2 & 4 Bedroom Apartments
$1400‑$2800 plus utilities.
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
$3000 ‑ $3600 plus utilities
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 $4500
 4 827 Brookwood $3000
 4 852 Brookwood $3000
 4 1210 Cambridge $3000
Tenants pay all utilities.
Showings scheduled M‑F 10‑3 
w/ 24 hr notice required
734‑996‑1991

FOR RENT

WORK ON MACKINAC Island 
This Summer – Make lifelong 
friends. 
The Island House Hotel and 
Ryba’s Fudge Shops are seeking 
help in all areas: Front Desk, Bell 
Staff, Wait Staff, Sales Clerks, 
Kitchen, Baristas. Dorm Housing, 
bonus, and discounted meals.
(906) 847‑7196. 
www.theislandhouse.com

SUMMER EMPLOYMENT

ACROSS
1 Croquet surfaces
6 Chic
11 Christopher A.
Wray’s org.
14 Roundish
15 Course without
much challenge
16 Neurotic cartoon
dog
17 Dual-purpose
machine
19 Trauma ctrs.
20 Airport limo
driver’s concern,
briefly
21 “Later, dude”
22 Scrawny
24 One in the
woods?
26 End of the end of
“Gone With the
Wind”
28 Water filter brand
30 Socialite adopted
by the media
31 In-house trial
36 Cool drink
37 Lower
40 Court org.
42 Shut the door on
43 “How pathetic!”
46 “Tree of Smoke”
novelist Johnson
50 Place to order
matzo ball soup
55 Facebook entry
56 Yarn coil
57 Words of
urgency
59 WWII battle site,
for short
60 Rock concert
effect
61 Certain investor
... and, based on
the word hidden
in each, what 
17-, 26-, 37- or
50-Across is?
64 Tokyo-born artist
65 Jazz pianist
Chick
66 Flash of light
67 Word with cell or
cent
68 Vacuum
attachments
69 Like R.L. Stine
stories

DOWN
1 Serious state of
decline
2 Personification
3 Pungent
condiment
4 __ degree
5 Flow slowly
6 Four-door ride,
usually
7 Call in a pool
game
8 Until now
9 Manhattan liquor
10 Walmart rival
11 Like some
revealing slips?
12 Name associated
with alpine
rescues
13 Fashion
magazine
18 Actor Stephen
23 Tango land:
Abbr.
25 Words to a traitor
27 Vishnu 
worshiper
29 Fizzy prefix
32 Take the wheel
33 Appreciative text
34 __ hall

35 Bus. card
address
37 Baal
38 Like 2017
39 Lose it, in a way
40 Requests
41 Trilogy starter
44 Sushi fish
45 Decent sort
47 “Darned if I
know”
48 “Cross my heart!”

49 Tempestuous
51 Some designer
gowns
52 Award show VIP
53 Haas of
“Witness”
54 Suffix
suggesting
resemblance
58 Outfits
62 And
63 Business letters

By Bruce Haight
©2018 Tribune Content Agency, LLC
03/15/18

03/15/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Thursday, March 15, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

6 — Thursday, March 15, 2018
Arts
The Michigan Daily — michigandaily.com

The whimsical indie rock outfit, 

of Montreal, has been consistently 
releasing music since their 1997 
debut LP, Cherry Peel. The band — 
frontman Kevin Barnes’s musical 
project for the past 11 years — floats 
through notes of soft indie-rock to 
erotic tones of ’80s electronic dance 
music in their most recent release, 
White is Relic/Irrealis Mood.

The house show sound and 

organic 
instrumentals 
in 
of 

Montreal’s past full-lengths is 
completely abandoned in White is 
Relic/Irrealis Mood. Throughout 
its 41-minute journey, the record 
adopts an electronic style. It’s 
cleanly produced, devoid of the 
playful jam-band sounds in records 
like Satanic Panic in the Attic, 
and its atmosphere feels more 
condensed than anything the band 
has released before.

White is Relic/Irrealis Mood 

takes listeners to a place with 
pulsing neon lights. The surging 
electricity 
hums 
through 
the 

various synth tones that come 
in waves throughout the record. 
There exists a level of tranquility 
that 
becomes 
interrupted 
by 

echoed bass beats — the type that 
moves from the speakers, injects 
itself into your lungs and tickles its 

way up your spine.

The 
album 
seems 
like 
a 

conglomeration 
of 
’80s 
EDM 

samples produced tightly into a 
singular identity. It moves through 
high pops of electro-dance energy 
and mellows itself into a soft dream 
with whispers of unexpected, but 
appropriate notes of the saxophone. 
It elicits a momentary experience 
of being lost, but its exciting nature 

shocks you back into its nightclub 
ambiance. You can almost see 
sweaty bodies moving in pure 
ecstasy, mesh shirts wrinkling 
together with drips of bright green 
eyeliner kissing cheeks.

