Classifieds

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

ACROSS
1 Put a spell on
4 Organizes from
best to worst, say
9 Arizona landforms
14 Wrath
15 Longtime “At the
Movies” co-host
16 One bit
17 Shake up
18 *“C’mon, loosen
up!”
20 Do penance
22 Certain string
musician’s need
23 *Place for lefts
and rights
26 “Star Wars”
extras
27 Word of passione
28 Cheek
31 “Alas!”
34 Elementary bit
37 Water nymph
40 *Compromise
43 Orchard trees
44 “Ready are you?
What know you
of ready?”
speaker
45 Low in fat
46 Supermodel
Banks
48 Gross
50 PD alert
52 *Market measure
58 French president
Hollande
61 Sees red
62 *General
principle
65 Bygone muscle
car
66 Holiday visitor
67 “Science of
Logic” author
Georg
68 Shy person’s
note?
69 Branch quarters
70 Philadelphia pro
71 “Major Crimes”
network

DOWN
1 Muslim veil
2 Sister of Calliope
3 Maker of
ColorQube
printers
4 One-named
singer portrayed
by Jennifer
Lopez in a 1997
film

5 Japanese sash
6 Gun, as a V8
7 Roman fountain
8 Spot
9 Pony Express
concern
10 Vocalist James
11 Plopped down
next to
12 Apportion
13 Boatloads
19 Stack under a
tarp
21 “Close, but no
cigar”
24 Family nickname
25 Threadbare
29 Boy in “Star Wars”
prequel films
30 “I wish I could”
31 Bit of band gear
32 Small snicker
33 Sub filler
35 “So THAT’s
what’s going on
here!”
36 First responder
38 It borders the Fla.
panhandle
39 Hideout
41 Medit. country
42 Big name in big
rigs
47 Dating from
49 Cat dish tidbit

50 Nasal spray brand
51 Danish fruit
53 Parishioner’s
pledge
54 Milo of
“Barbarella”
55 “Pay attention,
man!” ... and, in a
different way,
what the end of
each answer to a
starred clue
refers to

56 John of The 
Red Piano 
Tour
57 Strikes
through
59 “Far out!”
60 Stockholder’s
assets?
63 Trendy boot
brand
64 Blanc heard 
but not 
seen

By Bruce Haight
©2017 Tribune Content Agency, LLC
01/25/17

01/25/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, January 25, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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HELP WANTED

‘Good Place’ ends on high note 

Serialization in sitcoms is a 

rare thing. Most, while they do 
have 
continuous 

arcs, focus on a 
singular 
story 

each week. Still, 
many sitcoms are 
at their best when 
they allow stories 
to gain momentum 
over 
time. 
This 

is 
especially 

prevalent in sitcoms 
created by Michael 
Schur, creator of 
“Brooklyn Nine Nine” and “Parks 
and Rec.” The former started its 
fall hot streak with a brilliant 
three-parter that benefitted from 
the extra time and the latter 
thrived in the narrative arc (with 
my favorite example being Leslie 
running for city council). In each 
case, the alternative strucute paid 
off as it built over the course of 
several episodes. However, no 
network sitcom this year has been 
as serialized as NBC’s “The Good 
Place.” The comedy wrapped 
up its first season with a finale 
that built off the work that came 
before it to create an ending that 
blew open possibilities for season 
two in an incredibly exciting way.

As “The Good Place” winded 

through 
its 
first 
season, 
it 

constructed a story that was 
as twisty as it was intriguing. 
It burned through its plot with 
abandon. Moments that would 
normally come at the end of the 
season were happening halfway 
through. It started off with a 

problem: 
Eleanor 
Shellstrop 

(Kristen Bell, “Veronica Mars”) 
ended up in the “Good Place” 
(the show’s non-denominational 
heaven) even though she acted 
horribly to the people in her life 
on Earth (like how she left her 

friend’s dog she 
was 
supposed 

to feed to go to a 
Rihanna concert). 
She 
meets 
her 

“soulmate,” 
Chidi 
(William 

Jackson 
Harper, 

“The 
Electric 

Company”) 
who 

quickly 
became 

one of TV’s best 
straight men, her 

proudly philanthropic neighbor 
Tahani (Jameela Jamil, “T4”) 
and Jason Mendoza (Manny 
Jacinto, “The Romeo Section”), 
a Floridian DJ who is mistaken 
for a Buddhist monk. As she 
reveals herself and her past life 
to the “neighborhood,” the show 
continued to move forward with 
compelling plot points at every 
turn.

With its narrative momentum, 

“The 
Good 
Place” 
’s 
finale 

produced a twist that completely 
changed the fabric of the show. 
While the characters struggle 
with the decision of who to send 
to the torturous “Bad Place,” 
wEleanor realizes that they have 
been in the Bad Place all along, in 
a world perfectly built such that 
the core cast tortures each other. 
It’s the kind of twist that makes 
me rethink the show I’ve been 
watching for an entire season, as 
it’s both shocking and sensible. 
Of course these people were 
placed together to torture each 

other. Ted Danson’s (“Cheers”) 
ridiculous smile as he’s revealed 
to be an evil architect is about as 
laugh-inducing as comedy can get. 
The twist sets up a second season 
where the core cast’s memory is 
wiped and they are split apart, 
with Eleanor leaving herself a 
note to “find Chidi.” A season 
where the core cast will have to 
navigate their hell and find each 
other sounds like something “The 
Good Place” will do well.

