HAPPY TUESDAY! Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com ACROSS 1 Greek sandwich 5 Happy gatherings 10 Baby cow 14 Control for an equestrian 15 In full view 16 Buckeye State 17 Horse feed 18 TV’s “The Practice,” e.g. 20 “Bummer!” 22 Ford fiasco 23 Provides staff for 24 “That makes sense” 26 Champagne stopper or popper 27 Genius Bar pro 29 JFK’s successor 32 High-card-wins game 33 Enjoy 35 Submitted tax returns with a click 38 Door holder’s witticism 41 Part of Congress 42 Somali-born supermodel 43 Wide shoe size 44 Frat. counterpart 45 Aid in a felony 47 Traps in an attic? 49 Deborah of “The King and I” 51 Fictional Hawaiian police nickname 52 Rage 55 Procter & Gamble laundry detergent 60 Australia’s “Sunshine State” ... or where you might find the ends of 18-, 20-, 38- and 55-Across? 62 “Go back” computer command 63 Sch. near the U.S.-Mexico border 64 Tweak, say 65 Raise a big stink? 66 Pops a question 67 Outlaw chasers 68 Hours next to flight nos. DOWN 1 Branch out 2 “Okey-dokey” 3 Second actress to win an Emmy, Grammy, Oscar and Tony 4 GM system with an AtYourService app 5 Helps with the laundry 6 Happily __ after 7 Maker of the Genesis game system 8 Like many Shakespeare plays 9 MLB Cardinal’s cap letters 10 Lear’s youngest daughter 11 “I get it” cries 12 Green citrus fruit 13 Baby horse 19 Lousy grade 21 Sock that covers the joint it’s named for 25 Biblical queendom 26 Pet store enclosures 27 Ref’s ring decision 28 Spine-tingling 30 Margarine that shares its name with Texas’ state flower 31 Ballet leaps 32 “Now, where __ I?” 34 “Sadly ... ” 36 Red Sox ballpark 37 Hair coloring 39 Cocktail makers 40 Ambulance fig. 46 S.O.S shelfmate 48 Make certain of 50 Fish-eating eagle 51 Rapper with a title 52 Poolside shade 53 Pecans and cashews 54 Nerdy type 56 37-Down containers 57 Singles 58 Binged (on), as snacks 59 Pans for potstickers 61 Maple extract By C.C. Burnikel ©2017 Tribune Content Agency, LLC 01/31/17 01/31/17 ANSWER TO PREVIOUS PUZZLE: RELEASE DATE– Tuesday, January 31, 2017 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis xwordeditor@aol.com FALL 2017‑18 Apts @ 1015 Packard 2 Bedroom ‑ $1370 ‑ 2nd floor 3 Bedroom ‑ $1380 ‑ basement 1 parking space avail for $50/m per unit Deinco 734‑996‑1991 EFF, 1 & 2 Bdrm Apts Fall 2017‑18 Many locations near campus Rents from $850 (eff) ‑ $1415 (2 bdrm) Most include Heat and Water www.cappomanagement.com 734‑996‑1991 ARBOR PROPERTIES Award‑Winning Rentals in Kerrytown, Central Campus, Old West Side, Burns Park. Now Renting for 2017. 734‑649‑8637. www.arborprops.com 2017‑2018 LEASING Apartments Going Fast! Prime Student Housing 761‑8000. www.primesh.com Efficiencies: 344 S. Division $855 610 S. 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The story dominated the news for weeks, and for many the incident raised questions of the impact that the Internet can have on children. It is from this story that the new documentary from Irene Taylor Brodsky (“The Final Inch”), “Beware the Slenderman,” emerges, using its terrifying base story to explore both the events of the “Slender Man Stabbing” and the effect of loneliness on young people. From its opening scenes, the strengths of “Beware the Slenderman” become apparent. Its story is as consistently engrossing as any true-crime tale, and in many ways, it recalls “Making a Murderer” and fellow HBO documentary “The Jinx.” Its story is inherently interesting and horrifying, and Brodsky does well in threading the initial police interviews with the girls through the film to produce a constantly eerie atmosphere. The girls’ description of the events leading up to the stabbing, as well as the stabbing itself, provide some of the most chilling material of the feature. It also becomes immediately clear what the pitfalls of the project are. Both of the aforementioned documentaries were series. They had an episodic format that assisted in expositing every aspect of their stories. “Beware the Slenderman” has to get the same amount of information across, but it only has a two-hour runtime to do so. It is trying to tell so many stories at once that something always inevitably gets lost, causing a disjoint, especially in the first act. Here, much of the crime is explained, but the lack of info on the titular monster which would take the brunt of the blame in the media, leaves this part feeling unfinished. Without motivation, it is hard to completely understand the story Brodsky is trying to tell. After the loads of exposition that bog down the first act, the second portion dives into both the lore of the Slenderman and the themes of the documentary. One of the variety of experts interviewed states that the Internet “can serve as a peer or peer group” to those with few friends of their own, and that the Slenderman itself gains his followers through their own loneliness. It is the picture of this isolation that “Beware the Slenderman” paints that begins to tie the thing together, as it draws parallels from the allure of the Internet, and Slender Man in particular, to the solitude of Weier and Geyser’s personal lives. It never seeks to make excuses for their actions, but it does seek to explain them, and in this, it succeeds. In the same way, Brodsky seeks the origins of the Slenderman