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By Kevin Christian and Jules Markey
©2019 Tribune Content Agency, LLC
04/03/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

04/03/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Wednesday, April 3, 2019

ACROSS
1 Specially formed
6 Suffix with Jumbo
10 Outback
14 Avian crops
15 Disney film set in 
Polynesia
16 “Fancy meeting 
you here!”
17 When the 
dot-com bubble 
began
19 Prompted on 
stage
20 Energy Star 
co-mgr.
21 Backless slippers
22 Country’s 
Haggard
23 Form of the game 
of tag
27 River formations
29 Kiwi-shaped
30 Eye-opener?
31 Aplomb
34 Hieroglyphics bird
38 Court figs.
39 Small Apple tablet
42 D-Day vessel
43 Uninvited picnic 
arrivals
45 Short or tall thing 
(and neither 
refers to height)
46 Zany
48 Soupçon
50 Acme’s best 
customer?
51 Ad boast for 
a relaunched 
product
57 Hoover rival
58 Patterned fabric
59 Fuel for the fire
62 Almond __
63 Trait for an evil 
genius ... and a 
hint to what can 
literally be found 
in 17-, 23-, 39- 
and 51-Across
66 Censorship-
fighting org.
67 __ Hawkins Day
68 Ancient Greek 
region
69 Abrasive tool
70 Proof word
71 Itsy-bitsy

DOWN
1 Pinnacle
2 Water waster
3 Whooped it up
4 Dominate

5 Forensic TV 
spin-off
6 Carved emblem
7 Mrs. Gorbachev
8 Number of gods 
worshipped in 
Zoroastrianism
9 “Stillmatic” rapper
10 Italian tenor 
Andrea
11 Swahili for 
“freedom”
12 Walmart stock 
holder?
13 HDTV part, for 
short
15 Mix together
18 Many “Call 
the Midwife” 
characters
22 CFO’s degree
24 USPS unit
25 Private reply?
26 “Frozen” reindeer
27 Bit of baby talk
28 Pizazz
31 Start of a series
32 A little bit off
33 “__ Mine”: 
Beatles song
35 Sequence of 
direct ancestors
36 “Freedom __ 
free”: salute to 
military sacrifice

37 Ocular malady
40 Spot for a koi or 
a decoy
41 “That was 
awesome!”
44 Move in together
47 “Listen up,” to 
Luis
49 Pen filler
50 King with a pipe
51 SportsNet 
LA analyst 
Garciaparra
52 Writer Jong

53 Water sources
54 Crete peak: 
Abbr.
55 Put forth
56 Solemn 
ceremony
60 “Come __!”
61 Outback 
greeting
63 Mao __-tung
64 “__Games”: 
1983 Matthew 
Broderick film
65 Curly associate
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DO
IT.

What is a man to do after he kills off his friend and former fellow 
Marine, most of the leaders of a Chechen crime ring and (probably) 
the cop who was dating his acting teacher? These are just some of 
the questions that the titular protagonist faces in the early episodes 
of season two of “Barry.” They’re also some of the many questions 
Bill Hader (“Saturday Night Live”) faced in his development of the 
second season, as writer, director and star of the show.
Hader and Alec Berg (“Silicon Valley”) created “Barry” as a dark 
comedy about a Midwestern hitman who travels to Los Angeles, 
where he finds himself joining an acting class and beginning to 
question the nature of his profession. By the end of season one, 
Barry (played by Hader) knows he wants to leave his violent past 
behind him, but can’t seem to escape his entanglements with 
criminals like his handler, Fuches (Stephen Root, “On the Basis 
of Sex”), and Chechen mobster NoHo Hank (Anthony Carrigan, 
“Gotham”). In the second season, these conflicts are only going to 
ramp up, as well as the internal moralistic conflict that Barry now 
has to address head-on.
“In the first season, he would have these daydreams about what 
he wanted, and what he thinks his life could be,” Hader said to The 
Daily in a group interview. “And we were thinking, in season two, 
instead of daydreams about what his future could be — in order to 
have those things, you have to kind of reconcile your past.”
For Barry, this means looking back to his time spent as a Marine 
in Afghanistan: the place where he learned how to kill. Barry’s 
approach to remembering the war seems to carry traces of post-
traumatic stress disorder, but Hader says the writer’s room was 
more focused on Barry having to confront his current relationship 
to killing.
“It was more about Barry’s current position as a contract killer, 
and him realizing, ‘Oh, I actually, the first time I killed someone, 
at war, was the first time I ever felt any sense of community in my 
life,’” Hader said. “It was less about PTSD, and more about this 
question of, ‘What happens when I get angry, and am I evil?’”
Barry isn’t the only one forced to reflect on his past in season 
two. In fact, it seems poised to become one of the season’s central 
trends.
The violence of Barry’s past and the tension of his present 
collide in his acting class, taught by Gene Cousineau (Henry 
Winkler, “Arrested Development”). At the end of season two, Gene 
has to deal with the mysterious disappearance of his girlfriend, 
Detective Moss (Paula Newsome, “Chicago Med”). According to 
Hader, we can expect Gene to “look inward” in the episodes to 
come and consider whether he is really “just a narcissistic idiot.” 
Meanwhile, the nature of Moss’s disappearance — other than that 
Barry had a hand in it — is still unresolved.
“We had no idea what happened to her,” Hader said. “That was 
the very first day of writing season two. I said, ‘What do you guys 
think happened to Moss?’ and everyone started laughing.”
Whatever direction the show takes with Moss, we can expect 
it to be deeply significant for Gene’s development as a character 
— as well as for Barry, who we know is responsible for whatever 

