 ARBOR PROPERTIES 
Award‑Winning Rentals in Ker‑
rytown 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 1207 Prospect $4900
 6 1355 Wilmot Ct. $5075
 5 935 S. Division $4000
 4 412 E. William $3200
 4 507 Sauer Ct $3000
 4 509 Sauer Ct $3000
 4 827 Brookwood $3000
 4 852 Brookwood $3000
 4 927 S. Division $3100
 4 1210 Cambridge $3400
Tenants pay all utilities.
Leasing starts Nov. 10th
 Reservations Accepted till 11/8.
CAPPO/DEINCO
734‑996‑1991

MAY 2018 – 6 BDRM HOUSE
811 Sybil ‑ $4400 
Tenants pay all utilities.
Showings Scheduled M‑F 10‑3
24 hour noticed required
DEINCO PROPERTIES
734‑996‑1991

FOR RENT

ATTENTION FOODIES, 
CHEFS, and happiness 
makers‑ Lucky’s Market is 
hiring! Socially conscious, fun 
grocer seek 
ing amazing team 
members for produce, grocery, 
deli, and more. Apply online at 
luckysmarket.com

.FREAKY FRESH! 
FREAKY FAST!™ 
Jimmy John’s is hiring 
In‑shoppers and 
Delivery Drivers. 
Apply today at 
jjcareers‑jimmyjohns.icims.com 
at our Ann Arbor locations!

HELP WANTED

ACROSS
1 Draw forth
6 Vitello __
parmigiana:
ristorante offering
10 Map out
14 Jeans material
15 Porky Pig or
Elmer Fudd
16 Hawaiian dance
17 *Degree earner’s
celebration
20 “Life of Pi” author
__ Martel
21 Cookie
containers
22 Fields of study
23 Off base sans
permission, in the
mil.
25 Italian volcano
27 *Math student’s
pad
31 Big galoots
35 Vermouth bottle
name
36 Dazed and
confused
38 “Lost” network
39 Pop’s pop ... or,
divided into three
parts, what the
answers to
starred clues
have in common
42 Foe of Chiang
43 ’40s coat-and-
trousers outfit
45 Quickly looks over
47 Jazz legend
James
48 *Lawn repair
piece
51 Dick Tracy’s love
__ Trueheart
53 Thin stream of
smoke
54 Is __: likely will
57 Many a freshman
59 Triangle ratio
63 *More promising
job, say
66 Crowd sound
67 Casting-off place
68 The John B, e.g.
69 Requests
70 Tarzan raisers
71 Coin with Lincoln

DOWN
1 Like avant-garde
art
2 Aloe __
3 __ empty
stomach

4 Snatches for
ransom
5 Flightless Aussie
bird
6 Number one 
Hun
7 Pork cut
8 Bit of unfinished
business
9 Cape NNW of
Cod
10 Exodus tyrant
11 Attract
12 Opposite of baja
13 Those opposed
18 Perched on
19 Searing utensil
24 Taylor and
Fillmore,
politically
26 Ensnare
27 Enjoy the field, as
cattle do
28 Automaton
29 Neckwear for
Fred in 
“Scooby-Doo”
30 Ship of 1492
32 Set one’s sights
on
33 Swiss coin
34 Trudge through
water
37 Hornets and
yellow jackets

40 Persians on the
floor
41 Local landing
location
44 Ragged clothes
46 Time-release
med
49 Takes an oath
50 Reasons to
repent
52 Waiting time at
the DMV,
seemingly

54 Taj Mahal city
55 Golf instructors
56 Shipbuilding
wood
58 Sport with
swords
60 Cold War curtain
material?
61 Bright sign
62 Catch sight of
64 UV index
monitor: Abbr.
65 Sugar amt.

By Brian Thomas
©2017 Tribune Content Agency, LLC
11/06/17

11/06/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, November 6, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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5 — Monday, November 6, 2017
Arts
The Michigan Daily — michigandaily.com

DISNEY

Thor’s back and this time not with a fairly disappointing plot line
‘Ragnarok’ ends ‘Thor’ 
trilogy on a strong note

Under Waititi’s direction, finale to the Marvel arc thrives

It’s hard to imagine a better 

director for “Thor: Ragnarok” 
than Taika Waititi (“Hunt for the 
Wilderpeople”). At first glance, the 
native New Zealander behind some 
of the best comedies of the last 
decade appears to fly in the face of 
everything the “Thor” movies have 
been set up to be so far, and that’s 
because he does. The first film in the 
franchise briefly benefitted from 
Kenneth Branagh’s Shakespearean 
influence in its opening act, but 
apart from that, it and the turgid 
“The Dark World” rank as two of 
the most forgettable films in the 
Marvel Cinematic Universe. While 
intermittently entertaining, they 
seem to labor under the delusion 
that they have far more gravitas 
than they actually do, and with 
the exceptions of Thor (Chris 
Hemsworth, “Ghostbusters”) and 
Loki (Tom Hiddleston, “Kong: 
Skull Island”), the characters are 
universally one-note and flat.

