Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Rough guess
5 Company that
developed the
first aluminum
teakettle
10 Pre-coll. catchall
14 Words of lament
15 Inventive types?
16 Wild way to run
17 Stock in
company
producing solar
panels, e.g.
20 California rolls
and such
21 Bud holder?
22 Touch-and-go
23 Swell treatment
25 Cato, for one
27 Exonerated by
the evidence
33 Single
34 Suggested
actions
35 Wish for
37 In-flight fig.
38 Jack’s value,
sometimes
39 Spearheaded
40 Fixture that may
have claw feet
41 Closed in on
43 Fish that can
swim backwards
44 A.L. West pro,
informally
45 Standing
hospitable offer
48 Five-time
Olympic
swimming gold
medalist Ledecky
49 Church-owned
Dallas sch.
50 Moth-__
53 “Inside Politics”
airer
55 Initial stage
59 Take on holes 10
through 18 ... and
a hint to a letter
sequence hidden
in 17-, 27- and
45-Across
62 Vacation spot
63 Nemesis
64 Canal past
Rochester
65 Far from friendly
66 Parceled (out)
67 Frees (of)
DOWN
1 Loses firmness
2 No __ traffic
3 Former Iowa
Straw Poll city
4 Dwelling fit for a
queen
5 Boxer Laila
6 Website offering
7 Stalactite sites
8 Home of college
football’s Ducks
9 Mule’s father
10 White-coated
weasels
11 Golf ball positions
12 Sound of
frustration, often
13 __-bitty
18 Good-natured
19 Copied, in a way
24 Called the whole
thing off
26 Early assembly-
line autos
27 Arrange
28 Logger’s contest
29 Ready to draw,
as beer
30 Physics particle
31 Capone cohort
32 Cape Cod
community
36 Black, in verse
38 Studio renter
39 Sweet-smelling
garland
42 Typed in again
43 50-50 wager
44 Knockout
46 __ Creed
47 Wild way to run
50 Large-scale
51 “One more
thing ... ”
52 Towering
54 Put a handle on
56 Apple Watch
assistant
57 Oklahoma city
58 Driving needs?
60 Clothes line
61 Dancer Charisse
By Gail Grabowski and Bruce Venzke
©2016 Tribune Content Agency, LLC
11/30/16
11/30/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, November 30, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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TV REVIEW
Nostalgia is a funny thing.
It brings us happiness, while
remaining elusive as to how to
recapture it and
also
leaving
us
unsure how to feel.
This
sentiment
best
describes
the long awaited
“Gilmore
Girls”
revival “A Year in
the Life.” The new
series may leave
fans
struggling
to reconcile the
beloved
Stars
Hollow and characters they knew
from over a decade ago with the
world presented to them now.
Creator Amy Sherman-Palladino
(“Bunheads”) similarly seems to
struggle bridging the gap between
the show she left after its sixth
season with the chance she has to
revisit it now.
The four-part series loosely
follows a four act structure, each
set in a different season of the
year. The slightly overwrought
“seasons” metaphor attempts to
hint at any sort of development in
the show’s characters throughout
the four episodes, but doesn’t lend
much to the series overall. While
the comforting sight of a snowy
Stars Hollow and the resurrection
of the “Lazy, Hazy, Crazy Days of
Summer” town festival ignite the
seasonal settings with a rewarding
familiarity, the plot itself remains
mostly disconnected from the
thematic titles.
Faint efforts are made at
reminding us that time has passed
since we last saw Lorelai (Lauren
Graham, “Parenthood”) and Rory
(Alexis Bledel, “The Sisterhood of
the Traveling Pants”). And while
some are successful, many point
glaringly to the fact that Sherman-
Palladino wants to pick up where
she left off before leaving the
show (and taking her vision for
the show’s ending with her). The
title of “Winter” fades in over
lines of dialogue from seasons
past, introducing the series with
an eerie feeling that enhances the
uncertainty of what’s to come.
But this eeriness dissipates as
soon as we’re dropped back into
the cozy town of Stars Hollow with
Rory and Lorelai’s casual reunion
— one that indicates their lives
continued on after the “Gilmore
Girls”
finale
and
we’re
just
now
catching
up
with
them as one would
with
old
friends.
Sherman-Palladino
acknowledges
the
potential
awkwardness
of
our first encounter
with
these
characters after so
long
with
subtle
self-awareness. After their first
round
of
Sherman-Palladino’s
special
brand
of
quick-fire
banter, Rory exclaims “I’m out
of breath,” and Lorelai responds
“It’s been awhile since we’ve
done that.” This tongue-in-cheek
acknowledgement of the show’s
return likely made fans’ hearts
skip a beat with the layered
emotion behind the exchange.
Other continuities like Kirk’s
(Sean Gunn, “Super”) half-witted
entrepreneurial endeavors and
Taylor’s (Michael Winters, “Deep
Impact”) endless campaigning
to modify the town are a treat.
Moments like these make the
revival worth watching, but at a
cost.