happened to her.
After his military friend Chris (Chris Marquette, “All Wrong”), 
Moss marks the second major character that Barry has unwillingly 
attacked out of his own self-interest, despite knowing her and 
liking her. The fatal actions he’s taken to hold onto his new life 
leave Barry “trying to forgive himself,” but also “in massive, 
massive denial.”
“We’ve come to this place where the main character is the one 
that’s right,” Hader said. “The main character is us, that’s the 
audience surrogate. And I like movies and books and stuff where 
the main character’s really flawed, but he thinks he’s right … He’s 
lying to himself on this big thing, but hopefully it’s a thing that can 
be really relatable to people.”
The goal is that these complicated levels of reflection will 
extend to the audience, as the show offers new and deeper ways 
of understanding each character. Another compelling character is 
Sally, played by Sarah Goldberg (“The Report”), whose relationship 
with Barry hinges on, as Hader put it, the two of them “giving 
each other what the other one wants” when it comes to emotional 
support. This relationship is likely to become rockier following 
her season one finale revelation about her abusive and violent 
ex-husband.
“You meet Sally, and she seems like this sweet actress that cares 
about him, and then you see her turn. You try to play both sides of 
it, and say, ‘I totally get why she doesn’t like Barry, but I also think 
she’s a little narcissistic,’” Hader said. “So then, this season, it was 
kind of like: I’ve gotten to know you. I’ve hung out with you for a 
year. And now these are the kind of things that you would find out 
about people. People opening up about an abusive ex-husband or 
the time they were in Afghanistan, or these sorts of things. And 
then also, when you’re in an acting class, that stuff comes up a lot.”
The irony of Hader playing a bad actor in an acting class has 
been one of the show’s strengths from the beginning, creating 
plenty of opportunities for comedy and allowing Hader to stretch 
and expand his own acting talent. He received an Emmy last year 
for his portrayal of Barry, who struggles in his acting class with 
awkward and sometimes emotionless delivery. Hader himself has 
taken improv classes, but never the type of acting classes portrayed 
in the show.
“Improv acting classes is like, you just have to go up and trust 
your instincts, and kind of play off the other person, and you’re 
creating a scene up on stage,” Hader said. “Alec and I sat in on 
an acting class, on a couple of acting classes, before we wrote the 
pilot. And that’s the only real acting classes I’ve seen. A lot of it 
is actually asking the actors on the show. Like, ‘Is this what they 
would do?’”
In season one, the acting class became the perfect arena for 
central characters working through their personal issues. In a 
season likely to turn its attention toward the repercussions of the 
past, it will be intriguing to see how characters like Barry, Gene 
and Sally further evolve, reveal themselves and come into conflict 
within the walls of Gene’s acting studio.
And then there’s NoHo Hank. The audience favorite played by 
Anthony Carrigan has become the stand-in representative for the 
other side of Barry’s life, the one Barry is trying so desperately to 
escape. Yet it’s hard to watch the show and not want to see even 

