Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Wander (about)
4 Fragrant bloom
9 Utter disorder
14 Second person in
Eden
15 Kitchen sponge
brand
16 Full of moxie
17 Like many a gray
day
18 Peanuts
20 Sales meeting
aid
22 Feel crummy
23 Coal __
24 Most populous
continent
25 Date night
destination
28 One of a gallon’s
16
30 Like a successful
business,
presumably
32 Stand against
34 Northern
California city
37 Birch family tree
38 Peanuts
41 Hardly fresh
42 Bit of
photography
equipment
43 Southern
California team
45 Inside
information
49 Copper source
50 Hits the road
53 Albany-to-Buffalo
canal
54 Former Air
France jet
56 Geologist’s
division
57 Tops by a slight
margin
58 Peanuts
62 Picnic invader
63 Ready to hit the
hay
64 Invalidate
65 Maiden name
preceder
66 Used up
67 Pond critters
68 Mexican Mrs.
DOWN
1 Gaudy trinket
2 Opposed
3 Enlargement
advantage
4 Scot’s swimming
spot
5 German “I”
6 Welcoming
wreath
7 Highway through
the Yukon
8 Newswoman
Roberts
9 “Erin Burnett
OutFront”
channel
10 Pick up with effort
11 Geographically
based trio
12 Makes trite, in a
way
13 Hoff who wrote
the “Henrietta”
children’s books
19 Red “Sesame
Street” puppet
21 Light beer?
25 Biceps exercise
26 Not at all handy
27 “Trainwreck”
director Judd
29 Pay-__-view
31 Kings, e.g.
33 Lumbered
35 “MASH” setting:
Abbr.
36 Lopsided
38 Sci-fi fleet vessel
39 Leave no doubt
40 GI addresses
41 __-mo
44 What a
freelancer may
work on
46 Hearts, but not
minds
47 Ballpark snack
48 Lipton rival
51 Lindsay of “Mean
Girls”
52 Foolish
55 Anti-
counterfeiting
agts.
57 Slim swimmers
58 Euro divs.
59 West Coast hrs.
60 Houston-to-
Dallas dir.
61 Belly
By Patti Varol
©2016 Tribune Content Agency, LLC
10/26/16
10/26/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, October 26, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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S
everal months ago, I
wrote a piece for The
Michigan
Daily
about
“the Damn Daniel dilemma,” a
phenomenon in which ordinary
social media users
become
overnight
Internet
sensations,
like the two high-
school
aged
guys
behind
the
Damn
Daniel clips. After
their
video
went
viral on Twitter, they
received
a
special
mainstream
media
treatment:
a
guest
spot on Ellen DeGe-
neres’s talk show, an
appearance at a movie premiere
and a lifetime supply of white Vans.
Their spontaneous fame made
me ponder: How is it that the
online community becomes so
obsessed with ordinary people
doing strange, funny things? But
digging even deeper, I ask myself:
why do some people go viral and
become famous right away and
others don’t?
Of course, this idea of “short-
term” versus “long-term” fame
isn’t a new concept. It traces back
way before social media became
the catalyst for celebrity. When
YouTube was created in 2005,
it was just a rudimentary video-
sharing site, gradually churning
out clips of Rick Astley singing and
shrill-voiced oranges that garnered
thousands of views. But with the
rise of social media and expansion
of the Internet’s accessibility, You-
Tube started to function as a well-
oiled business for inspired content
creators waiting to be discovered.
It’s where people like Bo Burnham,
Rachel Bloom and Issa Rae all got
their start.
Still, it’s hard not to see how
absurd it is that some people, such
as the Damn Daniel duo, get acci-
dentally recognized by all of social
media. Is there some sort of natu-
ral selection algorithm for their
rapid success? Is it because they’re
attractive? Young? Wealthy? Clev-
er? Talented?
It’s possible that people who
receive short-term fame embody
all of those qualities. But some-
times, it all depends on luck, tim-
ing and relevance. Having a social
media account would also be great-
ly beneficial. You could make the
world’s funniest video, but no one
would see it unless
you uploaded it to
YouTube, Vine or
Snapchat and shared
it incessantly over
Facebook,
Twitter
and any other inter-
active
social
net-
working site.
Take, for example,
“Gangnam
Style,”
the unexpected 2012
viral hit from K-pop
star PSY. It began
to spread virally through the vir-
tual stratosphere when rapper
T-Pain linked the video to a Twit-
ter status in July 2012. Slowly but
surely, “Gangnam Style” gained
traction and soon, more celebrities
like Katy Perry, Tom Cruise and
Britney Spears saw the video and
encouraged others to do the same.
As it garnered an impressive two
billion views, the video sped up to
the most liked video on YouTube,
which also earned PSY a spot in the
Guinness Book of World Records.
An online celebrity was born
and, as with every Internet sensa-
tion, PSY was immediately thrust
into America’s version of fame. His
song topped the Billboard charts.
It spawned imitators, spinoffs and
mashups. PSY even got a Pistachio
commercial out of it, for Pete’s
sake. And all of this fame, fortune
and notoriety was because another
famous person tweeted about his
song.
