Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
HELP WANTED
COCO, A CHAMPION HAVANA
BROWN CAT, NEEDS A WIN-
TER HOME IN MICHIGAN
His owner will be down south and
on ex
tended trips from December
to the begin
ning of June. He is an
affectionate, fully declawed, and
inside only neutered male cat, 5 years
old. His owner will supply food,
kitty litter, etc. plus $300/month to
the foster person or family. In the
unlikely event that Coco needs medi‑
cal attention his owner will cover that
expense. Full‑time adoption may be
possible for Coco.
ARBOR PROPERTIES
Award‑Winning Rentals in
Kerrytown
Central Campus, Old West
Side, Burns Park. Now Renting for
2018.
734‑649‑8637 | www.arborprops.com
FALL 2018 HOUSES
# Beds Location Rent
11 1014 Vaughn $7700
9 1015 Packard $6525
6 511 Linden $4800
6 1016 S. Forest $5400
6 1119 S. Forest $4350
6 1207 Prospect $4900
6 1355 Wilmot Ct. $5075
5 515 S. Fourth $3700
5 935 S. Division $4000
5 1024 Packard $3700
4 412 E. William $3200
4 507 Sauer Ct $3600
4 509 Sauer Ct $3600
Tenants pay all utilities.
Leasing starts Nov. 10th
Reservations Accepted till 11/8.
CAPPO/DEINCO
734‑996‑1991
MAY 2018 – 6 BDRMS HOUSES
811 Sybil ‑ $4400
Tenants pay all utilities.
Showings Scheduled M‑F 10‑3
24 hour noticed required
DEINCO PROPERTIES
734‑996‑1991
FOR RENT
ACROSS
1 Press (down), as
pipe bowl ash
5 Life-saving proc.
8 Collect $200 in
Monopoly
14 Top poker pair
15 Feel remorse for
16 Brewpub fixture
17 *Palestine, to
many
19 Soccer game
shout
20 St. plagued by
wildfires in 2017
21 Leaves out
23 Colorado resort
24 Other side in a
fight
26 Monterey County
seat
28 *Slam-dance
area
30 Spontaneous
notion
33 Classic Ford
36 One of eight Eng.
kings
37 Cola, e.g.
38 Actress Longoria
39 Vienna’s country:
Abbr.
41 Gobble up
43 Do sales work
(for)
44 Baseball glove
46 Baseball throw
48 Multi-room
accommodations
50 Praiseful verses
51 *What “blows no
good”
53 More geeky
55 V-shaped carving
59 Happy
expression
61 “Six __
a-laying ... ”
63 Yokohama yes
64 Descartes’
“I think”
66 “Spring forward”
partner (a
reminder for
November 5th) ...
and what the last
word of each
answer to a
starred clue can
literally have
68 From boat to
beach
69 Island strings
70 Pre-deal wager
71 Poker player, e.g.
72 ’60s hallucinogen
73 Enjoys 23-Across
DOWN
1 Nevada border
lake
2 Bit of a squirrel’s
stash
3 Messy fight
4 Future therapist’s
maj.
5 Study at the last
minute
6 Say “You’re
grounded” to, say
7 Administrative
complications
8 Kung __ chicken
9 Edgar __ Poe
10 Up-and-down
playground
fixtures
11 *Jam on the
brakes
12 More than a
breeze
13 Ready for
customers
18 Common Jesuit
school name
22 Playground fixture
25 Sra., on the Seine
27 Formal “My bad”
29 Dumb
31 Camille’s concept
32 Route providers
33 Note to the staff
34 Exiled Roman
poet
35 *Regular dinner-
and-a-movie
evening
40 Former MLB
commissioner
Bud
42 Way under a
river
45 “Cats” poet
47 Full of joy
49 About-to-be
spouse’s words
52 Inflicts, as
havoc
54 Nostalgically
trendy
56 Say “Much
obliged” to
57 Desert plants
58 Walks with
backpacks
59 Picket line violator
60 Jazzman Allison
62 Word with bob or
dog
65 Poetic “above”
67 Eng. majors’
degrees
By Jake Braun
©2017 Tribune Content Agency, LLC
10/30/17
10/30/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, October 30, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
5 — Monday, October 30, 2017
Arts
The Michigan Daily — michigandaily.com
GOOD DEED ENTERTAINMENT
‘So B. It’ is now playing at The Michigan Theater
FILM REVIEW
“So B. It” follows the cross-
country journey of Heidi It (Talitha
Bateman, “Annabelle: Creation”)
from Reno, Nevada to Liberty,
New York as she searches for her
origins. What could have been an
autumn feel-good movie instead
holds desperately to the narrative
voice in the children’s book by
Sarah Weeks, an Ann Arbor native.
As a result, “So B. It” is riddled with
awkward voice-overs (sometimes
interjected into the middle of
conversations)
and
artificial
dialogue. The cast only emphasizes
the stiffness of the script through
monotone deliveries or, on the other
end of the spectrum, out of place,
ear-splitting and melodramatic
screaming.
