THERE’S A CROSSWORD ON THIS PAGE. DO IT. HAPPY WEDNESDAY! Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com ACROSS 1 Pour love (on) 5 Sledding spot 10 Work the aisles, slangily 13 Very familiar with 14 Not spontaneous 15 Howe’er 16 “Good Guys Wear Black” star 18 Haul to the shop 19 Sailor’s pronoun 20 Full of energy 21 Stereotypical Geek Squad employee 22 Mass-mailing tool 24 Post- performance celebration 27 Went astray 29 Pupil’s cover 30 Drawn-out account 31 Not as demanding 35 USN clerk 36 Stroke with a wedge 39 Take steps 42 Defiant retort 43 __-Seltzer 47 Touchdown spot 49 Log-shaped pastry 51 Display for lecture illustrations 55 “Siddhartha” author 56 Charitable gift 57 Instagram upload 59 “__ matter of fact ... ” 60 Young __: tykes, in dialect 61 Sofa decor 64 Shear (off) 65 Residences 66 __ Romeo 67 Onetime rival of Delta 68 Having a key, in music 69 Go against DOWN 1 Title for Prince William’s wife 2 The “thee” in “Get thee to a nunnery” 3 Seeing the sights 4 Letter-bottom letters 5 Dispassionate 6 Cocoon contents 7 Ungentle giants 8 Shar-__: wrinkly dog 9 Paper staff, briefly 10 Downright 11 Skimpy nightgown 12 Folksy greeting 14 NBC skit show broadcast from 30 Rock 17 Prince William’s wife 21 Scottish isle denial 23 Finger-clicking sound 25 A little laughter 26 Prefix with technic 28 Unhook, say 32 “Crikey!” 33 Sailor’s pronoun 34 Doctrinal suffix 37 Desktop with an AppleCare option 38 “Canterbury” story 39 Guilty 40 “Operators are standing by!” 41 Bygone weight- loss pills 44 French explorer who named Louisiana 45 Rude dismissal, in slang 46 Passage between buildings 48 AWOL seekers 50 Kenneth __, portrayer of Judge Lance Ito in “The People v. O.J. Simpson” 52 Baker’s protection 53 Valerie Harper sitcom 54 Item draped on a rack 58 Scout gps. 61 Skin pic 62 “True Detective” network 63 Stripling By Don Gagliardo and C.C. Burnikel ©2016 Tribune Content Agency, LLC 09/21/16 09/21/16 ANSWER TO PREVIOUS PUZZLE: RELEASE DATE– Wednesday, September 21, 2016 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis xwordeditor@aol.com WWW.CARLSONPROPERTIES.- COM 734‑332‑6000 FOR RENT Emma Donoghue’s bestseller “Room” captured the explosive desperation of a mother trying to get herself and her son out of a room. Her latest book, “The Wonder,” conveys the urgency to get into one. 11-year-old Anna O’Donnell has not had a bite of food or a sip of anything other than water since her birthday, or so she and her family claim. Lib Wright, a nurse who served under Florence Nightingale in Crimea, has been asked to watch the girl around the clock. Not nurse or diagnose her, but to see if the girl is indeed a miracle in the making. Lib is much more inclined to believe she will discover subterfuge, not the supernatural; she distrusts Anna’s parents, as well as the Catholic nun who has also been asked to watch the girl. But the longer Lib stays with Anna, increasingly bemused as to how the girl seems able to survive without food, the more she wants to protect her — from her parents, from those visiting their home in a tiny Irish village and leaving gifts as if Anna really were a miracle in the flesh, from the town neighbors who are suspicious too. Lib befriends William Byrne, a journalist who has been charged with discovering the truth about Anna as well. In his writing, he utilizes sardonic wit in place of information as Lib won’t let him near Anna — at first. Eventually, he wins Lib over, but whilst meeting Anna, the child wins him over. He also begins to care about her well-being in spite of himself, angry that no one wants to admit what he can clearly see — the girl is dying now, regardless if she was somehow managing to get food before what people are calling “the watch” started. Anna’s brother has been dead for a while; she is bent on getting her dead brother out of purgatory and into Heaven, but it isn’t clear to anyone but Lib how far Anna will go to achieve this goal. There is a painful family secret involved that breaks Lib’s heart; but when Lib discovers she’s not the first person to learn about it, and that previous people who knew have done nothing, her resolve is stiffened to break orders and help Anna, before it is too late. “The Wonder,” like “Room” or “Slammerkin,” is impossible to put down. (I read it all in one sitting, crying for about the last 30 pages). While the novel is more simply crafted than some of Donoghue’s other work, her undecorated but elegant prose sears the image of a dying girl in a room into your mind, Anna’s sweet raspy voice echos in your ear. The only aspect in the work that applies a little more pressure than it needs to is Lib’s struggle with navigating the differences between watching Anna and nursing her. It is abundantly clear that Lib, as a nurse, can’t help but try to get Anna to a healthier place. Watching Lib lose her grasp on ideas she has held close to her heart for years, due to Anna’s extraordinary innocence, piety and selflessness would be sweet if it weren’t so raw. As Anna softens the blunt edges of Lib’s beliefs, Lib is forced to confront the capacity for cruelty in others. Donoghue has pinpointed and pulled apart a paradoxical issue