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Arts
Monday, November 7, 2016 — 5A

Classifieds

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

ACROSS
1 Encircled by
5 Note from the
boss
9 Strolls through
the shallows
14 Calf-length skirt
15 Words while
anteing
16 Make a speech
17 High school
infatuation
19 Wash lightly
20 Slowpoke in a
shell
21 Worker’s
allowance for
illness
23 Tide table term
26 U.K. flying squad
27 Detriment to air
quality
30 A few hours for
doing whatever
36 Prune, as a
branch
37 Colombian
metropolis
38 Capital of
Morocco
39 Not a close
game, a headline
for which may
include the end
of 17-, 30-, 46- or
63-Across
43 Runway gait
44 Taunting remark
45 Bobby of hockey
46 Rich coffee
lightener
49 “The __ the limit!”
50 One hovering
around the
flowers
51 Future atty.’s
exam
53 Ground beef dish
58 Coffeehouse
flavor
62 Quarterback’s
“Snap the ball at
the second ‘hut’”
63 One of two
Senate
“enforcers”
66 Tall story?
67 Ohio border lake
68 Roof overhang
69 Place for road trip
luggage
70 Amount owed
71 Scott who sued
for his freedom

DOWN
1 Lbs. and oz., e.g.

2 Personal bearing
3 Bit of brainwork
4 “Fine” eating
experience
5 Former Russian
space station
6 Grounded Aussie
bird
7 “Swing and a __,
strike one”
8 Available for the
job
9 Company
employees, as a
group
10 Like the Mojave
11 “The X-Files”
agent Scully
12 Crafts website
13 Experiences with
one’s eyes
18 MLB’s Indians,
on scoreboards
22 Litter box user
24 Slightly
25 Paperwork
accumulation
27 Walk through
puddles
28 __ Carlo
29 Met performance
31 Gnatlike insect
32 Kit__: candy bar
33 Former Apple
laptop

34 Comedy’s Cable
Guy
35 Galactic
distances: Abbr.
37 Urban distance
unit
40 Toyota RAV4,
e.g.
41 Lab vessel
42 PCs, originally
47 Top corp. officer
48 Gathered from
the field
49 Stuck in a hold

52 Acker of “Person
of Interest”
53 Castle protector
54 __’acte
55 Westernmost
Aleutian island
56 Jacob or Esau
57 Taxi meter figure
59 Scorch
60 50-Across home
61 Made fun of
64 Make fun of
65 Vietnamese New
Year

By Brock Wilson
©2016 Tribune Content Agency, LLC
11/07/16

11/07/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, November 7, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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FX

“What do you mean you didn’t like ‘Because the Internet’?!”

After an incredible first season,

the FX critical darling “Atlanta”
is still hard to describe. It’s not
enough to call it a coming-of-age
story about chasing fame, success
and the American
dream
in
the

Southern
hip

hop
scene.
With

Donald
Glover’s

unconventional
brand of comedy
and Hiro Murai’s
meticulous
direction,
each

of the show’s 10
episodes showcases
a surrealist vision
of the Georgian capital through
the eyes of Earnest “Earn” Marks,
his cousin and on-the-rise rapper
Alfred “Paper Boi” Miles (Brian
Tyree Henry, “Vice Principals”)
and Paper Boi’s trusted sidekick,
Darius (Keith Stanfield, “Short
Term 12”).

But even then, “Atlanta” is a

program so strange and mystifying
that perhaps Glover calling it
“Twin Peaks with rappers” is the
closest concrete description of the
show. That four-word synopsis
is illustrated especially in the
show’s season finale, “The Jacket,”
which manages to make the most
mundane
of
situations
seem

compelling and thought-provoking.

After a crazy night out with Paper

Boi and Darius, Earn wakes up in a
trashed mansion and searches for
his missing blue bomber jacket.
We’ve seen Earn wake up in an
unfamiliar environment before,
both in the teaser trailer for the
show and in the penultimate
episode “Juneteenth.” But while
this visual motif represents his
aimlessness, it also shows Earn’s
lack of a place to call home. Where
does Earn actually live? Is he just
constantly
couch-surfing?
He

isn’t allowed to stay at his parents’
house, and he occasionally crashes
at his on-and-off again girlfriend
Van’s (Zazie Beetz, “Easy”) place

in order to co-parent their baby
daughter.

Following D.R.A.M.’s hit jingle

“Broccoli” during the episode’s title
sequence, Earn wanders on a quest
to find the jacket and attempts to
retrace his steps, checking Paper
Boi’s Snapchat story and a nearby
strip club for clues. The majority of

the episode’s humor
comes during these
sequences,
with

Earn
watching

his
drunk
self

on
Snapchat

and
awkwardly

describing
who

might
have
the

jacket to a stripper
seeking
a
guest

appearance
in
a

Paper
Boi
music

video.

