6 — Thursday, September 21, 2017
Arts
The Michigan Daily — michigandaily.com
ACROSS
1 Hopped out of
bed
6 Challenge for
Santa’s dry-
cleaner
10 Medicine __,
Alberta
13 OPEC, for one
15 Radius neighbor
16 Sworn statement
17 Measurement
based on inflation
and
unemployment
rates
19 X, at times
20 Tesla Motors
co-founder Musk
21 “Inside Politics”
channel
22 Poet laureate, e.g.
24 “Postcards From
the Edge” author
28 Where Moses
received the Ten
Commandments,
for short
31 Colorful fall tree
32 Put together
33 Instagram
upload, briefly
34 Three-time A.L.
MVP
37 “Is there more?”
38 Smart comment?
42 Baja she-bear
43 Understands
45 Solar wind
particle
46 Song of worship
48 Off-white color
50 It may be reckless
52 Semipermeable
biological barrier
55 Big glitch
56 Inhospitable
57 2000s Chevy
61 Signature piece?
62 Author born
9/21/1947 who
penned the starts
of 17-, 24-, 38-
and 52-Across
66 Biblical craft
67 Roof edge
68 “Mad About You”
co-star
69 “But, mom!”
evokers
70 Zoomed
71 Drumroll drum
DOWN
1 Top
2 Scenic overlook
safety feature
3 Driving directions
qualifier
4 Sign maker’s aid
5 Always, in
sonnets
6 Denomination of
most Iraqi Kurds
7 Unlike spring
chickens
8 Person
9 Advice for an
e-filer
10 Get going
11 One-named “All I
Ask” singer
12 Skin care
product
14 Sports bra fabric
18 Cross characters
23 Land surrounded
by agua
25 Not pro
26 Bahrain bigwig
27 One of John
Adams’
“stubborn things”
28 Corp. execs’
degrees
29 Use a fork,
perhaps
30 Exercises that
strengthen
obliques
33 “Sign language is
pretty handy,”
e.g.
35 Nobel Prize city
36 Butler’s last word
39 Flag
40 “Chariots of Fire”
Oscar nominee
Ian
41 Time period
44 __-service
47 Enter
surreptitiously
49 Makes giggle
50 Cat’s back
shape, at times
51 Tylenol rival
52 Political channel
53 Calendario
month
54 Two-footer
58 Authorization to
enter a country
59 Fed. power dept.
60 Barbarian
63 __ water
64 Holiday threshold
65 Nintendo’s Super
__ console
By C.C. Burnikel
©2017 Tribune Content Agency, LLC
09/21/17
09/21/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Thursday, September 21, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
Even the most die-hard of
“Twin Peaks” fans could never
have imagined that a “Twin
Peaks”
revival
would
look
anything like this. The new
season of the beloved series
at
times
barely
resembled
the show that many love and
remember from the early 90s.
While every other modern
revival
of
an
old
classic
(“Ghostbusters,” “Star Wars,”
“Rocky,” “Fuller House,” etc.)
seems to treat the original
like the holy gospel, “Twin
Peaks: The Return” flies in the
face of everything that people
thought they loved about the
original series. Dale Cooper?
He’s barely in this — at least
not in the way you remember
him. Audrey Horne? Time has
not been kind to her. Nor has
it been to basically anyone
else. If there’s one thing “The
Return” is commenting on, it’s
the very nature of TV returns,
and how things can never truly
return to exactly the way you
remember them.
While everyone else in the
entertainment world has been
trying desperately to recreate
the glory days, David Lynch
has used the “Twin Peaks”
name to con Showtime into
giving him 18 hours to make
what is quite possibly the
strangest program to ever air
on primetime TV. It is, in every
sense of the word, esoteric. It
barely follows its own internal
rules, much less the rules that
we usually expect to govern
narratives involving characters
and actions. At times hilarious
and at times demented, it
is, more than anything else,
unexpected. For that, we must
be eternally grateful.
