ACROSS
1 Test
6 Law degs.
9 While-__: repair
shop sign words
14 Art critic’s
phrase, literally
15 Calendar pg.
16 NBA’s Jackson
et al.
18 “10” co-star
19 Send out
20 Pamplona’s
municipality
22 Big stain
24 Israeli border
lake
28 “Doubt it”
29 Theme park
near Dallas,
literally
30 “Conan” channel
33 Dayan of Israel
35 Giants manager
before Bochy
37 Like non-oyster
months,
traditionally
39 Ration (out)
40 Changes one’s
ways, literally
42 “The Deep”
director Peter
44 Bottom line
46 Closing
sequence
48 They’re often
numbered
49 Bench
warmers?
53 Loss of speech
55 Drive-__
56 Before, in Brest
59 Tumbles out of
control, literally
61 “In the
Bedroom” Oscar
nominee
62 Passé
63 “Surprise
Symphony”
composer
64 Big tees
65 Matrix, e.g.
DOWN
1 Some jennies
2 Baffle
3 Prophetess
4 Longtime
Dodger
manager
5 Still
6 Whale of a guy?
7 Half of MCDX
8 Most constant
9 Kite aid
10 Cajoled
11 Whistle blower?
12 Key for Fauré?
13 “For shame!”
17 Run at the end
21 “Toy Story”
dinosaur
23 Highland lid
25 Ancient
Germanic
invader
26 Even, in Évian
27 Valuable team
member
29 Field unit
30 Byes
31 Not sharp
32 More ticked
34 Cunning
36 Still breast-
feeding
38 __ orientation
41 Ignored the
alarm
43 Civil war site
since 2011:
Abbr.
45 E. African land
47 Dulcimer kin
49 Crushes an altar
ego?
50 Utter
51 Part of a
skipping refrain
52 Like some
heads
54 King anointed
by Samuel
56 Sports fig.
57 U.S. govt.
broadcaster
58 Acker of
“Person of
Interest”
60 Doo-wop
syllable
By Peter Koetters
©2016 Tribune Content Agency, LLC
12/02/16
12/02/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, December 2, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Friday, December 2, 2016
Arts
The Michigan Daily — michigandaily.com
The latest feature from Walt
Disney Animation Studios was
born out of the rich oral traditions
of Oceania. For centuries, the
people of Oceania were sailors and
navigated the waters of the Pacific.
But, for reasons unknown to
historical scholars, their voyages
stopped around the year 1000 B.C.,
and they stayed put for almost a
millennium. “Moana” aims to, at
least partially, answer the question
of why these voyages stopped
by following Moana, a teenage
princess, as she sets sail beyond
her island shore for the first time
in hundreds of years.
Amy Smeed, the head animator
for the film, came to the University
of Michigan earlier this month
to talk to Screen Arts & Cultures
and Art & Design students about
the creation of the film. Smeed
oversaw the animation for many
of the human characters, but was
particularly fond of the heroine,
Moana.
“She’s very courageous and
fearless, and I love that about her,”
Smeed said in an interview, “And
she’s very athletic … The scenes
that I got to animate, I picked
Moana.”
Smeed said Auli’i Cravalho, the
young actress who voices Moana,
landed her the role alongside
seasoned actors like Dwayne
Johnson and Temuera Morrison
because of her tenacity and
spirit. Having her on set helped
Smeed and her team of animators
visualize Moana’s energy.
“As animators, when we’re out
in the world, we’re constantly
observing — watching movements
and mannerisms of teenagers and
what that energy is,” Smeed said.
Smeed began her career as a
painter. She attended art school
at Western Michigan University
but transferred to School of the
Art Institute of Chicago after
she was sent a disc advertising
their animation program. After
discovering
animation
and
finishing
her
studies,
Smeed
went on to become an animator
at Disney, working on animation
for projects from “Meet the
Robinsons”
to
“Frozen.”
For
“Moana,” Smeed served as the
head animator.
“When I was living here in
Michigan, I loved painting, and I
wasn’t really sure what to do with
it as an actual career,” Smeed said.
“For me it was always trying to
figure out, within art, what can
I do with that? So when I found
animation, I really do feel lucky.”
Even though Smeed doesn’t
spend much of her time painting
and drawing anymore, she stressed
the importance for young artists
and aspiring animators to keep
pursuing art in a more traditional,
pen-and-paper kind of way.
“I think sometimes there’s
a misconception that now that
everything is in the computers,
you just do it in the computer,” she
said, “But there’s so much drawing
that actually takes place, even in a
computer animation film. “
Smeed has found tremendous
success working at Disney, but
noted that animation, like many
other fields, can be a little bit of a
boy’s club.
“I don’t know why that is. I’m
trying to figure that out, and that’s
one of the reasons I love coming
to talk to students, because I’m
hoping that it will inspire other
women … to know they can do this
career,” she said. “When I was in
art school, there weren’t many
women in our classes, so it made
sense to me. But now there are. I
see a lot of women in the classes.”
The content of the studio’s
most recent films, she said,
reflects the increased, albeit still
slight, role of female leadership
and involvement. Storylines are
moving away from traditional love
stories and are focusing instead on
strong, independent female leads.
That trend continues in “Moana.”
Moana and Maui traverse the
ocean and fight magical creatures
without the slightest hint of
romance.
“It’s great to see the two of them
together and how they interact
with each other. But I love that …
she’s not in love with him, he’s not
in love with her,” Smeed said.
“Moana” hit theaters right
in time to relieve Thanksgiving
tables of tension and political
debate.
WALT DISNEY STUDIOS
You say Mo-anna, I say Mo-ahna.
