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Classifieds

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ACROSS
1 “And another
thing ... ”
5 Up on the latest
info
10 Not yet paid
14 California wine
valley
15 Gathered, as
autumn leaves
16 Tree fruit
17 Of the poorest
quality
19 The “I” in MIT:
Abbr.
20 Long stretch
21 Communication
syst. for the
hearing-impaired
22 Jury __
23 Southern speech
quality
25 Heart exam:
Abbr.
28 One of the five
basic tastes
30 Inventor Howe
32 River through
southern Russia
34 Armed conflict
35 Novel or short
story, say
38 “If I may cut in ... ”
41 Typically reddish-
brown ape
42 Varieties
43 Fashionable
dude
46 “The A-Team”
muscleman
47 Pet food brand
48 Bottle parts
51 “Waiting for Lefty”
playwright
Clifford
53 Capote nickname
55 Calendar periods
57 Canadian tribe
58 Sgt., e.g.
60 Zero
61 Dog treat
62 Well-hit line drive,
in baseball jargon
66 Choice on the
fairway
67 Ruined
68 Big Apple stage
award
69 Like morning
grass
70 Well-practiced
71 Politician
Romney

DOWN
1 Fed the pot
2 Pakistani city
3 Kind of column or
cord
4 Dinghy blade
5 Fly ball paths
6 2008 Pixar robot
7 Letters before an
alias
8 Hi-__ graphics
9 Magazine VIPs
10 Poppy narcotic
11 Left the 44-Down
sans permission
12 Patsy
13 Richard Gere title
role
18 __ Lama
22 Fittingly
24 The name Fred
yells at the end of
“The Flintstones”
closing theme
song
26 Museum
manager
27 Research funding
29 Bugs
31 Happy hour perch
33 Noble gas
36 Blow up
37 Pained reaction
38 Rifle range rounds

39 Dyed-in-the-wool
40 Words to click on
at a sweepstakes
website
44 Army outpost
45 Cry of victory
49 Jedi Master Obi-
Wan __
50 “Never mind” ... or
what one might do
with the last word
of 17-, 35-, 43-
and 62-Across

52 Itsy-bitsy
54 Open, as a 
parka
56 Icy precipitation
59 Small change
61 eBay action
62 Big Pharma
watchdog: 
Abbr.
63 Cleared (of)
64 Poem of 
praise
65 CD-__

By C.C. Burnikel
©2016 Tribune Content Agency, LLC
12/13/16

12/13/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, December 13, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com
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6 — Tuesday, December 13, 2016
Arts
The Michigan Daily — michigandaily.com

What’s most revealing about 

“Manchester by the Sea” is 
that 
once 
one 

adjusts 
to 
the 

perfection of the 
performances, the 
stunningly human 
characters 
and 

the way the script 
unfolds both the 
turns of its story 
and the psyche 
of its lead, it’s an 
incredibly funny 
movie. There are 
tears and somber 
scenes 
galore, 

and 
the 
movie 

itself 
is 
by 
no 

means a comedy, 
but there is also 
laughter. That laughter reveals 
the 
film’s 
genius. 
Writer-

director 
Kenneth 
Lonergan 

(“You Can Count on Me”) uses 
“Manchester by the Sea” to 
hold a mirror to life and reveal 
that, even in its darkest times, 
there are moments of levity. 
The result is an achingly real 
portrait of grief and family, a 
true masterpiece.

The 
film 
centers 
around 

Lee Chandler (Casey Affleck, 
“Gone Baby Gone”), who must 
return to his hometown of 
Manchester after the death 
of his brother. To call Affleck 
good in the role would be 
the 
greatest 
understatement 

of the year. He is absolutely 
captivating. Everything, down 
to his sideways glances and 
beats of silence, adds up to his 
most 
towering 
performance 

so 
far. 
Michelle 
Williams 

(“Shutter Island”) plays Lee’s 
ex-wife, 
Randi, 
and 
while 

Williams is only given about 
ten minutes of screen time, 
she uses it to deliver one of the 

most emotionally 
devastating 
monologues 
in 

recent 
memory, 

in arguably the 
best scene of the 
film.