In the age of the never-
ending story, Lynch is at long
last bringing about an end to a
story that he never got to end on
his own terms. It’s well-known
that Lynch and Mark Frost
were forced to reveal Laura
Palmer’s killer earlier than
they intended to and that they
were advised to create as much
of a cliffhanger as possible at
the end of the second season
to incentivize the network to
renew the show. That didn’t
work.
“Twin
Peaks”
was
cancelled and since then has
remained one of the biggest
unresolved
cliffhangers
in
television history. The prequel
film follow-up, “Twin Peaks:
Fire Walk With Me,” only added
more questions. So, rather
than being a cash-grab revival
designed to stir up feelings of
nostalgia for the original and
nothing more, “Twin Peaks:
The Return” is one of the few
revivals of the past few years
that has felt necessary. It
seems clear that “The Return”
isn’t just a retread of old ideas,
but
an
actual
conclusion
that is forcing audiences to
re-evaluate everything they
thought
they
knew
about
the “Twin Peaks” world. Of
course, this season also ended
in an infuriating cliffhanger,
but before that happened, the
main Bob/Cooper plotline was
wrapped up and many of the
characters were given a sense
of closure. Your mileage on
the final episode may vary but
“Twin Peaks” was never going
to end on a note of definite
closure. This is still David
Lynch, after all.
We need more revivals like
this one. We need more artists
who are willing to use brand
recognition not just to make
money, but also to promote new
and exciting ideas and stories.
“Twin Peaks: The Return”
is nothing like the original
“Twin Peaks” series, and it is
all the better for it. There’s no
point in bringing something
back only to do the exact same
thing. If more creators follow
in Lynch’s footsteps, we could
see the beginnings of an entire
era of avant-garde renditions of
classic IP hitting the airwaves.
Sadly,
“The
Return”
has
received only average ratings
for Showtime, and although
it’s unclear whether or not
the show can be considered
a success, when you factor
in online subscriptions, it’s
certainly not the runaway hit
that the original series was by
any means. What this means
for future projects like this is
hard to say, but it’s certainly
possible that other networks
and companies will take the
wrong lessons from the “Twin
Peaks” revival: that giving
millions of dollars to auteur
filmmakers is a mistake, no
matter what the brand is they
are attempting to retool.
In any case, what Lynch
has done with “Twin Peaks”
is
something
that
should
rightfully be admired. While
“Star
Wars,”
“Star
Trek,”
“Rocky”
and
many
other
franchises
resort
to
what
has come to be known as the
“soft
reboot”
(essentially
a way to remake an old
film while still keeping the
original
continuity),
Lynch
has gone out of the box to
create something that stands
completely on its own and is
wholly unique compared to
what has come before it, to
the point that it’s debatable
whether or not “Twin Peaks”
and “Twin Peaks: The Return”
can even be directly compared.
Where other reboots leave you
wondering if you stepped into
a time portal, asking yourself,
“What year is it?” with “Twin
Peaks: The Return,” David
Lynch
re-affirms
himself
as one of the great auteur
filmmakers
and
reminds
audiences that “Twin Peaks”
is one of the most original and
thought-provoking
television
series of all time.
SHOWTIME
IAN
HARRIS
SINGLE REVIEW
Gone is the era of EDM dominat-
ing the American mainstream — a
period in which seemingly any
Swedish club DJ could simply
catch a flight from Ibiza, size up
his sound (from deep house to
progressive) and instantly become
a Hot 100 sensation. This year
— largely thanks to streaming
services — the most commercially
successful tracks have come from
rappers like Kendrick Lamar and
Drake, or singsongy crooners
such as Shawn Mendes and Ed
Sheeran. Finally, the Molly-fueled
teens of the early-2000s seem to
have developed a desire for instru-
ments in their music, a fact that’s
reflected in megastar Calvin Har-
ris’s recent switch from big room
house (“Summer”) to rhythmic
funk (“Slide”).
This doesn’t mean the market
for catchy synths is gone entirely
though. In fact, for anyone who’s
recently spent a Football Saturday
on Hill Street, it may even be dif-
ficult to believe that EDM’s clout
is shrinking. Of course, dance
music is still — and probably will
forever be — the preferred sound
of drunken college tailgaters, and
at the forefront of these students’
admiration for the arts is their
ongoing appreciation for Galantis.
