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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