PSY attempted to make another
hit with his 2013 single, “Gentle-
man.” Though the music video
racked up to almost 1 billion views,
it failed to reach the monumental
viral heights of “Gangnam Style.”
Thus, the name PSY became a dis-
tant memory and now it seems as
though the South Korean pop star
has found himself in the virtual
void of other forgotten viral clips.
Trends come and go. America
laughed, danced, sang along and
now, we’ve moved on.
But the question still lingers:
What is it about Damn Daniel,
“Gangnam Style” and other popu-
lar videos that make them go viral?
Bo Burnham, Issa Rae and Rachel
Bloom all are immensely talented
people, but somehow it took longer
for them to achieve the same level
of success. They were definitely
well-known among the YouTube
community, garnered a healthy
amount of views and developed
loyal fan bases, but they never got
the same treatment the Damn
Daniel guys received.
That may have been for the bet-
ter, though, considering that each
of their individual journeys to
stardom were ultimately worth-
while in the long run. Bloom won a
Golden Globe for the CW’s “Crazy
Ex-Girlfriend”; Burnham created
three acclaimed live stand-up spe-
cials; Rae just got her big break as
star, creator and writer of the HBO
comedy “Insecure.”
Then again, there could be mul-
tiple reasons behind what dictates
the duration and lasting effect of an
online person’s fame. Perhaps it’s
sensationalism created by main-
stream media or our generation’s
constant yearning for the spotlight.
It may be as simple as how silly
and strange the video is and how
willing we are to share with our
friends.
Who’s to say who gets to be
famous on the Internet and who
doesn’t? Are there Virtual Pow-
ers That Be that exist? Is this the
work of the Illuminati? Sometimes,
short-term fame can sustain for a
bit, especially given that the Damn
Daniel dudes are still somewhat
active — they recently partnered
with LG USA to star in a cutesy,
R&B-tinged commercial that nods
to their infamous catchphrase.
But for the most part, online fame
is fleeting. Yet, it still happens all
the time.
The Internet is a strange and
infectious place, a virtual expanse
that has redefined what it means
to be relevant, to exist beyond and
transcend the barriers of celebrity.
It’s within our nature to discover
and obsess over something fun
and interesting, but we also pos-
sess the power to either keep it fun
and interesting or let it falter into
the cracks of utter nothingness.
Perils of YouTube fame
SOCIAL MEDIA COLUMN
The mysteries of who gets famous and why on the Internet
SAM
ROSENBERG
6A — Wednesday, October 26, 2016
Arts
The Michigan Daily — michigandaily.com
THE CW
It’s not a CW show until someone’s husband gets shot.
Nearly
every
time
I
tell
someone my favorite show is
“Jane the Virgin,” I get some
sort of laugh, like
I’m telling a joke.
Still,
after
two
excellent seasons,
I have to explain
why a show that
starts
with
a
virgin
getting
accidentally
artificially
inseminated
is
one of the best on
television
right
now.
Everything
this show does is a high-flung
tightrope act. It could easily go off
the rails in a second, but nothing
in the brilliant season three
premiere suggests that’s going to
happen any time soon. Through
its resolution of the cliffhangers
from last season as well as the
perfect way it hits its emotional
beats, the episode reminds me
exactly why I love this show.
“Jane” ’s season premiere
picks up exactly where season
two left off, with Jane (Gina
Rodriguez,
“Deepwater
Horizon”)
finding
her
new
husband Michael Cordero (Brett
Dier, “Ravenswood”) shot in the
hallway outside their hotel room.
As doctors at the nearby hospital
try to save Michael, the series
flashes back to the beginning of
Jane and Michael’s relationship.
Last season also left us with Petra
(Yael Grobglas, “Reign”) being
“Petra-fied” by her sister Anezka
(also played by Grobglas), who
takes over Petra’s life in an effort
to exert revenge against her for
sending their mother to prison.
Where this premiere succeeds
is in its emotional evocation. The
episode spends most of its time
with Jane and her family in the
hospital, waiting for news about
Michael. Watching Rodriguez’s
heart break breaks
my heart, as Jane
deals
with
the
possibility
that
Michael
might
die.
The
show
occasionally
touches on grief,
and
every
time
they do it’s filled
with raw emotions,
as everyone deals
with it in their own
way.
The
series
illustrates this strength with
Michael’s mother (Molly Hagan,
“iZombie”). She tries to take over
the decisions involving Michael’s
health, much to Jane’s chagrin.
Though the resolution is slightly
forced, the story makes its point
in a creative way.
“Jane” usually uses flashbacks
as a framing device, and this
episode is no exception, as the
show frames the question of
whether
Michael
lives
with
the story of Jane and Michael’s
past. We’ve already seen the
initial meeting where Michael, a
cop, gets called to at Jane’s 21st
birthday party, where the two
share a kiss. But, after that night,
Jane goes on a date with her long-
time crush at the time. Although,
as the episode told us, we knew
how the story would end, it was
still compelling to see a piece
of their relationship we haven’t
seen.