Ah, yes, Galantis — the DJ-duo
that burst on to the scene in 2015
via the overnight success of their
breakout single, “Runaway (U
& I).” Despite spending the past
eighteen-months overshadowed
by The Chainsmokers, this
bubblegum pop team has officially
re-emerged with their sophomore
offering, The Aviary. Simply put,
the LP is a forty-minute attempt to
reclaim their spot on the playlist
at Skeeps, but it’s not all bad: “Tell
Me You Love Me,” an instantly
catchy collaboration with frequent
EDM-vocalist Throttle, is one of
the best dance pop songs in recent
memory.
“Tell Me You Love Me” opens
with deep keys and a suspenseful
entrance by its singer. Apparently,
Throttle has been “up all week,”
struggling to decipher indirect
signals from a potential romantic
interest. This is no heartbreak
tale though — it’s a celebration of
all that could still be. Snapping
fingers arrive during her lead-in
to insinuate as much, and just in
case this wasn’t enough, the song’s
bridge (appropriately packed
with ever so deep pleas such as,
“Tell me what’s on your mind!”)
connects at the chorus with enor-
mously hyper synths, pulsing bass,
perfectly manipulated vocals and
a meticulously inserted “Woo!”
on every couple of kicks. This is
where the real party begins!
Already evolving into The Aviary’s
biggest hit, watch out for “Tell
Me You Love Me,” which could
turn into Galantis’s next runaway
success.
- SALVATORE DIGIOIA
“Tell Me You Love
Me”
Galantis
Big Beat Records
The LP is a forty-
minute attempt to
reclaim their spot on
the playlist at Skeeps,
but it’s not all bad.
How the ‘Peaks’ reboot
changed the game
FENTY
Fenty’s new ready-to-wear
looks far from subtle
Rihanna is a Queen of
innovation. Not by any means
am
I
dissing
old-school
Rihanna, but in the last three
or so years, she has moved from
being one of music’s biggest
pop stars to mogul status.
She’s not a businesswoman;
she’s
a
business,
woman!
Remember when she killed the
Grammy
performance
with
Kanye and Paul MCcartney?
And when she dropped ANTI
in a mess that seems oddly
fitting in retrospect? The same
album that won Best Urban
Contemporary at this year’s
Grammy Awards. Well, now
she released a makeup line for
people of all skin tones, and
revealed her fourth collection
for Puma at New York Fashion
Week.
Whether it comes in the
form of leaving a restaurant
with a wine glass or covering
Tame Impala, Rih’s always
throwing the punches and
Fenty’s Spring 2018 Ready-
To-Wear
collection
is
no
exception.
As to be expected, the
majority of Fenty x Puma’s
allure isn’t its subtleties. The
soft pink and green of last
Spring’s collection have been
replaced with iridescent blues,
greens and pinks which are
leveled out with a heavy dose
of orange in the gut of the
show. In line with previous
collections, pieces alternate
between
excess
(brooding
trench coats and sweats) and
skimpy (body suits and, for
the first time, swimwear).
I’ve stated before, an entire
outfit of Fenty is a LOOK, but
its diversity of color and style
offers endless options when
assimilated
into
a
proper
wardrobe
(read:
statement
pieces galore).
However, some statements
just seem wrong here. Those
worker boots? Abhorrent. But
then again she could dress
Ducky Thot, Slick Woods and
Joan Smalls in literal garbage
bags and I would still call it
fierce (because it would be).
Comparably, it’s her weakest
collection yet but DEAR GOD
do I need that translucent
hoodie.
CHRISTIAN KENNEDY
Online Arts Editor
Rihanna is
a Queen of
innovation
Whether it
comes in the
form of leaving a
restaurant with
a wine glass or
covering Tame
Impala, Rih’s
always throwing
the punches
J
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D
A
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A
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STYLE
TV COLUMN