Classifieds

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

ACROSS
1 Oodles and
oodles
6 Airport idlers
10 Poetic foot
14 Kemper of
“Unbreakable
Kimmy Schmidt”
15 Wintry coating
16 Tennis court
surface
17 Work with a loom
18 How some
sloganed T-shirts
should be washed
20 Toddler’s taboo
21 Ocho minus
cinco
22 More than rotund
23 Baltic Sea capital
25 RC or Pepsi
27 1998
Bullock/Kidman
film involving
witchcraft
33 Metal-rich
deposits
34 Chicken chow __
35 Catch
37 Dollar competitor
38 High in the sky
40 Flag Day month
41 Maiden name
intro
42 Clicker’s target
43 Not at all excited
44 Going to the
grocery store, the
bank, etc.
48 Word on a
shoppe sign
49 Data set average
50 “Gone With the
Wind” family
name
53 Uno card
55 Knight’s weapon
59 Unsportsmanlike
behavior
61 Divided island of
Southeast Asia
62 Twistable cookie
63 Ritz-Carlton rival
64 Scent
65 Chestnut horse
66 “And away __!”
67 Some speeches
open with them
... as do this
puzzle’s four
longest entries

DOWN
1 Mended using
stitches, with “up”
2 Elizabeth Taylor
role, informally

3 Economist
Greenspan
4 Acts like
Elizabeth Taylor?
5 “Understand?”
6 Former French
president
Jacques
7 Top-notch
8 Symbol for the
lower piano
music part
9 __ Lanka
10 Swelling reducer
11 Medicinal
houseplant
12 Rodent in a
German lab
13 Data unit
19 Ken or Daria of
financial
journalism
21 __ Friday’s
24 “__ all good”
26 Leave out
27 Word after floor
or flight
28 Mars explorer
29 “So long!” along
the Seine
30 In the middle of
31 Preserve, as
ashes
32 Did some
wickerwork
36 Hotel count

38 Corrosive liquid
39 In need of a
friend
40 Surrealist painter
from Barcelona
42 Subsurface
woodwork
decoration
43 Bikini top
45 Big name in
antivirus software
46 Estevez of “The
Breakfast Club”

47 Hollywood agent
50 Scent
51 “Big Hero 6” hero
52 Neck of the woods
54 Classic arcade
game Donkey __
56 Every which way
57 Obedience
school command
58 Historic periods
60 Comics punch
sound
61 __ Mahal

By Neville Fogarty
©2016 Tribune Content Agency, LLC
09/13/16

09/13/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, September 13, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Tuesday, September 13, 2016
Arts
The Michigan Daily — michigandaily.com

‘Virginia Woolf’ 
a timeless classic

Youthful film based 
on play rang in the 
“New Hollywood” 

movement

By DANIEL HENSEL

Daily Arts Writer

In “From the Vault,”Daily Arts 

takes a new look at old films.

“Who’s Afraid of Virginia 

Woolf?” was inevitable.

The play on which the film 

is based, written by the young 
playwright Edward Albee, a 
frequent observer of modern 
life, had won the Tony for Best 
Play three years before. Its two 
leading actors, Elizabeth Taylor 
and Richard Burton (both in 
“Cleopatra,” which was, at that 
date, the most expensive film 
ever), were frequently at the 
center of a media circus that 
followed their storied romance. 
And the film’s director, Mike 
Nichols, had just won two Tonys 
for directing back-to-back, and 
won a Grammy a few years before 
for his riotously funny comedy 
album with partner Elaine May.

1966, the film’s year of release, 

also proved to be a bountiful year 
for modern art, an exercise in 
questioning and re-evaluating 
the subjects and styles of our 
artistic creations. It was the year 
of “Revolver” and “Pet Sounds.” 
Pop art masters Roy Lichtenstein 
and Andy Warhol were at the top 
of their game and the Whitney 
Museum, a modernist mecca, 
opened in New York City. The 
building was designed by Marcel 
Breuer, a luminary figure in 
modern architecture who had 
developed an expertise in strange 
forms 
and 
materials 
before 

many of his contemporaries had 
even begun to dabble. Truman 
Capote released “In Cold Blood,” 
perhaps the Southern Gothic 
literature legend’s most famous 
work, which practically created 
the True Crime genre.

