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By Mark McClain
©2019 Tribune Content Agency, LLC
03/20/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

03/20/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Wednesday, March 20, 2019

ACROSS
1 About, in dates
6 Words With 
Friends and such
10 They form a 
“cage”
14 Bee-related
15 Cry while pointing 
a finger
16 Rebecca’s 
firstborn
17 General opening?
18 Breed also known 
as a Lion Dog
20 High regard
22 Nasty types
23 Warm feeling
25 Gridiron official
26 Angry display
31 Skill useful in 
delicate situations
35 Big name in 
gaming
36 Like the 
Javanese 
calendar
38 Swear
39 Catholic univ. in 
San Antonio
40 Facebook titter
41 Kagan on the 
bench
43 Symphonic rock 
gp.
44 Port-au-Prince 
locale
46 “Otello” composer
47 Towns on some 
maps
49 When the volume 
is the highest
51 Guffaw syllable
53 Prominent fox 
features
54 Alters to fit
58 Souvenir with a 
slogan
62 Survey 
surreptitiously
64 Sanction
65 Graph line
66 Westin 
competitor
67 Rope often coiled
68 Beer order
69 Pop
70 Moves 
rhythmically

DOWN
1 Detective’s job
2 Nasdaq debuts
3 Breach

4 Hurricane 
strength term
5 Colorful reef 
denizen
6 The Eiger, for 
one
7 Work often 
recited
8 Sack holding 
a pig, in an old 
idiom
9 Winter sports 
mecca
10 Pass along, with 
dubious etiquette
11 “It’s clear now!”
12 Barbershop 
member
13 “X” author 
Grafton
19 Austin-to-Dallas 
dir.
21 Do some floor 
work
24 Singer Nelson
26 Well-known
27 Writer Calvino
28 Seer’s deck
29 Prescribed goal
30 “A tradition __ 
any other”: 
trademarked 
catchphrase for 
The Masters

32 Declares
33 Housing choice
34 Huck Finn 
creator
37 Setbacks
42 Pet control 
ordinance
45 Fitting
48 Least forward
50 Didn’t play
52 In the 
manner of
54 Bus alternative

55 Similar (to)
56 San __: Riviera 
resort
57 Transmit
59 Ingrid’s 
“Casablanca” 
role
60 Optimistic
61 There are five 
in ten
62 Word with dance 
or root
63 Sedona, for one

FOLLOW US ON TWITTER

@michigandaily
NOW.

In 
today’s 
tumultuous 
political climate, there aren’t 
many things we can agree 
on. We may not agree on the 
ideal thermostat temperature 
(72 degrees) or how much 
milk to put in your cereal (40 
milliliters) or who is the best 
Coppola (Jason Schwartzman), 
but what we can all agree on 
is that we love John Mulaney. 
Find me someone who doesn’t 
adore this dimpled comedy 
star, I dare you. We love John 
Mulaney because he is:
A) Hilarious in a non-
threatening way.
B) Kind of hot, also in a non-
threatening way.
Here’s a fun game, walk 
into the UgLi (it gets better, I 
promise) and count how many 
John Mulaney meme laptop 
stickers you find. The fun 
part of the game is that you’ll 
find a lot. One time I was in 
The Michigan League and 
overheard not one, not two, 
but 
THREE 
conversations 
about how much they all loved 
John Mulaney. This anecdote 
is to prove that:
A) Everyone loves John 
Mulaney.
B) 
I 
am 
skilled 
at 
eavesdropping.
We love John Mulaney for 
pointing out his neuroses and 
tearing himself apart for our 
entertainment and pleasure. 
His 
observational 
humor 
makes us shout at the TV, 
“that happens all the time,” 
or “he gets me.” His standup 
perfectly combines tales from 
his childhood and his SNL 
days with a healthy heaping of 
self-deprecation. His stories of 
growing up make you think he 
was raised in suburban Illinois 
in the ’50s and not suburban 
Illinois in the late ’80s. Maybe 
he is a time traveler or an 
ageless wizard, which would 

