Classifieds

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

ACROSS
1 Welcomed at the
door
6 “Shame on you!”
9 German trick-
taking card game
13 St. Teresa’s town
14 Use as a source
15 Egg on
16 Shade lighter
than jade
18 Reckless act
instigator
19 Witty Bombeck
20 Euros replaced
them
21 Buffoons
22 Target Field, e.g.
24 Nowhere near
cool
26 N.L. mascot
whose head is a
large baseball
28 Cracks up
31 Finnish
telecommunica-
tions company
34 Lindsay of
“Freaky Friday”
(2003)
36 Bud’s partner
37 Exclude from the
list
38 Shrewd ... and a
phonetic hint to
this puzzle’s four
longest answers
39 Creatures of
habit?
40 Like Mars,
visually
41 Storybook
elephant
42 Sneaks a look
43 Points of view
45 Sleeping giant
47 Actors memorize
them
49 Riddle-ending
question
53 Chew out
55 “Now it makes
sense”
57 One-named
supermodel
58 __ Scotia
59 London co-
creator of the
International
Plant Names
Index
61 Meryl’s “it’s
Complicated” 
co-star
62 Chevy
subcompact

63 Pasta tubes
64 Skip a turn
65 Headed up
66 Infuriated with

DOWN
1 Sushi bar brews
2 Prevent
3 Bedrock wife
4 Words starting a
confession
5 Lawmaker’s
rejection
6 22-Across level
7 Energetic mount
8 He’s a doll
9 Numbers game
10 Super-strong
adhesive brand
11 Soil-related prefix
12 Pro shop bagful
14 Forensics facility
17 Feeling blue
21 Cereal
component
23 Nest egg letters
25 Big name in
facial scrubs
27 Forum robes
29 Traffic alert
30 Puzzle (out)
31 Screenwriter
Ephron
32 It may be a bad
sign

33 Extreme care
35 “Fasten your
seatbelts”
38 Violin protector
39 “Swell
suggestion!”
41 Calisthenics
movement
42 After-school org.
44 Shrubs with
lavender blooms
46 Perlman of
“Cheers”

48 Colander cousin
50 Change, as a
motion
51 Old Testament
food
52 Illustrator’s 
close-up
53 Easy-peasy task
54 Picnic soft drink
56 Neighbor of Nor.
59 __ Kan pet 
foods
60 Tach reading

By C.C. Burnikel
©2016 Tribune Content Agency, LLC
11/09/16

11/09/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, November 9, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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FOR RENT

HELP WANTED

O

n October 27, Twitter 
announced that they 
would be discontinuing 

one of its most popular and 
universal 
apps: 
Vine. 
While 

the 
company 
said 

that they will keep 
existing Vine videos 
for archival purposes, 
users will no longer 
be able to create six-
second looped clips. 
For those who don’t 
use Vine or are not 
particularly familiar 
with the app, this 
may not be relevant 
news at all. But for 
those who do use it, 
the death of Vine is an immense 
tragedy.

Since 
that 
fateful 

announcement, Vine users have 
been mourning the loss of the app. 
To commemorate Vine’s legacy, 
popular Viners, such as chloe lmao 
(920.4k followers) have, generated 
specialized remakes of the Vines 
that made them viral. They’re also 
changing their usernames to their 
Instagram and Twitter accounts, 
hoping that their followers will 
continue to interact with them, 
post-Vine mortem. Other popular 
Viners, like leathershirts (311.3k 
followers), 
GETTER 
(396k 

followers) and J. Cyrus (1.5 million 
followers) showcased their sense 
of dread for Vine’s ending with 
comically dark clips. Users have 
also created mini montages of 
viral Vines and reposted old viral 
Vines for nostalgia’s sake.

It’s strange and sad to think 

that an app that has given so much 
joy to so many people will soon 
be gone. But what was it about 
Vine that made it so special? Was 
it having the ability to produce 
memes at a remarkably rapid 
pace? Or was it the physical and 
virtual community it formed 
among the app’s active content 
creators? 

