Classifieds

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

ACROSS
1 Less-played
song, usually
6 Big name in big
projections
10 Skips, as TiVoed
ads
14 Like Andean
pyramids
15 Bumpkin
16 Touched down
17 “Gotta go!”
19 Without serious
thought
20 Cuts down
21 Single
22 Garson of
Hollywood
23 “Do it, __ will!”
24 Peter Parker’s
alarm system
27 Bed blossoms
29 Hyundai rival
30 Vineyard cask
31 Stainless __
32 Agent
33 “Looney Tunes”
stinker, familiarly
34 Kaiser roll
topping
38 Hide from a
hunter?
41 “Yet cease your
__, you angry
stars of heaven!”:
“Pericles”
42 E-cigarette
output
46 Firefighter’s tool
47 Lanai music
maker
48 Has a conniption
50 Henry VIII’s third
wife
53 “Noah kept bees
in the ark hive,”
e.g.
54 __ acid
55 Capp and
Capone
56 Poet Whitman
57 Manner
58 Sign of deceit,
and a hint to this
puzzle’s circled
letters
61 Years, to Livy
62 Navigation
hazard
63 __-garde
64 Establishes
65 Fancy jug
66 Nutty green
sauce

DOWN
1 Vatican
personnel
2 Show disdain for
3 Dessert drink
made from
frozen grapes
4 Weekly septet
5 Disney doe
6 Modern
Persians
7 Subdued
8 Civil War
nickname
9 Boomer’s kid
10 ’70s-’90s African
state
11 Pasta preference
12 Forms a big stack
13 Compound in
many disposable
coffee cups
18 Easy pace
22 Govt. property
overseer
24 Corn Belt sight
25 Barely makes,
with “out”
26 “Geez!”
28 When the NFL’s
regular season
begins
32 Canadian whisky
33 BlackBerries, e.g.

35 Seattle’s __
Place Market
36 Antelopes, to
lions
37 At any point
38 Sleepover need
39 Check out
40 Lax
43 Tropical fruits
44 Rich
45 Charges for use
of, as an
apartment

47 GI hangout
48 Club owner?
49 Toss from office
51 County seat of
County Clare
52 Thanksgiving
decoration
56 “__ Only Just
Begun”:
Carpenters hit
58 Ship, to its crew
59 “Hee __”
60 Go on and on

By Craig Stowe
©2016 Tribune Content Agency, LLC
11/02/16

11/02/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, November 2, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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AMAZON VIDEO

“Nice Free People caftan.” “Nice Ann Taylor shift dress.”

With the burgeoning progres-

siveness of peak TV, Amazon’s 
newest drama “Good Girls Revolt” 
should’ve been a real 
standout. Created by 
“Narcos” co-execu-
tive producer Dana 
Calvo and adapted 
from the book “The 
Good Girls Revolt” 
by 
Lynn 
Povich, 

the show has all the 
workings for a great 
television program: it contains an 
unexpectedly great cast, glossy pro-
duction values and several inspired 
moments. Additionally, “Good Girls 
Revolt” features feminist overtones, 
including strong female leads who 
pass the Bechdel test and subvert 
trite depictions of female TV char-
acters. The problem is that “Good 
Girls Revolt” squanders its poten-
tial by turning a powerful true story 
into something that is less so.

Though “Good Girls Revolt” suc-

ceeds in some aspects, its promis-
ing premise is unfortunately poorly 
executed, suffering from sluggish 
pacing, scattered storytelling and 
middling dialogue. The Amazon 
show is definitely on the right track 
to work its way up the very steep 
ladder of streaming television pro-
grams, but it has a while before it 
can reach the dramatic heights and 
emotional depth of its ’60s drama 
counterpart “Mad Men.”

