Classifieds

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

ACROSS
1 Latte option
6 Difficult position
10 It’s cut and dried
13 Loud, as a crowd
14 African city
where pounds
are spent
15 Tree feller
16 Venue that keeps
you up-to-date
18 __ Tin Tin
19 Hunk
20 Really bother
21 Bus terminal
23 “Beaches”
actress Midler
25 Canadian
stadium renamed
Rogers Centre in
2005
27 Tropical cocktail
whose color
comes from
curaçao liqueur
30 First name in
game shows
31 Work-wk. start
32 Basic Latin
conjugation word
36 “Got it, man?”
37 This puzzle’s
theme, as
suggested by the
ends of 16-, 27-,
47- and 61-
Across
41 Big heart?
42 Ladies of Sp.
44 Chicago’s __
Center
45 Elena of the
Supreme Court
47 Chaste priestess
of ancient Rome
51 Record covers
54 “__ a stinker?”:
Bugs Bunny
55 Upright, e.g.
56 Bow (out)
57 Disaster relief
org.
60 Longtime football
commentator
Cross
61 Biblical wise man
65 Actress Charlotte
66 Where to learn
une leçon
67 Practical joke
68 CIA forerunner
69 “Man, you are not
serious!”
70 Rocker Patty
married to John
McEnroe

DOWN
1 24 Hours of Le
__: auto race
2 Hurler Hershiser
3 Ninja Turtle’s
“Awesome!”
4 Faded star
5 Curved part
6 Went under
7 Alley target
8 Load from a lode
9 “Shoulda listened
to me!”
10 Silent Marx
11 Assumed truth
12 “Fiddler on the
Roof”
matchmaker
14 Hall of Fame
infielder Rod
17 Words before
homer or brick
wall
22 Novelist Ferber
24 Takeout option
25 “The Da Vinci
Code” priory
26 Warm-hearted
27 Some undies
28 Lion’s den
29 Range maker
33 Rod Stewart
classic with the
line “You stole
my heart but I
love you anyway”

34 Trendy berry
35 Ky. neighbor
38 Postage-paid
enc.
39 Gobs
40 Banana peel
43 Kristoff’s reindeer
in “Frozen”
46 Sculpture or
ballet
48 Brought forth
49 Run out
50 Corleone
patriarch

51 Veep between
Hubert and
Gerald
52 Turkish coins
53 Some nest sites
56 Give the eye
58 __ Blanc: tallest
Alp
59 Egyptian cross
62 Post-ER area
63 Sign of
approval
64 Old DJ’s
records

By Kurt Krauss
©2016 Tribune Content Agency, LLC
03/16/16

03/16/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, March 16, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6A — Wednesday, March 16, 2016
Arts
The Michigan Daily — michigandaily.com

‘Shebabs’ shines
light on refugees

Emotional honesty
drives film set in

Syrian camp

By LAUREN WOOD

Daily Arts Writer

Chronicling
the
day-to-day

worries, laughter, struggles and
friendship
between a close
group of friends
living in the Syr-
ian Palestinian
refugee
camp

Yarmouk, “The
Shebabs of Yar-
mouk” provides
a candid look
into the life of a
refugee.
Com-

pleted in 2011,
the film documents the camp as it
was before the current rise in con-
flict in Syria, focusing not on the
factual reasons behind the camp’s
existence or how external conflicts
affect it, but on how these con-
ditions emotionally touch those
growing up within the camp’s
walls. To these young people, Yar-
mouk is both their beloved home
and a symbol of their repression,
something to be escaped from but
also missed deeply, with these
conflicting reactions reaching into
every corner of their daily lives.

The film is told in a mixture of

straightforward conversation and
poetic cataloguing of the camp.
In many instances, the camera is
shaky, the audio distant and the
lighting harsh. The friends, all part
of a group they dubbed “Les She-
babs” as teenagers, sit around on
cushions and mattresses, smoking
and discussing their plans for get-
ting passports to leave for Europe-
an countries, current love affairs
or music they are interested in. It is
a strange mix of scripted dialogue
and shaky cinematography — both
things that would normally point
toward a film’s failure. But here, in
Yarmouk, this combination pulls
its audience in without any false
pretense. We are given a glimpse
into the filmmaking process of
these young people attempting to
document their liminal lives, and
the final product succeeds for it.