The cups of the collective arts 

were overflowing, except for 
film. By contrast, studios were 
desperately clutching onto the 
big movie model, continuing to 
rely on the old model of epic-
scale musicals and war films. 
But as the baby boom generation 
came of age in the mid-1960s 
and their taste began to dictate 
the future of art, film further 
declined. Studio heads began 
taking risks on unproven young 
directors: Scorsese and Allen, 
Spielberg and Friedkin.

The first of these directors 

was Mike Nichols, who in the 
summer of 1966 released his 
debut film, “Who’s Afraid of 
Virginia Woolf?” After a party 
of academics and their partners 
in a quiet college town, one such 
couple, 
Martha 
and 
George 

(Taylor and Burton), invites a 
younger couple, Nick (George 
Segal, “A Touch of Class”) and 
Honey (Sandy Dennis, “The Out-
of-Towners”), to their house in 
the wee hours of the morning. 
Unbeknownst 
to 
the 
young 

couple, George and Martha’s 
marriage brings volatility to 
the extreme, with each hurtling 
abuse towards the other in an 
epic power struggle that erupts 
in front of their guests. George 
is plagued with feelings of 
insecurity, which Martha uses 
like a twisting knife in his back. 
George fights back, sometimes 
with success, sometimes with 
utter embarrassment. Rinse and 
repeat.

Taylor and Burton achieve the 

impossible by simultaneously 
slipping into their respective 
roles with an ease unmatched 
in 
film 
history 
while 
still 

maintaining 
their 
reputation 

as two of the greatest actors of 
their generation, if not all time. 
It takes talent to switch from 
grand-scale epics, in which the 
camera’s bravura can replace any 
acting deficiencies with elegant 
screen presence, to an intimate 
(and hardly flattering) character 
study. Yet Taylor and Burton 

don’t just succeed — they rewrite 
the rules of acting.

The 
dialogue 
of 
“Woolf,” 

undoubtedly the film’s defining 
feature, 
crackles 
with 
the 

same vivacity and anger at the 
larger 
sociopolitical 
system 

that afflicted much of the youth 
in 1966, even though the film 
centers on two adults. George 
and Martha’s verbal crusades 
against one another corrupt Nick 
and Honey into questioning their 
own marital vows.

That focus on the immature 

“grown-ups” in the room, and 
their 
pernicious 
influence 

on the people around them, 
is 
precisely 
what 
defines 

“Woolf” as the advent of New 
Hollywood. Young directors 
were dissecting cultural norms 
— including the idea that 
married people always love 
each other — which provided 
the foundation for the world in 
which they grew up. I presume 
nothing about the marital ties 
between the parents of Mike 
Nichols or Edward Albee, but 
“Woolf,” despite the extremity 
to which its characters take 
their troubles, is more truth 
than exaggeration.

“Who’s Afraid of Virginia 

Woolf?” is as much a product of 
its time — the film brims with 
youthful doubt over its married 
protagonists — as it is timeless. 
Despite the film’s black and 
white 
cinematography 
and 

character close-ups that scream 
“Old Hollywood,” it could be 
released today and still be just 
as affecting.

FROM THE VAULT

DuVernay’s ‘Sugar’ a 
cinematic TV debut

By NABEEL CHOLLAMPAT

For the Daily

“Queen Sugar” understands 

that there’s just something 
about Louisiana. It might be the 
lush 
bayou 

landscape, or 
the 
brightly 

colored build-
ings populat-
ing the French 
Quarter, 
or 

even the vast 
expanse 
of 

green 
farm-

land, but not 
since “Treme” 
or 
“True 

Detective’s” 
first 
season 

has a series 
utilized the unique topography 
of this state so gorgeously. This 
isn’t to say, as they often do, 
that “Louisiana is its own char-
acter” in “Queen Sugar,” but 
rather that it provides a visual 
foundation for a show that is 
decidedly, remarkably visual.