At times, Sherman-Palladino
and her husband Daniel Palladino
(who each wrote two episodes,
respectively) seem like they’re
trying to fit far too much into the
narrative. The four-part series
plays out like a movie in which
the plot moves along restlessly
towards the culmination of its
efforts in the very end. Storylines
that don’t match the tone of the
series are introduced with little
explanation — a likely result of
attempts to include old characters
like Paris (Liza Weil, “How to Get
Away With Murder”) and Logan
(Matt Czuchry, “The Good Wife”)
for our benefit.
Lorelai’s arc suffers the most
from these atypical plot points —
her insistence on wanting a baby
then venturing out to California
to emulate the story from “Wild”
forces conflict between her and
the seemingly idle Luke (Scott
Patterson, “Meth Head”) It also
distracts from the significance
of the more successful subplots,
including her mother Emily (Kelly
Bishop, “Bunheads”) and her
relationship with Rory. Rory’s arc
flounders under similar twists
and turns, most of which are self-
inflicted obstacles that make it
difficult to sympathize with Rory
as she navigates her nomadic
lifestyle and career with the self-
doubt of a troubled 30-something.
However, some of the storylines
introduced succeed with their
unexpected novelty. And above
all, the relationship between the
three Gilmore women surpasses
the sum of their parts. With
the passing of actor Edward
Herrmann (“The Practice”) who
played the imposing Richard
Gilmore,
Sherman-Palladino
poignantly weaves together both
genuine emotion and comic relief
that is reminiscent of the original
series’ ability to bring together
conflict and comedy with pathos
and charm.
Overall, the revival somewhat
resembles the oversized portrait
of Richard commissioned by
Emily that sits in the Gilmore
living room. Emily refuses to
acknowledge that it’s oversized,
too
overcome
by
her
grief
over Richard’s death to admit
that his depiction is not what
she had intended it to be.
The looming presence of the
portrait captures his likeness
and essence, but doesn’t quite fit
with its surroundings. In short,
it represents something held
dear by many but that can’t be
recaptured in the appropriate
way. The revival series is just that
— a too-large-for-life replication
of what was once great at odds
with the new circumstances
under which it was created.
Despite its flaws, the series
revisits
its
characters
with
integrity and harkens back to
a world where rapid dialogue
chock-full
of
pop
culture
references is the norm, while
creating a sense of closure for
fans to hold on to.
‘Gilmore’ pure nostalgia
SHIR AVINADAV
Daily Arts Writer
Series revival rides on emotions left in the past, to mixed results
B-
“Gilmore Girls: A
Year in the Life”
All Episodes
Available to Stream
Netflix
ATLANTIC RECORDS
Those bottom eyelashes, though.
We arrived to the Fillmore
in Detroit almost five hours
before
doors
opened
for
Marina and the Diamonds,
waiting
in
anticipation
to
witness the spectacle of a
true pop goddess. Her music
embodies fierce femininity;
with songs like “Primadonna
Girl” and “Bubblegum Bitch,”
it’s pretty hard not to.
As an avid fan of music
and concert-going, I’ve never
bothered
to
pay
attention
to my own appearance at
shows or what others could
possibly think of my own
music preferences. I donned
my finest pop-punk kid attire
for the summer show: black
Vans, khaki shorts, Knuckle
Puck shirt and my classic black
nose ring — an outfit I could
have easily worn to Warped
Tour (and probably did). In
retrospect, a punk kid singing
lyrics like “I’m gonna pop
your bubblegum hard” at a
Marina show must have been
an abnormal sight. But who
actually gives a shit?
Music
transcends
things
as
trivial
as
aesthetics,
masculinity and femininity. It
resounds in the soul. In today’s
world, gender expectations for
music should be about as dead
as the binary gender system.
It’s
an
outdated,
limiting
ideology to execute on a daily
basis.
Unfortunately,
this
isn’t quite the case. I still
shamelessly jam to Pierce The
Veil, whose flawless blend of
incredible
guitar
melodies,
post-hardcore breakdowns and
poetic lyrics are egregiously
underappreciated by masses
of male adults. To this day, I
receive comments like “His
voice is too girly” or “They’re
for
13-year-old
girls”
in
response to my love of the
band (don’t get me wrong, this
is definitely a shot at all of my
friends from high school). It’s
an isolated incident of frankly
ridiculous standards for music
taste that spread throughout
the spectrum of genres.
It’s
also
disgustingly
common to see the belittling
of women in the punk scene.
Girls aren’t “strong enough” to
protect themselves in a punk
crowd, or they’re just being
“fangirls.” I take it as a damn
compliment
when
someone
likens me to a fangirl — if the
best you can do is compare my
passions to a stereotype, at the
very least it’s getting noticed.
I guess the whole point of
this discussion is to dismantle
the reasons people tend to
view music through such a
limiting lens. There’s a number
of possibilities ranging from
fragile
masculinity
to
an
overall lack of appreciation
for music as something more
than background noise. This
is at no blame to the person,
but I think it would be pretty
hard for someone who’s had
“Closer” by the Chainsmokers
on repeat for the past few
months to dig anything from
Pierce The Veil. Still, I think
it’s important to critique music
by how it hits you, not whether
you perceive it as masculine or
feminine. It’s unnecessary to
gender music and unnecessary
to cut your scope of interest
short in response to socially
constructed ideas.