With “Ragnarok,” Waititi looks 

to best those films in finally leaning 
into the strengths of its leads and 
its characters. To that end, this 
“Thor” film plays much more like 
a buddy comedy than the faux-epic 
space operas of its predecessors. 
Hemsworth 
is 
allowed 
to 

stretch the comedic muscles he’s 
established outside the MCU — 
most recently by acting circles 
around the cast of “Ghostbusters” 
— and there’s an unending air of fun 
from the opening action sequence 
to the final post-credit stinger. 
Most importantly, it achieves this 

without ever sacrificing stakes for 
comedy, something not only the 
“Thor” films, but the MCU as a 
whole, have historically struggled 
with.

That’s not to say that there aren’t 

bumps in the road. The first act 
must clean up the mess left by the 
cliffhanger to “The Dark World,” 
and so the script bounces from one 

plot point to another without giving 
any time for development. Scenes 
that should have great emotional 
weight are glossed over at a 
moment’s notice just to make room 
for the next big thing to happen. As 
a result, the first twenty minutes or 
so are incredibly uneven, and the 
burden is suddenly on the middle 
of the movie to actually begin the 
story.

Thankfully, the rest of the 

movie — which sees Thor banished 
to a gladiatorial contest on the 
world of Sakaar after Hela (Cate 
Blanchett, “Carol”), the goddess of 
death, invades his home, Asgard 
— is more than up to the task. 
Sakaar is a fantastical setting that 
immediately differentiates itself 
from any locale in the MCU so far 
thanks to Waititi’s unique sense 
of style and stellar production 
design work from “Lord of the 
Rings” veterans Dan Hennah and 
Ra Vincent. The garbage planet, a 

sort of intergalactic dump, suits the 
tone of the film perfectly.

Sakaar’s inhabitants and the 

rest of the supporting cast add 
further shades of idiosyncratic 
color. Blanchett is clearly having 
the time of her life devouring the 
scenery alongside Karl Urban 
(“Star Trek Beyond”) as her lackey, 
Skurge. She proves to be one of the 
best villains in the MCU thusfar 
thanks to her magnificently over-
the-top performance alone. Her 
extravagance is matched only by 
Jeff 
Goldblum 
(“Independence 

Day: 
Resurgence”) 
as 
the 

Grandmaster, ruler of Sakaar, in 
what can only be described as the 
most Goldblum performance to 
ever have been Goldblummed. It’s 
self-satirization at its best. Still, 
its Waititi himself who steals the 
show in his part as Korg, an alien 
life form who Thor meets in the 
arena and who “tried to start a 
revolution but didn’t print enough 
pamphlets.”

But it’s “Ragnarok”’s ability 

to function as a suitable ending 
to Thor’s arc that is its greatest 
strength. It’s certainly entertaining 
throughout with only a few 
missteps to detract from its value, 
but as the movie wound to a close, 
I was struck by an appreciation 
for how far Thor has come in his 
three solo outings. The movies 
themselves haven’t always been 
perfect or even all that good, but 
the god of thunder himself has 
been a consistently compelling 
character. It’s a pity it took this long 
to give him a movie as engaging as 
he is, but if this really is the end of 
his story, then it’s a solid note to go 
out on.

JEREMIAH VANDERHELM

Daily Arts Writer

FILM REVIEW

BOOK REVIEW
In ‘Ask: Building Consent 
Culture’ ideas are tested 

In a world that seems to finally, 

at times, be paying due attention 
to rampant sexual violence, a new 
anthology of essays edited by Kitty 
Stryker seeks to push the discourse 
around consent further. The essays 
in “Ask: Building Consent Culture” 
takes the ideas that have recently 
come to the forefront about sex 
and individuals and applies them 
not only to the bedroom (though 
that is the first collection of essays) 
but also to other areas of public 
life, including schools, the prison 
system, the workplace, the home, 
the hospital and alternative sex 
communities. In her introduction, 
Stryker, a writer and activist who 
specializes in developing consent 
culture in alternative communities, 
argues against the rhetoric of sex 
positivity or negativity in favor of 
a “sex critical” attitude, in order to 
reflect the acknowledgment that 
there is still a ways to go for sex 
positivity to truly achieve the goals 
it purports to have.

Some of these essays may be 

more relatable than others — the 
first is titled “Sex and Love When 
You Hate Yourself and Don’t Have 
Your Shit Together,” and one of 
the final essays is “Sleeping with 

the Fishes: A Skinny Dip into Sex 
Parties” — but all make readers 
reconsider their framework of 
consent. The first essay, by Av 
Flox, sets the groundwork for the 
rest of the anthology by putting 
forth the argument that “the 
legal framework of consent is 
worthless,” and that by deciding as 
a society that we could use a legal 
framework as a primary analysis 

of consent, we are letting down 
survivors of assault. Another essay 
by Richard Wright offers insight 
on how to begin practicing consent 
culture from a young age.