in this novel; she’s offering us a story in which a woman’s professional opinion and knowledgeable position is questioned on the grounds of her maternal feelings. Just when her voice matters most, it is willfully tuned out by the men in power, who have decided Anna’s fate as if she has already become nothing more than a legend, a tourist attraction, a sinless, blameless, voiceless symbol. “The Wonder” may have a somewhat happy ending, but Donoghue refuses to let readers forget the weight that’s placed on a tiny girl’s shoulders, the power of the ghost of redemption, and the sobering necessity to speak truth of the dead for the sake of the living. The book is a reminder that hope itself isn’t golden, untouched by clouds; it is bittersweet; it is the acknowledgment of sacrifice for the potential of and the belief in something better. ‘The Wonder’ explores the virtues of sacrifice BOOK REVIEW SOPHIA KAUFMAN Daily Arts Writer Author of ‘Room’ returns with another compelling drama about a starving Irish girl with a resilient spirit The Wonder Emma Donoghue Little, Brown and Company September 20 Lib is forced to confront the capacity for cruelty in others. A For the Love of Spock Michigan Theater Gravitas Ventures 6A — Wednesday, September 21, 2016 Arts The Michigan Daily — michigandaily.com CBS Eyebrows fleeky For 60 years, Mr. Spock has remained a cultural icon, an alien with an indescribable magnetism. Behind the arched eyebrows, Leonard Nimoy is equally influential as an actor and as an artistic Renaissance man. With “For the Love of Spock,” fans of “Star Trek,” Nimoy or pop culture lega- cies in general can look to the screen for two hours of gratu- itous eyebrow raises and perceptive analyses on the leg- acies of these great men. God bless that blunt-bang cut, that silky sto- icism and those delicately pointed ears. “For the Love of Spock” focuses on the creation, development and impact of the “Star Trek” charac- ter Spock, the life and impact of Leonard Nimoy himself and direc- tor Adam Nimoy’s own tumultuous relationship with his father. The film is an attempt to showcase the multifaceted life of his father and his monumental cultural legacy. The documentary is structured chronologically, moving from the beginning of Leonard’s career as an actor to the creation of “Star Trek” to Leonard’s death in 2015. However, within this time frame, the doc discusses Spock, Leonard and Adam in a seemingly random movement that feels fluid some- times, while other times seems abrupt. At one moment the film analyzes the role of Spock as a love interest with a magnetic attrac- tion that subverts expectations of manhood, and in the next it sharply moves to discuss how Adam and his sister dealt with the celebrity of the Nimoy name. Yet, the somewhat jarring structure works, reading like a book with chapters rather than a continuous storyline. Adam does a spectacular job at making each segment so wholly intriguing that you forget to wonder how one moves into the other. Adam’s creation is equal parts media texts and interviews, the lat- ter composed of commentary from Leonard himself, his family mem- bers and his costars. Retro clips from the original “Star Trek” series as well as moments from the recent cinematic remake, are sprinkled throughout, supplemented by pro- motional posters and fan art that together emphasizes the expansive and enduring reach of Spock across popular culture. The interview tes- timony is especially interesting — “Star Trek” actors and directors act as experts in their field to provide analyses of Spock as a character while offering insight into the com- plex and influential life of Leonard. This technique also bridges the generational gap between those who watched the original series and new fans. Commentary from William Shatner (“Star Trek”) and George Takei (“Kubo and the Two Strings”) is intermingled with remarks from J.J. Abrams (“Star Wars: The Force Awakens”) and Simon Pegg (“Star Trek Beyond”). A balanced mix of media and inter- views works to create an engaging, hilarious and insightful explora- tion of Spock and Nimoys. One of the most unexpected but nevertheless fascinating compo- nents of the film is its exposure of Leonard’s flaws. Through inter- views with Leonard himself as well as his children, the film discusses Leonard’s relationship with alco- hol as a coping mechanism that gradually turned abusive and put a strain on his family and career. The film also dives into the unexplored corners of Leonard’s personal life, specifically his role as a gener- ally absent father figure. The film doesn’t shy away from the raw and the uncomfortable, but ultimately smooths the edges with a satisfy- ingly happy resolution. SYDNEY COHEN Daily Arts Writer ‘Spock’ doc is unexpected, pleasing Directed by subject’s son, the film explores Nimoy’s electric life B- Churchill’s Secret Aired September 11 PBS Biographical stories, while com- pelling in nature, inherently lack one of the specific qualities that makes film narratives attractive to audiences — suspense. Intrinsically, stories true to reality automatically possess a built-in character arc and narrative structure that makes