Technically, the plot of “Good 

Girls Revolt” is based off an actual 
sexual discrimination lawsuit filed 
against Newsweek in 1970. But 
the show alters the story slightly, 
instead following a group of female 
researchers at the esteemed New 
York magazine News of the Week in 

1969, headed by Don 
Draper 
lookalike 

Finn 
Woodhouse 

(Chris 
Diamanto-

poulos, “The Three 
Stooges”) and the 
irritable 
Wick 

McFadden 
(Jim 

Belushi, “Show Me a 
Hero”). “Good Girls 

Revolt” includes only two real-life 
characters, screenwriter Nora Eph-
ron (Grace Gummer, “Mr. Robot”) 
and American Civil Liberties Union 
activist Eleanor Holmes Norton 
(Joy Bryant, “Parenthood”), but the 
fictitious characters are surprising-
ly more compelling.

At the forefront of the cast are 

the hippie, peace-loving Patti (Gen-
evieve Angelson, “Backstrom”), the 
stuck-up but confident Jane (Anna 
Camp, “Pitch Perfect”) and the 
mousy photo copier Cindy (Erin 
Darke, “Don’t Think Twice”), all 
of whom showcase a passion for 
journalism, especially when Eph-
ron takes a stand against McFad-
den in a pivotal scene at the end of 
the pilot episode. While each actor 
gives 
admirable 
performances, 

specifically Camp and Angelson, 
there remains some hollowness to 
the show.

With each episode ranging 

from 45 to 54 minutes, “Good 

Girls Revolt” drains many of its 
positive qualities with a cluttered, 
unfocused narrative. Interesting 
plot developments, such as Patti’s 
on-and-off romance with her co-
worker Doug (Hunter Parrish, 
“Weeds”), are downplayed and 
overlap with mediocre plot points. 
The other romances between the 
characters feel cliché and over-
done, showcasing an overt amount 
of sexual tension that will make 
your eyes roll.

Scenes 
that 
involve 
female 

empowerment come off as some-
what preachy, especially when Bry-
ant’s character, who is one of the 
show’s only women of color, is dele-
gated to playing a slight stereotype 
of the wise Black woman offering 
advice to white, privileged women 
on how to stick it to the man.

That being said, “Good Girls 

Revolt” addresses office sexism 
and discrimination in a complex, 
nuanced way, propelling the trio of 
female researchers toward combat-
ing their domineering male coun-
terparts with a drive to succeed in 
the world of journalism.

“Good Girls Revolt” could have 

been transcendent, had it cut out a 
lot of its familiar elements — its too-
obvious 1960s references, lengthy 
sequences of dialogue and predict-
able romantic entanglements. Still, 
with the rise of female voices on 
television, whether through writ-
ing, directing or acting, “Good 
Girls Revolt” represents a fine, 
albeit flawed example of the kinds 
of gripping stories that can be told 
through a female perspective.

Stylish yet typical ‘Revolt’

SAM ROSENBERG

Daily Arts Writer

New Amazon series a good step for women on TV, but nothing new

B-

“Good Girls Revolt”

Series Premiere

Amazon Video

6A — Wednesday, November 2, 2016
Arts
The Michigan Daily — michigandaily.com

Fandom is a tough concept 

to make concrete. The extent 
to which we, as spectators, love 
certain forms of entertainment 
cannot be definitively graded, 
and while it might be more 
important to just absorb the 
entertainment 
rather 
than 

assess our appreciation for it, 
how genuinely we experience 
things does matter. Celebrities 
Aziz Ansari and Donald Glover 
(aka “Childish Gambino”), for 
example, seemed to be LCD 
Soundsystem fans, completely 
losing their shit in various clips 
of “Shut Up and Play the Hits,” 
which documented the band’s 
(then) farewell concert in 2011 
at Madison Square Garden. 
As did the “crying boy,” a boy 
who was shown legitimately 
bawling for the duration of that 
same show.

Levels 
of 
fandom 
are 

relevant here, because after 
an incredibly draining day, 
we were in a sea of diehards 
for 
LCD’s 
headlining 
set 

July 31 at Lollapalooza in 
Chicago’s Grant Park. This 
is important, not as much 
because the crowd of mostly 
twenty-somethings 
around 

us were more “sophisticated” 
or “mature,” but because the 
teens rolling face were finally, 
and 
appropriately, 
confined 

to the suburban high school 
enclave that is the adjacent 
Perry’s stage.