Despite all of its flaws and 

detractors, 
Vine 
possesses 
a 

myriad of wonderful qualities. 
During its first month of activity 
in January 2013, BBC News 
called Vine “mesmerizing” and 
a “bewildering carousel of six-
second slices of ordinary life rolls 
past.” But since then, the app has 
become a triumphant achievement 
in online creativity, encouraging 
tech-savvy millennials to go out 
and make their own content on 
their mobile devices.

The app’s hook of recording 

something under six seconds 
may have been daunting at first, 
but the six-second limit ended 

up cultivating a plethora of 
videos that were a combination 
of surreal, hilarious, iconic and 
singular. With the right music, 
editing, 
setting, 
acting 
and 

timing, Vine could 
make anything seem 
possible.

Users would mash 

up pop music with 
infamous 
scenes 

from TV and film, 
incorporate 
hip 

hop into awkward 
situations 
and 

synchronized dance 
routines, capture cool 
moments 
in 
slow-

motion and poke fun 

at current dance trends. Vine also 
created its own vernacular that 
would bewilder any baby boomer 
or Gen-Xer, producing phrases 
like “A potato flew around my 
room,” “Suh dude,” “Do you gotta 
bae or nah?” “Do it for the Vine” 
and “Eyebrows on fleek.”

Like its video counterpart 

YouTube and its parent company 
Twitter, 
Vine 
provided 
a 

landscape 
for 
today’s 
youth 

to integrate pop culture with 
comedy, shed light on national 
issues through relatable content 
and 
— 
most 
importantly 
— 

connect with one another through 
an online, globalized community, 
all within six seconds.

In addition to all that, Vine 

was a major source in making 
talented (and even untalented) 
people famous. Andrew “King 
Bach” 
Bachelor 
(16.2 
million 

followers) was one of the first 
Viners who gained an enormous 
amount of popularity. Most of his 
Vines, which garnered thousands 
of likes and revines, were filled 
with racially tinged humor and 
funny catchphrases like “But 
that backflip tho.” Though he 
is currently the most followed 
person on Vine, Bachelor is now 
an established online personality, 
having taken his Vine fame and 
put it to good use on Instagram, 
YouTube and even film and TV. 
He starred in the Wayan Brothers 
parody film “Fifty Shades of 
Black” last January and had a 
guest spot in Joe Swanberg’s 
Netflix anthology series “Easy.”

Even if Bachelor and his 

other Vine compadres may not 
be everyone’s cup of tea — they 
mostly perpetuated and satirized 
racial stereotypes in their Vines 
— it still goes to show how much 
power Vine obtained as a tool for 
stardom. 
Previously 
unknown 

musicians Bobby Shmurda and 
Shawn Mendes received record 

deals after Vines of their work 
(Shmurda’s “Hot N****a” and 
Mendes’ renditions of pop jingles) 
became viral. Songs that already 
existed, such as OG Maco’s “U 
Guessed It,” Chedda Da Connect’s 
“Flicka Da Wrist” and T-Wayne’s 
“Nasty Freestyle,” also became 
well-known after Vine users 
popularized them. Essentially, 
Vine 
recognized 
voices 
that 

would have otherwise not been 
seen or heard by social media 
users, paving the way for artists to 
express their creative selves.

Vine also encouraged people 

to infuse the medium with social 
commentary. 
For 
example, 

the app became a huge part 
of documenting the Ferguson 
protests in 2014. Recorded Vines 
of the protests helped catalyze a 
national conversation on police 
brutality after police shot and 
killed Michael Brown. Had Vine 
not existed or reached the peak 
of its popularity at that time, 
Ferguson’s 
social 
significance 

would have been much more 
diluted.

Why, then, has Twitter decided 

to take away Vine from its loyal 
followers? The reasons given 
for Vine’s demise are varied, 
including a decline in the app’s 
popularity and changes in the 
company’s goals. But perhaps 
the main reason could be that 
Viners have outgrown Vine. Most 
of the app’s bad aspects involve 
vapid imitators who aggressively 
replicate trends in a deceptively 
simple and unoriginal way. Users 
also tend to make Vines that 
require a minimal amount of 
work. This pertains specifically to 
condensed Vines that use scenes 
from TV shows and movies with 
the addition of a few visual or 
audio changes for comic effect. 
Sometimes, they would make for 
clever Vines, but mostly they fail 
to capture what made Vine so 
good in the first place. 