Not only is the show’s use of 

serialization fascinating, it’s also 
a fun show to watch. Following 
in the footsteps of “Parks” and 
“Brooklyn,” there’s a certain light-
hearted nature to everything 
that happens. The characters 
clearly care about one another, 
and it shows in their interactions, 
which the series mines for humor 
so well. The relationship between 
Jason and the neighborhood’s 
robot assistant, Janet (D’Arcy 
Carden, “Broad City”), put two 
characters 
together 
to 
great 

results. There were so many great 
jokes in the finale about the two 
of them trying to have sex that 
wouldn’t have worked if we didn’t 
get to know these characters 
throughout the season.

The character work and light 

tone makes “The Good Place” 
special. Add in the captivating 
twists 
along 
with 
strong 

performances, and NBC has one 
of the best comedies on television. 
However, the network hasn’t 
renewed the show for a second 
season yet. The ratings are not 
bad by any stretch, but they’re 
not good enough that a pickup is 
guaranteed. Still, the finale set 
up a fascinating season two that I 
really hope NBC gives us.

NBC

Kristen Bell as Eleanor Shellstrop in “The Good Place.”

A

“The Good Place”

Season 1 Finale

NBC

ALEX INTNER
Daily Arts Writer
A note on hidden spaces

On Saturday, January 21st 

at the 2017 Women’s March 
on Washington, artist Janelle 
Monáe stood before an ever-
growing crowd and stated: “I 
am so proud to stand here as a 
woman, an African-American 
woman; 
my 
grandmother 

was 
a 
sharecropper. 
She 

picked cotton in Aberdeen, 
Mississippi. My mother was a 
janitor, and I am a descendent 
of them, and I am here, in their 
honor, to help us move forward 
and fem the future.”

Even though I traveled to 

D.C. to witness the historic 
march, 
I, 
unfortunately, 

was not able to see Monáe’s 
powerful speech in person; 
stuck on a metro train caught 
in a three-hour delay due to 
the sheer number of people 
making their way into the city, 
I was only able to hear Monáe’s 
words after the march had 
ended, stretching out sore legs 
in my aunt’s house. There I was 
surrounded by my family, all 
of whom are immigrants. All 
marched underneath the blank 
slate of the cloudy sky for their 
rights, both as women, and as 
immigrant women.

It was there that I listened to 

Monáe’s voice blast out of tiny 
computer 
speakers, 
talking 

about her pride to march both 
as a woman and as an African-
American 
woman: 
Enfolded 

by the faces of women whose 
femininity enclosed a duality.

In 1989, civil rights activist 

Kimberlé 
Crenshaw 
coined 

the 
term 
“intersectionality” 

as she studied the overlap 
between 
race 
and 
gender. 

In her prominent essay, she 
focused on the struggle of 
Black women, stating that the 
discrimination they experience 
does not fall deftly into the 
categories of either “racism” 
or “sexism,” but rather, due 
to their converging identities 
of 
being 
both 
“African-

American” and “woman,” is a 
combination of the two. From 
there, intersectionality grew to 
become generally known as the 
concurrence of multiple social 
identities and the consequent 
surrounding 
systems 
of 

discrimination and oppression.

Monáe’s 
song 
that 
she 

performed 
at 
the 
march, 

“Hell You Talmbout,” brings 
to light the conflict that can 
exist within the intersection 
of being Black and being a 
woman. A majority of the song 
simply lists the names of the 
many Black women unfairly 
killed by the police followed 
by a repeated chant of “say 
her name,” as a reference 
to the recent #SayHerName 
movement; while the names 
of the Black men illegally and 
immorally 
killed 
by 
police 

forces have started to gain 
national attention (like Eric 
Garner 
or 
Freddie 
Gray) 

the names of these women 
(like Sandra Bland or Mya 
Hall) are much less well-
known, pointing to the idea 
that there is an invisibility in 
intersectionality; within their 
bisecting identities, the unjust 
and inequitable crimes against 
Black women have become 
excluded and hidden from the 
public eye.

The 
inclusivity 
and 

recognition of intersectionality 
in mainstream feminism is 
necessary, especially from the 
women who do not share the 
same conflicts and experiences. 
The issue of unfair violence and 
police brutality against Black 
women does not include White 
women; part of the way we can 
help include the perspectives 
of black women in mainstream 
feminism is by making sure our 
voices are never raised louder 
than the women of color who 
are affected daily.

However, 
America 
has 

never had a positive history 
of creating equal spaces for 
marginalized groups to feel 
comfortable 
speaking 
in 

without the threat of being 
pushed to the side.

The music scene, specifically, 

has always been a platform for 
social change, especially for 
the progression of women’s 
rights. However, within that 
context, there has previously 
been 
a 
monopolization 
of 

recognition 
and 
relevancy. 