The focus of 

“Manchester 
by 

the Sea” isn’t on 
Lee and Randi, 
though; 
it’s 
on 

Lee and his young 
nephew, Patrick 
(Lucas 
Hedges, 

“Moonrise 
Kingdom”). 
The 

scenes 
between 

Hedges 
and 

Affleck are the most dynamic 
of the movie, and it’s from them 
that the movie draws most of its 
humor and heart. Whether the 
two are sniping at each other 
or helping each other navigate 
their way through their shared 
grief, there is a full-formed 
relationship on display that is all 
too rarely seen represented on 
screen. The chemistry between 
the two actors aids in this as 
their characters struggle for 
the possibility of recapturing a 
bond that hasn’t been there in 
years but which both need more 
than ever.

Lonergan’s 
structure 
and 

script does as much character-
building 
as 
his 
performers 

do. He opts for a flashback-
heavy structure which, in the 
moment, 
emulates 
human 

memory. As a result, the viewer 

doesn’t so much feel like they’re 
being clued in to some piece of a 
larger puzzle every time they’re 
treated to a different time in 
Lee’s life. Instead, it feels like 
a step in the natural evolution 
of 
the 
character, 
another 

representation of the past he 
can’t let go.

In the same way, “Manchester 

by the Sea” doesn’t build to 
a typical Hollywood climax. 
There’s no gigantic blow-out 
fight between Patrick and Lee 
that forces them to confront 
their 
situation. 
There’s 
no 

breakdown where one of the 
two confesses his feelings in 
exact terms. Neither of these 
things is realistic, and in a 
movie that strives for realism 
in its depiction of coping, they 
would feel out of place. Instead, 
Lonergan chooses to end the film 
quietly, with the viewer able to 
infer what he or she might from 
the closing scenes. It’s uniquely 
satisfying and poignant, and 
a sign of Lonergan’s immense 
directorial maturity and faith 
in his audience.

“Manchester by the Sea” 

understands grief and sorrow 
in a way that few movies do. 
Its depiction of two people 
struggling 
to 
cope 
with 

changing 
situations 
that 

threaten to upend their lives 
is 
at 
once 
heartbreaking 

and heartwarming, and it’s 
more than likely that two 
people will come out of the 
movie 
with 
two 
different 

interpretations. 
What’s 
for 

certain is this: with his newest 
film, Kenneth Lonergan has 
created a masterwork, a true 
representation of life in all its 
pain and laughter.

AMAZON STUDIOS

Manchester by the car.

JEREMIAH VANDERHELM

Daily Arts Writer

Mournful ‘Manchester’

FILM REVIEW

A

“Manchester by the 

Sea”

Amazon Studios 

and Roadside 
Attractions

Rave, Quality 16, 
Michigan Theater

TV REVIEW

It’s a normal afternoon on your 

couch. You settle in, prepared 
for 75 minutes of mindless 
Netflix binging — 
and then “Captive” 
begins. 
The 
new 

documentary series 
chronicles 
eight 

different 
hostage 

crises 
worldwide, 

with 
startlingly 

believable 
reenactments 
and 

testimonies 
from 

both hostages and 
their 
perpetrators. 

The series tells a 
different story each 
episode.

Episode 
one, 
“Lucasville, 

USA,” focuses on the 1993 
Southern 
Ohio 
Correctional 

Facility riot. The 11-day riot 
resulted in 10 fatalities and over 
$40 million worth of damage to 
the facility. Today, the prison is 
still operating, and some of its 
death row inmates are leaders of 
the fateful riot 25 years prior.

The episode is captivating, 

from the first 30 seconds to the 
final minute. Viewers are drawn 
in from the opening, which 
features chilling footage of the 
prison post-riot. A swastika 
spray painted on the blood-
spattered wall, a pile-up of dead 
bodies and hallways scattered 
with mattresses and trash — 
more than enough to make a 
viewer sit up in his or her seat 

and wonder what, oh what, they 
have just gotten themselves into.

Told 
chronologically, 
the 

episode starts with the opening 
of Lucasville’s Southern Ohio 
Correctional Facility in 1972. 
The prison was expected to be 

a “state of the 
art” facility for 
roughly 
1,600 

inmates. 
By 

1993, 
however, 

as often happens 
with 
the 

criminal justice 
system, 
the 

prison fell prey 
to overcrowding 
and 
extreme 

regulation. 
It 

was 
regulation 

that, 
in 
part, 

caused the riot. 

A 
state-ordered 
tuberculosis 

test for all inmates caused a 
stir among the Muslim African-
American prisoners. On Easter 
Sunday, they took back the 
prison and all Hell broke loose.

