ACROSS
1 Wife of 25-Down
5 Flipping burgers,
e.g.
10 Victorious shout
14 Sylvester’s
speech problem
15 Now, in Nuevo
León
16 Nixed, at NASA
17 Corrosive stuff
18 Be homesick (for)
19 Country legend
Tennessee
Ernie __
20 Gradually
exhaust
22 Helpful staffers
23 Amiss
24 Nag
26 Embarrassing
slip-ups
29 Bottom-line red
ink
32 “That’s all she __”
33 Bear shelter
35 Infamous
vampire,
familiarly
36 One’s self
37 Salon task
40 Korean carmaker
41 Like Lady Godiva
on horseback
43 Author __
Stanley Gardner
44 Upright
46 Darkest lunar
phase
48 Some school
uniform parts
49 Salon task
50 Part of a
progression
51 Corned beef
solution
53 Ogden Nash
specialty, and a
hint to this
puzzle’s circles
57 Count for
something
58 Cooper of shock
rock
60 Pre-euro Italian
money
61 Sign of the future
62 German thanks
63 One of seven for
Julia Louis-
Dreyfus
64 Skin growth
65 Ice cream
helping
66 “Slammin’”
slugger Sammy
DOWN
1 Imperfection
2 Grain in some
cakes
3 Where billions
live
4 Rising air current
5 City VIPs
6 Like taffy
7 Cusack or
Crawford
8 Bobby of the
Bruins
9 Outlaw
10 Shortstop’s
realm
11 Furniture maker,
e.g.
12 “Puss in Boots”
baddie
13 Signaled yeses
21 Geeky type
22 Singer
Garfunkel
24 Derogatory
25 Husband of 1-
Across
26 “Miracle on 34th
Street” actor
Edmund
27 Pick a fight (with)
28 Restaurant
reviewer
30 Superdome
NFLer
31 Tons
33 “SNL” producer
Michaels
34 Piercing tool
38 13 popes
39 Teamed, as oxen
42 Highly respected
45 Baby bottle parts
47 __-man band
48 Meryl of “The
Iron Lady”
50 Great, in show
biz
51 It may be
furrowed
52 “__ Lama Ding
Dong”: doo-wop
hit
53 Sot
54 Wheels for the
well-heeled
55 Akimbo limbs
56 “Divine Secrets
of the __
Sisterhood”
58 Magazine
fillers
59 Fond du __,
Wisconsin
By Ed Sessa
©2016 Tribune Content Agency, LLC
03/22/16
03/22/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, March 22, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
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! Riverfront/Heat/Water/Parking. !
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734‑996‑1991
4, 5 OR 6 BEDROOM HOUSE
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AMERICAN GASTROPUB
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at Jolly Pumpkin Café, 311 S Main
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NEAR CAMPUS APARTMENTS
Avail Fall 16‑17
Eff/1 Bed ‑ $750 ‑ $1400
2 Bed ‑ $1050 ‑ $1425
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Needs exceptional computer skills incl.
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ARBOR PROPERTIES
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V
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PARTICIPANTS FOR A psychology
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2 1/2‑hour session pays $50. To qualify,
must be at least 18, be a native English
speaker, and have vision correctable to
20/20. IRB #: HUM00107430. Email
Aaron at chueya@med.umich.edu
ATTRACTIVE WOMEN
For Semi Nude Victoria’s type Lingerie
Photography.
Great $! For interviews call the studio
734‑396‑5300 or email photos to
crimsonapplesstudios@gmail.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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CALL DEINCO 734‑996‑1991
SERVICES
FOR RENT
HELP WANTED
SUMMER EMPLOYMENT
6 — Tuesday, March 22, 2016
Arts
The Michigan Daily — michigandaily.com
‘Allegiant’ destroys
the young adult genre
By NOAH COHEN
Daily Arts Writer
The moral universe of “Alle-
giant” is insane. The film picks
up where “Insurgent” left off.
The “Faction-
less,” led by
Four’s
(Theo
James,
“You
Will
Meet
a Tall Dark
Stranger”)
estranged
mom
Evelyn
(Naomi Watts,
“While We’re Young”) have
miraculously succeeded in their
rebellion against the powerful
technology-wielding
central
government of post-apocalyp-
tic Chicago (yes, the Divergent
series is set in Chicago). But
Tris (Shailene Woodley, “The
Fault in Our Stars”) believes
there’s humanity outside the
walls of the city, on the word
of her martyred mother. So
far, things make sense. Now
that the power-hungry psy-
chos have been deposed, we’re
going to install a central gov-
ernment that doesn’t divide
people based on categories so
lurid and inane they could only
come from a childish dystopian
thriller, right? And next, we’ll
send a small envoy outside the
wall, because blindly remain-
ing inside a city and forbidding
everyone to leave for no appar-
ent reason is crazy, right?
