access to them. Digital first
releases would make art movies,
which are inaccessible to those
who don’t live in cities with art
house theaters, available to many
more people. This is something
that is both beneficial for the con-
sumer and the producer.
There will always be die hard
movie fans who like to enjoy the
classic cinematic experience. And
there is something to be said for
this experience. It is the way most
films are intended to be watched
but at this point in time, this way
of watching movies is antiquated.
In the modern world, it is difficult
to carve out time for a trip to the
movie theater. The modern movie
watcher wants the ability to
pause the movie and return to it
later. The modern movie watcher
wants control in their hands. The
modern movie watcher wants a
smorgasbord of options, all at the
click of the remote.
The movie theater has lost its
privileged place within society.
It is no longer an essential aspect
of life. It no longer offers a unique
experience. The movie theater
must drastically redefine what it
is, its role and the experience it
offers or it may cease to exist.
By SAM ROSENBERG
Daily Arts Writer
Since his breakthrough in 2012,
Macklemore has become a divisive
artist in the hip-hop community.
Along with his trusted collabora-
tor Ryan Lewis,
Macklemore has
provided teenag-
ers everywhere
with pop-friend-
ly jams like the
sing-a-long
hit
“Thrift
Shop,”
the
fast-paced
banger
“Can’t
Hold Us” and
the
proactive
LGBTQ anthem
“Same
Love.”
But after his and
Lewis’s win for Best Rap Album
at the 2013 Grammys for their
studio debut The Heist, backlash
seemed imminent. “Same Love”
was deemed by some as disingenu-
ous, while many believed Ken-
drick Lamar’s good kid, m.a.a.d.
city should have won the award.
However, the biggest surprise
from the controversy came from
Macklemore himself, who thought
he didn’t deserve Best Rap Album
either. Ultimately, Macklemore’s
contradicting anxiety and pride
in his music culminated into his
sophomore record with Ryan
Lewis, This Unruly Mess I’ve
Made. Instead of delivering anoth-
er set of club-ready singles like in
The Heist, This Unruly Mess I’ve
Made finds Macklemore attempt-
ing to tackle even larger socially
conscious themes on an album
with an ironically apt title.
On the theatrical opener “Light
Tunnels,” Macklemore contex-
tualizes these conflicted feelings
about his rap album win with a
step-by-step description of his
journey to the Grammys. And
while the 32-year-old Seattle rap-
per makes a powerful statement
about the toxicity of fame and
the artifice of awards shows, he
stretches the almost 7-minute song
a bit too long and a bit too thin.
However, what’s really charging
Macklemore’s lackluster rhymes
on “Light Tunnels” is Ryan Lew-
is’s production, which remains
as engrossing and immaculate as
ever. Macklemore has the right to
be upset with how the media and
society treats him so harshly, but
that doesn’t necessarily mean he
should be so apologetic that he
can’t just take credit for an award
that he believed he didn’t deserve.
Macklemore’s internal conflict
continues to be a recurring theme
on the album. After he dramatical-
ly closes the first act, Macklemore
enters into the bright and flashy
“Downtown,” an instrumentally
overblown and lyrically slipshod
track that starts out as an ode
to mopeds and then transforms
abruptly into a Hamilton-esque
anthem. Simply put, it’s a poor
man’s “Thrift Shop.” It does have
its moments, but most of them
don’t even involve Macklemore;
they come from the song’s breath-
taking features, which include old-
school hip-hop legends Melle Mel,
Kool Moe Dee and Grandmaster
Caz as well as Foxy Shazam vocal-
ist Eric Nally, whose shrieking
falsetto heightens “Downtown” ’s
unsteady ambition. However, the
album doesn’t seem to get better
from there.
The overtly silly “Brad Pitt’s
Cousin” has Macklemore making
absurd quips about his cat’s Ins-
tagram, his dick (he calls it “Ron
Burgundy”) and even makes a
Deez Nuts reference. “Buckshot”
’s hip-hop heavy production and
skilled guests (Bronx rapper KRS-
One and Kanye West collabora-
tor DJ Premier) is dampered by
Macklemore’s nonsensical rap-
ping and an annoying, whiny
whistle sample that buzzes in the
song’s background like a crying
baby on an airplane. After “Buck-
shot” finishes, Fun Macklemore
suddenly shifts into Contempla-
tive Macklemore with a trio of
maudlin ballads, “Growing Up,”
“Kevin” and “St. Ides.” Mackl-
emore’s well-intentioned message
to his baby son on “Growing Up”
has a sweet center and notable
pop singer Ed Sheeran delivers a
soaring chorus, though the song
is a note too sentimental. Leon
Bridges offers some strong vocals
on “Kevin” but struggles to elevate
the song’s clichéd lyrics (“Doc-
tor, please/Give me a dose of the
American Dream”). “St. Ides,” the
only song off the album without a
feature, is in dire need of one.
Though the album struggles to
maintain a balance between corny
raps and mature songs, Mackl-
emore finds some form of the-
matic and sonic stability on “Need
to Know,” the only real highlight
on This Unruly Mess I’ve Made.
A surprisingly poignant song,
“Need to Know” is bolstered by
Lewis’s piano-laden instrumental,
Macklemore’s lyrics about drug
addiction and an incredible guest
verse from Chance the Rapper. It’s
a track that reminds Macklemore
fans of how positive and influen-
tial hip hop can be, especially with
the right words and production.
Among the broad spectrum
of white hip-hop artists — from
laughable acts (Hoodie Allen, Iggy
Azalea, Riff Raff) to mainstream
artists (G-Eazy, Logic, Mac Mill-
er) to rap veterans (Eminem,
Action Bronson, El-P) — Mackl-
emore is uneasily somewhere
in the middle. He is, at most, a
decent rapper. His charisma and
tongue-in-cheek demeanor shines
more than his storytelling. He
and Lewis are certainly prolific
in their music making, since both
this record and The Heist were
independently self-produced, self-
recorded and self-released by the
duo. But in terms of how Mackl-
emore approaches his material,
he’s a bit shaky and This Unruly
Mess I’ve Made is a perfect
example of that. Most of the “fun”
songs aren’t very catchy and most
of the “mature” songs aren’t very
nuanced. Perhaps Macklemore’s
difficulty in articulating his ideas
can be simplified in the album’s
final track “White Privilege II,” a
lengthy, often confounding song
in which Macklemore struggles
to identify with the #BlackLives-
Matter movement while being a
white man in America. Mackl-
emore definitely has the right
intentions, but his execution in
conveying them makes for a truly
unruly mess.
Macklemore back
with divisive ‘Mess’
C
This
Unruly
Mess I’ve
Made
Macklemore
& Ryan Lewis
Macklemore LLC
FILM NOTEBOOK
MUSIC REVIEW