Regardless 
of 
its 
defects, 

though, Vine will be forever 
missed. It gave our generation an 
accessible, short-form platform 
of entertainment, a place to 
joke around and express our 
individuality through the ever-
growing medium of social media. 
Until Twitter announces the app’s 
official death date, at least we can 
continue to watch and laugh at 
our favorite Vines loop endlessly 
until there’s nothing left to fill the 
existential void of reality.

Rosenberg is doing it for the 

Vine. If you want him to stop, 

email samjrose@umich.edu

SOCIAL MEDIA COLUMN

Abrupt end of social media app makes for a bitter goodbye

A eulogy for Vine

SAM 

ROSENBERG

Fashion, with its air of magic 

and 
enchantment, 
has 
long 

fashioned 
fairy 
godmothers 

of its own — Coco Chanel and 
Miuccia Prada in particular 
come to mind. But Christian 
Dior, 
equally 
iconic 
and 

unforgettable, 
stands 
one 

of 
fashion’s 
greatest 
fairy 

godfathers.

In 2014, the Tribeca Film 

Festival 
released 
Frederic 

Tcheng’s 
(“Diana 
Vreeland: 

The 
Eye 
Has 
to 
Travel”) 

documentary “Dior and I” to 
illustrate the continuation of 
Christian Dior’s legacy through 
the eyes of new creative director 
Raf Simons. The film is mostly 
in French but utilizes English 
subtitling.

The opening presents the tall, 

intimate and quintessentially 
French character of Christian 
Dior, 
followed 
by 
the 
less 

abstract, charming and shy 
figure of Raf Simons. Simons 
and his team face the priceless 
privilege and daunting pressure 
of carrying out Dior’s particular 
brand of craft, to create a 

breathtaking collection in mere 
weeks.

Faced with every imaginable 

obstacle in the business, the 
team faces crippling challenges 
but triumphs by the skin of their 
teeth. The show goes underway 
and 
achieves 
overwhelming 

success, especially in harkening 
back to days of classic haute 
couture.

Tcheng gives his viewers 

an exclusive look into the 
mechanics of bringing such 
art to life, only hinted at in the 
layers of tulle and hand stitching 
floating down the runway. Each 
of the team members has their 
own snippet of the film, a chance 
to comment on their own role 
in the process while running 
around to finish the day’s work.

But the chaos, stress, and 

scramble of putting together 
the 
modern 
collection 
are 

juxtaposed by shadowy intervals 
of Dior’s history. Women dressed 
in vintage Dior framed in black 
and white cinematography swirl 
to Christian Dior’s soft, alluring 
voice.

The film does two things 

admirably. 
Primarily, 

almost akin to the feeling of 
desperate hope inspired by an 

inspirational sports movie, the 
audience is breathlessly rooting 
for Simon, and his team to win 
the metaphorical trophy of high 
fashion approval. While they 
pray to the spirit of Christian 
Dior, the audience is praying for 
the flustered seamstresses and 
the nearly faint Simons.

Secondly, the film resurrects 

the 
word 
“sublime.” 
Every 

stroke 
of 
genius, 
fortunate 

moment or execution of another 
piece is marked by someone’s 
proclamation of “sublime!”(in 
a perfect French accent, of 
course) making us wonder why 
anyone ever stopped saying that 
word.

The film reminds us why we 

find ourselves so fascinated by 
fashion. “Dior and I” bestows 
a glimpse into the raw vision 
that is molded by blood, sweat 
and tears in order to make true 
couture. And more than any 
sports team, the house of Dior’s 
teamwork behind the scenes 
was 
unparalleled 
and 
awe-

inspiring. Much like the work it 
displays, the film is sublime in 
its portraiture and reminds us 
why Dior will continue to mark 
the pages of Vogue for years to 
come.

SARAH AGNONE

For the Daily

Fashion’s fairy godfather: A stylish 
retrospective on ‘Dior and I’ doc

An inside look at Raf Simons, one of France’s most iconic ateliers

STYLE NOTEBOOK

NETFLIX

Look at alllllll that #content.