Whatever. The trials for the
dethroned
Chicago
govern-
ment thugs begin. The trials
turn into executions. The Fac-
tionless have done away with
the defunct Faction system of
government, and without neat
little categories, Chicago has
fallen under mob rule. Johan-
na (“Octavia Spencer, “Snow-
piercer”), former leader of the
“Amity” faction (read: the obvi-
ous good guys), sees everything
going to hell and wants to rein-
state the Factions so people stop
killing each other. She takes
charge of the dissenters and
names them the “Allegiant,” as
in, allegiant to the old system
of government. So now, Evelyn
and Johanna sit down at a table
with a handful of their top advi-
sors, including Tris, de-facto
leader of the former “Daunt-
less” — despite being cute,
sixteen and apparently well-
shampooed — and they all dis-
cuss how they can preserve the
infrastructure, prosperity and
humanity of their tiny nation,
right? Instead, they all pull
out guns. Including the former
members of Amity.
Tris, our hero, cares deeply
about the people of Chicago. So
she speaks up and tells every-
one they’re being stupid, right?
She tells her boyfriend’s mom
that violence isn’t cool, right?
Nah, she’s out. She escapes the
walls of Chicago with Four, her
brother Caleb (Ansel Elgort,
“The Fault in Our Stars”) and
a couple other eye-candy party
members. They’re greeted out-
side by the Real Government,
who tell us that Chicago is a
big genetic experiment and
that everyone in dystopian Chi-
cago is merely a specimen in
a hyper-sophisticated breed-
ing terrarium overseen by the
Bureau.
Apparently,
human
genetic modification caused a
nuclear apocalypse and Chi-
cago is an attempt to get the
human genome to revert to an
au naturel state. A minute of
nonsensical scientific justifica-
tion later and we’re mostly cool
with this status quo. David (Jeff
Daniels, “The Newsroom”), the
head of the Bureau, tells Tris
that the “Divergent” (i.e. her-
self) are everything the experi-
ment has been looking for. Tris
is upset that everyone she’s ever
known is currently killing each
other, and asks David to inter-
vene in the experiment. David,
the biggest liar who’s ever lied,
says, sure, honey, just come with
me and I’ll talk to the Council,
who are the Real Bosses.
Meanwhile, the Bureau has
Four suited up, skimming the
post-apocalyptic
hellscape
for settlements. He descends
upon one with a hundred other
Bureau meatheads and witness-
es the Bureau taking children
back to its not-irradiated tech
castle. They leave the parents
of the kids to die out there, or
in some cases, shoot the parents
themselves. Then they wipe
the kids’ memories. They seem
to have the technology to com-
pletely de-irradiate people, but
they rip the families apart any-
way. No explanation. This isn’t
one of those moral cliffhangers
that turns out to have a twisty-
but-reasonable explanation. It’s
just insane. They fly around
saving starving, irradiated kids
whose families have no weap-
ons that could possibly pierce
their personal force fields, and
yet they tote giant guns and
screw the parents for no iden-
tifiable reason. This is top-shelf
nonsense.
So Tris goes to the Council,
finds out that David is a liar, and
hightails it back to Chicago to
save her people. Four has already
tried this, but he was remarkably
ineffective, so his rebel-turned-
dictator mom locked him up and
now Tris has to save him in addi-
tion to stopping the war. Only
now, David wants to mass-wipe
the memories of everyone in
Chicago with the same memory-
wipe gas he’s been using on the
settlement children. Why is he
suddenly cool with intervening
in his own experiment to save
lives? No idea, but if there were
ever a good reason to mind-con-
trol an entire city, it would be
to stop ongoing genocide. Tris
isn’t cool with this, however.
She saves Four and they blow up
the gas machine. The kids save
the day, except for that geno-
cidal war that’s still going on.
But we’ll get to that in the next
movie.
The last moral lesson in
this movie is that violence
solves problems and nuclear
unmanned drones are an awe-
some idea. Tris’s crew puts a
bomb in an unmanned craft,
sets it on autopilot and sends
it back to the Bureau. The last
scene in the movie is the crown
jewel of unintentional Holly-
wood irony. Tris and her homies
watch their drone-nuke blast
the Bureau to smithereens from
the edge of Chicago, while Tris’s
overdubbed voice explains the
importance of working together
and eschewing constructs that
divide and hurt people.
