The Michigan Daily — michigandaily.com
Arts
Monday, April 11, 2016 — 5A

Classifieds

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

ACROSS
1 Spaghetti or ziti
6 In different places
11 What a
steamroller
steamrolls
14 Moral standard
15 Capital of Yemen
16 Thrilla in Manila
winner
17 Understand,
finally
19 Caboodle go-with
20 Bill at the bar
21 Tehran native
22 German auto
engineer Karl
23 Zone out
27 Mined rock
28 Ticklish Muppet
29 Boom’s opposite
32 ID card feature
35 Point de __:
opinion, in Paris
38 Revival leader’s
query ... and hint
to the starts of
17-, 23-, 49- and
60-Across
42 Corp. ladder
leader
43 En __: as a
group
44 Spoken
45 WWII female
enlistee
47 Org. with a “100
Greatest Movie
Quotes of All
Time” list
49 Photographer’s
instruction
56 Had a bawl
57 Track jockey, e.g.
58 Building wing
59 Swiss peak
60 “Didn’t think I
could do it, did
ya?!”
63 Under the
weather
64 Speck in the
ocean
65 Beethoven’s
“Für __”
66 Lao-__: Taoism
founder
67 Heart rate
68 Thin coins

DOWN
1 Ones who won’t
leave you alone
2 Really bugged
3 Biblical queen’s
land

4 Little songbird
5 More sore
6 Lion of Narnia
7 Sherwin-Williams
product
8 Cardio procedure
9 Word of support
10 Skin art, briefly
11 Seek shelter
12 Flared skirt
13 Big name in
hotels and
crackers
18 Buffalo’s lake
22 Emeril catchword
24 __ de boeuf:
French roast
25 Alien-seeking org.
26 Underhanded plan
29 Secretly keep in
the email loop,
briefly
30 Abu Dhabi’s fed.
31 Suspected
McIntosh relative
with pure white
flesh
32 TD’s six
33 Gives birth to
34 What borrowers
do
36 __ Today
37 Subj. for some
green-card
holders

39 Former auto
financing co.
40 A pop
41 Roulette color
46 Verizon rival
47 Aid in a felony
48 Solidified, as
plans, with “up”
49 H.G. who wrote
“The War of the
Worlds”
50 Internet forum
troublemaker

51 Backpacking
outings
52 Online social
appointment
53 Jeans material
54 Admission of
defeat
55 Cary of “Glory”
56 Cool one’s heels
60 One of a kissing
pair
61 Buckeyes’ sch.
62 Yale Blue wearer

By Nancy Salomon
©2016 Tribune Content Agency, LLC
04/11/16

04/11/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, April 11, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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‘O.J.’ nails it on finale

By SAM ROSENBERG

Daily Arts Writer

What a season it has been. 

“The Verdict,” the miniseries 
finale of “American Crime Story: 
The People v. 
O.J. 
Simpson,” 

wrapped up an 
outstanding 10 
episodes 
that 

covered almost 
every 
signifi-

cant detail of the 
1994 O.J. Simp-
son trial, from 
the 
invasive 

media 
cover-

age to the tense 
atmosphere surrounding current 
racial 
politics. 
Dramatizations 

and small inaccuracies aside, Ryan 
Murphy and Co. have built a mas-
terful depiction of one of the most 
infamous cases of the 20th cen-
tury. What’s even more impressive 
is how the show transformed “The 
Verdict” into a stellar, breathtak-
ing ending, even when we already 
knew what the outcome was going 
to be.

Other than the actual verdict 

itself, the finale touches on sev-
eral important aspects regard-
ing the trial, particularly with the 
closing statements of prosecution 
duo Marcia Clark (Sarah Paulson, 
“Carol”) and Christopher Darden 
(Sterling K. Brown, “Supernatu-
ral”) and defense attorney Johnnie 
Cochran (Courtney B. Vance, “Joy-
ful Noise”). Considering how all 
three lawyers were able to develop 
compelling points for and against 
O.J. Simpson, it’s amazing to see 
how their arguments make the 
case even more complex. Addition-
ally, it provides another showcase 
for Paulson, Brown and Vance’s 
consistently outstanding perfor-
mances.

