3 & 4 Bedroom Apartments
$1500-$2800 plus gas and
water contribution.
Tenants pay electric to DTE
Showings scheduled M-F 10-3
w/ 24 hour notice required.
1015 Packard
734-996-1991
5 & 6 Bedroom Apartments
1014 Vaughn
$3250 - $3900 plus gas and
water contribution.
Tenants pay electric to DTE
Showings scheduled M-F 10-3
w/ 24 hour notice required
734-996-1991
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
6 1016 S. Forest $5400
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3400
Tenants pay all utilities.
Showings scheduled M-F 10-3
w/ 24 hr notice required
CAPPO/DEINCO
734-996-1991
STORAGE FOR STUDENTS
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from now til 9/9/18. Indoor - Clean
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Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
FOR RENT
ACROSS
1 Cushions for
gymnasts
5 Guard’s shout
9 Rectangular
Apple
13 Tons
14 Student’s
repetitive cry with
a raised hand
15 Sports page
news
16 Gift-wrapping
need
18 Country singer
Steve
19 Rowdy crowds
20 “Mr. November,”
for Derek Jeter,
e.g.
22 Put pen to paper
24 Rep.’s campaign
rival
25 Title for a knight
26 Home for a pride
28 Genesis paradise
30 Exile island for
Napoleon
31 Dance for which
“it takes two”
33 JPEG relative
36 Quotable boxer
37 Hipster
39 Duffer’s dream
40 Air circulator
41 Capital of Yemen
42 Large First
Nations tribe
43 “__ does it!”
45 Meddling type of
“driver” who’s not
actually driving
48 “Never heard of
them”
49 Golf great Ernie
51 “Don’t sweat it!”
52 “Is that really
your opinion?”
54 Not wavering in
the least
55 TV host Lake
56 Garment fittingly
represented by
this puzzle’s
circles
61 Signed in pen
62 Leisurely gait
63 Doing nothing
64 Bird’s snack
65 Drinks slowly
66 Dragged to court
DOWN
1 Apple computer
2 Every bit
3 Little piggy
4 Staying power
5 Place of rapid
growth
6 Light-bulb
moments
7 Prune, as a
branch
8 Unifying idea
9 Aggressive poker
table words
10 Outdoor lot for
cars
11 “Inferiority
complex” coiner
Alfred
12 Doe or stag
15 Half a score
17 Goes bad
21 Last Greek letter
22 “O Pioneers!”
author Cather
23 “Blurred Lines”
singer
24 Paternity test
sites
26 One of many that
fall in the fall
27 School near
Windsor
29 Tiny speck
32 Final Four org.
34 Mountaineer’s
tool
35 Thirds of a yard
37 Civil War side:
Abbr.
38 Hall’s pop music
partner
42 Narnia creator
44 Tooted one’s
horn
46 Salad oil bottles
47 Deborah of “The
King and I”
48 Complain with
self-pity
50 Ransacks
52 “Divergent” films
heroine
53 Baby goat
54 “Enough!”
57 School in the
smallest U.S.
state
58 End of a school
address
59 Malt beverage
60 Color of most
pomegranate
seeds
By C.C. Burnikel
(c)2017 Tribune Content Agency, LLC
12/11/17
12/11/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, December 11, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
The Michigan Daily — michigandaily.com
Arts
Monday, December 11, 2017 — 5A
DAILY LITERATURE COLUMN
Coming to terms with
Middle English literature
Rediscovering literary classics through one woman’s story
I wasn’t always the type of
person who liked reading really
old texts. I was one of those people
who thought that most of the
“classics,” with a few exceptions,
were boring. I’ve always loved
reading and writing, of course, and
I had planned on being an English
major long before I got to college.
But when my high school English
teachers would assign books like
“Beowulf” and “Middlemarch,” as
weird as it might sound, it would
often be hard for me to muster up
any real interest.
I’ve gradually found, though,
that whether or not I appreciate
a text has a lot less to do with
whether or not it’s old, and more to
do with what it is and how I come
across it. (“How I come across
it” is my subtle way of saying
that not all of my high school
English teachers were excellent
motivators) I do actually like a lot
of classic literature. My gateway
book was “Catch-22,” and within
the past few years I’ve found
myself getting really impassioned
about writers like Shakespeare
and Jane Austen, more than I
really would have expected of
myself toward the beginning of
high school.
It makes sense, then, that
college should introduce me to a
ton of amazing historical writers
whom I may not have given as
much of a chance when I was
younger. Recently, my thoughts
have been stuck on one of these
writers in particular: Julian of
Norwich.
I first learned about Julian of
Norwich last year, and recently
revisited
her
in
my
Horror
Literature class (which I would
highly recommend). To me, Julian
is a prime example of the ways
in which writing both intersects
with history and stands outside of
it, depending on how you look at it.
Julian of Norwich lived in
England in the 14th century and
wrote a series of revelations,
or “shewings,” that are now
considered to make up the first
known English book known to
have been written by a woman.
