ACROSS
1 Prefix with deed,
feed and read
4 Fave texting buds
8 One looking for
something
14 Gorilla, for one
15 To whom Rick
said, “We’ll
always have
Paris”
16 Mode of dress
17 *Pay for your
online
purchases, say
19 Admirers, as a
group
20 Actress
O’Donnell
21 Caspian, e.g.
23 Nick and Nora’s
dog
24 Ancients, for
instance?
27 Big Band __
29 White wine
apéritif
30 Kitten cries
31 *Skip work
because of
illness
34 Double curve
35 One to say
“G’day” to
36 Grandmas
37 *Cause a ruckus
40 Once more
43 Deal with it
44 “How cute!” cries
47 *Go out of
business
50 Coin named for a
continent
51 ER staffers
52 Frying __
53 Movie double
55 Sport shirt brand
57 Male cat
59 Santa __
racetrack
60 Tenor Enrico
62 “Care to wager?”
... and a question
answered, one
way or the other,
by the first words
of the answers to
starred clues
65 Tennis great
Andre
66 Gung-ho
67 __ Fáil: Irish
coronation stone
68 Port on the Loire
69 Dickens’ Uriah
70 Junior nav. officer
DOWN
1 Knot-tying art
2 Siri speaks on
them
3 Up-and-down
playground
boards
4 Hog rider
5 Perky
spokeswoman in
Progressive ads
6 Seminoles’ sch.
7 Pre-coll. exams
8 Jungle adventure
9 Approx.
touchdown hour
10 Italian volcano
11 Glove leather
12 Racy literature
13 Comments
18 Smokes, briefly
22 Slippery as an __
25 Berry rich in
antioxidants
26 Wrestling
surfaces
28 Broadway
orphan
32 Parasite
33 __ Andreas Fault
35 “Don’t be a
wimp!”
37 Unburdened (of)
38 Lovey-dovey
exchange
39 Date bk. entry
40 Like some violets
41 Spokane school
with a strong
basketball
program
42 Beaten candidate
44 Loud enough to
hear
45 Unlisted
vote-getter
46 Piano works
48 Regional dialect
49 __-Caps: candy
50 Sicilian resort city
54 Food retailer
named for two
oceans
56 Clean with Pledge
58 [Air kiss]
61 Opposite of NNW
63 Prop. often
named for a state
in Monopoly
64 Nietzsche’s
“never”
By Lila Cherry
©2017 Tribune Content Agency, LLC
04/11/17
04/11/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, April 11, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
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6 — Tuesday, April 11, 2017
Arts
The Michigan Daily — michigandaily.com
‘The Zookeeper’s Wife’ is
humble, heartbreaking
Film explores nature of a man and an orphanage during WWII
“Righteous Among the Nations”
is a term used to identify and
honor the non-Jews who risked
their lives to save Jews during
the Holocaust. Oskar Schindler,
remembered
in
“Schindler’s
List,” and University of Michigan
alum Raoul Wallenberg are two
among the over 11,000 people
considered “Righteous Among the
Nations” by Yad Vashem Museum
in Jerusalem. Jan and Antonina
Zabinski were also among the
righteous, but only now has their
story come fully to light. “The
Zookeeper’s Wife” details how the
Zabinskis sacrificed everything
to do the right thing. Telling the
stories of the righteous sheds a
little light onto the darkness of
tragedy.
Directed by Niki Caro (“Whale
Rider”), “The Zookeeper’s Wife”
is based on Diane Ackerman’s non-
fiction book of the same name.
The film tells the story of Warsaw
Zoo runners, Jan and Antonina
Zabinski and how they risked
their lives to save over 300 Jews
from the Warsaw Ghetto. They
developed a strategy in which they
smuggled Jews from Ghetto into
their zoo for safekeeping until they
could escape to safety. Shockingly,
the Germans used the zoo as an
arsenal; little did they know that
the Zabinskis were hiding Jews
right under their noses.
The story is a beautiful portrait
of compassion and courage, yet it
does not shy away from showing
the pain and suffering in the
Ghetto. The camera does not hide
the death, starvation and disease
that permeated its walls. Among
the darkness of the Ghetto, there
existed a small light, a little piece of
unknown
history.
Yet there’s another
story that has yet
to be told correctly:
that
of
the
children’s
doctor,
educator and author
Dr. Janusz Korczak.
Dr. Korczak was
renowned
in
Poland for his work in children’s
education, but now he is known
more as the smiling, storytelling,
father figure of the Warsaw
Ghetto orphanage who died with
his children in Treblinka. “The
Zookeeper’s Wife” highlights the
many opportunities to escape that
Korczak refused in order to stay
with his children. Jan Zabinski
(Johan Heldenbergh, “The Broken
Circle Breakdown”) tries to save
Dr. Korczak twice in the film, but
each time Korczak declines. Even
as the doctor lifts his orphans into
the train car that will eventually
take them to their dark fate,
Korczak tells them whimsical
stories about Dr. Z and the planet
Ro.
