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Showings scheduled M‑F 10‑3 734‑996‑1991 SERVICES FOR RENT 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