Netflix 
has 
a 
unique 

opportunity with this “true 
crime” 
documentary 
series. 

“Lucasville, USA” in particular 
is a gripping feature on not only 
what occurs in a hostage crisis, 
but also what causes these 
events to occur. The prisoners 
didn’t intend for the situation to 
escalate as it did. But these men 
— hardened by the system — were 
angry, and the riot provided a 
way for them to fight back. To 
quote one inmate: “I’m locked in 
here, but still I’m a human being. 
Still I’m a man. Ya’ll get to say, 

fuck me. No — fuck ya’ll!”

In posing a profile of the 

culprits, 
“Lucasville, 
USA” 

offers a glimpse into the criminal 
justice system: The prison guards 
faced 
with 
impossible 
jobs, 

policing “the most dangerous 
institution in the state of Ohio,” 
the inmates itching to stand up 
for themselves in the place that 
strips them of all semblance of 
humanity. After hearing the 
testimonies of the inmates, it’s 
a wonder that the riot didn’t 
happen sooner.

An 
interesting 
part 
of 

“Lucasville, USA” is that the 
episode 
remains 
objective 

— neither in the favor of the 
criminals nor the victim. It 
simply exists to tell the story as 
it happened. The reenactments, 
mixed with storytelling from 
those actually present at the 
scene, gives the documentary 
a real-time effect. It’s easy for 
viewers to forget that they’re 
following 
a 
crisis 
which 

occurred 25 years ago. In fact, 
this episode feels immediate, 
real and terrifying.

It’s also rich with emotion 

and suspense. If the intention 
of “Captive” is to tell hostage 
stories as if they are fictional 
thrillers, then it has succeeded. 
Though the episodes have no 
connection to each other, the 
thematic elements and unique 
storytelling invoke a desire to 
binge the series anyway. When 
one hostage crisis ends, another 
begins. With “Captive,” Netflix 
invites viewers on a journey — 
and it’s a worthwhile ride.

EMILY BICE
Daily Arts Writer

New Netflix series ‘Captive’ takes its 
viewers on a true crime adventure

Pilot episode looks at Southern Ohio Correctional Facility Riot

We weren’t there, but we know 

what it was like. In the studio, 
they were all there 
— Jermaine Cole, 
his boys, but also 
Cole, mostly Cole, 
yes, 
subtly 
Cole, 

perpetuating 
the 

vibe, 
facilitating 

synergetic creative 
genius. You know, 
the “process.”

Thanks to “Eyez,” 

the documentary released this 
past week in anticipation of 4 
Your Eyez Only’s Dec. 9 release, 
fans were able to see the workings 
behind his latest project. Most 
of its 40 minutes of footage 
is spent on studio going-ons, 
portraying events that, while 
clearly foundational, primarily 
show off a whole lot of nothing. 
Appropriately.

Ingrained in any subjective 

review of any kind is the urgent 
necessity to judge the art and 
not the artist. The thing is, with 
Cole, it’s impossible to categorize 
the two as separate entities. His 
sensitive brand manifests itself 
in his music; his being is one of 
vulnerability. He’s just a kid from 
Fayetteville, North Carolina, one 
with a “dollar and a dream,” and 
it got him to this point.

It is at this point that we 

realize, also, that J. Cole knows 
who 
Ernest 
Hemingway 
is. 

This 
is 
now 
clear, 
because 

Hemingway’s 1940 novel “For 
Whom the Bell Tolls” serves as 
the namesake for the leadoff 
track from 4 Your Eyez Only. Such 
an allusion is initially captivating, 
but soon feels recycled, revealing 
itself as a trend that’s becoming 
quintessentially 
Cole 
— 

stretching to provide depth, only 
to be undermined by a unique 
lack of originality, reverting to 
something, uh, merely digestible 
on the surface.

Thus springs life’s frustrations 

with Cole — caveats about his 
increasingly purgatorial presence. 
In other words, Cole lives a 
perennial existence of almosts. In 
this case, he’s almost Pusha T on 
his defiant, authority-chastising 
“Immortal;” he’s almost Drake 
(or, for that matter, Bryson 
Tiller, whose identical beat on 
“Exchange” has become a source 

of contention among respective 
producers) on ambient “Deja 
Vu”; he’s almost Lupe Fiasco on 
deceptively soulful “Change.”