MADELEINE GAUDIN
Daily Arts Writer
‘Moana’ animator talks
film, female leadership
FILM INTERVIEW
Anywhere that you tell me
to. Through Rory dropping out
of Yale and the big fight with
Lorelai. Through the season
four finale. Through the Luke
and
Lorelai
will-they-won’t-
they mess. Through any episode
with April. Through the last
ten, Gilmore-less, years. And
now, all the way to Netflix. This
Thanksgiving between turkey
and debates over deflategate
(yep, mine is still having those)
I found time to watch — and
rewatch — the “Gilmore Girls”
revival.
I was excited, and a little
terrified, to watch the show
when it dropped on Netflix last
Friday. I’m a fan. But I’m one
of those second wave fans that
found Gilmore Girls after the
show stopped airing on TV.
Even before the days of Netflix,
I had the box-set of Gilmore
Girls DVDs and watched and
rewatched them a hundred
times. I was scared that the
revival would fall into “Fuller
House” territory, that it would
feel false and gimmicky. But it
wasn’t. It was flawed, but it was
pretty wonderful.
Part of that comes from the
fact that creators Amy Sherman-
Palladino and her husband Dan
knew exactly the audience they
were writing for. They were
writing for their fan base. They
were writing for people who
were going to watch the revival
no matter what.
The queen of the revival
was Emily, which is surprising
given the show’s primary focus
on the relationship between
Rory and Lorelai. But here, it’s
Emily who undergoes the most
interesting character change.
Lorelai is pretty much the same
(Lauren Graham has not aged a
day; it’s remarkable), Rory is a
mess, but I’ll get into that later.
When the revival begins, Emily
is floundering after the death
of her husband, Richard. She
sells all her belongings, tries
going to therapy, fights with
her daughter and ultimately
decides to move to Nantucket
and start fresh. She takes on an
unexpected role as the voice of
reason across the four episodes
and demonstrates the most
strength and resilience.
The oddest part of the revival
is how little it lets its women
grow. The original series was
full of strong young women with
ambition and passion — women,
like Rory or Paris and to a lesser
extent Laine, who were smart
and set on cutting their way to
the top of a world that valued
their male classmates above
them. But now, in the revival,
all three women — especially
Rory and Paris — seem less
mature and more aimless than
ever. Rory is adrift, riding on
a trust fund and a couple New
Yorker bylines. She gives off
the illusion of drive with her
“business” trips to London, but
even those seem more focused
on seeing Logan than advancing
her career. Paris has set up a
multimillion-dollar
company
but melts at the sight of her
high
school
crush,
Tristan
(who isn’t even played by Chad
Michael
Murray
anymore!).
It’s
disappointing,
although
not wholly surprising, that the
show prioritized an avenue to a
neat Stars Hollow reunion over
the success and passion of its
female leads.
I’ve
been
waiting
so
impatiently for those last four
words. I thought that maybe
they were going to be the key
to redemption and progress for
our stunted heroine. Besides
“the zombies are here,” there
wasn’t much that I’d ruled
out, so I can’t say I was totally
surprised by the four that were
chosen. I did have to rewind the
last minute a few times to make
sure I heard it right.
Rory’s pregnant — that makes
sense, it keeps with the trend
of
coming
full-circle
that’s
especially
apparent
in
the
“Fall” installment. Lorelai has
to make a bargain with Emily
in exchange for a loan, Rory
is writing a story — probably
the story we just spent seven
years and six hours watching.
Everything seems to be ending
where it began. Rory, now 32,
is now the same age Lorelai
was when the series began. It’s
spooky how well all the timing
worked out.
It seems pretty clear to me
now
that
the
Rory/Lorelai
parallels go further than that.
Logan seems to be the most
obvious contender for the baby’s
father. He takes on the role of
Christopher — wealthy, absent
but well intentioned — while the
path has been cleared for Jess to
step into the role of Luke. The
look he gives Rory through the
window late in the final episode
confirms what viewers have
been suspecting and hoping for
— he’s still in love with Rory.
But is Rory ready for a guy
like Jess? As of the end of the
original series, I would say no.
And at the end of the revival
I would still say no. While
Jess has matured into a mildly
successful
writer/publisher,
Rory is still directionless. She’s
emotionally stunted — making
many of the same mistakes she
made at 22, the last time we
saw her. Even at 32, Rory has
a lot of growing up to do. She
still uses Logan — despite his
engagement to someone named
Odette — as a crutch, leaning on
him for emotional fulfillment
and companionship. Two things
he can’t give her.
I’ll admit, I’m biased. I’ve
been stubbornly team Jess since
he came into our lives back in
season two. I still hold out that
the Rory/Jess kiss at Sookie’s
wedding is one of the best
kisses in TV history. The dance
marathon episode is the best
episode because Rory finally
realizes Jess is a million times
better than Dean, who is actually
the worst character ever.
So now I’m conflicted. More
episodes
seem
well
within
the realm of possibility; I just
don’t know if I want them. No
matter how much she annoys
me, I would love nothing more
than to see Rory healthy, happy
and successful. But sometimes
— especially in the world of
sequels — less really is more.
I can only hope that “Gilmore
Girls” takes notes from TV
shows that tanked in quality in
their final seasons (“The Office”
is a great example) and learns
when to quit.
NETFLIX
Welcome to my Caucasian home.
MADELEINE GAUDIN
Daily Arts Writer
New episodes of ‘Gilmore Girls,’ while welcome, leave me conflicted
Where you lead, I will follow: My
adventure with Rory and Lorelai
TV NOTEBOOK
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