The fluid electricity throughout 

the record climbs into space with 
robotic synth tones. The sharp 
and high-pitched instrumentals 
draw out, stretching to reach 
somewhere beyond this earth. In 
“Plateau Phase/No Careerism No 
Corruption,” Barnes’s hypnotic 
voice takes us to the precipice 
between space and time. He sings, 
“We can hear the dark matter 
breeding,” “If we put our ear to the 
ceiling / We can hear the multiverse 

ceding / We can hear the 
simulation wheezing.” On Barnes’s 
final note of “wheezing,” the bass 
beats skip like a scratched track of 
a CD, and the music collapses into 
sounds of laser beams.

The spacey and robotic sounds 

that are layered through the album 
adopt a more rigid identity when 
they reach its final song, “If You 
Talk to Symbol/Hostility Voyeur.” 
Being the album’s longest song, 
at eight-and-a-half minutes, it 
encompasses the record’s EDM 
exploration as it moves from short, 
structured synth hits to a final 
release of surreal bliss. The small, 
but rapid synths pulse from low to 
high tones as the drum pad beats 
fill the foreground. The song builds 
an exciting tension released by a 
return of the saxophones. Barnes 
places their croons of soft energy in 
an unnatural setting, but delivers it 
effortlessly; their arrival creates a 
harmonious relationship between 
the contrasting elements in the 
record, and then it all seeps into 
space.

The evolution in the sounds 

of White is Relic/Irrealis Mood 
transports us from the EDM 
nightclub into a pink fever dream. 
It leaves us laying on a cloud with 
time to take a deep, satisfying 
breath after a night of dancing 
amongst the stars and whispering 
to the planets. 

of Montreal’s star music

SELENA AGUILERA

Daily Arts Writer

“Love”

Season 3

Netflix

In season one of Netflix’s 

“Love,” Gus (Paul Rust, “I Love 
You Beth Cooper”) and Mickey 
(Gillian Jacobs, “Community”) 
were just two lost souls who met at 
a convenience store. In season two, 
their relationship blossomed from 
a timid friendship into a passionate 
and turbulent romance. Now, in its 
third and final chapter, Gus and 
Mickey have finally reached the 
point in their six months of dating 
that asks a glaring question: Will 
everything work out? 

While some might take issue 

with ending a show so soon, 
“Love” is one of those stories that 
finds fulfilling closure early on, 
even with a few imperfections 
along the way. This season finds 
creators 
Rust, 
Lesley 
Arfin 

(“Girls”) and Judd Apatow (“The 
Disaster Artist”) on their A-game: 
The writing remains top-notch, 
the cast is rock solid and the acting 
is all-around superb. Rust and 
Jacobs, in particular, continue to 
deliver searing and heartwarming 
performances, making the most of 
their equally flawed and endearing 
characters.

Gus’s deep-seated anger and 

Mickey’s self-sabotaging behavior 
have been explored and depicted in 
the first two seasons — and they’ve 
led to some pretty disastrous, 
cringeworthy consequences. But 
now, as their romance begins to 
percolate, Gus and Mickey are 
given room to fix their messy 
mistakes, and the outcomes of 
their conflicts are as sobering as 
they are immensely gratifying. 
They don’t actually get into a real 
fight until the fourth episode, “I’m 
Sick,” in which Gus misses a fun 
day with his friends to take care 
of an ill Mickey. Still, it feels oddly 
refreshing for a show that revolves 
all around the frustrations and 
bitterness that comes with a long-
term relationship.

New challenges test Gus and 

Mickey’s limits as a couple and as 

people: Gus decides to realize his 
erotic thriller screenplay, though 
his ego, temper and ambition 
threaten to derail the production. 
Meanwhile, 
Mickey 
navigates 

her sobriety and the burgeoning 
success of her radio career, but 
finds difficulty in dodging her 
impulses to drink and smoke. 
Other 
issues 
abound 
outside 

their world as well: Mickey’s 

Australian roommate, Bertie (the 
exemplary 
Claudia 
O’Doherty, 

“Trainwreck”), 
wrestles 
with 

leaving 
her 
schlubby, 
doofus 

boyfriend Randy (Mike Mitchell, 
“Comedy Bang! Bang!”) for the 
attentive and affectionate Chris 
(Chris Witaske, “Lady Bird”). 
She even gets her own episode — 
the season’s highlight “Bertie’s 
Birthday” — which marks a 
delightful acting showcase for 
O’Doherty. Seriously, she deserves 
her own spinoff. 

