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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FOR RENT

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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