Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Like much of the
Southwest
5 Summer music?
10 Org. funded by
FICA
13 Under-the-sink
brand
15 “Paper Moon”
Oscar winner
16 Like ibuprofen,
briefly
17 POINT
19 Jiff
20 “Nothing planned
that day”
21 Engineering sch.
on the Hudson
22 Sport with masks
23 GAME
26 Move a finger or
two, maybe
28 Physics units
29 Signs over
30 1945 Pacific battle
site, familiarly
31 Superfan
32 Superhero
played by Chris
Hemsworth
34 With 36-Across,
question for the
court
36 See 34-Across
40 Exercise woe
42 Alex Dunphy, to
Luke, on
“Modern Family”
43 Mojito ingredient
44 “Not a problem”
47 Stuff in a
backpack
49 Little stretches
50 SET
53 Captain Picard’s
counselor
54 Unexpectedly by
itself, as in the
dryer
55 Kenya neighbor
58 Storybook baddie
59 MATCH
61 Programming
pioneer Lovelace
62 Stopped lying
63 Sphere
64 Common scale
extreme
65 Org. chart
headings
66 Crack up
DOWN
1 When Lear
disinherits
Cordelia
2 “Home on the
Range” verb
3 Take unfair
advantage of
4 “Quantum
Healing” author
Chopra
5 Throw on
6 Ilsa portrayer
7 Overlook, as a
fault
8 “A Doubter’s
Almanac”
novelist Ethan
9 Dated
10 Under-the-sink
brand
11 “Remington __”
12 Hacker’s goal
14 Nonkosher
18 Pressed for time
22 Manicurist’s tool
24 Expose, with “on”
25 Desktop
assortment
26 Cherry center
27 Lamb parent
31 “Pink Friday”
singer Minaj
33 Coiffure
35 “The End of
America” author
Wolf
37 Avenue after
Reading Railroad
38 Worn end
39 Scrabble three-
pointers
41 Wonton
alternative
42 Brazilian map
word
44 “Maybe less”
45 Intemperate
speech
46 Apple’s
“Think different,”
e.g.
48 Like Meg March,
in “Little Women”
49 Emergency
signals
51 Bete __
52 Food thickener
56 Poet Walter __
Mare
57 Large number
59 Pokémon Go,
e.g.
60 French
possessive
By Patti Varol
©2017 Tribune Content Agency, LLC
01/27/17
01/27/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, January 27, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Friday, January 27, 2017
Arts
The Michigan Daily — michigandaily.com
Jason Momoa (“Game of
Thrones”)
has
practically
made his career off of being the
most badass guy in the room.
From “Stargate: Atlantis” to
his
star-making
turn
as
Khal
Drogo,
Momoa
now
lends
his
dominating
presence
to
the
new
series
“Frontier.”
Set
in
the
freezing
cold
and
the
wide
wilderness
of
18th-century
Canada,
“Frontier”
details
the
fur
trade — one of the period’s
most lucrative industries — in
which, if the weather didn’t
kill you, one of your many
competitors likely would.
Few
actors
can
capture
the intensity Momoa conveys
with a single look, and the
show takes full advantage of
this. Decked in furs, leather
and more knives than you
can count, Momoa cuts an
intimidating figure as Declan
Harp,
a
rogue
fur
trader
looking to make his mark
through any means he can.
However, as striking as Momoa
is, the series holds Declan at
arm’s length early on, favoring
the
character’s
imposing
presence over dialogue and
exposition. Outside of Momoa’s
talents,
the
audience
isn’t
given much to latch onto his
character, with the few details
the writers drop feeling overly
familiar and tired out.
Competing against Declan
are several clashing parties,
all trying to get the upper hand
in the bloody business of fur
trading. From the far-reaching
Hudson Bay Company to the
desperate
Brown
brothers,
everyone is looking for an
advantage
in
“Frontier,”
the most prized being trade
with the Lake Walker tribe.
