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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