ACROSS
1 Subj. for a non-
native speaker
4 __-top: Beatles’
style
7 Much of “Star
Wars” FX
10 Clumsy type
13 __ Michele, 
8-Down co-star
14 “The Princess
Diaries” princess
15 Tetris shape
16 Sporty truck,
briefly
17 War film with 
a cast of 
60-Across?
21 “Rock and Roll
All __”: Kiss hit
22 Reckon
23 Custardy dessert
24 Thrown for a
loop
26 Cool, once
27 Campus groups
28 Newspaper with
a staff of 
60-Across?
31 Dough for
ramen?
32 Square __
33 Traveler’s aid
37 “Hamlet, thou art
slain” speaker
42 Political __
43 Big name in big
tractors
44 1969 hit song by
a group of 
60-Across?
50 Write in code?
51 Actress Ramirez
of “Grey’s
Anatomy”
55 __ d’Alene
56 Mideast sultanate
60 Off-putting sorts?
63 Pie choice
64 Like bread knives
65 Well-to-do
66 Unpredictable

DOWN
1 Twisty-horned
antelope
2 Photo app effect
3 Founder of
Taoism
4 Sport for Ronda
Rousey, for short
5 Aromatherapy
array
6 Outmoded public
convenience

7 Center of moral
corruption
8 TV show with
mashups
9 Down with
something
10 Wanted one
11 Bothered a lot
12 Fronded plants
18 Mediocre marks
19 Sonnet, e.g.
20 Do maintained
with a pick
25 Kids’ summer
activity
27 “Another word for
nothin’ left to
lose,” in a Joplin
hit
29 __ Aviv
30 Genetic
messenger
molecule
33 The Scooby
gang’s Mystery
Machine, e.g.
34 Ode preposition
35 Spell
36 QB’s mishap
38 Dream state
letters
39 Technical foul
signal, in
basketball
40 West ender?

41 Place
45 Centipede home?
46 Stimulated
47 “Oh, now __ it!”
48 All-in-one
vacation
49 Eliot’s weaver
51 Canned meat
used in Hawaiian
cuisine
52 “The Good
Dinosaur”
dinosaur

53 Reddish horse
54 Source of
cartoon
explosives
56 Other, south of
the border
57 Castle defense
58 Basic class with
easels
59 Tiny time pd.
61 Siegfried
collaborator
62 PDX info: Abbr.

By Alan DeLoriea
©2017 Tribune Content Agency, LLC
02/09/17

02/09/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Thursday, February 9, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Thursday, February 9, 2017
Arts
The Michigan Daily — michigandaily.com

It’s easy to forget that music 

can be as therapeutic for the artist 
to make as it is for the listener to 
experience. Sampha Sisay proves 
this true on his debut LP, Process. 
It’s a testament to his gorgeous, 
versatile vocals; an impressive 
display of the beauty that can rise 
from pain. Sisay’s mother passed 
away from cancer in 2015, and 
that tragedy, in a way, makes this 
album. Themes of grief and heavy 
emotions run everywhere.

But Process is only heart-

wrenchingly 
powerful, 
never 

overdramatic.

The album opens with “Plastic 

100°C,” a passionate introduction 
to a similarly raw album. Like 
“Demons” from Dual, Sampha’s 
second EP, “Plastic 100°C” starts 
with a clip of a voice recording 
before cycling into the actual 
song. Plucking, harp-like notes 
lend the piece a hypnotic, ethereal 
feeling that sparks the detailed 
lyrical imagery, while escalating 
instrumentals 
intensify 
and 

advance the song. “It’s so hot I’ve 
been melting out here / I’m made 
out of plastic out here / You touched 
down in the base of my fears,” he 
sings, with feverish anxiety in his 
voice. Even more striking is the 
unhurried, vulnerable bridge of 
the piece, which contrasts sharply 
with the organized chaos of the 

first few minutes.

“Blood On Me,” the second 

track and first single on Process, 
came about because of a terrifying 
dream, and it’s audible in Sampha’s 
voice. The song begins breathlessly, 
then grows in both intensity and 
feeling. The faster pace of the piece, 
quick, drumming instrumentals 
and hypnotizing, almost cinematic 
descriptions of the beings chasing 
him combine in trepidation, yet 
create a mesmerizing dream that 
gradually swallows the listener.

Process shares some of the 

same stylistic qualities prevalent 
in 2013’s Dual, like 
a heavy reliance 
on 
electronic 

instrumentals and 
a prancing piano, 
but the difference 
between the two 
is in their tone. 
Dual is unfailingly 
melodious and bright, even at its 
moodiest, possessing barely any of 
the dark, somber earnestness that 
dominates Process.

“Take Me Inside” may be the 

shortest track in the album, but 
it’s one of the most beautiful. 
It’s slower paced than most of 
Process, a quality that emphasizes 
the 
light, 
delicate 
dance 
of 

Sampha’s higher octaves. His 
voice’s smooth transitions bring to 
mind the composed strength of a 
ballerina, filled with a calm grace 
that belies the effort required to 
perfect such skill. The latter half 

of the song sounds as if Sampha 
were accompanied by a chorus 
of starlit angels. The beauty of 
the song never detracts from its 
weight though: “And I seek / I’m 
seeking something I can’t see / I 
may be reading in too deep / And 
maybe this is all a dream,” Sampha 
croons, leaving the listener with 
an immersive, echoing melancholy 
that sticks.