All of this is framed against
a wilderness that can turn
into a freezing whiteout at a
moment’s notice. And while
“Frontier” mostly does a fine
job visually of capturing this
expanse, less can be said for
its
struggling
narrative.
“Frontier”
frames the world
of fur trading as
one of intrigue
and
back-
stabbing — with
maybe a little too
much stabbing for
its own good — as
characters bloody
their hands while moving from
one underdeveloped plot to the
next. The scheming by several
characters, especially that of
Declan’s former Hudson Bay
employer and cold company-
man
Lord
Benton
(Alun
Armstrong, “Penny Dreadful”)
and his ambitious subordinate
Captain
Chesterfield
(Evan
Jonigkeit, “X-Men: Days of
Future Past”), feel rushed and
truncated early in the series.
Maybe it’s the fact that there
are only six episodes in this
inaugural season, but very
few early plot points are given
the time to properly grow and
resonate despite their initial
potential in the first two
episodes.
These
hurried
storylines
tend to undercut chances for
major tension in the series,
notably the first steps in the
arc
of
audience
surrogate
Michael
Smyth
(Landon
Liboiron, “Hemlock Grove”).
Forced into working as a spy
for Benton, Michael sets out to
find Declan and become a part
for his group. However, the
chance for shifting alliances
and intrigue quickly dissipates
as Michael comes clean in the
first episode. As far as plotting
goes, “Frontier” often aims
for expediency over drawn
out tension as characters and
alliances are introduced and
cut off with the quick thrust
of a knife while motivations
are continuously murky. It
might keep some viewers on
their toes, but it also cuts off
potential in its race to the
finish line.
Compare
“Frontier”
to
“Peaky
Blinders,”
another
Netflix import with a similar
amount of episodes per season,
and some of these weaknesses
become
more
apparent.
“Blinders,” especially in its
first two seasons, is a series
that makes each episode feel
like it’s contributing to a bigger
game, that every subplot and
narrative arc is methodically
placing a piece together into
a larger puzzle. Meanwhile,
“Frontier” seems to drop and
pick up random bits and pieces
in an attempt to find something
that fits into a larger picture.
It’s not completely hopeless,
and Momoa is always exciting
to watch, but I’m unsure of
the payoff that’s to come as
the season moves along and
whether it’ll be worth it all in
the end.
MATTHEW BARNAUSKAS
Daily Arts Writer
Weak writing and underdeveloped plot bodes ill for new series
Despite strong presence, Jason
Momoa not enough to save ‘Frontier’
I saw “Jackie” four times, and
I’ll probably see it a fifth. I cry
less each time, but I fear I’ll never
stop being severely shaken by
the cast of phenomenal jawlines.
I think it’s a breathtaking biopic
— a piece of history augmented
by talented and stunning actors,
a
sublime
soundtrack
and
exquisite costume choices by
Madeline Fontaine.
Above all, “Jackie” gives
life to the immortalized, albeit
static, Kennedy mystique that
today is only found in iconic
photographs. A brief Google
search gives you the album: JFK
and bae beaming on a sailboat,
cutting their wedding cake or
flashing haunting smiles just
before his assassination.
Who lives like this? You
wonder. Where does reality end
and
fantasy
begin?
Therein
lies the Kennedy allure: the
ever
so
Town-&-Country-
ready spectacle, the impossible
fairytale of Camelot.
Director
Pablo
Larraín
absorbed
the
glamour
and
refracted it with a realized edge.
Though we watched Jackie’s
curated pageantry in action,
we also saw the broken woman
behind the perfectly blown-out
bob. She faced the facts in public,
but blunted her memories in
Stoli behind her walk-in closet
doors. The learned vixen in a
Dior suit crumbled by nightfall
in layered chiffon negligees.
I resent the definition of a
style icon as it exists today — or
that a woman of such capability
and caliber is reduced to the
symbol of a pillbox hat. An
accoutrement or outfit does not
make an icon, the iconic woman
gives life to any assemblage of
fabric; I digress.