and explores the role of the Internet in creating web-based horror stories, or “creepypasta,” like the story of the creature. She draws a line from “Slender” to the Internet culture of memes to the classic folk lore of the Pied Piper, and makes it clear that while the Internet provided a breeding ground for these ideas to multiply at a faster rate, the concept has been around for centuries. In the end, in the film’s most chilling segment, it is revealed that Weier and Geyser have themselves become a part of the Slenderman legend. JEREMIAH VANDERHELM Daily Arts Writer “Slenderman” True-Crime Documentary HBO ‘Slenderman’ chills bones FILM REVIEW Iranian-American director Ana’ Lily Amirpour once said she con- ceived the idea for her debut film, the vampire thriller “A Girl Walks Home Alone At Night,” while skateboarding down West Coast streets one night. As her black chador whipped behind her like the wings of a bat, Amirpour had a vision of heroine: A young Iranian girl who skateboarded around the streets of the fictional Bad Town, her chador rippling behind her like a cape. Through combining traditional and modern elements of Iranian culture, as well as including both Western and Eastern influences, Amirpour creates a masterpiece that transcends all previously drawn boundaries. “A Girl Walks Home Alone At Night” is a melting pot of influences, seen in the pair- ing of chador and fangs, seen in the Iranian tattoos on a crass pimp and, most importantly, seen in the soundtrack itself. Contrasting the stark, noir aspect of the entirely black and white movie, the soundtrack of “A Girl” is an eclectic mash-up of Iranian songs, both old and new. Novel Iranian bands like Radio Tehran and Kiosk stand next to classic singers like Dariush; it’s a playlist that not only beautifully melds past and present, but also shapes the fictional world of “Bad Town.” Much like its lack of color, “A Girl” lacks excessive dialogue, choosing instead to let its charac- ters speak through the music that fills the negative space. The main character, The Girl (played by Sheila Vand), is a point- ed collection of contradictions: She is mostly silent, entrapped in shadows, yet the music that accom- panies her pays homage to vibrant ‘80s synthpop. At the beginning of the film, The Girl dances alone in her room while Farah’s “Danc- ing Girls” plays; the song contains both Farsi and English lyrics, yet the techno wave of its background melody, along with the lone disco ball The Girl sways back and forth under, is reminiscent of American bands like a-ha and Blondie. Far- ah’s lyrics — “she’s just a normal girl / dancing to her favorite song” — create a sense of intimacy and vulnerability at odds with the fan- tastical vampire nightmare. Even though the scene contains no dialogue, it speaks volumes about The Girl. Its contrasting components divulge a multi- dimensional character who moves past the flat trope of the stereo- typical horror movie monster. Instead, we get a vampire who puts on makeup surrounded by muted fairy lights and saves abused pros- titutes, then brutally murders an insolent pimp. The soundtrack is not just a voice for the characters, but a shape for the movie as a whole. The largely instrumental band Fer- derale makes several appearances throughout the film. The Amer- ican-based ensemble is heavily influenced by soundtracks from the ’60s & ’70s era of Italian “Spaghetti Western” genres and, through this, allows “A Girl” to transcend cultur- al boundaries. Songs like “Sarcoph- agus” and “Black Sunday” feature dramatic orchestral declarations, bringing to mind the theatrical standoffs of iconic Old Westerns, while the underpinnings of folk melodies speak to conventional Iranian films. A spectral woman’s voice is often intermittently added as a glossy layer over the entire compilation; its echoing European opera sound traces the barren des- ert setting in fine lines of elegance. Ferderale’s “Sisyphus” narrates a relatively simple, but quintes- sential, scene within the film: An unnamed character in drag dances with a balloon to music in a court- yard. The fringe on her button- down shirt and ostentatious silver buckle of her belt is at odds with the hijab on her head. It’s a strange juxtaposition replicated in the song as it weaves together musical ele- ments from a variety of different eras. The band allows the fictional Bad Town to exist within multiple spheres, blurring the lines between distinct movie genres and distinct cultures. It’s a quiet gesture, this remix of convention to include input from other cultures, but a powerful one. With “A Girl Walks Home Alone At Night,” Amirpour constructs a story without limita- tions; instead, it masterfully tra- verses the rift between Eastern and Western ideals and finds a way to mend the disconnect. What it means to me as an Ira- nian woman, more than just as a good horror movie, more than even a movie empowering Iranian women, is that it celebrates the power of opportunity. It’s doubtful Amirpour would have been able to create a movie of this magnitude if her family had remained in Iran, instead of taking the chance to immigrate to Europe and, later, to California. Even though Iran’s culture is based predominantly around the arts — seen in the timeless