Especially within third-wave 
feminism, White women have 
been primarily thought of as 
the instigators of the infusion 
of feminist ideals in music, 
creating a space where female 
artists of color have either 
been talked over or ignored 
completely.

When looking at the history 

of 
music 
and 
feminism, 

the 
second-wave 
feminism 

movement 
that 
started 
in 

the early 1960’s and lasted 
throughout 
the 
late 
’80s 

was 
relatively 
restricted, 

both in terms of how little 
it leaked into pop culture 
and how little it included 
marginalized groups. However, 
in the sequential third-wave 
feminism movement beginning 
in the early ’90s, borders 
became much more relaxed, 
and the movement began to 
cross boundaries, bleeding into 
music, art and public discourse. 
Third-wave feminism took on a 
more individualistic approach 
to 
feminism; 
it 
critiqued 

second-wave 
feminism 
for 

being 
exclusively 
White, 

middle-class women, and tried 
to alter the term “feminist” to 
fit a more inclusive definition.

While the third-wave did 

embrace the importance of 
intersectionality 
in 
theory, 

this 
openness 
was 
not 

always 
directly 
translated 

into 
practice. 
Third-wave 

feminism’s 
materialization 

in music is still considered a 
primarily White woman effort, 
with the overwhelmingly all-
White riot grrrl movement 
taking up most of the spotlight 
during the ’90s. Bands like 
Bikini Kill and Sleater-Kinney 
explored 
the 
empowerment 

of female sexuality in their 
music, 
redefining 
what 
it 

meant 
to 
be 
empowered 

through 
aggressively 
and 

explicitly calling attention to 
their own female sexuality. 
The 
problem 
arises 
when 

this particular expression of 
female empowerment during 
the ’90s is considered the only 
expression of emancipation. 
And it usually is, with many 
people solely noticing the riot 
grrrl movement, linking it to 
the girl power of the Spice 
Girls in the early 2000s and 
completely ignoring the efforts 
of artists of color; bands like 
TLC and Destiny’s Child, while 
well-known, were not given 

the same revolutionarily and 
radically feminist status as 
the riot grrrl bands, despite 
sharing the same timeline and 
emergence.

Part of it has to do with the 

fact that these divergent bands 
came from different genres of 
music, but part of it also has 
to do with the fact that riot 
grrrl’s (and, more generally, 
White 
women’s) 
expression 

of female empowerment was 
considered the principal form 
of expression; the zine-filled 
clamor of angry performances 
where lead singers stripped 
themselves 
down 
to 
solely 

bras turned into the face of 
third-wave feminism in music, 
overlooking 
the 
fact 
that 

empowerment read differently 
for women of different races; 
women of color had (and still 
have) a harder time portraying 
themselves as agents of their 
own 
empowered 
sexuality 

because of how they have 
historically been painted as 
hyper-sexual and debauched 
in comparison to the pure and 
innocuous standard of white 
femininity. 

Ignoring 
the 
role 
of 

intersectionality, 
and 
the 

subsequent 
stigma 
that 

surrounded artists of color as 
they strove to find their place 
during the sexual revolution 
of third-wave feminism, can 
lead to the emphasis of the 
accomplishments 
of 
White 

women while simultaneously 
viewing 
the 
activities 
of 

women of color as merely 
contributions, if not inadequate 
representations 
of 
female 

empowerment.

Principally: to ignore the 

many 
different 
forms 
and 

voices 
feminism 
can 
take, 

both inside and outside the 
realm of music, has the power 
to 
distance, 
ostracize 
and 

suppress. It is an issue that 
did not die out in the ’90s and 
still is extremely prevalent 
today. In fact, as the Women’s 
March on Washington began to 
gain more and more attention, 
apprehensions began to rise 
as well, with many women of 
color wondering if the steps 
of the Capitol on January 21st 
would be a space reserved 
mostly for White women or a 
space inclusive of all identities.

It is a concern born out of 

a history of marginalization, 
and a concern I held myself as 
I considered the multi-faceted 
identity of my own family. 
However, as I saw Janelle 
Monáe’s commanding rendition 
of “Hell You Talmbout,” as I 
saw Alicia Keys standing tall 
as she honored all the different 
ways 
femininity 
can 
be 

expressed, as I saw posters of 
all varieties champion for the 
recognition and celebration of 
Black women, Hispanic women, 
Muslim women, undocumented 
women and LGBTQ women, my 
apprehensions slowly began to 
fade away.

While the current situation 

for 
minority 
women, 

specifically for women of color, 
is far from perfect, the relative 
inclusivity of the Women’s 
March on Washington (though 
far from perfect itself) gives 
rise to hope: both within music 
and within the overall social 
sphere of feminism. Women of 
all distinctive individualities 
are moving to march forward, 
not back. 

SHIMA SADAGHIYANI

Daily Arts Writer

Music at 2017 Women’s March highlights intersectionality

CAROLYN GEARIG/DAILY

Participants at Women’s March reflect larger political climate.

TV REVIEW

MUSIC NOTEBOOK

6A — Wednesday, January 25, 2017
Arts
The Michigan Daily — michigandaily.com