This? This was a set for 

the fans, and on that festival-
closing 
night, 
fandom 

manifested 
itself 
as 
total, 

complete and unadulterated 
joy. James Murphy, Nancy 
Whang and the rest of the gang 
proved they have a special 
way of causing this. Maybe it’s 
the distinct sound, or just the 
memories we have associated 
with 
this 
sound. 
They 

disbanded in 2011 and, while 
we all thought that was the 
end, it wasn’t; it was July 2016, 
and we were able to experience 
their reunion tour and hear 
this sound once more.

What started off as a roll 

call of hits — “Us V Them,” 
“Daft Punk Is Playing at My 
House” and “I Can Change” 
supplied the set with tons 
of 
early 
momentum 
— 

gave way to the organized 
chaos 
of 
“Tribulations” 

and “Movement.” The band 
sounded 
good, 
but 
more 

important, they had us locked 
in. Bodies jumping up and 
down, swaying back and forth; 
cultish, in the best type of way.

Interspersed in the madness 

were sincerely earnest words 
from Murphy, snippets like 
“thank you guys for being very 
sweet to us … you never know, 
you could just hate us and be 
here just to throw things, but 
thank you for hanging out and 
listening.” But the privilege 
was all ours. After all, it would 
be foolish not to feel privileged 
to see this act, an act that 
had once been thought of as 
extinct. Beyond that, it was 
necessary to appreciate the 
sheer perfection of the set. 
Murphy often looks tense on 
stage, maybe even pained. It 
seems to come out of severely 
perfectionist 
tendencies. 

It’s not easy to synchronize 
a 
conglomerate 
of 
music 

machinery into harmonious 
poetry. 

Consequently, raw emotions 

hit, and the waterworks peaked 
during “Home.” The feeling 
of truly being back home, of 
remembering the rough nights 
— albeit with the right people 
— got to me: “And after rolling 
on the floor / And thankfully, 
a few make sure that you get 
home / And you stay home / 
And you better.” The song, off 
of This Is Happening (2010), 
unlocked a bundle of memories 
and future uncertainties, and 
such 
an 
anxiety-inducing 

package hit hard.

The 
unique 
thing 
about 

LCD Soundsystem’s music, in 
fact, is just how emotionally 
exhausting it is. In nearly every 
song, 
there’s 
an 
especially 

methodical intro, a prodding 
hook 
and 
a 
meticulously 

plotted out comedown. And 
so, we respond as such: where 
is it, what is it, where is it, oh 
wow, oh my gosh, wow, well 
OK that was cool, wow. Repeat. 
Each song is grounded in pure 
catharsis. So, in the span of one 
Lollapalooza set, it’s like being 
thrown on 14 ultra-sentimental 
loops, 
for 
90 
consecutive 

minutes, surrounded by equally 
overwhelmed people.

A 
lot 
of 
the 
audience, 

including me, were with our 
friends that night, the same 
friends with whom we have 
been listening to LCD for 
years: 
the 
awkward 
years, 

the pressure-filled years, the 
transitional years. LCD had 
carried us through it all. This 
aforementioned 
catharsis 

proved to be overpowering. 
By the time the first notes of 
“All My Friends” rang out — 
urgent, but distinct, notes — 
we were all sobbing. “Where 
are your friends tonight?” Our 
friends were there, and other 
peoples’ friends were there. 
James Murphy had created, for 
one night, friends everywhere. 
That night, we were all crying 
boy.