After the statements are fin-

ished, the remaining jury members 
are left to determine O.J.’s fate. 
The sequence of the trial’s ulti-
mate decision between the jury 
is telling of what the case is also 
really about: race. Following the 
horrific Rodney King beating and 
the subsequent 1992 L.A. riots, the 
O.J. trial divided both Black and 
white americans. In terms of the 
actual decision, this racial divide 
reigned true as well: the Black 
jury members all believe O.J. is 
innocent, while the two remaining 
white members think he is guilty. 
Whether or not this was actu-
ally what happened, it’s still very 
unnerving to watch. However, 
with only four hours until final-
izing their decision, this is where 
things get interesting.

The titular climax of “The Ver-

dict” encompasses pretty much 
every reaction possible before, 
during and after O.J. is found not 
guilty for the murders of Nicole 
Brown Simpson and Ron Goldman. 
Thanks to some fantastic editing 
and clever use of archival footage, 
a split-screen displays the polar-
ized response from the lawyers, 
the courtroom audience and those 
watching on TV screens around 
the country. The Black community 
is shown as relieved and cheer-
ing in the streets, while the white 
community is in total disbelief and 
shock. Though the verdict didn’t 
incite a resurgence of the ‘92 riots, 
there’s no doubt that the trial left 
some residues of tension among 
Americans.

Once the dust settles, “The 

People v. O.J. Simpson” captures 
some of the final glimpses of its 
characters, strengthened espe-
cially by the tremendous effort 
from Murphy’s direction and Scott 
Alexander and Larry Karasze-
wski’s writing. First, Darden and 

Cochran share a passive aggres-
sive exchange about the distortion 
of the truth behind the case and 
its lasting effect. Cochran believes 
Americans are finally recogniz-
ing Black civil rights, but Darden 
counters him, saying that “police 
in this country will keep arresting 
us, keep beating us, keep killing us” 
and tells him straightforwardly 
that Cochran hasn’t “changed 
anything for Black people here.” 
This, of course, is a sobering truth 
that continues to resonate today 
with police brutality against Black 
people in America. Later, Darden 
meets up with Clark and the two 
discuss their frustrations with not 
bringing justice to Nicole and Ron. 
But even in their disappointment, 
they still have each other.

Then comes O.J. (Cuba Good-

ing Jr., “Jerry Maguire”), relishing 
in his freedom but realizing that 
things are different now. He’s no 
longer “The Juice” that every foot-
ball fan loved; he’s still in shackles. 
The final seconds of “The Verdict” 
concludes with a haunting image 
of O.J. walking alone in his back-
yard and hopelessly gazing at the 
marble statue of himself, knowing 
that his reputation will be forever 
tarnished by this murder, regard-
less of his race, fame or fortune. 
Coupled with Bill Withers’s “Ain’t 
No Sunshine” scoring an epilogue 
montage of each character, “The 
People v. O.J. Simpson” finishes 
on a rather devastating, eerie note: 
pictures of a smiling Nicole Brown 
Simpson and Ron Goldman, igno-
rant to how their deaths will be 
taken in vain.

The O.J. verdict may not have 

brought justice, but “American 
Crime Story” shined a light on 
something in modern history 
that still matters today. And I’ll 
be damned if it doesn’t sweep the 
Emmys. 

FX

From ‘Snow Dogs’ to ‘O.J.’

‘Some’ stars talk

By MADELEINE GAUDIN

Daily Arts Writer

Last Thursday, I got the chance 

to sit down with Glen Powell, 
Wyatt Russell and Quinton John-
son, the stars of “Everybody Wants 
Some!!” the latest ode to youth 
from Texas filmmaker Richard 
Linklater (“Boyhood”).

The film has been billed as a 

“spiritual sequel” to Linklater’s 
1993 cult classic “Dazed and 
Confused,” but there wasn’t any 
pressure for “Everybody Wants 
Some!!” to live up to its big brother.

