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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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FOR RENT

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