Classifieds

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

ACROSS
1 Riffles (through)
6 Kitty cries
10 Like some
chatter or threats
14 Birdbath buildup
15 Plant “pet”
16 Bellyache
17 *Game with a
barrel-throwing
gorilla
19 “Flip or Flop”
cable channel
20 Dueling sword
21 Stare unsubtly
22 Slammer
23 Wreck
completely
25 “Moi?”
27 __ Lingus
28 Reason for an R
rating
31 “I __ thought of
that”
34 Place to
overnight
35 Crooner Cole
36 Stat that’s better
when it’s lower
37 *Lock insert
41 Expressive rock
genre
42 Architect 
Maya __
43 Serengeti grazer
44 Crease-resistant
fabric
46 Sewer system
entry points
49 Back when
50 Alpine warble
51 Art form profiled
in the
documentary
“Between the
Folds”
55 Joint sometimes
twisted
57 Fishing decoy
59 Have __: be
connected
60 “Are you for __?!”
61 *Karl Marx opus
63 Motown’s Marvin
64 Prefix meaning
“all”
65 Singer Baker
66 Call router: Abbr.
67 Bread served
with chicken tikka
masala
68 Go to pot ... or a
phonetic hint to
the answers to
starred clues

DOWN
1 Stored in the hold
2 Become running
mates?
3 Dancer de Mille
4 Skin bronzing
from a bottle
5 “Understand?”
6 Jim of “Wide
World of Sports”
7 Self-help website
8 [Don’t take me
too seriously]
9 Hang loosely
10 Announcement
from the foyer
11 *Temporary
housing for Fido
12 Behind schedule
13 Green-eyed
monster
18 “Son of
Frankenstein”
role
22 D.C. insider
24 No longer
working: Abbr.
26 Sharpen
28 Computer
invader
29 Hunter’s garb, for
short
30 Thames school
31 Captain’s
position

32 Opera highlight
33 *“The Court
Jester” star
38 Stare rudely at
39 “He’s a priest,”
not a beast, per
Ogden Nash
40 Bear or Berra
45 Propecia rival
47 Shout out
48 Glorifying verse
49 Word after work
or play

51 Pest control
company
52 Bit of slapstick
53 Sporty Mazda
54 Cavity filler
55 Jason’s vessel
56 Half-moon tide
58 Midshipman’s sch.
61 Ex-Dodger
manager
Mattingly
62 __ Thai: rice
noodle dish

By C.C. Burnikel
©2016 Tribune Content Agency, LLC
04/05/16

04/05/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, April 5, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Tuesday, April 5, 2016
Arts
The Michigan Daily — michigandaily.com

TV REVIEW
Laugh track goes 
West, mostly fails

Netflix’s “The 
Ranch” is just a 

basic sitcom 

By SAM ROSENBERG

Daily Arts Writer

There’s a certain artifice about 

laugh tracks in traditional, multi-
camera sitcoms. The laugh track 
can be an over-
used, frequently 
unnecessary 
aural element on 
TV that strives to 
elevate a show’s 
humor 
but 

instead becomes 
too 
distracting 

for its own good. 
CBS’s 
“Mom” 

and NBC’s “The Carmichael 
Show” are currently some of the 
only TV comedies with a laugh 
track that manage to subvert 
traditional sitcom standards by 
incorporating socially conscious 
themes and emotionally involved 
characters into their plots. Netf-
lix’s newest sitcom “The Ranch” 
has the potential to do the same, 
but it first needs to learn how to 
escape the dreadful quality of the 
laugh track. And then some.

Balancing on a tricky tight-

rope between ribald comedy and 
melodrama, “The Ranch” centers 
around the dysfunctional Ben-
nett family. Considering its con-
servative undertones, you might 
expect “The Ranch” to take place 
somewhere in the South, but the 
show is surprisingly set in the 
swing state of Colorado. Regard-
less, everything about the show 
screams red state values, from the 
country-themed opening credits 

to the good ol’ American town 
backdrop. Ashton Kutcher (“Two 
and a Half Men”) and Danny Mas-
terson (“Men at Work”) reunite 
from their “That ’70s Show” glory 
days as the two dysfunctional 
Bennett brothers — swagger-
ing Colt and sarcastic Jameson 
“Rooster,” respectively. After six 
years apart from his stern father 
Beau (the stellar Sam Elliott, 
“The Big Lebowski”), Colt returns 
home to make amends while try-
ing out for the local football team. 
Colt’s endearing mom Maggie 
(Debra Winger, “Rachel Getting 
Married”) also comes back into 
the family picture after Colt pre-
sumed her and Beau to be separat-
ed, but that they are in fact seeing 
each other again. 