The film’s strong cast is led
by Jessica Chastain (“Zero Dark
Thirty”) as the passionate and kind
Antonia, the zookeeper’s wife with
a slight Slavic accent and a strong
grasp of right and wrong. The film
shows Antonina as an empowered,
brave woman who, partnered
with her husband, saved the lives
of many while sacrificing their
own. Shira Haas (“A Tale of Love
and
Darkness”)
plays the silent and
scarred Urszula, a
young girl from the
Ghetto who was
brutally
assaulted
and raped by two
Nazis. Jan, having
witnessed Urzsula’s
tragedy, takes her
in and brings her to the zoo where
she finds healing, love and bunnies.
Daniel
Brühl
(“Inglourious
Basterds”) is haunting and sinister
as “Hitler’s Zoologist” Lutz Heck —
for a zoologist, he is quite involved
in the war effort.
The title of the movie seems
unfitting, because Antonina was
not just a wife, and Jan was not
just a zookeeper. Together, their
zoo became a place of refuge.
Ironically,
the
cages
became
freeing and the locks liberating.
The film is honest without being
insensitive, heartbreaking without
being melodramatic and uplifting
without being contrived. “The
Zookeeper’s Wife” is a harrowing
and humbling film that shows
humanity in the face of inhumanity.
BECKY PORTMAN
Daily Arts Writer
“The Zookeeper’s
Wife”
Focus Features
Rave Cinemas,
Goodrich Quality 16
FILM REVIEW
FOCUS FEATURES
Still from “The Zookeeper’s Wife”
COMMUNITY CULTURE NOTEBOOK
FILM REVIEW
I am going to die and so
are you. Sorry about that.
I have this recurring dream
where I’m stuck at a friend’s
wedding reception. People are
throwing bread, I’m eating
key-lime pie and there’s this
sense that I’m undoubtedly
cooler than everyone else. My
apologies — I’m not a blatantly
shallow person, but somewhere
deep down I know I’m part
lagoon. The thing is, I’m not
cool, and I don’t even like key-
lime pie. Nonetheless, there’s
this, “Gah, one day!” mentality
that I’ve been clinging to
for a while now. What never
occurred to me is that there
might not be a one day; maybe
there are just days.
Founded by Joseph Gordon-
Levitt and his late brother
Daniel,
hitRECord
is
an
online
open-collaborative
production
company
built
to connect artists across the
globe. They put out all kinds
of
media
(albums,
stories,
videos, etc.), which they’ve
coined as “RECords.” Their
TV
show,
“HitRecord
on
TV,” is brilliant and had a
two-season run on Pivot for
which it won the 2014 Emmy
in Social TV for Outstanding
Creative
Achievement
in
Interactive
Media.
Each
20-minute segment is hosted
by Gordon-Levitt, who goes by
RegularJOE on the site.
RegularJOE sends out a
theme and challenges to go
along with it, and people
upload various mediums of
art in response. Users can
combine the work of others or
add in layers of their own. In
a world where originality gets
hyper-competitive — everyone
is trying to design better,
sing better, write better —
hitRECord gives artists a space
to build off each other, working
in tandem to create something
fantastic.
Every episode takes on a
different topic. Simply seeking
to spark discussion and breed
creativity,
“HitRecord
on
TV” lives in the gray areas of
existential crises and everyday
musings. Gordon-Levitt takes
the show through music videos,
webcam
discussions,
short
films, open-ended questions
and other forms of art similar
to the way “Saturday Night
Live” travels from skit to skit.
I was completely addicted to
this series upon discovering it.
I get into these manic phases
where I’m so, so desperate to
know and feel and understand
the world and to know how
other people are doing the same
thing. It makes me restless,
obsessive even. I obsess over
what Hilary Duff is up to,
despondent movie montages
and the way the sunrise drapes
that one highway in the most
delicate shade of pink.
And so it goes. Lounging
around
watching
the
first
season,
one
episode
in
particular took an unwarranted
hold over me: “The Other Side.”
The other side of life, the
other side of the screen, the
other side of the story — the
segment
explores
all
the
queries people have about the
other side and whether the
grass is actually greener or
whether someone just hired
a killer lawn care service to
chemically delude everyone.
My favorite portion of the
episode is the music video,
“Adieu.”
With
hand-drawn
animation from 22 different
artists and lyrics by user
joerud, the song is raucously
sinister. Lives are ending every
which way, and this smooth,
honeyed French track drips
over the whole saga. Scenes
of utter tragedy and madcap
fatalities are interspersed with
a depiction of Gordon-Levitt
drunkenly stumbling around
a bar-top. People are going
wild, and it’s this enormous
celebration of morbidity.
And then it struck me: I’m
going to die and so are you.
Sorry.
Everyone
dies.
Everyone.
For some reason, this banally
obvious fact hit me heavy. I
think it’s because I was devoted
to this notion that there was a
way for life to be perfect. If I
could only just find the right
person or land in the right
place, life could exist perfectly.
This
was
my
other
side.