“If you try to be Matthew 

McConaughey or Ben Affleck or 
Parker Posey … then you’re setting 
yourself up for failure,” Powell, 
who plays Finn, a veteran player 
who takes the awkward freshman 
under his wing said.

Russell, who plays senior trans-

fer student Willoughby, added that 
“almost everything is a spiritual 
successor to everything [Linklat-
er] does. When you go back and 
you watch all his movies there’s 
a through line in them that’s his 
mind.”

Much like “Dazed” however, 

many of the actors in “Everybody 
Wants Some!!” were behind the 
camera for the first time. Johnson, 
who plays eager freshman Dale, 
was studying musical theater at 
the University of Texas when he 
got cast in the film. It was his first 
project outside of student films, but 
it won’t be his last.

“When you work with someone 

like Richard Linklater and when 
he takes notice of you, other people 
notice that notice,” he said.

Johnson plans on taking that 

momentum and running with it, 
whether that means more films or 
going back to the stage.

“If I could be in ‘Hamilton’ for 

the next 40 years I would do it,” he 
said.

The boys bickered back and 

forth for a minute about Johnson’s 
passion for “Hamilton,” showing 
me a Snapchat video of Johnson 
performing “Guns & Ships” from 
the musical much to the dismay of 
his castmates. As they tease and 
joke with each other, they fall into 
a rhythm similar to that of their 
characters.

“Everybody had about five 

percent of who they were in their 
character,” Russell said. “But we’re 
actors. Sometimes people forget 
that tapping into that part of your 
personality is something that is 
important for the character.”

The cast had much of the same 

chemistry on and off screen, due in 
large part to extended time spent 
in rehearsals at Linklater’s ranch.

“Most of the time you’re film-

ing, people are meeting on day one. 
Rehearsal is such a luxury,” Powell 
said.

During rehearsals, the cast 

played baseball, read scripts, went 
to dance lessons and, of course, re-
watched “Dazed and Confused.” 
Powell noted that the time spent 
together before shooting “allowed 
for a lot of collaboration and a lot of 
trust.”

Despite 
the 
unprecedented 

comradery and the abundance of 
party scenes in the film, the actors 
weren’t drinking as much Lone 
Star as their characters.

“You can’t get wasted and go do 

a scene. It doesn’t work,” Russell 
said.

“I mean this is a job, we’re doing 

a job,” Johnson added. “But, when 
you get this kind of comradery 
together and you get someone like 
Richard Linklater … it’s nothing 
but fun.”

Despite the decades of separa-

tion, the college experience of the 
film felt very authentic to Powell.

“The more things change, the 

more they stay the same,” he said 
with a laugh.

The three said a lot of that 

authenticity can be attributed to 
collaboration between Linklater 
and the cast on scenes like a party 
at the baseball house.

“Rick (on the party stuff) really 

let us collaborate,” Powell said. 
“He was like OK … what were your 
favorite memories of college, what 
did you do in college, what did he 
do in college … and you start to real-
ize that nothing’s really changed.”

They are glad some things have 

changed, however.

“You don’t see dudes wearing 

short shorts anymore,” Johnson 
said.

“Don’t bring that back. Nobody 

wants that,” Russell said. The boys 
all laughed in agreement.

But for them, the short shorts 

and mustaches aren’t really the 
takeaway from this movie.

“In college … there are paths 

that are open to you, and who are 
you going to become,” Powell said. 
“That’s the nature of being in col-
lege, you kind of think you know 
who you are, but you really don’t.”

“I think mistakes are the 

essence of life, you know,” he con-
tinued, a mantra that seems to ring 
especially true for this film. “A lot 
of the best things you see in this 
movie are outright mistakes.”

However, he also had a note of 

caution — make mistakes but put 
down your phone.

“In college, with these phones, 

mistakes aren’t really forgivable,” 
he said.

And Russell’s parting advice for 

college students, “No nudes, no 
nudes.”

Alright, alright, alright.

FILM INTERVIEW

Student films shown

By REBECCA LERNER and 

MADELEINE GAUDIN

Daily Film Editor and Daily Arts 

Writer

On Thursday night, students 

trekked through an unusual and 
annoying April snowstorm to con-
gregate in the lobby of the Michi-
gan Theater. M-agination Films, 
an entirely student-run production 
company at the University, was 
celebrating their 15th year of film-
making with a festival showcasing 
12 original short films.