Sampha’s 
range 
is 
almost 

limitless. 
“Under” 
is 
an 

intentionally tumultuous track, 
with 
an 
echoing 
beginning 

reminiscent of Dual’s “Beneath 

The Tree,” while 
“(No One Knows 
Me) 
Like 
The 

Piano” 
strips 

away 
most 
of 

the 
electronic 

instrumentals 
that are present in 
practically 
every 

other track, leaving Sampha’s 
voice to amble along at it’s own 
heartfelt pace accompanied by a 
single piano.

With a steady hand, Sampha 

takes 
listeners 
through 
a 

mesmerizing journey that gets 
down to the grit of what makes 
us human. Instead of shying 
away from pain that’s often 
hard to discuss, much less sing 
about, he embraces it. Process is a 
magnetizing reminder that music 
is inseparable from emotion and 
an affirmation that grief, at its 
rawest, is universally understood. 

Process
Sampha

Young Turks

SAMANTHA LU
Daily Arts Writer

A session of therapy: 
Sampha’s own ‘Process’

Mesmerizing new album proves cathartic and transcendent

Much 
of 
the 
stigma 
that 

surrounds young adult novels is 
undeserved. People point to the 
tired tropes of the most laughable 
YA novels as being representative 
of the whole genre—love triangles, 
mean boys in leather jackets who 
secretly love you, bland female 
protagonists named Elektra or 
Aurora or whatever, nouns being 
unnecessarily capitalized in the 
place of actual worldbuilding, etc. 
And yes, these tropes are pervasive 
and annoying, but they’re window 
dressing. They’re never at the 
heart of what makes teenagers love 
young adult books.

Cliche is not the same thing 

as bad. If this were true, then I 
guess we all would really hate 
“Star Wars.” After all, it’s home 
to all those dumb tropes like love 
triangles, mean boys in leather 
jackets, 
and 
the 
egregiously 

capitalized Empire and Republic. 
Many of the surface-level YA 
criticisms have much more to do 
with derision of teenage girls and 
the things made for/written by 
women than they do concerns 
over actual literary quality. But I 
digress.

What I’m trying to get at here 

is that a book that features corsets 
and enchantments and not one but 
two mean boys in leather jackets 
with hidden hearts of gold is not 
inherently dumb or bad. Silly? 
Yes. Ridiculous wish-fulfillment 
fantasy? Absolutely. Fun as hell? 
But of course.

Stephanie Garber’s “Caraval” is 

400 pages of pure pulpy joy. The 
protagonist, Scarlett (spoiler: she 
wears many red dresses, because 

of course she does) is the daughter 
of a powerful, ruthless, and violent 
man who terrorizes her and her 
sister Tella (short for Donatella, 
because of course it is). Scarlett is 
engaged to be married to a man 
she has never met, but she secretly 
dreams of seeing Caraval, an 
annual performance where the 
audience participates in a Hunger 
Games minus the murder (well, 
kind of) style of competition. 
Caraval is a weeklong experience 
in which participants stay on a 
magical island where they solve 
a series of riddles, 
competing to see 
who can get to the 
end of the puzzle 
first. With the help 
of the mysterious 
sexpot 
sailor 

Julian 
(Leather 

Jacket 
Boy 
#1), 

Scarlett and Tella 
are whisked away 
to the show, where Tella is 
immediately kidnapped by the 
magical mastermind/organizer of 
the event, Legend. In this year’s 
competition, whoever finds Tella 
first is the winner of the Caraval. 
It’s up to Scarlett, with the help 
of Julian, to find Tella and return 
home in time for her wedding.

“Caraval” is so easy to poke fun 

of. In this novel, there is no such 
thing as too many adjectives or too 
many synonyms for the color red (I 
mean, “cerise?” Really?). There is—
no joke—a character named Dante 
(Leather Jacket Boy #2, duh) who 
has completely unironic tattoos of 
black roses and falcons on the backs 
of his hands and neck. There are 
many, many extended sequences 
of Scarlett and Leather Jacket 
Boys being forced into increasingly 
hilarious situations where they 

have to stand really really close 
together and make breathtaking 
eye contact. At one point, Scarlett 
says the word “scoundrel” with 
complete sincerity, and LJB#1 is 
honestly offended.

And yet, Stephanie Garber is no 

dummy. She knows exactly what 
kind of book she’s writing and never 
shies away from the ridiculousness. 
Garber works entirely within 
familiar YA story structures, but 
she clearly understands exactly 
how 
to 
maximize 
traditional 

narratives to be their very best. 