Emulation 
and 
adaptation 

can be great, except when it’s 

executed poorly. 
Instead, 
Cole 

continues to carve 
his own stake — 
a 
niche, 
albeit 

a 
niche 
that’s 

increasingly, 
inherently 
vanilla. 4 Your 
Eyez 
further 

solidifies 
Cole’s 

occupation of an unnecessary 
and arguably uninteresting space 
in the genre. This shouldn’t be a 
black hole.

Ambiguity 
as 
a 
thematic 

foundation is something that has 
proven equally effective and rare. 
Most reasonably defined in this 
arena by androgynous dress and 
culturally unfamiliar inflection, 
Andre 3000 ostensibly paved 
the way for this breed of wild, 
and artists like Young Thug have 
helped maintain it.

J. Cole wouldn’t immediately 

seem to fit in this trajectory and 
certainly not even close to such an 
extreme. Yet he seems at his best 
when he blurs the lines, in this 
case playing with the perspective 
of the album. A chilling interlude 
interrupts “Ville Mentality” in 
which a young girl mentions her 
dead father and how she didn’t 
attend his funeral. Echoes of 
“Catch me, don’t you” float over 
“She’s Mine Pt. 1” and “She’s Mine 
Pt. 2,” the former about a love 
interest and the latter presumably 
about a new baby.

Considering this thread, the 

question becomes, whose love 
interest is it? And what about the 
baby? Is it Cole’s or his deceased 
friend’s? Could he be talking 
about himself and his buddy? 
Untangling 
his 
unadulterated 

emotional web is what provides 
the album with its most genuine 
moments.

“Neighbors” 
helps 
segue 

between the two aforementioned 
tracks with its own reality check: 
“Some things you can’t escape; 
death, taxes, and a ra- / -cist 
society that make every ni**a feel 
like a candidate / For a Trayvon 
kinda fate, even when your crib 
sit on a lake / Even when your 
plaques hang on a wall / Even 
when the president jam your 

tape.” It gives 4 Your Eyez its 
most convincing moment, yet 
in peak Cole fashion; seesawing 
his vocals and harkening back to 
more earnest, anxious days à la 
Cole World’s “Lost Ones.” Once 
again we’re left to wonder whose 
mouth we’re really hearing this 
from. It’s a stronger look, one that 
leaves us wanting more of this 
dynamic.

Much of this frustration stems 

not from a lack of development 
but from an underwhelming 
progression. Quite simply, Cole 
has plateaued. Cole World was 
fun; at face value, it was a mostly 
careless ode to chasing women 
and soaking in an unfamiliar, 
better life while also building on 
his three previous mixtapes. Born 
Sinner was a new look, a decidedly 
brooding (“It’s way darker this 
time”) 
power 
proclamation 

featuring arguably his best bars 
to date.

And then came 2014 Forest 

Hills Drive. Beyond the endless 
aggrandizing of the “J. Cole 
went double platinum with no 
features” 
narrative/“memery”/

buffoonery were some of Cole’s 
best experimentations yet; “St. 
Tropez” and “G.O.M.D.” gifted us 
with fresh (fresh! J. Cole!) sounds 
we hadn’t yet heard. But now?

There’s an uneasy curiosity: 

where to next? Rumors persist 
of a collab with Kendrick Lamar, 
which at this point feels closer 
on the life-things spectrum to a 
close friend undergoing a godsent 
out-of-body enlightenment than 
a mere What a Time to be Alive-
esque fuck-around project.

Such sentiment, then, explains 

how we ended up here, in 
December 2016, with concert-
long-pensive-stool-percher 
J. 

Cole 
forcing 
a 
development 

forward but ultimately taking 
a step back. 4 Your Eyez Only 
finds Cole working at potentially 
effective themes — criminality, 
injustice, lost ones, loved ones 
and newfound responsibility — 
and employing a stale, years-old 
formula to convey them.

What results is a project in 

which a track titled “Foldin 
Clothes” cannot fully channel its 
metaphorically flimsy essentials 
(i.e. “It’s the simple things”), 
instead rendering said simple 
things too simple. For now, it 
really does seem like J. Cole is 
content to (metaphorically) fold 
clothes for us.

JOEY SCHUMAN

Daily Arts Writer

J. Cole is almost good but still bland

C+

J. Cole

4 Your Eyez Only

Dreamville

ALBUM REVIEW

A

“Captive”

“Lucasville, USA” 

(Pilot)

Netflix

All Episodes 

Available to Stream