“XOXO,” a film set at an 

electronic dance music festival, 
tells the story å six strangers 
who float in and out of each 
other’s music fest 
experiences. 
Just 

like an EDM fest in 
real life, there are 
too many flashing 
neon 
lights, 
too 

many people doing 
too many drugs and 
an aggressively bro-
ey crowd. But to say 
there is a real plot 
or character development would 
certainly be an overstatement.

Most suprisingly, “XOXO” is 

one of the recent productions put 
out by Netflix as original content. 
For the most part, Netflix has 
put out middling to high quality 
original content ranging from 
likes of Tallulah” to “Beasts of 
No Nation”. Recently, however, 
there seems to have been a 
lowering of the bar as exemplified 
by “Crouching Tiger, Hidden 
Dragon: Sword of Destiny,” “The 
Ridiculous 6” and most recently, 
the underwhelming “XOXO.”

In the film, Ethan (Graham 

Parker, “The Good Wife”) has 
recently had his new single, 
featuring vocals from his mom, 
go viral on YouTube. His best 
friend and manager, Tariq (Brett 
DelBuono, “Let Me In”), books 
him a spot at XOXO, a music 
festival that spans less than 12 
hours. From there on out the 
movie primarily consists of EDM 
intercut with shots of women’s 

cleavage. That’s about it. Ethan 
has trouble getting into the 
festival because his manager 
hasn’t made proper arrangements 
for him. Tariq gets held up 
working at his father’s restaurant. 
But when Tariq finally arrives at 
the festival, he ends up making 

out with a scantily 
clad 
woman 

who he finds out 
had acid on her 
tongue. 
Many 

more 
shots 
of 

characters kissing 
women 
wearing 

few 
articles 
of 

clothing and ass 
shots follow. The 

movie indulges the viewer in the 
excess of EDM culture without he 
or she having to attend an actual 
event.

“XOXO” is voyeuristic in how 

it looks at the EDM subculture. 
Screenwriter 
and 
director 

Christopher 
Louie 
(“Lucky”) 

doesn’t leave much room for 
critical thought or exploration 
of the culture it presents. This is 
not to say that people shouldn’t 
be able to act, dress and party the 
way they want to, but rather that 
the way it should be presented 
in a film is a critical and artistic 
choice. “XOXO” reduces other 
aspects of EDM culture and 
affirms that there is only one 
acceptable 
behavior. 
When 

Kyrstal (Sarah Hyland, “Modern 
Family”) is getting ready for the 
festival, she puts on an outfit but 
is told by her friends that it isn’t 
sexy and revealing enough. She 
succumbs to peer pressure and 
changes. Although there is an 
obvious questioning by Krystal, 

the movie ultimately presents 
peer pressure as acceptable. 
At another point in the film, a 
group of “bros” want to beat up 
a character, but are convinced by 
a tripping Tariq that they need 
to be happy and loving and all 
end up dancing together. There 
are clear attempts to show the 
misinformed actions of certain 
characters, but no character 
is developed enough to lend 
the feeling that they learned 
something and their behavior 
will permanently changed. The 
troubling thing is it seems Netflix 
is OK with putting out this kind 
of low-quality content.

There is no doubt that movies 

like this have long been made 
and will continue to be made. 
There will always be a place for 
B-grade movies, and there should 
be. They can be fun, entertaining 
and enjoyable in a way that more 
serious works simply can’t be. 
Using tropes and stereotypes 
that people have seen so much 
they know them by heart is part 
of the fun of the B-movie, yet it 
doesn’t seem that Netflix should 
be the company producing and 
distributing movies of this sort. 
The 
company 
should 
more 

carefully choose the original 
movies it puts out and think about 
how they reflect the company. 
The Netflix banner at one point 
denoted a show or a movie you 
could expect to be good, but now 
this doesn’t seem to be the case. 
Netflix shouldn’t demean itself 
or its audience by producing 
movies like “XOXO” that only 
use stereotypical characters and 
erotic images to engage their 
audience. 

‘XOXO’ sets Netflix back

JOE WAGNER
Daily Arts Writer

Netflix’s latest original film a dismal showing for platform

D

“XOXO”

Now Streaming

Netflix

FILM REVIEW

6A — Wednesday, November 9, 2016
Arts
The Michigan Daily — michigandaily.com