impact of poets like Hafiz and Saadi — its current political climate has an iron grip around the advancement of artistic expression; it places tight restrictions over any creative pro- duction, not allowing for deviation from the established norm. Many of the artists featured on this soundtrack, though Iranian- based, produce and perform their music outside of Iran; the radi- cal socio-political commentary found in the lyrics of songs from bands like Kiosk or Radio Teh- ran is explicitly forbidden in Iran. Instead of remaining silent, they chose to immigrate to Europe, Canada and (mainly) the U.S, becoming the voice of a majority of Iran’s younger generation and per- mitting Iranian culture to continue to progress. In light of President Donald Trump’s recent ban on travel on seven Muslim-majority countries (Iran being one of them), pieces of art like “A Girl Walks Home Alone At Night” and its soundtrack need attention: The future of Iran lies within the ideas of its youth. When young Iranian citizens emigrate to search for new prospects, they are not fleeing from the historic culture of their homeland. Rather, their innovative ideas push the cul- ture to evolve in order to accommo- date new perspectives, redefining what it means to be Iranian. With its multifaceted soundtrack, “A Girl Walks Home Alone At Night” represents the endlessly creative potential of the Iranian youth. It’s an ingenuity that I saw whenever I strolled the streets in Iran: Young artists with revolu- tionary ideas on the brink of look- ing to make a life for themselves, many of them exploring the option of moving to America. And even though the ethnocentrism in the continuing view of America as “the land of opportunity” is a problem in itself, it does not draw away from the fact that, for many bright stu- dents, closed borders means closed opportunities as well. SHIMA SADAGHIYANI Daily Arts Writer MUSIC NOTEBOOK The voices of a generation: ‘A Girl Walks Home Alone’ PBS “Divorced, beheaded, died, divorced, beheaded, survived.” “Secrets of the Six Wives,” a new HBO historical documen- tary series, begins with this schoolyard rhyme that helps remember the fates of the six wives of Henry VIII. The pre- miere episode, “Divorced,” gives an account of the first action Henry VIII takes once crowned: marrying his late brother’s Spanish widow, Cath- erine of Aragon, born to Queen Isabella and King Ferdinand. The show alternates between documentary narration by historian Dr. Lucy Worsley and dramatic reenactments of scenes from the Tudor Court, often based on eyewitness accounts. While Worsley her- self is a captivating storyteller, the style and format of the show often pull focus from the actual content. “This is the ultimate true story of love, loss and betrayal,” Worsley begins, her tale chroni- cling the anything but meet- cute of Catherine and Henry VIII. She details their relation- ship’s arc from start to finish, talking about the seven years it took to nail down a marriage contract and incorporating the successive relationships between the king, the “viva- cious” Mary Boleyn and then, more famously, her sister Anne. She frames Catherine’s appeal to the Pope during Henry’s bat- tle for the annulment as an act of brave defiance. The historical reenactment is slowly paced, with lots of smol- dering glances from the king and concerned facial expres- sions from all the ladies-in-waiting surrounding the various queens. Worsley herself is dressed as a maid or lady-in-waiting, in the background of several of the dramatic reenact- ments before turn- ing to address the audience directly after a scene. Much of the dialogue is cringe- worthy, especially the parts surrounding pregnancy. “Secrets of the Six Wives” breaks the norm of how this story is usually told: Instead of focusing on the whims and tan- trums of Henry VIII, the show attempts to tell the story from the perspectives of the women unlucky enough to be pulled into his orbit. Worsley’s nar- ration is succinct and insight- ful; she offers well-thought-out interpretations of interactions and events, especially sur- rounding Catherine of Aragon’s false, or phantom, pregnancy, the truth of which is still up for debate. She also offers insight into aspects of 16th century England that tie into the cur- rent day, talking in front of palaces and often using paint- ings of the six wives as props in her storytelling. However, the switching between dramat- ic reenactments — which are mostly uncom- fortable anyway — and documen- tary narration is jarring and annoying. I’d rather watch an actual documen- tary or a fiction- alized T.V. show based on historical events. While the subject matter is interesting — and the title of the series is perfect — the format reminds me of the documen- tary clips that history teachers used in middle school. The six wives deserve to have their sto- ries told with a fresh voice and a sharp eye, to escape the largely skewed perceptions of them that have been handed down and embellished through the centuries. But this isn’t it. ‘Six Wives’ premiere misses mark Period piece fails to cohesively blend the factual with the progressive “Secrets of the Six Wives” Season Premiere January 22nd PBS TV REVIEW SOPHIA KAUFMAN Daily Book Review Editor