At its heart, “Jane” is an
expertly
crafted
parody
of
the telenovela while being a
perfectly executed telenovela in
and of itself, and the premiere
continues that trend. Petra’s
story involves an evil twin and a
failed attempt at romancing the
good twin’s love interest, Rafael
(Justin Baldoni, “Everwood”).
These developments are two very
common telenovela tropes, but
they’re so wonderfully executed.
Though Petra may be in a hospital
bed with no ability to move, I’m
excited to see where they take
this story in future episodes.
There’s also the love story
between Rose (Bridget Regan,
“White Collar”) and Louisa (Yara
Martinez, “Alpha House”), which
took another twist in last year’s
finale with Rose emerging from
the dead and taking Louisa away
with her. The big final twist of the
premiere is Louisa waking up to
find out she’s underwater. It’s the
kind of “WTF” twist the show
has pulled off so many times
before, and I’m looking forward
to seeing how they justify it.
All this is colored with elements
of “Jane” which are familiar, but
so strong. Anthony Mendez’s
(“The Unexplained Files”) work
as the “Latin Lover Narrator”
remains stellar, as he guides us
through the journey into Jane’s
past and Petra’s tough situation.
There’s also the clever onscreen
text that helps insightfully push
the story forward.
The season three premiere of
“Jane the Virgin” wasn’t radically
different from any episodes that
came before it, but that doesn’t
matter. It had the pure love and
emotion that has defined it for
its entire run, as well as the
telenovela-esque twists and turns
that I’ve come to expect from it.
I love this show, and this episode
was another reminder of why.
ALEX INTNER
Daily Arts Writer
‘Jane the Virgin’ ’s third season
maintains true emotion of the series
Though it takes fewer risks, season three premiere stays heartfelt
A
“Jane the Virgin”
Season Three
Premiere
Mondays at 9 p.m.
The CW
“Yet despite all these things we
know to be true — despite the pre-
ponderance of evidence showing
the mental and emotional distress
people demonstrate
in violent and harass-
ing
environments
— we still have no
name for what hap-
pens to women living
in a culture that hates
them.”
This is the driving
issue of Jessica Val-
enti’s first memoir:
“Sex Object; a Memoir.” One of the
newest books to join the feminist
shelf, this memoir sets itself apart
from books like Rebecca Solnit’s
“Men Explain Things to Me” or
Andi Zeisler’s “We Were Femi-
nists Once: From Riot Grrl to Cov-
erGirl®, the Buying and Selling of
a Political Movement” in that Val-
enti doesn’t bother with statistical
evidence beyond the absolutely
rudimentary. She is not interested
in proving that feminism is still
needed or that we live in a society
that hates women. She has lived
in it enough to know that both of
those are unequivocally true.
“Sex Object” is divided into
three parts, as Valenti writes about
childhood and adolescence, young
adulthood and finally marriage
and pregnancy. She details what
it was like to go from feeling ugly
as a young girl to being sexualized
as she developed breasts early.
She devotes a large portion of her
writing to detailing how sexual
objectification and harassment
on
the
streets
takes a toll. Over
time, she writes,
women develop
a strategic abil-
ity to gauge what
kind
of
reac-
tion they can get
away with — if
a middle finger,
disgusted eye roll
or a “fuck off!” will be enough to
send the guy who yelled disgust-
ing comments at her after them.
Valenti, who founded the award
winning
website
Feministing.
com in 2004, does a phenomenal
job of describing the pressure to
be a “cool” feminist, who uses
barbed and witty banter to hold a
mirror up to society, rather than
the “angry feminist” stereotype
— because she notes, anger gives
enemies ammunition to dismiss
her as hysterical or emotional.
She argues these successful main-
stream
feminist
literature
or
comedy routines, often utilize a
silver lining to garner support or
approval, because no one wants to
hear about a problem that isn’t get-
ting better as quickly as some peo-
ple say it is. As well, she describes
the toll that being the cool girl has
taken on her over the course of her
life, and how she can’t do it any-
more. It’s too exhausting to try and
make frustration and anger palat-
able to the masses. Those emotions
are palpable in her acerbic writing;
she doesn’t coat her words.
“Sex Object” isn’t written for
people who still demand proof of
the wage gap or argue that women
don’t go into STEM fields because
they simply don’t want to. If that’s
something you or a friend may
need, I’d suggest reading her other
book first: “Full Frontal Femi-
nism; A Young Woman’s Guide to
Why Feminism Matters.”
This memoir isn’t ground-
breaking or shocking, though
the stories of her encounters on
the New York City subway might
be to some. But if you think her
work is in any way unnecessary,
flip to the back of “Sex Object,” in
which she has pages of comments
on her blogs or emails sent to her
about her books that she has been
receiving every day for a decade.
They are full of rants that range
from condescending, to disparag-
ing, to cruel, to threatening. Many
of them tear down her physical
appearance or her intellect, and
a few of them are misguided and
misspelled rages against feminism
in general. There’s nothing Valenti
could have used to prove her point
more effectively.
SOPHIA KAUFMAN
Daily Arts Writer
Valenti adds to the feminist canon
In ‘Sex Object,’ the author navigates contemporary womanhood
“Sex Object: A
Memoir”
Jessica Valenti
William Morrow
Publishers
BOOK REVIEW