While the final season tracks 

the highs and lows of its main 
characters, “Love” still struggles 
to mitigate the inconsistency of its 
peripheral characters, specifically 
with Randy, Gus’s co-workers and 
his boss Susan (Tracie Thoms, 
“The Drowning”) and Mickey’s 
ex-boss 
Greg 
(Brett 
Gelman, 

“Stranger Things 2”). With the 
exception of Randy, who comes off 
as a well-meaning but bumbling 
oaf, these other characters are 
so 
unrelentingly 
insufferable, 

so unnecessarily cruel and so 
menacingly mean-spirited at times 
— the worst comes in the rough 
third episode “Arya and Greg” — 
that their presence almost ruins 
the season entirely. What makes 
“Love” so watchable and nuanced 
is its emphasis on realism and 
observational humor, so seeing 
these bit characters portrayed as 
cartoonish, loathsome assholes 
with no real 
redeemable 

qualities and no real purpose in 
driving the plot forward is quite 
frankly disappointing.

Even so, “Love”’s third season 

manages to bounce back pretty 
quickly in the second half, where 
Gus and Mickey reach an all-time 
high in their professional lives, but 
uneasily confront uncomfortable 
truths 
and 
relationship 

predicaments in their personal 
lives. The standout “Sarah from 
College” 
finds 
Gus 
revisiting 

some skeletons in his closet when 
he bumps into an old flame at a 
friend’s wedding (a remarkable, 
subdued guest performance from 
Vanessa Bayer, “Saturday Night 
Live”).

Gus’s past continues to play 

a role in the uncertainty of 
his relationship with Mickey 
when they venture to visit his 
family in South Dakota, a trip 
that includes some of the most 
hilarious 
and 
heartbreaking 

moments in the entire series. In 
the two episodes preceding the 
finale, Gus and Mickey offer two 
phenomenal monologues that feel 
like a brilliant, almost cathartic 
culmination of their relationship. 
The chaotic energy that radiates 
from their individual inner turmoil 
during these monologues is like a 
rocket ship getting ready to launch: 
The fire is bubbling at the surface, 
but it doesn’t reach liftoff until 
enough buttons have been pushed. 
Despite how ominous that may 
sound, let’s just say “Love” allows 
Gus and Mickey space to breathe 
and collect themselves before 
they make any major decisions in 
moving their relationship forward.

“Love” 
has 
become 
more 

than just a commentary about 
contemporary 
dating 
and 

modern relationships. It has also 
become more than just a simple 
TV romance created by one of 
Hollywood’s most beguiling and 
notable 
rom-com 
visionaries. 

“Love” is as unpredictable and 
exciting, as hilarious and messy 
as love itself, which is exactly 
what makes its conclusion so 
imperfectly perfect.

‘Love’ triumphs in the end

SAM ROSENBERG

Senior Arts Editor

TV REVIEW

NETFLIX

TRAILER REVIEW: ‘FANTASTIC BEASTS’

 

The first “Fantastic Beasts,” 
released two years ago to aver-
age reviews and a decent box 
office, is a largely forgotten 
addendum to 
the far more 
popular “Harry 
Potter” saga 
that preceded 
it. Now comes 
the trailer for 
“Fantastic 
Beasts: The 
Crimes of Grin-
delwald,” which promises to 
bring the magic back to the saga. 
Hogwarts! Dumbledore! The 
Deathly Hallows! This trailer 
doubles down on references to 

the original boy wizard story, 
loudly proclaiming that if you 
weren’t on board with the seem-
ingly disconnected first film, 

this one might 
still be for you. 
The one thing you 
won’t find much 
of in this trailer 
is the titular vil-
lain, Grindelwald. 
Warner Bros. and 
J.K. Rowling have 
been mired in 

controversy for years now over 
the casting of alleged domestic 
abuser Johnny Depp in the role 
and this latest trailer, which fea-
tures only a fleeting moment of 

Depp, is unlikely to convince 
anyone that those criticisms 
aren’t valid. That won’t matter 
to many though, and it’s doubt-
less that Warner Bros. simply 
hopes that those familiar musi-
cal notes at the end of the trailer 
do their job and get more butts 
in the seats. There’s set to be 
three more of these “Beasts” 
films over the next six to eight 
years, but the jury is still out on 
whether this new series of “Pot-
ter” films will be considered a 
worthy addition to the canon or 
a horribly expensive and mis-
guided mistake. 

- Ian Harris, Managing Video 

Editor

WARNER BROS.

‘Fantastic 
Beasts: The 
Crimes of 

Grindelwald

Nov. 16, 2018

White is Relic/ 
Irrealis Mood

of Montreal

Polyvinyl Records

POLYVINYL RECORDS

ALBUM REVIEW