Heidi lives in an apartment
with her special needs mother, So
B. It (Jessie Collins, “Revolution”),
and their former neighbor, Bernie
(Alfre Woodard, “12 Years a
Slave”).
Suddenly
spurred
to
discover her past when her mother
conspicuously adds a new word to
her extremely limited vocabulary,
Heidi digs up old photos and
follows the clues to a special
living community, called Hilltop
Home, in New York. Before she
runs away, though, she throws a
series of temper tantrums that feel
unaligned with Heidi’s supposed
selflessness and kindness. In fact,
many of the characters Heidi
meets on her trip to New York are
contradictory, like the bus driver
who first eyes her with suspicion,
then inexplicably vouches for her,
or the owner of Hilltop Home,
Thurman
Hill
(John
Heard,
“Home Alone”).
When
Heidi
first
meets
Thurman Hill, he is belligerent and
threatening, eventually ordering
her to leave. A week later, after it is
revealed they are related, he offers
to be a real grandfather to her.
This complete 180 in personality
is not the only aspect of the film
that is questionable. The film
attempts to defend its improbable
plot as a result of Heidi’s supposed
good luck. Somehow, viewers are
expected to believe a 12-year-old
with some lipstick could sneak
into a Las Vegas casino, play a slot
machine and win enough quarters
to travel nearly 3,000 miles. Or
that, like voodoo magic, Heidi can
whisper at a jar and guess the exact
number of jellybeans in it. Or, as the
film opens, her correctly predicting
10 coin flips in a row is a good
reason for a cop to take her back to
his home and attempt to adopt her.
Besides being ridiculous, Heidi’s
good luck has no other relation
to the story or her character
development, only existing as an
excuse for an absurd plot.
“So B. It” fails most in its
attempt to be inclusive and tug
at heartstrings with its depiction
of
mental
illnesses.
Heidi’s
mother functions almost like a
prop throughout the film with a
shallow background, no role other
than to utter a word that sends
her daughter on a bratty tailspin
and a cringeworthy, unnuanced
performance by Collins. Similarly,
Woodard’s performance delivers
an
over-the-top
depiction
of
agoraphobia. In a scene where
Bernie struggles to overcome
her fear that is meant to induce
tears, Woodard jerks around like a
woman possessed in a completely
inaccurate
and
ultimately
insensitive
interpretation.
Contrastly in films like “Silver
Linings Playbook (2012)” and
“Black Swan (2010),” mental illness
served less as a tearjerker and
instead as a complex, multi-faceted
part of the character’s personality.
Natalie Portman (“Jackie”), Bradley
Cooper (“American Sniper”) and
Jennifer Lawrence (“Joy”) — the
lead actors in the aforementioned
films — clearly put in the effort to
understand the psyche of those
with disorders outside of their
physical manifestations. “So B.
It” may have been based on a
successful children’s book, but
the film forgets to retain the very
nature of stories about children
that make them so moving — hope,
fun and authenticity.
‘So B. It’ lacks whimsy
Film fails to inspire with its poor display of mental illness
MEGHAN CHOU
For the Daily
“So B. It”
Good Deed
Entertainment
Michigan Theater
BOOK REVIEW
‘Voices’ & moral grayness
Ulli Lust’s graphic novel explores disturbing nature of war
Based on Marcel Beyer’s “The
Karnau Tapes” (1997), “Voices
in the Dark” is Ulli Lust’s first
fictional graphic novel and an
ambitious undertaking. The novel’s
protagonist, Hermann Karnau,
is an audio engineer/scientist in
his late twenties who is hired by
the Nazi Party to work on strange
projects during World War II.
“Voices in the Dark” draws the
reader into the niche world of sound
recording and editing. Karnau’s
interest in the essence of sound
borders on obsession, driving him
not just onto shaky moral ground,
but far beyond it. Lust’s translation
of Beyer’s story into graphic form
is well paced, and her deliberately
imprecise,
gothic
illustrations
complement the emotional quality
of the story. Her rendering of
Beyer’s narrative stands on its own,
a nuanced exploration of humanity
that challenges our understanding
of both ourselves and how and with
whom we empathize.
Part of the novel’s strength
comes from the ambiguity of
Lust’s storytelling. Told primarily
from Karnau’s standpoint, the
novel shifts abruptly between his
perspective and the perspective of
Helga Goebbels, one of five siblings
and the daughter of a high-ranking
official of the Third Reich. The
stories begin separately but become
intertwined when the children run
into Karnau’s dog, Coco. From this
starting point of pure innocence,
the novel progresses by degrees
into an atmosphere of what can
only be recognized as evil, before
leaving its reader with a conclusion
that is morally challenging in more
ways than one. It does so in such
a way, though, that the reader
hardly notices if they aren’t paying
attention.
The
feeling
of
watching
Karnau’s involvement in the Nazi
government’s sinister “research”
is one of disbelief. After much
of the events of the novel have
transpired, it is revealed that
Karnau’s narratives are told from
his perspective in the “present” —
1992 — after the discovery of audio
recordings from the Führer’s final
days in a bunker where they and
many others spent the final days of
the war. This revelation opens up
space for a re-reading of Karnau’s
recounts as a collective exploration
of cognitive dissonance at its peak.