One of the more fascinating 

essays, by Navarre Overton is “The 
Kids Aren’t All Right: Consent 
and Our Miranda Rights,” which 
discusses how though we might 

have a cultural familiarity with 
the Miranda Rights, that doesn’t 
mean everyone, especially minors 
or people for whom English is 
a second language, understand 
them fully. And without a full 
understanding of their Miranda 
Rights, 
people 
cannot 
fully 

consent to all legal procedures. 
(A side effect of reading this essay 
includes thinking hard about the 
role that the plethora of cop shows 
and buddy cop movies plays in 
our media’s treatment of police 
brutality narratives, so be warned.)

Other essays include discussions 

of of the role that disclosure 
plays in the lives of trans people, 
subtle negotiations of consent in 
polyamorous 
relationships 
and 

beyond. Some aren’t for everyone 
— for example, Jiz Lee’s essay 
“‘Ethical 
Porn’ 
Starts 
When 

You Pay for It” might take some 
positions of the reader for granted 
when it shouldn’t, and others don’t 
sound as revolutionary now as they 
might have a decade ago — but they 
aren’t meant to be. Stryker wanted 
to use her anthology to elevate 
voices that are often marginalized, 
and this collection does so. The 
collection will prove a useful 
addition to the toolkit for those 
who are working towards not just 
towards sexual equality, but equity 
in all areas of public life.

SOPHIA KAUFMAN
Daily Book Review Editor

“Ask: Building 

Consent 
Culture”

An Anthology 
edited by Kitty 

Stryker

Thorntree Press

October 27

New anthology captures the importance of stressing consent

“Thor: Ragnarok”

Walt Disney 

Studios Motion 

Pictures

Rave Cinemas, 

Goodrich Quality 16

PERFORMANCE REVIEW
A cozy evening at Literati 
with singer Jared Saltiel

Drawing from an array of influences, Saltiel’s performance pleased

I was in a bad mood last 

Thursday, but I was pleasantly 
surprised when I walked out of 
Literati feeling calmer.

Jared 
Saltiel, 
a 
folk 

musician, delivered an intimate 
performance in his hometown 
of Ann Arbor. The singer-
songwriter, 
producer 
and 

arranger 
alternated 
on 
the 

guitar and keyboard this past 
Thursday night.

I don’t know what I was 

expecting when I first heard 
his voice, but I was taken aback 
by the smooth, soft and gentle 
performance. I had listened 
to his songs online before the 
performance, but it’s always 
different to hear someone sing 
live. 

Saltiel 
performed 
several 

songs from his new album Out 
of Clay, which will be released 
in Feb 2018. His first album, The 
Light Within, explores mystical 
landscapes and takes the form of 
a travelogue.

He also sang his recently 

released 
single 
“Wayward 

Queen.” Opening with the lines 
“long before the leaves had 
turned, back when the Earth 
was green,” I could see the 
gorgeous delicacy of Saltiel’s 
poetic lines.

“Dreamcatcher” 
was 
the 

heart of Saltiel’s performance. 

Also a track from his new 
album, the emotion in his voice 
was palpable. For the first time 
that 
night, 
Saltiel 
stopped 

performing for us and started 
performing for himself 
— and it 

showed. He gained momentum 
with the build-up of the song at 
the beginning and kept going, 
receiving one of the loudest 

applauses of the night.

This emotion was also present 

in “Way with Words.” One of 
the beginning lyrics, “she’s just 
got a way with words, way with 
words,” was chilling. I found 
myself leaning in, wanting to 
know who he was singing about.

Saltiel had a casual and 

honest performance style. He 
talked about the influences on 

his songwriting, ranging from 
relationships to mythology to 
the most surprising of things: 
cats. Saltiel explained that while 
the cats could be taken as a 
metaphor for something larger, 
he really just wrote a song about 
the cats in his neighborhood, 
and he imagined them as the 
eyes and ears for someone.

I appreciated his work on the 

keyboard. Though Saltiel spent 
the majority of the performance 
on the guitar, each song played 
on the keyboard was unique, 
displaying the influence of jazz 
on his style.

Another highlight of the set 

was a welcome Brazilian song, 
and I respected how Saltiel 
challenged 
himself 
to 
sing 

in another language. He also 
played a more upbeat, R&B piece 
that refreshingly changed the 
pace of his set.

One of my favorite things 

about watching artists perform 
is 
seeing 
their 
connection 

to their work. To me, what 
distinguishes 
an 
artful 

performance 
from 
just 
a 

performance is when they allow 
themselves to be absorbed, to 
close their eyes, to perform as if 
it’s just them in a room. I loved 
each and every moment where 
Saltiel reveled in his own music. 
I think there was more space for 
him to lose his inhibitions, but 
overall, Saltiel sang a fantastic 
set. It was enough to be the best 
part of a very bleak day.

NITYA GUPTA
Daily Arts Writer

 He talked about 
the influences on 
his songwriting, 

ranging from 
relationships to 
mythology to the 
most surprising of 

things: cats