M-agination prides itself on 

being one of the most open film 
groups on campus — they’ll consid-
er any project and people from any 
major, not solely English or Screen 
Arts and Cultures. The myriad of 
genres represented in the festival 
illustrated this academic diversity, 
as the films ranged from sketch 
comedy to dance-based footage.

Some filmmakers used the short 

film format to experiment with 
less conventional technical ele-
ments, while others were more 
interested in achieving a narrative 
arc in a short span of time. Notably, 
a film directed by LSA sophomore 
Gabriel Wolfe titled “Corridor” 
was shot as one long take, using 
sound to carry its single character 
through time and space.

The use of silence was a com-

mon trend among the more tra-
ditionally narrative films. Films 
like “Bass” or “After” used edit-
ing rather than dialogue to tell 
their stories. “After” follows the 
relationship between two women 
from when they first start dating 
to their breakup, without having 
the characters speak to each other 
once.

LSA 
sophomore 
Jennifer 

Emery, a Screen Arts and Cultures 
major and an associate producer 
at M-agination, helped choose the 
scripts to be produced the semes-
ter. But Emery also got the chance 
to work on some of the projects 
herself.

Emery particularly enjoyed the 

short she worked on, called “Mid-
night Snack,” also directed by 
Wolfe.

“Midnight Snack … was a really 

cool concept,” Emery said. “It was 
all shot from inside a fridge. It was 
great seeing the audience’s reac-
tions.”

Another one of the stand-out 

films, “February 14th, 1992,” truly 
exhibited the distinctive nature 

of the festival. The senior thesis 
project of director and LSA senior 
Joe Biglin, the experimental film 
flashed quickly through time 
and space without concern for 
traditional narrative or continu-
ity. It felt vaguely like a film you’d 
watch in a theory class, with obvi-
ous cultural value and messages 
that feel clear but also sometimes 
totally out of intellectual reach. 
It jumped through stretches of 
the life of a college-aged man in 
seconds, intriguing us with small 
tastes of the film’s strong and bit-
tersweet emotions. The shortened 
teaser shown at M-agination was 
just part of the larger film that will 
be shown at The Michigan The-
ater April 19th as part of the U-M 
Screen Arts and Cultures student 
thesis screening.

LSA sophomore Fahim Rah-

man, also an M-agination associ-
ate producer, felt that “February 
14th, 1992” achieved the complex-
ity in nature that it set out to do.

“I loved Joe Biglin’s piece,” Rah-

man said. “I heard other people 
saying that it was experimental 
film that was actually enjoyable.”

The last project shown was 

“Interns,” a hilarious group of 
sketches revolving around several 
college kids at an unpaid intern-
ship at a production company. In 
its dynamic and absurd humor, 
“Interns” felt like a younger, more 
hopeful “Workaholics.” At 18 min-
utes, it was by far the longest proj-
ect, but it seemed to speed by at an 
entertaining pace that some of the 
three- to five-minute films could 
not match.

“I think ‘Interns’ was the most 

recognizable to audiences,” Rah-
man said, referencing other office-
based 
mockumentary 
shows 

and webseries. “The Office” and 
“Workaholics” have a similar 
energy, but “Interns” distinguish-
es itself through the well-written 
intrigue brought by its characters.

When the last film finished, the 

filmmakers, clearly distinguished 
by their formal attire and lack of 
snow-filled backpacks, gathered 
to received highly deserved con-
gratulations. The difficulty of bal-
ancing student life with an attempt 
to make a film to show at The 
Michigan Theater is a stressful, 
but beautiful and rare opportunity. 
Rahman said the uniqueness of the 
club’s flexible structure is what 
lends to its allure.

“You pick the (films) you want 

to work on, and then you see them 
on the big screen, The Michigan 
Theater,” Rahman said. “Seeing 
them in a theater is pretty special 
if you’re a student.”

EVENT REVIEW

A

American 
Crime 
Story

Season Finale

FX