explain why your parents like 
him too. There is no other 
explanation: John Mulaney 
must be a timeless wizard of 
comedy, bending time and 
space to make us laugh.
John Mulaney is the friend 
you bring home to meet your 

parents because parents love 
him. He is the guy who holds 
the door for people on the 
subway. He’s the guy who asks 
what floor when you get in an 
elevator with him. He is the 
friend who is a grandpa, but 
also down for anything. He 
is usually in bed by nine, but 
he’ll egg your ex’s house if you 
ask him to. He is the guy who 
has an extremely complicated 
order, but when the waitress 
brings him a different meal, he 
says nothing and pretends to 
enjoy it. He is the friend who 
kills it at trivia because he 
knows a lot of fun facts from 
being an unathletic kid and 
probably spent too much time 
at the Scholastic book fair. We 
love John Mulaney because 
he’s just so damn loveable.
But John Mulaney is so 
much more than his Emmy-
winning stand up. We mustn’t 
forget his work for six seasons 
as a writer on Saturday Night 
Live. Usually writing alongside 

Simon 
Rich 
and 
Marika 
Sawyer, 
Mulaney 
thrived 
on 
the 
program 
creating 
such 
iconic 
characters 
as 
Stefon and Herb Welch (both 
played by my future husband 
Bill 
Hader). 
Mulaney 
has 
returned to Studio 8H twice 
to host the show, resurrecting 
sketches 
killed 
from 
back 
in his writing days in the 
form of Diner Lobster and 
Bodgea Bathroom. Mulaney 
also dazzled on Broadway 
(pronounced Broadway with 
an emphasis on the way) with 
his college improv buddy, Nick 
Kroll, in “Oh Hello.” Look how 
much college improv can help 
your career (@mom). Kroll 
also utilizes his buddy in his 
Netflix show “Big Mouth” 
to portray the awkwardness 
of Andrew Glouberman, the 
lightly mustached Jewish boy 
going through puberty, a role 
Mulaney was born to play. 
Mulaney’s recognizable voice 
was also featured in the form 
of Spider Ham / Peter Porker 
in the all-time best movie, the 
Oscar-winning 
“Spiderman 
into the Spiderverse.” You 
can also find Mulaney on Bill 
Hader and Fred Armisen’s IFC 
show, “Documentary Now.” He 
co-wrote (alongside SNL alum 
Seth Meyers) and starred in 
the Sondheim-inspired third 
episode of the new season.
Mulaney’s comedy is simply 
genius and it makes me equal 
parts delighted, jealous and 
vermouth. Listening to his 
routine is like a symphony, 
with Mulaney acting as the 
comedic 
conductor. 
Each 
movement is timed perfectly 
to the beats of laughter and 
weaved together at the end in 
a crescendo of callbacks. God, 
I love John Mulaney, you love 
John Mulaney, we all freaking 
love John Mulaney!

Wonder Kid: Why we love
John Mulaney as a person

DAILY HUMOR COLUMN

BECKY 
PORTMAN

I am always shaken by the 
courage of memoir. First, in 
the act of reopening those 
creaky doors, reentering those 
old rooms, going back through 
the old files and boxes which 
somehow contain our lives, 
and trying to make sense of 
what was there. Then, in the 
act of arranging these intimate 
exhibits 
and 
memory-laden 
objects on the page, on the 
screen 
for 
others 
to 
behold. 
These 
actions 
require courage I have yet 
to find.
But others do have 
that 
courage, 
and 
in 
abundance. I’m thinking 
of 
Trevor 
Jimenez, 
director 
of 
Oscar-
nominated 
short 
film 
“Weekends.” In the short, 
Jimenez rearranges his 
early-life 
experience 
of 
a 
fractured 
family 
in the story of three 
characters: a mother and 
father, 
newly 
divorced 
from one another, and 
a young boy who splits his 
time between the two, staying 
with his mom during the week 
and his father on weekends. 
What 
is 
important 
about 
Jimenez’s representation of 
this experience is that the 
young boy is not in the middle 
of his parents’ divorce; he is 
at the center. Shots are angled 
to privilege his vantage point. 
His dreams and nightmares 
of his parents’ reunion occupy 
space. He is the nexus of all 
the courage I was talking 
about, and everything Jimenez 
does with the film honors and 
centers around this strong 
little boy.
“Weekends” is hand-drawn 
and 
shaky, 
like 
a 
child’s 
sketches. The titles appear 
in embellished handwriting, 
wobbly but with ample serifs 
to make up for it. Its animation 
style reminded me warmly 