Based on Natalie Baszile’s 

novel of the same name and 
premiering two episodes over 
the course of two days, “Queen 
Sugar” is of the classic “Six 
Feet Under” plot variety: the 
three Bordelon siblings must 
return to manage their child-
hood home, a plantation in 
Louisiana, after their father 
passes away. The series arrives 
with clear prestige ambitions 
and star power: it was created 
and developed by the famously 
Oscar-nomination-snubbed 
Ava DuVernay (“Selma”) and 
produced by Oprah Winfrey. It 
airs on Oprah’s eponymous net-
work. Laudably, the adaptation 
will also feature an all-female 
directorial team for its 13-epi-
sode first season. But, above 
all else, DuVernay proves to be 
“Queen Sugar” ’s real star.

DuVernay, who wrote and 

directed the pilot, possesses 

an incredible eye for shot com-
position; she understands how 
breathtaking the natural back-
ground and light of her setting 
is, and doesn’t force the issue 
when she doesn’t have to (look-
ing at you, “Mr. Robot”). It’s 
also simply a clinic in shoot-
ing, framing and lighting Black 
actors: the first shot of the 
series opens on Nova’s (Rutina 
Wesley, “True Blood”) dread-
locked hair, then takes its time 
photographing her body as she 
wakes up in the just-barely-
there light of New Orleans at 
dawn. It’s a gorgeous and pow-
erful opening statement for a 
series that operates primarily in 
the spaces between lines of dia-
logue, in those moments when 
both nothing and everything is 
said all at once.

There 
are, 
unfortunately, 

some missteps here and there. 
The writing does not often live 
up to the direction, with some 
generously 
served 
melodra-

matic clichés; a clumsily staged 
scene at a basketball game in 
the pilot doesn’t hit quite as 
hard as it should have, and 
there are an unfortunate num-
ber of distracting musical cues. 
For a show seemingly invested 
in silence and visual storytell-
ing, the errant, “Friday Night 
Lights”-esque twang of a guitar 
or a poorly judged soundtrack 
choice undermines the poten-
tial raw power of a scene’s 
intent.

The show’s three principals, 

however, are considerably top-
notch. Wesley shows off her 
formidable chops as Nova, the 
ostensibly strong sibling with a 
few secrets that might just ruin 
her projected emotional for-
titude. Dawn-Lyen Gardner’s 
(“Heroes”) Charley is the fam-
ily’s black sheep, the wealthy, 
successful wife of a Los Ange-
les basketball star who also 
hasn’t visited her family in 
years. Charley’s plot details 

are the most melodramatic, 
but her story contains snippets 
of interesting and potentially 
fascinating ideas: specifically, 
at the story’s beginning, her 
conversation with some other 
players’ wives about whether 
they should star in a “Real 
Housewives”-type 
reality 

series or not portends some the-
matic promise. Kofi Siriboe 
(“Awkward”) stars as Ralph 
Angel, a name that couldn’t be 
better. His understated perfor-
mance of a character that, in 
another creator’s hands, would 
have been destined to become a 
trope, is quietly heartbreaking. 
DuVernay, as mentioned before, 
finds interesting and excit-
ing ways of shooting her three 
leads, an impressive techni-
cal achievement that should be 
noticed. And, of course, there’s 
an adorable toddler, which is a 
net positive for any show.

“Queen Sugar” will most 

often be compared to other 
family dramas like “Parent-
hood” or “Friday Night Lights,” 
but its unique vision and scope 
will hopefully coax it out from 
under their towering shadows. 
“FNL,” too, used its camera in 
interesting, if sometimes jar-
ring, ways, but “Queen Sugar” ’s 
cinematography is currently the 
most impressive thing about it. 
Underwhelming writing aside, 
its merits are too abundant 
to ignore completely. “Queen 
Sugar” shows great potential to 
mature into something refresh-
ing, something cinematic — 
something great.

1966 was a 
year of new, 
revolutionary 
modern art.

B

Queen 
Sugar

Series Premiere 

(2 episodes 

reviewed)

Tuesdays 

at 8 p.m.

OWN

OWN

Sugar, we’re going down.

TV REVIEW

There’s just 
something 

about Louisiana.

THERE WON’T BE ANY FREE 

FOOD.

BUT THERE WILL BE PLENTY OF 

FREE LOVE.

COME TO MASS MEETINGS AT 420 

MAYNARD!

SUNDAY, SEPT. 18 AT 7 P.M.

THURSDAY, SEPT. 22 AT 7 P.M.

Email ajtheis@umich.edu and katjacq@umich.edu 

for information on applying to Daily Arts!