He seeks help from Paper

Boi and Darius at their outdoor
couch spot, a sly visual reference
to their first meeting in the pilot
episode. During their conversation,
Darius drops some of his typically
unexpected words of wisdom:
“If we spent the time we spend
thinking
about
not
spending

money and spent that time on
spending money, then it’d be time
well spent.”

It’s a line that’s not only

hilarious and well-delivered, but
also serves as another reminder
of the show’s offbeat asides and
how captivating Darius is as a
supporting character. Right before
that statement, though, Darius
makes an odd comment about how
Black people’s number one problem
is that they don’t know how to
have fun. “I really disagree with
that being Black people’s number
one problem,” Earn replies with a
flabbergasted look on his face.

Later, Earn makes a phone

call to his Uber driver from the
previous night during a three-
minute long take that incorporates
a variety of intriguing aesthetic
choices: telephoto lens, soft focus
and most importantly, dynamic
sound design. The sound aspect
of the scene might not be crucial
or even necessary, but Paper Boi

and Darius’ off-screen dialogue
maintains an authenticity that
most other TV shows and even
films ignore.

Fortunately, Earn is able to get

his jacket, but Paper Boi and Darius
need to drive him to a specific
destination. They arrive in an all
too-quiet neighborhood until a
SWAT team suddenly appears
to intercept them and a shootout
occurs in a disquieting sequence,
both for its violence and its casual
attitude toward that violence. But
even in its most affecting moments,
“Atlanta” ’s dark humor is still
present, as Earn uncomfortably
attempts to retrieve the jacket from
the shooting victim.

Seeing Earn in dark spirits, Paper

Boi offers him his five percent of
their income in a subtly sweet scene
between the two. Things continue
to look up for Earn as his friend
retrieves and returns the jacket
to him, but as it turns, what Earn
really needed was a mysterious
key inside the jacket’s pocket.
After another brief but beautifully
intimate sequence, this time with
Van, Earn walks to an unknown
location to the beat of OutKast’s
“Elevators (Me & You),” a fantastic
music choice that matches both the
atmospheric mood and recurring
theme of fame in “Atlanta.” In
the final minutes, Earn opens up
a dimly lit storage space with the
mystery key and lies on a couch,
staring at the two $100 bills in his
hands. He may not have a place to
call home, but this is the closest
Earn has come to having some form
of financial and emotional stability.

That
particular
moment,

punctuated by Big Boi and André
3000’s lyrics, is small yet pivotal
in Earn’s journey to making
something out of his life, whether
it’s taking care of his child, being
a manager for a hip hop artist or
finding meaning in the dreamlike
metropolis that is Atlanta. “The
Jacket” may not have been a very
climactic finale and it leaves
many questions unanswered, but
“Atlanta” remains one of this year’s
most remarkable TV shows and
that’s as best as I can describe it.

‘Atlanta’ finale fits season

SAM ROSENBERG

Daily Arts Writer

Donald Glover superbly ends first season of acclaimed show

A-

“Atlanta”

Season Finale

Tuesdays at 10 p.m.

FX

STYLE REVIEW

Parisian fashion houses like

to be inclusive just about as
much as fish like fishermen.
Luxury brands function to
financially
nudge
out
the

working class citizen; some
will go so far as to burn their
merchandise rather than sell
it at a semi-affordable price
point.
However,
in
recent

history,
Parisian
fashion

houses are beginning to ditch
their only-the-richest attitude
in
favor
of
collaborating

with mass-market retailers.
Isabel Marant partnered with
H&M in 2013 to debut a more
palatably priced collection.
Two
years
later
Balmain

followed in suit. Most recently,
on
November
3,
Parisian

fashion
house
KENZO

launched their collection in
collaboration with H&M.

The collection debuted to

a website crash. The server
could not support the trove of
fans salivating at the thought
of wearing a KENZO piece,

both kidneys intact. Those who
wanted to own a piece from the
collection had to wait in line —
and many did. Some dedicated
frugal fans, with stars in their
eyes (perhaps, in part, from the
dizzying-kaleidoscopic nature
of the collection), queued in
front of stores well over 12
hours before the doors actually
opened.

Was the wait worth it?

Check
their
shopping
bag.

The
collection,
while
well

representative of the brand,
was
not
consistent.
Some

pieces were excellent, others
far from it. Kenzo stayed true
to
their
acid-trip-jungle-

adventure aesthetic; the pieces
were just as vibrant and print-
heavy as always. The prices
were tamed, the looks were
not. The designers, Carol Lim
and Humberto Leon, played
with now ubiquitous trends,
like exaggerated ruffles and
prairie-inspired
designs,
in

novel ways. As a result, many
pieces were equal parts cool
and cutting edge. Those less
inclined to adopt high-fashion
aesthetics were not ignored.