It’s about time we destroy
these expectations, not only in
music but also in the continual
destruction of barriers around
human existence: listen to what
you want, wear what you want
and be exactly who you want.
Nothing is stopping you other
than your own insecurities.
DOMINIC POLSINELLI
Daily Arts Writer
It’s time to end overt expectations
around gender in the music world
Marina and the Diamonds concert open to Primadonna Boys , too
“Paranoid,” an ITV show
now available on Netflix, opens
like an episode of “House,”
“Bones” or “Law and Order.” It
begins with an
idyllic scene in
a
playground;
children
are
playing
in
the
sandbox,
parents
are
laughing
and
one
woman
is
sitting
on
a park bench
alone,
blonde
tendrils of hair gently blowing
in the wind, watching a mother
push her toddler on a swing. A
man enters the frame, wearing
a sweatshirt pulled close over
his hunched shoulders, his
face hidden by the hood. The
air seems to stiffen as he walks
towards the mother, hands in
his pockets. Before anyone can
predict his actions, he grabs
her and stabs her several times.
The woman sitting on the park
bench runs forward and pulls
the child out of the swing to
protect him, but the man runs
away after leaving his victim
lying in a pool of blood under
the swings. Opening credits
roll.
However, unlike “House,”
“Bones” or “Law and Order:
SVU,” the pilot of “Paranoid” is
awful enough to merit refusing
it a second chance. It’s boring,
kitschy and full of cliches that
aren’t even executed well. It’s
overly filtered, and the score
matches the overdone aesthetic.
The plot follows a group of
detectives who try to solve the
whodunit, but they quickly
realize it is not as simple as they
thought it would be. There’s
a schizophrenic suspect with
OCD who is later found dead
himself, framed as a murder-
suicide situation. The detectives
receive anonymous notes in
boxes with photographs that
say things like “You have no
idea
what
you’re
up
against”
and
“Look into Angela’s
past.”
To
quote
Miranda
Priestly:
groundbreaking.
The worst part of
“Paranoid,” besides
the
hackneyed
plot and the score,
is the writing for
the
three
main
detectives,
The
first
is
a
grizzled old cop, Bobby Day
(Robert Glenister, “Hustle”)
who
questions
the
blonde
woman, Lucy (Lesley Sharp,
“The Full Monty”) with his
hands shaking slightly as he
tries to write down her answers.
She looks at him without
blinking a second longer than is
comfortable, smiles beatifically
and then offers advice on how
to deal with panic attacks. He
cuts her down immediately,
embarrassed
that
she’s
spotted his weakness. Lucy
blinks and moves on. (I seem
to remember seeing a lot of
pointed blinking in the pilot.
Whether they were attempting
to make a point about non-
verbal communication or I was
just bored enough to be paying
special attention to eyelids is up
for debate.)
Lucy is constantly wearing
soft smiles to indicate that she
always knows what’s best for
people. I’m still rather confused
as to her role in the plot.
Indira Varma (“Game of
Thrones”) plays Nina, the
second main detective, and is
blessed with the opportunity
to deliver this line: “I’m 38
years old. I’m childless. My
arse is starting to sag. And
the flake that I thought was
going to marry me has given
me the shove.” It was bizarrely
reminiscent of “Bridget Jones’s
Diary” which made me upset
that I was watching this and
not “Bridget Jones’s Diary.”
Later on, after mulling over
how said flake (her boyfriend
of a few years) had dumped her
in front of the third detective
(Dino Fetscher, “Now You See
Me 2”), Nina mutters “Why
am I so buttoned up,” and then
kisses him. The second they
break apart and he opens his
mouth, perhaps to say “Where
did that trite piece of dialogue
come from?” she shakes her
head and tells him to forget
it. Fetscher’s confused face
never changes throughout the
episode.
Most of the pilot is taken up
by trying to track down people
who are connected with the
victim’s past. It ends with a
possible key suspect’s body
facedown in a swimming pool,
and
another
box
delivered
to Bobby. Inside is a DVD
of footage of himself and
another photograph — this
one edgily scribbled on with
black Sharpie — and a sinister
message. This would’ve been
an interesting way to end the
pilot and convince someone to
watch the next episode if that
someone hadn’t seen the same
cliffhanger in several other
episodes of several other TV
shows. The pilot ends after
40-something
minutes
of
failing to make you care about
any of the characters. The only
good thing I got out of it was
a reminder to watch “Bridget
Jones’s Diary” again.
SOPHIA KAUFMAN
Daily Arts Writer
British drama is overwrought with overbearing crime tropes
D
“Paranoid”
All Episodes
Available to Stream
Netflix
‘Paranoid’ is filled with cliches,
and frankly a bad show in general
TV REVIEW
MUSIC NOTEBOOK
6A — Wednesday, November 30, 2016
Arts
The Michigan Daily — michigandaily.com