more of Hank — which the show’s creators luckily realized early 
on, scrapping their decision to kill Hank off at the end of the pilot.
“Initially, that character was supposed to die in the pilot. That’s 
why he gets shot in the car,” Hader said. “And then when the show 
got picked up, Alec and I both were like, we can’t let that guy die. 
He was so funny. And then every writer we hired when we were 
staffing the show went, ‘You’re not getting rid of that guy, right? 
’Cause that guy was amazing.’”
The mobster character was originally inspired by a Genius Bar 
employee who helped Hader at an Apple store. Since the initial 
conception of a “nice” and “polite” henchman for season one 
villain Goran Pazar (Glenn Fleshler), NoHo Hank has grown into a 
compelling onscreen presence and a crucial part of the show.
“Anthony owns that character,” Hader said. “We try to find 
funny positions for him to be in, and his apparent kind of love for 
Cristobal, and this kind of love triangle that he has going on. But 
then Anthony takes it and runs with it.”
Even Hank, who often bears the role of comic relief, may be 
grappling further with the contradictions of his own identity in 
season two.
“Everyone’s kind of fighting their nature, and I think he wants 
to be a villain,” Hader said of NoHo Hank. “He wants to be a badass 
kind of tough guy. But his nature, I think, is that he’s very sweet 
and polite, and only sees the good in people, which is ironic for 
what he does for a living.”
The show so far has done a spellbinding job of weaving together 
comedy and drama using dark irony, sometimes on a broader scale 
— some of the heaviest moments come from the acting class, while 
genuine (albeit morbid) humor is gleaned from Barry’s endeavors 
as a hitman — and sometimes on the level of individual lines. 
The further Barry tries to distance himself from his violent past, 
the darker the show seems to get, all while keeping its comedic 
integrity intact.
“That’s always the hard thing about the show, is going too far one 
way or the other. But what we end up doing so we don’t overthink 
it is, you just try to follow the truth of the character. You try to be 
as honest as you can with all of the characters, and just say, well, 
what would they do right here? And sometimes that can lend itself 
to being funny, and sometimes it can be really sad,” Hader said. “It 
kind of works, because we’ll write it straight for so long, and Alec 
and I are comedy people, so then we start to get bored and we’ll 
start making fun of our own writing, and then that’s where a lot of 
the comedy will come in.”
It’s hard to describe Barry as anything other than a tightly-
produced show: The writing is sharp on both the comedic and 
the dramatic ends, each scene is packed with conflict, and the 
characters are expertly conceived and rendered. Season one 
developed at an mastered pace, aided on its way by captivating 
acting and an almost total absence of filler, and season two is set 
to continue along the same masterful trajectory, featuring even 
darker ventures into these characters’ psyches.
“A lot of shows or stories … you want to do 20 seasons of these 
things, you know? And so you try to let that happen slowly. But 
I think that’s why television, sometimes, for me, I get really 
exasperated,” Hader said. “For us, it was like, no, let’s just let that 
happen now. What are we waiting on?”

Bill Hader talks confronting the past in ‘Barry’

TV INTERVIEW: BILL HADER

LAURA DZUBAY
Daily Arts Writer

The 
opening 
track 
of 
The 
Hands 
Free’s 
self-
titled 
debut, 
“Yes/No,” 
starts with an explosion 
of 
instrumental 
sound, 
pulling in every direction 
at once. It almost sounds 
like a folk festival band 
warming up — the group’s 
instrumentation of violin, 
accordion, 
banjo/guitar 
and double bass is usually 
employed for things much 
more twangy and down-
home — until it’s repeated, 
and spins out into a frenetic 
phrase that collapses almost 
as soon as it gets going. The 
rest of the track is no less 
of an onslaught, at times 
coalescing into fragments 
of melody before dissolving 
into the joyous chaos of 
the 
opening. 
After 
the 
aggression 
of 
“Yes/No,” 
the second track, “Kellam’s 
Reel/Rusty 
Gully,” 
is 
a 
comforting relief. A jaunty 
melody is passed from the 
accordion 
to 
the 
guitar, 
the 
other 
instruments 
sometimes 
joining 
in 
on 
regular accompaniment and 
sometimes 
just 
smearing 
chords around the edges of 
the ensemble. The effect is 
breezy and nostalgic.
The 
Hands 
Free, 
whose 
members 
have 
backgrounds 
in 
classical 
music composition, chamber 
music and musical theater, 
are a group that focuses on 
structured 
improvisation. 
In the liner notes to their 
debut, they write that they 
“incorporate 
elements 
of 
improvisation, 
making 
every performance unique.” 
The 
performers 
are 
able 
to draw on their extensive 
knowledge and experience 
of 
performing 
music 
to 
re-interpret what they have 
inherited in an open-ended, 
playful way, in the moment. 
The album is in dialogue with 