The brand made sure to pander
to its streetwear fans with
some simple, yet eye catching,
sweatshirts and hats.

But among the dynamic,

fashion forward pieces sure
to allure thrifty fashionistas
lurked looks that seem better
suited for another, younger,
crowd.
Some
pieces
were

astoundingly juvenile — they
look as if they were pulled
straight off the body of the
punkest kid on the playground.
Throw on a “Yo Gabba Gabba
hat and you’ve got yourself a
cohesive look. The combination
of inexpensive textiles with
electric print proved fatal in
many pieces. Some pieces are
so youthful they’re practically
unwearable.
Fuzzy
animal

print,
in
conjunction
with

pattern and color mixing, is
harder to pull off if you’ve
passed 6th grade.

While the collection housed

many dynamic pieces, it was
not as strong as H&M designer
collaborations of the past — but
that won’t stop you from seeing
KENZO x H&M litter your
local streets.

TESS TOBIN

For the Daily

Kenzo collaborates with H&M on an
affordable collection to mixed results

While not their most interesting work, the line will still sell well

IMG FILMS

This is your posture when the stress of a million nations is placed on your shoulders.

For Michael Moore’s (“Where

to Invade Next”) latest, a sneak
attack film released only 11 days
after being filmed, Moore travels
to
Wilmington,

Ohio— the singular
town
in
Clinton

country with that
overwhelmingly
favors
Trump.

Once there, Moore
performs
a
one-

man show that feels
like a cross between
stand up and a TED
talk: the sort of
thing ripe with the kind of sound
bites that flood Facebook feeds.

If you came to this movie—

as I did—expecting a dig into
the core of Trump’s evil or a
profile of his supporters or an
examination of his rise to power,
you’ll be disappointed. This isn’t
a documentary about Trump.
And aside from some disjoint
quotes that open the film, it isn’t
about his supporters either. It
is rather a love letter to Hillary
Clinton.

The
biggest
surprise
of

“Trumpland”
is
just
how

unsurprising
it
is.
Moore

is perhaps the tamest he’s
ever been. He’s far from the
provocateur he normally is,
despite a subject material that

feels so ripe for provocation. It’s
odd, and a little disappointing.
There’s even a hint of tenderness
in Moore’s voice when he tries—
almost earnestly—to empathize
with Trump supporters. The
supporters in particular that
he addresses are those of the

upper mid-west,
the
Michigan,

Ohio
and

Pennsylvania
former
middle

class who were
hit most hard by
the automobile
industry
crisis

and
2008

recession.
His

analysis of their

support is one of a few moments
in the film that feels like a small
revelation, even if it’s prior
knowledge.

Moore stands on stage, for

the entirety of his performance,
in front of large black and white
photographs of young Hillary
Clinton. It’s sweet and a little bit
weird; as is the ode he spins to
her in the latter half of the film.
Despite its oddities, the picture
he paints of her is—to quote from
Moore’s 1996 book “Downsize
This!”—one of a “shitkickin’
feminist babe.” He understands
her enough to understand her
flaws, her stoicism and her
patient rise to the top. He draws
comparisons to Pope Francis
and FDR. He plays a sound clip

of her graduation address to
her classmates at Wellesley, in
which her message is clear, but
her voice shakes, as if to prove
her humanity.

“Trumpland” is very much

like a standup special in that it
has a sort of “you really had to
be there” quality to it. Moore is
funny, but his humor requires
the supplement of an audience.
It’s exactly the sort of thing that
can’t make you laugh out loud if
you watch it alone.

What
“Trumpland”
might

suffer from (and I cannot believe
I’m going to actually say this)
is a lack of Trump. The film
premiered in New York on
October 18 at the same time the
news of the Trump tapes was
breaking and blowing up. Of
course Moore could not know
then what we all know now. But
in light of that news it seems
odd not to use that platform to
condemn him.

And it’s just that oddity

that’s the problem with this
entire election. Why can’t we
elect Hillary Clinton because of
her merits, her qualifications,
her passion, her goodness and
not because of her opponents
evils. What Moore uncovers,
almost
accidentally,
is
that

even without Trump as her foil,
Hillary holds her own as one of
the most resilient, companionate
and badass figures in modern
politics.

MADELEINE GAUDIN

Daily Arts Writer

Michael Moore’s ‘TrumpLand’
more about Clinton than Trump

Michigan native Moore explores the election days before it ends

B-

“Michael Moore in

TrumpLand”

Michigan Theater

IMG Films

TV REVIEW
FILM REVIEW