JOEY SCHUMAN

Daily Arts Writer

LCD Soundsystem performance 
at Lollapalooza is life-changing

The revelatory moment when we were all crying boys and girls

MUSIC NOTEBOOK

TV REVIEW

In the spirit of Halloween, 

entertainment and media out-
lets are (rightfully) capitalizing 
on all things spooky. And since 
one 
can 
never 

have too many 
period 
pieces, 

BBC 
America 

has wrapped up 
horror and 19th-
century England 
into 
one 
pack-

age. “The Living 
and the Dead,” a 
six-episode mini-
series, 
has 
the 

right setup for a 
compelling end-
of-October binge, but falls flat 
in execution.

Nathan Appleby (Colin Mor-

gan, “Merlin”) and his wife 
Charlotte (Charlotte Spencer, 
“Above”) inherit a struggling 
family farm in Somerset, Eng-
land, only to be haunted by the 
supernatural. Nathan, a turn-
of-the-century 
psychologist 

from London who believes in 
science and logic, spirals down 
a dangerous path as he seeks 
an explanation for the mysti-
cal forces that are plaguing his 
vicarage. Before long, Nathan 
is forced to face the memory 
and ghost of his dead son from 
a previous wife, further strain-
ing his relationship with Char-
lotte in the process.

The series pilot introduces 

“The Living and the Dead” 
’s supernatural elements as a 
neighbor’s daughter becomes 
possessed by ghosts of farm-
ers past. She’s just scared of 

her own sexuality, Nathan psy-
choanalyzes, as the adolescent 
girl attempts to murder one of 
the farmworkers. The theme 
of science vs. supernatural 
emerges early on, and is car-
ried throughout the season as 
Nathan attempts (and fails) to 

use his practice 
to 
explain 
the 

tragedies. 
But 

the series strays 
from good old-
fashioned haunt-
ings when it tries 
to pull an origi-
nal surprise — a 
decision that is 
perhaps its big-
gest misstep. At 
the end of the 
first episode, a 

woman dressed in 21st-century 
apparel and carrying an iPad 
walks through the 1894 man-
sion. Adding time travel is 
risky: the genre has developed 
so many tropes that it’s nearly 
impossible to find an original 
take. In the case of “The Liv-
ing and the Dead,” it not only 
opens up room for clichés but, 
more importantly, completely 
invalidates the 19th-century 
England the series attempts to 
recreate. What is supposed to 
be a “twist” is so jarring and 
out of place that it destroys the 
historical feel necessary to cre-
ate a believable period piece.

What “The Living and the 

Dead” does best is deliver an 
aesthetically 
pleasing 
view-

ing 
experience. 
The 
shots 

of countryside England are 
whimsical — warm and almost 
sepia-toned, as if taken right 
out of an old photo book. 
Colin Morgan’s jawline isn’t 

too hard on the eyes either, 
but a successful series needs 
more than an attractive lead 
to keep an audience engaged. 
Both Morgan and Spencer play 
characters that are difficult to 
connect with and draw on emo-
tions that are almost too unre-
latable. 
Their 
performances 

aren’t strong enough to grab an 
audience through the discon-
nect of both another time and 
a world plagued by the undead, 
serving to only further alienate 
the series from success.

Period pieces act like a 

mirror: they reflect an aspect 
of the present day through 
the 
lens 
of 
another 
time. 

Stories set hundreds, even 
thousands, of year back can 
still be unbelievably relevant 
to the modern viewer, because 
themes of humanity, justice 
and hope have not changed 
throughout the timeline of the 
human experience. Yet the 
BBC America series isn’t able 
to establish that connection. 
Without 
the 
humor 
of 

“Downton Abbey” or the thrill 
of “American Horror Story,” it’s 
no surprise that “The Living 
and the Dead” wasn’t renewed 
for a second season. 

DANIELLE YACOBSON

Daily Arts Writer

Try-hard ‘The Living and Dead’ 
plummets into abyss of tired tropes

BBC series takes big risk with twist that ruins the believability

C

“The Living and the 

Dead”

Series Premiere

Thursdays at 9 p.m.

BBC America

Levels of fandom 
are relevant after 

an incredibly 
draining day.

The series strays 

from good 

old-fashioned 

hauntings.

TV REVIEW