The
shewings
documented
a series of visions she had at
the age of 30, when she took
seriously ill and thought she
was on her deathbed. The
visions, which she described
vividly, included a bleeding
crucifix and several images
of Jesus Christ. Julian would
go on to become an anchoress,
meaning that she secluded herself
from society, voluntarily and
completely, as an act of devotion to
her Christian faith. Anchoresses
were rare and venerated, and the
amount of personal conviction
that it took to decide to become
one meant that they were deeply
respected.
The history of Julian’s life is
very interesting, from her detailed
visions to her life as an anchoress.
Her writing itself is also incredibly
visual
and
eloquent.
Middle
English writing may feel distant or
foreign to us instinctively, which
in some ways I think is justified
— I, for one, had never heard of
anchoresses before I learned about
Julian, and I’d never really read
anything older than Shakespeare.
I’m also not Christian. It would
make sense, then, for all of this
to feel somewhat alien to me at
first glance. But early texts such
as Julian’s provide us with one
of the most straightforward keys
to better understanding not only
what people’s lives were like
during the Middle Ages, but also
how they thought and what was
important to them. As the oldest
published work written by a
woman and one of the oldest works
of English literature in general,
Julian’s revelations is a crucial
piece in the never-ending puzzle
of understanding our own history
and our own nature. That’s what
I love maybe more than anything
else about literature, what gets me
so excited about it: The idea that
because somebody cared enough
about something to write it down,
you have a kind of opportunity to
meet that person, even from miles
and centuries away.
LAURA
DZUBAY
A24
Which Franco is your favorite? Tweet @ us @michigandaily
‘Disaster’ is not a disaster
The movie, starring the Francos, is the creation story of a cult hit
With a movie as infamous
as “The Room” and a figure as
idiosyncratic as Tommy Wiseau,
it would have been all too easy to
make “The Disaster Artist” — the
story behind that much-maligned
film’s production — a straight-up
comedy. The laughs would have
come easy through the simple
reproduction
of
scenes,
and
caricaturizing Wiseau’s already
larger-than-life personality would
have provided star James Franco
(“The Deuce”) with easy, hammy
fodder.
Instead, the final product walks
a much more difficult, but much
more rewarding, line. The best
comedies exist at the intersection
of humor and heart; they make
their audience laugh, of course, but
they don’t forget the humanity of
the characters delivering the jokes.
“The Disaster Artist” accomplishes
this perfectly. Not only is it every bit
as hilarious as fans of the “‘Citizen
Kane’ of bad movies” would hope,
but it provides a surprisingly
poignant
look
at
filmmaking,
unlikely friendship and unlikelier
success.
At the center of the film
is
Franco-as-Wiseau
in
the
most
ironically
Oscar
caliber
performance of the year. I was
initially wary of Franco casting
himself in the role, both for that
aforementioned fear that Tommy
would be the butt of one too many
jokes and because, shallow human
being that I am, he didn’t quite
look the part in the trailers and
promotional materials. All my fears
were assuaged within moments.
In context, Franco completely
inhabits the role, mining comedy
not from peculiar mannerisms but
from Tommy’s interactions with
other characters — his reaction to
the acting playing Chris-R (yes,
that hyphen is in the film), setting
up a later reveal which plays almost
as a metatextual twist, is one of the
biggest laughs of the year.
Even better than his comedic
moments are the times when
Franco, also in the director’s chair,
lets the drama flow. “The Disaster
Artist” doesn’t shy away from
how hard rejection can be, even
to seemingly unstoppable forces
of nature like Tommy, as shown
by an almost heartbreaking quiet
scene between him and Greg
Sestero (Dave Franco, “Nerve”),
his best friend and future costar.
The filming of one of “The Room”’s
many sex scenes, on the other hand,
plays out as if in terrifying slow
motion, building to a blistering
confrontation between Tommy
and Paul Scheer’s (“The League”)
Raphael Smadja, the film’s director
of photography, over Tommy’s
harsh treatment of his female lead.
The rest of the cast is terrific, as
well. The younger Franco brother’s
portrayal of Sestero is arguably the
main character of the movie — it’s
predominantly told from his point
of view, in any case, as the writer
of the excellent book on which
“The Disaster Artist” is based —
and while his role is much more
thankless than that of his brother,
he is never completely upstaged.
Seth Rogen (“Steve Jobs”) stands
out from the packed supporting
cast as the perpetually nonplussed
script supervisor and de facto
director, Sandy Schklair. As teased
by the first trailer, the scene in
which he must guide Tommy
through the legendary “Oh, hi
Mark” scene is one of the best the
film has to offer.
The cast list from there on
down is mostly celebrity cameos
— even Dave Franco’s real life wife,
Alison Brie (“GLOW”), is mostly
relegated to the sidelines playing
his onscreen girlfriend — but these
are never too gratuitous, and the
elder Franco is wise to keep the
focus on Tommy and Greg. This
is their story. “The Room,” for
how insane a motion picture it is,
sprung from their friendship, and
“The Disaster Artist” is at its best
when it allows their relationship
and their personalities to supply
the comedy and the drama. When
it works, and it almost always does,
the movie about their movie is an
almost unparalleled, pitch perfect
comedy.