This amateur honesty that roots

the friends’ lives in reality is aug-
mented through the film’s focus
on dialogue as opposed to action.
Rarely do we witness any active
moments of the group’s lives; while
they search for ways out of the
country, fall in love, attend work
and school, or complete their com-
pulsory military service, the cam-
era is markedly absent. Only later,
while reconvening at the end of
their days do we learn about what
they have accomplished, and then,
only through words instead of
visuals. The direct focus on story-
telling pulls the viewer in as one of

the group, being told frankly what
the characters are feeling instead
of experiencing it alongside them.
There is no pretense that we could
understand what they are going
through or their emotions sur-
rounding the place they know as
home. We are invited to learn from
them about their lives, but not to
live with them in communion.

Interspersed within this upfront

structure of storytelling are doz-
ens of shots of the camp as seen
from the rooftops, windows and
homes of the inhabitants. We never
see the city from its streets, and
again are asked to only observe,
not to live this reality. But, it is in
these moments that we are able to
experience most closely the emo-
tions fueling the Shebab’s desire to
both leave this place behind and to
treasure their home in the camp.
The buildings are crumbling,
rusted satellite dishes spring up
from every rooftop, tattered sheets
hang across the open windows.
But in the lights of dawn and twi-
light, the landscape is transformed
into one of melancholy beauty. By
night, thousands of lights twinkle
through the city of Damascus on
the horizon. By morning, moun-
tains are seen encroaching on the
vast sky. We get the same shot of
the city’s rooftops in every pos-
sible time of day, and through this
we come to understand how this
small, tired city can make up an
entire world for its inhabitants.

ANDANA FILMS

Those shorts are $500 Yeezy Season 2s.

FILM REVIEW

Harvard prof. to talk
U.S. eviction process

By ERIKA SCHEVEK

For the Daily

The couch where the fam-

ily sat and watched movies. The
dresser where many clothes
were once fold-
ed,
and
the

kitchen
table

where
laughs

and memories
were
shared.

They are now
a mound on the
sidewalk, like a
pile of logs sit-
ting in a fire-
place.

This is a realistic slice of the

eviction process; it’s more than
just having furniture tossed out
on the street.

“Rent eats first,” said a Har-

vard University associate profes-
sor of social sciences, Matthew
Desmond in a phone interview
when describing his upcoming
and raw book “Evicted.” Des-
mond will be reading sections
of his recently published book
Wednesday at Literati.

The book follows eight unique

families:
two
single
moth-

ers (Arleen, Vanetta) an 18
year-old (Crystal), a disabled,
single father (Lamar), a small
family with a newborn (Doreen),
a drug-addicted nurse (Scott), a

grandmother (Lorraine) and a
couple (Pam and Ned). Desmond
discovers their struggle of fac-
ing eviction in the impoverished
areas of Milwaukee. However,
he dives into more than just the
perspective of the families: he
also peers into the viewpoints
of the landlords, who make the
ultimate decision whether or
not an eviction occurs. Their
behavior ranges from empa-
thetic to utterly ruthless. These
juxtaposed vantage points come
across as shocking and harsh to
the reader.

Desmond said a desire to learn

more about the issue was his
main inspiration for the book.
“America is a mess,” Desmond
answered. “I wanted to under-
stand it more, so I felt that evic-
tion was a good frame to study. It
allowed me to get new insights.”

“Evicted” also has an authen-

tic and rigid feel to it
— Desmond

himself lived beside these fami-
lies and unraveled the cutthroat
truth about not only poverty, but
eviction specifically.

“The hardest part was seeing

this level of suffering in our city,”
he said. “[Eviction] is not just a
condition of poverty. It’s a cause
of it. It’s making things worse.”
Poverty seems to go untouched,
meanwhile eviction seems to go
completely unnoticed.

The
New
York
Times

said it was “an exhaustively
researched, vividly realized and
above all, unignorable book —
after “Evicted,” it will no lon-
ger be possible to have a serious
discussion about poverty with-
out having a serious discussion
about housing.”

Desmond explained that most

of these families were choosing
whether to stock the fridge or
pay the rent. It’s an issue that
hasn’t been brought to the sur-
face, but clearly needs to be, he
said.

“There is a massive amount of

suffering in this rich land, and
there are hundreds and thou-
sands of questions that remain
unanswered
about
poverty

and inequality in America,” he
added.

He finished the interview

with some advice to wannabe
writers, journalists, social sci-
entists, or really anybody who
wants to make a difference:
“They cannot be afraid to give
a little bit of their life to it.” In
other words, it will take extreme
devotion and an eagerness to
act in order to amend these
issues in this country. “Evicted”
vicariously exposes the reality
of eviction and the importance
of handling this hidden problem
soon, before it is too late.