I mostly blame the main
writer, Noah Oppenheim (“The
Maze Runner”), but frankly, no
one involved with this movie
has any excuse. This whole fran-
chise is The Hunger Games on a
bad acid trip. My IQ has dropped
twenty points and my soul needs
a shower. Let Chicago burn. I’m
done.
SUMMIT ENTERTAINMENT
So ~this~ is the secret life of the American teenager.
FILM REVIEW
FILM REVIEW
‘Home’ depicts a
somber New York
Re-release of 1977
experimental film
shows a cold Big Apple
By DANIEL HENSEL
Daily Arts Writer
1977 was New York’s year in
film. Between “Annie Hall” and
“New York, New York,” cinema’s
two unabashed
New
York-
lovers,
Woody
Allen
and
Martin
Scors-
ese,
released
their love let-
ters to the city.
That
same
year,
Belgian
experimen-
tal
filmmaker
Chantal Aker-
man (“Jeanne Dielman”) released
her ode to the city: “News from
Home,” shown on Wednesday at
the Ann Arbor Film Festival in a
new 16 mm print that was mak-
ing its American debut. “News
from Home,” simply enough, is
85 minutes of Akerman reading
aloud letters sent to her from her
mother when she lived in New
York in the early 1970s. Essential-
ly, we read what she was reading.
And we see what she was seeing,
too. Each shot is a meticulously
crafted slice of New York life.
Akerman’s New York is far
from idyllic. Rather, it’s cold and
empty. Its residents seem unwel-
coming and always on the move.
Akerman was all of 21 when she
moved by herself from Belgium
to New York. For a young woman
alone in its streets, the expanse of
New York is at once captivating
and terrifying. Akerman refuses
to romanticize. She is document-
ing. From the first shot of the film,
a narrow corridor, only slightly
wider than an alleyway, with an
occasional pedestrian or car pass-
ing, it’s clear that Akerman wasn’t
living as a tourist in the city. She
was, instead, a quiet resident,
observing the character and char-
acters of the “real” New York. At
times dark and eerie, and at times
whimsical, Akerman shows us the
daytime (and occasional night-
time) New York of Sidney Lumet
and Woody Allen, Martin Scors-
ese and Spike Lee.
The letters from Akerman’s
mother are our only characters.
Each letter reprimands Chantal
for not immediately responding,
describes some bit of minutiae
in the older Akerman’s every-
day life, or requests that Chantal
spend some of the money she has
sent. Time seems to slow as the
film progresses, with the space
between each letter widening and
widening. Towards the beginning,
the letters come frequently, and
her mother’s nagging is, frankly,
annoying. And yet, as time passes,
we begin to miss the letters. The
New York scenes can grow repeti-
tive, or even mind-numbingly
boring, that we begin to cling to
something new. For a later por-
tion of the film, in which Aker-
man is driving along the coast of
Manhattan, looking inward to
the city, seconds, minutes, hours
seem to pass until when we next
hear from the mother. Perhaps,
for Akerman, the thrill of inde-
pendence died after a few weeks
or months, and the painstaking
ache for contact from loved ones
grew and grew.
To the extent of determining
whether the film captures Aker-
man’s experience in New York
from 1971 to 1972, “News from
Home” is impossible to judge. The
film is miniscule in its aim — to
capture one person’s emotions
and city experiences over the
course of year — yet could stand in
to represent the New York immi-
grant artist experience of the
1970s, or perhaps even the entire
immigrant experience. And yet, it
never seems like a complete depic-
tion of her time there. Where does
she live? What does she do daily?
How do people treat her?
In the film, everyone is going
somewhere — walking, driving
and riding the subway. We rarely
see a destination, a place where
people have arrived. Even Times
Square — the ultimate New York
tourist spectacle — is reduced to
its corresponding subway stop.
Perhaps this is how Akerman
perceived the New York experi-
ence — always on the move, never
stopping at a destination, only
endless ambition. Whether that
determination is to be respected
or detested is never addressed.
The experience is left up to end-
less interpretation, but only Aker-
man knows the answers.
A-
News from
Home
Ann Arbor
Film Festival
Michigan Theater
F
Allegiant
Summit Enter-
tainment
Rave & Quality 16