While most of “The Ranch” 

’s humor is crass and childish 
— there’s a recurring pee joke 
and jab at Ugg boots in the first 
episode “Back Where I Come 
From” — there are a few instanc-
es of witty dialogue, especially 
when it involves a cuss word or 
two. “The Ranch” benefits from 
allowing its characters to curse, 
a factor that obviously wouldn’t 
work in the sanitized confines 
of network and standard cable 
censorship. Because Netflix is a 
great platform to showcase TV 
programs with explicit content, 
“The Ranch” has the opportunity 
to be a raunchy family sitcom à la 
HBO’s short-lived “Lucky Louie.” 
Yet it still suffers from the strains 
of ordinary sitcom tropes, even 
with sitcom veterans Kutcher 
and Masterson at the helm of the 
show’s acting and executive pro-
ducing. They don’t make nearly as 
much of an effort as Elliott, whose 
charismatic 
Southern 
drawl, 

bushy mustache and strong emo-
tional range are enough to make 
him stand out. In addition to the 
show’s god-awful laugh track, the 
comic timing of almost everyone, 
except Elliott, is way off, with 
each character spewing rote joke 
set ups and predictable punchline 
after punchline. The only hilari-
ously down to earth line in “Back 
Where I Came From” comes dur-
ing a nice scene between the Ben-
netts during a rainstorm in the 
end of the episode, when Maggie 
utters, “You know, if someone 
took a picture of us, you’d never 
know how fucked up we really 
were.”

Even with the comedic quali-

ties dragging the show down, 
“The Ranch” could be a mild suc-
cess if it continues to highlight 
the faults of its characters and 
the family tensions that reside 
underneath the surface. Unlike a 
lot of Kutcher’s previous sitcom 
characters, his role as Colt feels 
more mature, with the character 
occasionally making dumb deci-
sions but also taking responsibil-
ity for his actions. Despite being 
in his 30s and having gone to 
Florida State University to play as 
a backup quarterback, Colt isn’t 
back in Colorado just to try out for 
football, but to regain a trusting 
bond with Beau. If it weren’t for 
the talent of Kutcher, Masterson, 
Winger or Elliott, “The Ranch” 
would also have trouble finding 
some form of dramatic depth and 
seriousness.

Like Colt, “The Ranch” still has 

some growing up to do. But with 
the right tools and mindset, the 
show has the ability to come back 
from its mistakes and find a way to 
make things right again. 

B-

The 
Ranch

Series Premiere

Netflix

By MARIA ROBINS-SOMER-

VILLE

Daily Arts Writer

The United States currently 

incarcerates 2.2 million people, 
a number that has increased 
fivefold in the 
past thirty 
years. There 
are currently 
40,000 indi-
viduals incar-
cerated in the 
state of Mich-
igan. In con-
junction with 
a series of 
lectures, art 
exhibitions 
and other 
events hap-
pening locally 
this spring 
through the 
Humanize 
the Numbers project, the Uni-
versity’s Prison Creative Arts 
Program’s annual Exhibition 
of Art by Michigan Prisoners 
sheds light on the experience 
of being incarcerated and the 
ways in which humanity can be 
restored in the face of a system 
highly based on punishment.

In working with the PCAP 

over the past two decades, Art 
Prof. Janie Paul has helped to 
give a creative voice to such 
populations often silenced by 
a life behind bars. She founded 
the PCAP Art Show with her 
husband Buzz Alexander in 
1996.

Paul said her observation of 

the injustice in the country’s 
system of incarceration, cou-
pled with her experience and 
identity as a visual artist led to 
her involvement with PCAP.

“It turned out the first year 

that it was so compelling that 
we made it an annual event,” 
Paul said.

She collaborated with cura-

tors Sari Adelson and Charlie 
Michaels, a project coordinator 
in the Stamps School of Art & 
Design, Adelson said the cura-
torial timeline for the project is 
exhaustive.

“The very first step is that 

we have to get approval from 
the Department of Correc-
tions,” Adelson said. “And once 
we get that we send out a letter 
to all of the people who were 
in the show the year before, 
letting them know the show 
is going happen, letting them 
know what the theme is going 
to be ... (then) we contact the 
special activities director at 
each of the facilities to set up 
a date and time for us to physi-
cally come and visit and meet 
with the men or women to see 
their work and then make our 
decisions.” 

“The artwork then goes 

through a process of being pho-
tographed and matted and then 
installed,” Paul added.

Adelson highlighted a piece 

called Cerca Trova, a large, col-
orful and detailed watercolor 
by a prisoner of something 
the inmate calls “Little Rik’s 
World.” Amid the chaotic nar-
rative scenes of his artwork, he 
always paints himself, “Little 
Rik,” a small boy with a beret 
and a magenta crayon, into his 
pieces.

