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

DOMINO’S PIZZA, Inc. in Ann Arbor, 

MI seeks Analyst ‑ ETL Developer to
develop automated extraction, transforma‑ 

tion & loading processes

across Domino’s digital landscape. Reqs 

BS+5yrs or MS+3yrs exp. To
apply visit: https://jobs.dominos.com/domi‑ 

nos‑careers/opportunities/corporate.
Ref #21595BR.

GEDDES HILL APARTMENTS ‑ 

SAVE up to $1200 off rent! 
Call now for details! 734‑741‑9300

STUDENT SUMMER STORAGE 
Specials ‑ Closest to campus ‑ Indoor 

Clean ‑ Safe ‑ Reserve online now 

annarborstorage.com call 734‑663‑0690

BROADVIEW APARTMENTS ‑ 
FREE 
Parking, 
FREE 
laundry, 
and 
FREE 
resident 
shuttle! 
As 
low 
as 
$1110 
for 
rent! 

Call today for specials! 734‑741‑9300

AVAILABLE MAY 2017, Studio near 
CCRB. AVAILABLE SEPT. 2017, 2 
Bedroom near South U. 734‑996‑2836

 ARBOR PROPERTIES 

Award‑Winning Rentals in Kerrytown,

Central Campus, Old West Side, 
Burns Park. Now Renting for 2017. 
734‑649‑8637. www.arborprops.com 

ANN ARBOR APARTMENTS ‑ 
CMB Management has 17 premier loca‑ 
tions to choose from! Call today for spe‑ 
cials and to schedule a tour of your new 

home! 734‑741‑9300

CASH FOR YOUR used vehicle

Reputable, honest Mike: 734‑263‑0764

712 WEST HURON ‑ PURRFECT 
downtown location. Bring your furry 
friend for FREE! $0 Application Fee. 
 

Call today to schedule your tour! 
734‑741‑9300

SERVICES

AUTOMOTIVE

FOR RENT

HELP WANTED

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. 

