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