“He’s telling a really in-

depth story. He uses a lot of 
his personal history and also 
cryptographs and linguistics,” 
Adelson said.

“His work is happy, it’s 

humorous. It’s also sad. It’s 
cynical. It’s political,” she con-
tinued. Amid the hundreds of 
signs, buildings, humans, ani-
mals and other creations Rik 
has included, Adelson added 
that Rik even painted a cartoon 
of her into the painting. 

Although the process starts 

months before the show opens, 
the curators make the visits to 
30 prisons included in the proj-
ect during January and Febru-
ary, which Paul noted was also 
challenging. 

The group makes on average 

two trips to the facilities each 
week during the winter, with 
some trips to farther parts of 
the state taking a whole week-
end. The curators also collect 
art from prisons in the Upper 

Peninsula, a trip that can take 
four or five days.

“What’s challenging is that 

you know that, especially in 
the prisons that are further 
away from Ann Arbor that 
aren’t getting a lot of regular 
programming from us. A lot 
of these artists have waited 
an entire year to have this 
one five-to-ten minute 
conversation with you and 
you can feel that and I’m 
really aware of that going in,” 
Michaels said.

Although visiting up to three 

or four facilities in a single day 
can be emotionally draining, 
Paul said is also “exhilarating 
and inspiring.”

He pointed to a particularly 

impressive piece done by art-
ist Samantha Bachynski of an 
anatomically correct, life-sized 
crocheted skeleton. He says 
that Bachynski wasn’t allowed 
to have it fully assembled in 
her cell and waited until all the 
pieces were completed to put 
the whole sculpture together. 
When he visited her, she 
showed him 50 pages of hand-
written diagrams.

The curators emphasized 

that face-to-face interaction 
with the artists is important, 
noting that it’s the first year 
that all of the prisons have 
allowed them to meet individu-
ally and in groups with all of 
the 420 artists in person, as 
opposed to simply collecting 
the art. 

Although many of the pieces 

in the exhibition reflect years 
of experience, most of the 
artists have never received 
formal training. In many of 
the facilities, though, cura-
tors said there is a culture of 
people educating each other 
and working within the lim-
ited scope of what’s available 
inside. One man writes letters 
to his mother to send him pic-
tures of kitchen sinks or house-
hold objects he wants to paint. 
Another, D’Artagnan Little, 
created sculptures of presi-
dents using only toilet paper, 
soap and pigments lifted from 
magazine pages.

“A lot of people will say 

that they loved art when they 
were a kid,” Paul said. “They 
loved to draw but it never went 
anywhere. They didn’t get the 
classes; they didn’t get the sup-
port.”

The exhibit tries to incor-

porate the artists as much as 
possible. The art is for sale, 
and the artists name their 
own prices. Aside from the 21 
percent tax on the pieces, all 
proceeds go directly back to 
the artists. In addition, the art-
ists designate a family member 
or friend to receive the art for 
them if it doesn’t sell.

Additionally, the exhibit 

includes a guestbook for visi-
tors to sign, leaving notes or 
feedback on the art. The entire 
book is then copied and sent to 
the artists.

“The project goes on all year 

round because it’s very impor-
tant for us to be including the 
artists in many ways since they 
can’t be here,” Paul said. “After 
the show is finished we make 
a video in which we include 
every piece in the show. This 
video includes shots of the 
reception and is sent to each 
prison where it is shown over 
closed-circuit TV.” 

Paul said one of his favorite 

pieces was a self-portrait titled 
“Orange Nation” by R. DeJe-
sus, a man serving 60 to 100 
years for distribution of crack 
cocaine and having trouble 
getting a lawyer. It depicts the 
straight-on view of the artist 
from the shoulders up in the 
foreground, the shadows of 
barbed wire crisscrossing his 
face. The background is filled 
with fellow inmates, talking 
and working out; one interacts 
with a prison guard whose face 
is obscured, another is elderly 
and in a wheelchair. If it were 
a photograph, DeJesus would 
stare directly into the camera 
lens, his expression somber and 
silent.

“He’s asking us, I think, to 

do something about it,” Paul 
said.

PCAP showcases art 
by the incarcerated

EVENT PREVIEW

21st 
Annual 
Exhibition 
of Art by 
Michigan 
Prisoners

Until Apr. 6

Duderstadt 

Gallery

Free / Art for 

Purchase

WE CAN WORK WORK WORK 

FROM HOME. SOME OF THE TIME.

Email ajtheis@umich.edu and katjacqu@umich.edu for 

information on applying to Daily Arts