of the way I used to write the 
title of the stories I penned 
in elementary school. The 
animation will do that to 
you: it will make you walk 
backwards until you can see 
things the way you did when 
you were young. In turn, you 
will see the strength required 
to occupy that position, amid 
all the competing allegiances 
and loves and desires.
“Weekends” is also silent 
film. No character verbalizes 
what they are feeling. Instead 
of reinventing dialogue or 

putting words into people’s 
mouths, 
Jimenez 
makes 
brilliant use of other sounds 
to retell the tale, perhaps with 
the purpose of maintaining 
quiet 
reverence 
for 
the 
strength of the boy. One of 
the most brilliant, alternative 
uses of sound in “Weekends” 
is the devotion of musical 
themes to each parent: Erik 
Satie’s compositions for the 
mother, 
and 
Dire 
Straits’s 
“Money for Nothing” for the 
father. When I saw the boy’s 
father turn the volume up on 
the radio in response to the 
opening riff, I quickly coupled 
that image with footage of 
my own memories, of my 
father’s own perfunctory turn 
of the volume dial whenever 
he would happen upon that 
same Dire Straits song. The 
songs in this film will do that 
to you: send you searching for 

your own parents’ anthems. 
They will transport you to 
your own scenes of listening 
to your parents’ songs and 
trying to make sense of these 
complex human beings from a 
complicated angle.
“Weekends” is rife with 
symbolism. A certain courage 
lies in the use of symbolism, 
especially when it involves 
excavating 
artifacts 
from 
memory, 
putting 
these 
intimate objects on display, and 
telling a story, perhaps a new 
or revised story, through them. 
While 
these 
symbols 
take multiple forms — 
anywhere from a raccoon 
to a horse figurine — I 
want to talk about a 
symbolic 
act 
Jimenez 
portrays: 
the 
act 
of 
blowing out a fire. In an 
early scene, the mother 
leaves a pot unattended 
and the smoke alarm goes 
off; while she tries to fan 
the smoke away, her son 
blows at the alarm, in a 
heartrending display of 
care and of doing the best 
with what little power 
children 
have. 
Then, 
in one of the most stunning 
sequences of the film, the boy 
has a nightmare in which the 
top half of his mother’s new 
boyfriend’s head is replaced 
with a single candle which he 
tries to blow out, only for the 
fire to spread and engulf his 
house. This symbolic action 
will do that to you: it will 
make 
you 
experience 
that 
helplessness. It will make you 
think about impossible wishes, 
the fear when we realize 
they are impossible, and the 
strength it takes to imagine 
new ones.
“Weekends” 
will 
do 
all 
of this to you, and more. It 
will show you the courage of 
memoir, and perhaps even 
share with you some of its 
own bravery and inspire you 
to reopen those doors, reopen 
those boxes, make sense of it 
all.