COMMUNITY CULTURE PREVIEW

Matthew
Desmond:
‘Evicted’

Wed. 7 p.m.

Free

Literati

Shonda Rhimes and
normalizing diversity

By DANIELLE YACOBSON

Daily Arts Writer

Shonda Rhimes has made it.

She rules over Thursday nights
on ABC, gets shout outs during
Emmy acceptance speeches and
loves to use the term “vajayjay.”
As the creator and writer of

“Grey’s Anatomy” and “Scandal”
and producer of “How To Get
Away With Murder,” Rhimes has
the attention of over 22.5 million
people each week. Needless to
say, she’s influential. But in the
glamorous, exclusive and power-
hungry world of Hollywood,
influence is easily exploited, and
just as easily lost. In “Year of Yes,”
Rhimes’s self-help book detailing
a transformative year of her life,
she explores the intense pressure
she felt as an African-American
woman in a white man’s industry.
Her experience has developed
a unique perspective, which
she
showcases
through
her

enthralling
storytelling.
She

has a lesson to teach and a
point to prove, so when she has
the simultaneous attention of
22.5 million people, Rhimes
unapologetically
takes

advantage of it. Her gift of
storytelling has changed the
landscape of modern television
by depicting what the real world
looks like on screen, featuring
diverse casts and plot lines
that break free from overused,
monochromatic clichés.

Rhimes calls herself, and

others
who
have
exceeded

societal expectations set by
their minority label, a F.O.D.
– a First. Only. Different. The
title comes with the weighty
responsibility of representing an
entire population, with the risk
of projecting her failure onto
others. “You can’t be raised black
in America and not know,” she
writes, describing the incredibly
high stakes that accompanied
her F.O.D.-ness when creating
“Scandal,” the first network
drama in 37 years to feature a
Black leading lady. If “Scandal”
failed, the network would have
evidence against breaking their
risk-free structure of a non-Black
successful female protagonist,
and arguably invalidate her own
accomplishments as an African-
American
showrunner
with

her previous hit series, “Grey’s
Anatomy.” “Scandal” ’s success
not only spurred discussion
of
race
representation
on

television, but also gave Rhimes
the opportunity to continue her
mission to normalize what and
who people see on the screen.

One of the greatest obstacles

that stands in the way of success
is lack of opportunity. “How To
Get Away With Murder” star
Viola Davis said in her 2015
Emmy acceptance speech for

Outstanding Lead Actress in
a Drama Series, “You cannot
win an Emmy for roles that are
simply not there.” Davis, the
first African-American woman
in history to win best drama
actress, demonstrates just how
significant opportunity is in
reshaping
the
demographic

of network television. Shonda
Rhimes has been an instrumental
force in Hollywood, not only
by creating deep and complex
roles for minorities, but by
redefining
what
a
strong

woman, of any color, is capable
of accomplishing. Olivia Pope
(Kerry
Washington,
“Django

Unchained”)
and
Annalise

Keating (Davis), her two leading
ladies of color, prove that a Black
actress should not be restricted
to the role of a sassy sidekick
when, instead, they can run
the White House or kick ass in
court still raw and reeling from
a bullet to the gut.

While many shows boast their

cast’s diversity by featuring
a
“token
gay
character,”

Rhimes’s explore the spectrum
of human sexuality without
using “gayness” as a marker
of
progressiveness.
Instead,

all three of her Thank God It’s
Thursday
hit
series
feature

regular
cast
members
that

span a wide range of gender
and sexual identities, and bring
pressing issues in the media
and popular culture to the
forefront. For example, season 11
of “Grey’s Anatomy” chronicled
the coming out and transition
of
a
transgender
character,

humanizing
the
transgender

awareness movement that swept
social media platforms in 2015.
In an interview with NPR,
Rhimes spoke to her approach
towards same-sex love scenes,
saying
even
scenes
created

following an identical shot-for-
shot sequence as a heterosexual
couple’s sex scenes were met
with a heavy dose of censorship.
This censorship she started
was something she had to push
past to show that, no matter the
gender of the couples, a double
standard should not exist.

Through
the
art
of

storytelling, Rhimes is able to
separate her fictional people
from politics, prejudices and
stereotypes.
Her
television

worlds represent what reality
actually looks like. Simply put,
Shonda Rhimes is normalizing
diversity.

TV NOTEBOOK

A-

The
Shebabs of
Yarmouk

Andana Films

State Theater