Ironically enough, watching
this animated clip about the
real other side is what drove
me to the realization that mine
isn’t real at all.
I absolutely love the idea of
another side, but I also can’t
stand it. It makes me feel like
I’m not enough, and no one
should make you feel like
that — especially not yourself.
Tomorrow is exhausting to
think about, and eventually
tomorrow is going to become
today: It’s the whopping flank
of life. Letting go of the idea
that the future is some elusive
other side is one of the biggest
moments of release I’ve ever
felt.
Not to have a, “dude, we’re
like alive right now” moment,
but dude — we’re, like, alive
right now. We all exist in the
same world, and we’re all
going to leave it at some point.
There is no other side; there’s
only us. Collaborating and
conglomerating
and
purely
coexisting — that’s what we
all have, together, here. Let’s
create something of it.
ARYA NAIDU
Daily Arts Writer
Don’t bother getting your
hopes up for “The Son”
New AMC drama struggles to tell multiple narratives well
“Great goddamn way to
start a birthday party.”
Cattle
rancher
Eli
McCullough (Pierce Brosnan,
“GoldenEye”) means “great”
sarcastically, of course, as
“The Son” teeters between
this meaning and the literal
meaning of “great” in its series
premiere.
Based off the novel by
Philipp
Meyer,
the
show
chronicles the life of Texan
Eli McCullough at two points
in his life: 1915, as a rancher
and oil magnate determined
to confirm his legacy and
1849, as a young boy (Jacob
Lofland, “Mud”) left orphaned
and imprisoned by Comanche
raiders.
In the 1915 era, Eli is
the
patriarch
of
a
large
household.
We
are
given
a taste of the McCullough
family’s
complexities
and
tensions, but they are never
explored
enough.
The
key
characters in this timeframe
— Eli, his son Pete (Henry
Garrett, “Zero Dark Thirty”)
and Pete’s daughter Jeannie
(Sydney Lucas, “The Skeleton
Twins”) — take a back seat
to the progression of plot.
Granddaughter
Jeannie
is
rebellious and feisty, eager to
resist the expectations to be
a lady and adhere to gender
norms, but her moments are
overshadowed by her father’s
and grandfather’s quests on
the frontier. By the end of the
second episode, her defiance
reads as petulant and whiny
instead
of
indignant
and
progressive.
It’s
a
shame,
because her presence as a
young, female character is
much needed to balance the
machismo of the cowboys.
With such a broad scope,
there are opportunities for
characterization
and
depth
that seem lost in the pursuit
of drama and conflict. Pete’s
older brother Phineas (David
Wilson
Barnes,
“Capote”)
proves
himself
to
be
more
resourceful
and
knowledgeable, if
not as masculine
and physical as
Pete.
Phineas
also
makes
multiple
passes
at
Pete’s
wife,
who
graciously
accepts
them.
While perhaps not central
to the narrative, these seem
like missed opportunities to
flesh out Pete’s flaws. The
show’s leading man struggles
to find his footing, too, as the
patriarch of the McCullough
family. By all appearances,
Brosnan is the head honcho,
but he struggles to fill the
boots of a man weathered by
the harsh conditions of the
Texas landscape. He seems too
clean and civilized for a man
that has experienced what
young Eli has.
Young Eli, however, redeems
some of the show’s misgivings
through emotional depth that
old Eli lacks. In a harrowing
scene, Eli watches his Native
American captors stab his
older brother with a spear
repeatedly as Eli is held down
by a member of the tribe. Point
of view shots on the ground
immerse the viewer in Eli’s
pain and frustration. Suffering
characterizes his experiences
with the Comanche, who beat
and disrespect him, except for
Toshaway (Zahn McClarnon,
“Fargo”).
Their
bond
is
compelling, yet sorely ignored.
While Young Eli’s narrative
is more intriguing than Old
Eli’s, both are unified by
strong visuals. The fires that
ravage Eli’s childhood home
and only oil rig are dramatic,
consuming
and
accompanied
by
ambient
music
that
suggests tragedy
and
discord.
Expressive shots
of
the
Texas
landscape convey
the hostility and
grittiness of the
people that dwell
there. The physical appearance
of characters is appropriate,
too. They look sweaty and
dishevelled when at work or
in the wild, manicured and
primped when at social events.
Overall, the show struggles
to braid its narratives together.
There is a disparity between
the screentime in each era.
1915 gets more attention while
brief scenes in 1849 reveal
Eli’s background, which is
necessary to understand him
in the 1915 era. Young Eli isn’t
featured enough to make Old
Eli a sympathetic character.
In addition, actions that take
place in the 1915 era feature
multiple
characters
at
a
choppy pace, so it’s hard to get
a sense of anyone’s true self.
This strategy may work better
on the page. While television
does afford some advantages,
it can’t hide the deficiencies
inherent in the structure of
the show. Give the rest of the
season a try, but don’t hold
your hopes too high.
JACK BRANDON
For the Daily
TV REVIEW
“The Son”
AMC
Series Premiere
(Episodes 1 & 2)
Saturdays 9 p.m.