several intersecting musical 
traditions, but it splits them 
open and rummages around 
for useful material, adding 
the 
performer’s 
unique 
sensibilities. In particular, 
the composer and violinist 
Caroline Shaw contributes 
the 
sense 
of 
suspension 
she’s known for, with the 
hovering 
harmonics 
and 
finely-sketched 
melodies 
she contributes forming a 
sort of ceiling for the group. 
The guitarist James Moore 
contributes at times a quasi-
minimalist flow and at times 
a 
pointillistic 
stream 
of 
consciousness, which also 
characterizes his work with 
the electric guitar quartet 
Dither.
More than anything, what 
one gets out of this album is a 
sense of several personalities 
colliding, 
a 
conversation 
between 
friends 
about 
a 
familiar topic with natural 
ebb and flow. The group 
references the “late-night 
folk jams” that formed the 
group, and one gets the sense 
that the group’s backbone 
is 
somewhere 
between 
their 
respective 
classical 
backgrounds and bluegrass 
and folk music. There’s a 
dialogue between sense and 
nonsense, 
structure 
and 
freedom, 
aggression 
and 
suspension. One gets the 
sense that were all of this to 
be written down, a lot of the 
spontaneity that makes this 
album so stunning would be 
lost — trailing off and trailing 
between is baked into even 
the most structured music 
that the group plays. There’s 
a recombinant sensibility to 
this music, like a collection 
of half-remembered songs.
Mary 
Halvorson 
and 
Robbie Lee’s album Seed 
Triangular is much more 
open-ended 
than 
The 
Hands Free’s debut. There 
are much fewer reference 
points, and the music seems 
to be instead built from the 
sounds of their instruments 
themselves: 
Halvorson’s 

18-string (!) harp guitar and 
Lee’s collection of unusual 
woodwind 
instruments, 
including 
several 
from 
the Renaissance and the 
Baroque. Halvorson and Lee 
seem intent on playing their 
instruments 
in 
strange, 
extreme ways. The guitar 
snaps and buzzes and at 
times 
makes 
thunderous 
sounds, 
Lee 
bends 
pitch 
and overblows, producing 
all kinds of noisy, out-of-
tune sounds that he uses for 
striking expressive effect. At 
times it’s hard to tell how the 
two musicians are relating 
their material to each other 
and the listener is left with a 
nervous composite.
As 
daunting 
as 
Seed 
Triangular 
is 
for 
people 
not accustomed to freely-
improvised music, it’s also 
a remarkably organic and 
instinctive album. It’s the 
chaos of an overgrown lot in 
the middle of summer, dusty 
and wide open. Their music 
can accumulate astonishing 
amounts of tension before 
emptying out into a few 
languid 
plucks 
and 
long 
bending notes. As avant-
garde as the music sounds, 
Halvorson’s guitar can be 
almost folk-ish at times, and 
Lee’s old instruments, played 
in markedly unconventional 
ways, 
combine 
to 
give 
the 
album 
a 
distinctly 
ancient feeling. It feels like 
stumbling on an abandoned 
house being reclaimed by 
nature, wiry plants forcing 
their way through the brick.
The 
avant-garde 
is 
so 
frequently about trying to 
make music take on abstract 
shapes and structures. What 
improvisation 
allows 
for 
these two albums is instead 
a kind of exploration of 
musical space: Both in the 
sense of the instruments used 
and what they’re capable of 
producing in the hands of 
a skilled player, but also an 
exploration of material, of 
tradition as interpreted in 
every direction at once.

On improvisational folk

MUSIC NOTEBOOK

EMILY YANG
Daily Arts Writer

6A — Wednesday, April 3, 2019
Arts
The Michigan Daily — michigandaily.com