FILM REVIEW
HBO
It was ok.
Daily Arts Roundtable
presents: ‘Curb’ finale
I don’t know if you guys heard,
but “Curb Your Enthusiasm” came
back. Oh, you did? Well. With such
an influential and widely lauded
show returning for a ninth season,
a few Daily Arts writers had to
sit down and hash out some final
thoughts.
Nabeel Chollampat: So, I guess
we’ll start with the big question:
Was “Curb” good this year?
Connor Grady: For “Curb,”
the overall season was incredibly
inconsistent
from
episode-to-
episode, and not in a good way.
The highly-touted revival season
started slow by focusing on Larry’s
fatwa, which was neither funny nor
compelling. Seeing the bald David
in a shitty, long-haired disguise
worked for a couple cheap laughs,
but never more than that. Once the
series started to transition away
from this storyline, it had much
more success, with David turning
in a couple of strong episodes in
the middle of the season, led by
“Running With the Bulls.”
Unfortunately, these episodes
were
sandwiched
between
a
couple of complete duds in “A
Disturbance in the Kitchen” and
“Namaste.” Both of these entries
struggled to find their footing in
terms of humor and came off as
forced, as David leaned entirely
on his tried-and-true gags, like
his
infamous
stare-downs.
Worse, even, were “Never Wait
for Seconds!” and “The Pickle
Gambit,” which were both lazily
written misfires.
That’s easily my biggest gripe
with this season of “Curb” — the
whole season felt like a montage
of classic Larry moments copied
and pasted into a new context. The
nostalgia factor was apparently
too high for David, who chose
to spend much of the season
reminiscing about old jokes from
the series rather than developing
new ones. “Curb” was not good
this year.
Joey Schuman: Connor has a
point. I’d even take it a step further
by claiming that this season fully
killed the grace period for Larry’s
asshole naivete. Consider the “chat
‘n’ cut.” Larry taught us this lesson
in season eight, and it exemplified
everything
great
about
the
show: exposing the hypocrisy in
‘standard’ human behavior, out-
hacking others’ lifehacks, that
type of thing. When Larry tried to
repeat the same magic this season,
like with the tong / cookie fiasco
in “The Pickle Gambit,” it felt like
elementary humor. There were
very few moments this season
where I found myself thinking,
‘wow, that’s quite an innovative
way to be a complete prick.’ So
yeah, I guess I wanted something
more fresh.
N: Yes! The chat ‘n’ cut! Give me
more of that! If there’s one way,
I think, to summarily say what
I felt was missing this season,
it’d be that: no classic scenes or
moments, no quotable phrases or
new additions to the “Seinfeld”
/
“Curb”
Extended
Universe
lexicon. And if there were, they
felt forced, like Larry David was
simply playing the “Greatest Hits”
and hoping people would like it.
Which brings me to episodes
like, say, “The Pickle Gambit.”
I agree, Connor, that that was
a dud of an episode, but I think
it’s kind of a microcosm of what
this season of “Curb” was for
me: inconsistent. The idea —
Larry, Leon, Funkhouser and
Funkhouser’s
prodigal-son
nephew brawling to open a pickle
jar, which results in the nephew
breaking his pitching elbow and
subsequently renders him unable
to jack off — is hilarious. It’s one
of those quintessentially “Curb”
moments; I love it. But then there’s
an extremely uncomfortable sex
scene with our friend from the best
“Curb” episode ever, “Palestinian
Chicken,” and I feel weird. That’s
what I think about whether the
show was good this season: I
laughed, but I also felt weird.
J: So, going off of that, what
were your guys’ favorite episodes
or moments from this season?
C: For me, it would easily
be David facing off against his
frail,
plant-thieving
neighbor,
Rose Shapiro (Carol Herman,
“Freaky Deaky”), on “Judge Judy”
during what is easily the season’s
top
episode,
“The
Shucker.”
Everything about this scene was
perfect — Leon’s (J.B. Smoove,
“The Millers”) ridiculous witness
testimony, David’s questioning of
the court’s tap water, and Shapiro’s
before-and-after pictures of the
plant.
Beyond David’s hilarious court-
room antics, I also loved the entire
eulogy scene from “Running With
the Bulls.” I’ll never forget Marty
Funkhouser’s
(Bob
Einstein,
“Arrested Development”) deadpan
look after Larry crashed his
nephew’s funeral. Larry’s half-
assed apology afterwards deserves
to be in the “Curb” hall of fame, if
one existed.
DAILY TV WRITERS
Daily Arts Writers
JEREMIAH VANDERHELM
Daily Arts Writer
TV ROUNDTABLE
‘The Disaster
Artist’
A24
State Theater
Read more at
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