render- ing them on screen natural. Audiences familiar with events and figures popu- lar in history are already attuned to the trajectory of the story and its ending, requiring that their interest be captured in a different way. That’s where the details come in: the nitty-gritty of telling a story, a new perspective. “Churchill’s Secret,” which aired Sunday night as part of PBS’s “Masterpiece” series, concerns itself with just that — every painful, tense moment following the stroke suffered by British prime minister Winston Churchill in 1953. Based on the novel “The Churchill Secret: KBO” by Jonathan Smith, the tele- vision drama addresses a lesser- known event in the PM’s life, kept secret from the world — delving into what made Churchill the leader and man that he was. From the moment Churchill (Michael Gambon, the “Harry Pot- ter” series) stutters mid-sentence while hosting a group of prominent guests, including the Italian prime minister, it’s apparent that some- thing’s not right. The look of panic on his face, cross-cut with his wife’s strained composure, indicates the tense scenes to follow. The stroke, which incapacitated Churchill, was kept secret in an effort to help the bedridden PM return to power once recovered. His determina- tion to make his last achievement as PM “one of peace” before retir- ing, against the evident wishes of Lady Churchill (Lindsay Duncan, “Birdman”) and pressure from gov- ernment party officials, is executed poignantly by Gambon. Aside from Gambon’s stellar performance as an aging PM, still full of life and love for his country and his mis- sion as its leader, Duncan’s Clemen- tine Churchill meets Gambon with equal emotional prowess. Clementine fulfills her role as dutiful wife to Churchill, while also providing the audience with insight into the more sentimental wounds inflicted by her husband’s career. Though the primary source of the film’s conflict is Churchill’s stroke, it awakens a host of unborn animosity within his family. Churchill must deal with old family strife, now instilled with fresh life by the concentrated efforts to rehabilitate him, while continu- ing to exert all his efforts into his career. Old wounds opened under new circumstances are poignantly portrayed by the film’s outstanding cast and conveyed through subtle cues in the movie’s execution. At one point, the tension erupts at a dinner scene between Clementine and her children, who unburden themselves of years of emotional pain inflicted by their father’s demanding career. And suddenly, Clementine is transformed from the loyal wife to an obsessive, over- ly solicitous shell of a mother whose devotion to her husband cost, her her relationships with her children. Though a poignant and extreme- ly taxing scene, the argument over dinner feels like an ambitious cul- mination of processing years of complex emotions in one scene — and an early emotional climax at that. Just halfway through the film, the family’s discord is revealed almost all at once, with little closure following the scene. The second half of the film focus- es on Churchill’s recovery, facili- tated by his nurse Millie Appleyard (Romola Garai, “The Last Days on Mars”). Though her strength in character in caring for Churchill as if he were any other patient shows throughout the movie, Mil- lie’s own character arc is given spo- radic acknowledgement. Through Clementine’s prodding, the movie reveals little spurts of information about Millie that don’t tell us much about her at all. It’s her dedication to Churchill’s recovery and composure in the face of the conflict surround- ing her that makes her an appealing, albeit somewhat flat, character. Equally as static is the execution of the film. Though the camerawork and editing waste no time in telling the story, the film leaves little room for variation or discord that could have energized the otherwise som- ber piece. The seamless pans and cuts smoothly transition us from one scene to the next, mirroring the contained efficiency of Churchill’s recovery and the story itself. However, close-ups reveal Churchill’s struggle. After he is rushed to his country home to receive care, Churchill’s condition takes a turn for the worse. When they finally arrive at the estate and Churchill’s helped out of the car, the camera cuts to a close perspective of his foot dragging behind him up the stairs of his home. In this simple shot, the PM’s helplessness is under- scored –– quickly and effectively conveying the significance of his ill- ness. Moments like these draw the audience deeper into the story with subtlety and emotion. These minutiae, interspersed throughout a story full of earnest emotion, make this “Masterpiece” drama a truly compelling film. “Churchill’s Secret” provides us a window into the inner life of one of the most powerful and skilled lead- ers in our history without much redundant effort. The simplicity of the telling of the story, combined with the adept work of its actors, provides an intriguing look into a great man’s life. SHIR AVINADAV Daily Arts Writer ‘Secret’ revels in detail and suspense PBS film focuses on British prime minister Winston Churchill’s health