Every 
character 

is well-developed, 
interesting, 
and 

complicated (except 
for Dante, but I 
mean, the dude’s 
name is Dante. It 
would be a little 
redundant 
if 
he 

had a personality). 
The relationships, 

though 
predictable, 
develop 

organically and believably. And the 
plot twists may be numerous, but 
they make sense and work within 
the 
larger 
story. 
Structurally, 

this book is precisely written 
and airtight in its construction, 
building in momentum by the page. 

“Caraval” has its flaws, and it may 

be silly, but it works. A functional, 
entertaining and effective story is 
no easy thing to write, especially 
within traditional YA frameworks 
from which people often expect 
the worst. It’s melodramatic and 
deeply entertaining. Ridiculous 
and glorious. All hail “Caraval.” 
Here to remind us just how weird 
and wonderful YA can be.

This article has been reprinted as 

a correction from Monday’s issue. 
It was incorrectly attributed to 
another writer.

All hail the YA ‘Caraval’

BOOK REVIEW

ASIF BECHER
Daily Arts Writer

“Caraval”

Stephanie Garber

Flatiron Books

YOUNG TURKS

‘Crazy Ex’ teases change 

Season finale bodes of darker things to come for the show

There’s a moment in the 

“Crazy 
Ex-Girlfriend” 
finale 

where Rebecca (Rachel Bloom, 
“Fuck 
Me 
Ray 
Bradbury”) 

looks like she’s on the verge of a 
breakthrough. She’s sitting with 
her therapist and talking about 
how her father’s absence affected 
her relationships with the men in 
her life. It seems like she’s about 
to have a realization, but then she 
gets distracted and leaves in a rush. 
It’s one of a few false starts to her 
dealing with her mental issues. 
Now, whether Rebecca is ready to 
sort out her issues or not, the show 
looks like it’s ready to deal with 
them head-on. The brilliant season 
two finale of “Crazy Ex-Girlfriend” 
gave us insight into Rebecca’s past, 
while the story had enough twists 
and turns to keep me on the edge 
of my seat, setting up a darker but 
fascinating third season.

The finale focuses on what 

happens around Rebecca and 
Josh Chan’s (Vincent Rodriguez 
III, “Hostages”) wedding. After a 
haphazard proposal and a rushed 
engagement 
period, 
Rebecca’s 

life is thrown further into chaos 
when her father, who left her when 
she was a teenager, returns. She 
spends most of the episode trying 
to restart the relationship while 
preparing for her wedding, which 
brings to light how her current 
issues connect with her father first 
leaving.

More than anything else, the 

show sets up a massive change in 
tone and theme for its third season. 
The main story arc for the first two 
seasons has been that of Rebecca 
and Josh. She moves across the 
country for him, she tries to win 
his love and she gets it. But now, 
he left her, and she’s pissed. This 
sets up a third season where the 
focus will be about 
her anger and her 
seeking 
revenge 

against Josh. The 
show hasn’t been 
afraid of hinting at 
the darker aspects 
of mental illness 
(see the first season song “You 
Stupid Bitch”). However, it hasn’t 
fully embraced it up to this point.

And, I hope with the embrace of 

a darker tone, the show will delve 
further into Rebecca’s mental 
illness. There were moments 
and hints throughout the season, 
but there was always something 
that prevented her from making 
a realization (in those moments, 
the show used the exacerbation of 
her therapist to comic effect). Still, 
the finale flashes back to moments 
from Rebecca’s past involving 
her relationship with a married 
professor at Harvard Law named 
Robert (Adam Kaufman, “State of 
Affairs”). As a result of her burning 
his clothes after he breaks up with 
her, she is forced by the court to 
spend time in a mental institution. 
There’s clearly more story to mine 
in both her background and her 
efforts to get treatment, and it 

looks like the show will bring more 
of that to light last year.

One of the key strengths of 

“Crazy Ex-Girlfriend” remains 
its music, as the second season 
featured some of the show’s best 
musical moments. In the finale 
itself, “Rebecca’s Reprise” is a 
medley of four songs that perfectly 
captures her journey up to that 

point. 
It’s 
the 

emotional 
climax 

for the season, as 
she seems to have 
everything 
she’d 

ever wanted. And, 
the 
music 
helps 

to emphasize the 

emotional moments. Right before 
everything starts to unravel for 
her, the song is a moment of bliss. 
The season was filled with many 
great musical moments. From 
Greg (Santino Fontana, “Shades of 
Blue”) leaving the show with one 
last reminder of how “It Was a Shit 
Show” to the hilarious numbers 
like “We Tapped that Ass” or 
“The Math of Love Triangles,” the 
series knows how to make fun and 
engaging musical moments.

The second season of “Crazy 

Ex-Girlfriend” wasn’t perfect, as 
the show seemed to struggle in the 
immediate aftermath of Fontana 
leaving. But the finale was about as 
good an ending as it could’ve had. 
It attacked its material with depth 
and intelligence, while setting up 
a third season that, while being 
remarkably different than prior 
years, will take the show in a 
fascinating direction.

ALEX INTNER
Daily Arts Writer

“Crazy Ex-

Girlfriend”

Season 2 Finale

The CW

MUSIC REVIEW
TV REVIEW

THE CW