On courage in ‘Weekends’

Weekends

New Europe Film Sales

FILM REVIEW

It’s 2019 and, unfortunately, 
when you Google “late night 
television show hosts,” only 
three notable hosts stray from 
the classic formula of straight, 
white men — Trevor Noah, 
Samantha Bee and Busy Phillips. 
Simultaneously, 
Hollywood 
audiences 
have 
been 
pushing 
for 
more 
representation 
and 
diversity 
in movies, with 
films like “Crazy 
Rich Asians” and 
“Captain Marvel” 
finally 
bringing 
Hollywood 
closer to a new, 
more interesting 
horizon.
Despite 
the calls for a 
more 
accurate 
reflection 
of 
our 
world 
in 
movies, 
late 
night talk shows 
have 
remained 
surprisingly 
untouched. 
Although 
it’s 
frustrating 
that while casts, writers and 
production staffs are becoming 
ever more varied, the kinds of 
people interviewing them are 
remaining stagnant, NBC’s most 
recent announcement hopes to 
challenge this frustration.
On 
“The 
Tonight 
Show 
Starring 
Jimmy 
Fallon” 
on 
Mar. 14, YouTube personality 
Lilly 
Singh 
announced 
her 
newest project: “A Little Late 
with Lilly Singh.” Her choice 
of entertainment, comedy, is 
a male-dominated profession 
and her success in the field 
is indicative of the fact that 
people are becoming tired of 
the same kind of person telling 
the same kind of jokes. Some of 
her more popular YouTube bits 
involve her dressing up as her 

Indian parents, delivering jokes 
that many second-generation 
immigrants can relate to.
“A Little Late” marks a 
significant change in late night 
television: Singh will be the 
first woman to host her own 
show on one of the “Big Four” 
television networks.
Not 
only 
does 
Singh 
represent women of color, but 

she is also a shining light for the 
LGBTQ+ community. She came 
out as bisexual in the month 
preceding her announcement 
and it only added to the value 
of her new show. However, 
her appeal doesn’t just come 
from her diverse background. 
If 
anything, 
those 
details 
are 
a 
fringe 
benefit 
when 
considering her talents as a 
comedic 
personality. 
Singh 
has cultivated a following of 14 
million subscribers on YouTube 
and consistently puts out high-
quality content, like her yearly 
“Twelve Days of Christmas” 
series in which she works 
with prominent celebrities to 
create holiday skits. Adding 
Singh to their line-up of shows 
demonstrates 
the 
network’s 
understanding 
of 
what 

audiences want and how to give 
it to them.
Her ascendance to network 
TV also shows the influence 
that YouTube has had in recent 
years and the pressure it has 
put on companies like NBC to 
re-evaluate where they stand 
on the diversity front. More 
than ever people are turning 
to 
online 
communities 
like 
YouTube, 
where 
they 
can 
tailor 
their subscription 
boxes so that they 
are 
entertained 
by someone who 
looks like them, 
without having to 
hope the opinions 
of a network head 
coincide 
with 
what a specific 
audience member 
is 
looking 
for. 
With 
Singh 
making a debut 
appearance on a 
major 
television 
network, 
it’s 
hard not to think 
about the impact 
YouTube had on 
her 
career 
and 
the criticism that 
many YouTubers 
receive for being 
“fake” celebrities.
It’s not surprising then, that 
NBC was the network to take the 
leap. The company hosts a slew 
of shows that meet the diversity 
demands 
of 
its 
customers, 
including 
Andy 
Samberg’s 
popular 
“Brooklyn 
Nine-
Nine” which boasts a bisexual 
and Latina detective, a Black 
captain and a man comfortable 
in his masculinity. The company 
provides a reprieve from the 
constant barrage of white men 
on our screens.
Singh represents the changes 
in Hollywood that are necessary 
to keeping the diversity train 
rolling 
– 
without 
diverse 
people in powerful positions, 
Hollywood may be doomed to 
a 
white, 
testosterone-laden, 
future.

‘A Little Late’ is just in time

TV NOTEBOOK

JULIANNA MORANO
Daily Arts Writer

EMMA CHANG
Senior Arts Editor

Not only does Singh represent 
women of color, but she is also 
a shining light for the LGBTQ+ 
community

6A — Wednesday, March 20, 2019
Arts
The Michigan Daily — michigandaily.com