It was heartbreaking to watch
a woman’s world turned upside
down, yet empowering to watch
her reconstruct a new narrative
with what remained. Moreover,
it was refreshing to see an
aesthetically
inclined
figure
take a realistic course of action
after a devastating setback. For
each time I expected Jackie
to fall back on her demure
pretense,
I
was
pleasantly
shaken
by
her
outspoken
character. Natalie Portman’s
Jackie is as authentically Jackie
as she could be — unpredictable,
dynamic, bold and tenacious.
This
separation
between
expectations and reality, or
the gap among fact and fiction,
permeates the film, and as I
later
realized,
categorized
Jackie’s entire life. There’s a line
in the movie that beautifully
encapsulates this notion: “I’ve
grown accustomed to a great
divide between what people
believe and what I know to be
real,” she tells the journalist in
the film who’s trying to tell her
story to the world.
The
prescience
of
this
sentiment is uncanny. We live
in a world where the word of
the year for 2016 was either
post-truth or surreal, depending
on which source you find most
credible. We live in a country
where the president doesn’t
really
care
to
acknowledge
what credibility means. We’re
starting to lose our own grip
on
deciphering
what’s
fact
from what’s fiction (shout out,
alternative facts).
The fashion industry has sat
comfortably on the fulcrum
of
fantasy
and
reality
for
centuries. For every frivolous
form favored over pragmatic
function, there’s a structured
suit eschewing all notions of the
inessential. For every egregious
request overheard at a fashion
PR firm, there’s a grounded
intern keeping a tally (see:
myself). Though reconciling the
pros and cons of these concepts
in their sartorial definitions
isn’t essential for society at
large, it offers a pared-down, yet
dressed up representation of our
liminal society.
Last week’s Chanel couture
show did everything couture
is supposed to do. The small-
batch selection of charming
confections
inspired
awe,
and posited itself on the ever-
growing goals list of show-
going glitterati and average
swine alike. Couture exists for
couture’s sake, and it will always
be accepted because no one
really understands it. It’s the
high art of fashion, crafted for
the untouchable sect of society.
It’s the most surreal slice of the
industry.
And
then
there
was
Vetements,
who
took
the
roundabout, realistic approach
to
couture.
Their
runway
showcased social types and
their
respective,
expected
garb — the society lady who
lunches in her posh fur, the buff
bouncer in leather, the polished
SoHo gamine, the decidedly
confused cowboy and every
oddball archetype in between.
Beyond their diverse characters,
their racially varied runway is
cause for celebration in itself.
Vetements put the real in a place
it doesn’t necessarily belong,
and remarkably made it work.
Couture may not be one-size-
fits-all, but it’s definitely open
for aspiration to all. Deconstruct
the fantasy, imbue it with reality
and watch life imitate art.
From
the
Kennedys
to
couture, mythology surrounds
the inaccessible. But that’s not
to say there isn’t ample legroom
for a hefty dose of reality
(looking at you, Vetements).
Reality and fantasy are equally
polarizing — dwell too deeply on
a pipe dream and you’re a goner,
but stare truth in the eyes and
you’re hopeless.
Fashion, to many, represents
an assortment of the impractical,
and maybe that’s the magic of it
— the stifling walls and borders
of reality are replaced with
tangible creative expressions.
Rather than mimicking reality,
fashion offers a better — perhaps
more beautiful — version of it.
Seeking fashion fantasy while
finding reality in Larraín’s ‘Jackie’
“Frontier” often
aims for expediency
over drawn out
tension as characters
and alliances are
introduced and cut
off with the quick
thrust of a knife
NETFLIX
Jason Momoa as Declan in the Netflix series “Frontier.”
STYLE COLUMN
CAROLINE
FILIPS
B-
“Frontier”
First Ten Episodes
Netflix
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TV REVIEW