The
novel’s
first
half
is
punctuated
with
profoundly
disturbing images, but images
accompanied by relatively benign
or, at the very least, detached
descriptions. At one point, Karnau
gives a scientific description of
a
particular
procedure:
“The
jaws are clamped apart to avoid
damaging the enamel … several
microphones are needed … One
is secreted in the immediate
vicinity of the sound source to
pick up special frequencies.” Then
we learn that he is preparing a
human subject for torture through
intense shocking. Other instances
similarly juxtapose commentary
that seems coldly out of touch
with the images with which it
is presented. One disturbingly
memorable
scene
involves
opening a subject’s throat in
order to remove his entire tongue
— without anesthetic. Thanks
to Lust’s presentation, moments
like
these
feel
appropriately
uncomfortable.
Together,
they
provide a challenging look at how
Karnau has, over time, distanced
himself from the reprehensible
eugenics-related “studies” that he
himself orchestrated.
After
challenging
us,
the
narrative
continues
beyond
Karnau’s recollections and enters
territory that broadly questions
empathy as he listens once again
to the recordings he saved for
himself. Throughout “Voices in
the Dark,” we are drawn closer
and closer to the five Goebbels
children. Though they live with
immense privilege, belonging to
a family deeply implicated in the
most thoroughly evil movement of
the 20th century, they themselves
are innocent. They poke fun at
Karnau for having named his
dog “Coco” — the youngest of the
five breaks out in tears when her
favorite stuffed animal is forgotten
at the family’s estate when they
move to a bunker in anticipation
of air raids; once there, they find
themselves missing the amenities
of their previous lives: Chocolate
and sugar and pastries.
While the children remain
pitifully unaware of the grave
nature of their situation, the reader
knows too much, and watches
the eldest of the siblings realize
their fate. The mechanism that
brings them to their fate, though,
presents the emotional climax
of the novel. Certain details are
never clarified and, like Karnau’s
war crimes, neither blame nor
guilt assigned. Little is left truly
resolved, but it seems a resolution
would just undo all of the beautiful
tension that builds up throughout.
A true resolution would destroy the
atmosphere of ambiguity so crucial
throughout. Even the final pages
of “Voices in the Dark” are doused
in chilling mystery, as the titular
voices, one by one, fall silent.
SEAN LANG
Daily Arts Writer
“Voices in the
Dark”
Ulli Lust
New York Review
Books
October 17
TBS
Yes, I too am utterly repelled by the premise of this show.
‘Drop the Mic’ is fun, but
not necessary to watch
TBS’s latest promotional stunt is ultimately uninspiring
Hear me out — I love amateur live
performance as much as the next
guy. There’s something about going
to a bar, open mic, party or drag
show and listening to burgeoning
(or dwindling) talent and having
a good evening. Maybe you talk to
the performer afterward and find
out they’re a cool person. Maybe
you come back home afterwards
and decide to become a groupie.
Maybe you watch their rise to fame
and say, “Hey, I knew about them
before everyone else did.” I’m all
about that.
There’s an issue, however, when
the performer is already famous.
James Corden’s “Drop the Mic,”
which premiered Tuesday, Oct. 24
on TBS, is a corny little segment
where two celebrities of varying
relevance duke it out in a rap battle.
Corden, who has a very specific
affinity for musical competition,
has taken already taken a similar
series (“Carpool Karaoke”) to
Apple Music in 2016. Like “Carpool
Karaoke,” “Drop the Mic” started
as a segment on “The Late Late
Show,”
but
after
increasing
popularity
and
demand
from
celebrities for the opportunity to
rap battle, the series has become its
own being.
Corden himself does not host
the series, although he does appear
in the first episode. In an effort
to cast a broader net to attract
viewers, the series has recruited
Hailey Baldwin (“Love Advent”)
and a haggard-sounding Method
Man aka Clifford Smith (“The
Deuce”) to anchor. The pair of
second-generation
Hollywood-
family ingenue with a short resume
and Wu-Tang Clan member-gone-
actor is as confusing to me as it is
to you. However, both Baldwin
and Smith carry their weight and
hype up the audience of “Drop
the Mic.” Baldwin is fresh and
enthusiastic and Smith is engaging
and in-control. I can’t be mad at
professionalism.
The show itself is broken into
two separate battles. Each celebrity
gets
three
opportunities
to
disrespect their opponent through
the brutal power of spoken word,
before Smith reigns everyone
back in to decide the winner.
Victory is synonymous with the
magnitude of applause, but Smith
himself has the final say on who
is the real winner. Before the
battle can really begin, however,
the program switches gears from
the high-energy set to a promo
reel, essentially, which highlights
the career of the participants.
It’s a huge break in tone from the
program and reminds the audience
that the series stems from a talk
show, where celebrities come to
promote their new projects.
JACK BRANDON
Daily Arts Writer
“Drop the Mic”
TBS
Series Premiere
Tuesdays at 5 p.m.
Read more at MichiganDaily.com
FILM REVIEW