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By Kevin Salat
©2019 Tribune Content Agency, LLC
04/04/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

04/04/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Thursday, April 4, 2019

ACROSS
1 “High” places?
5 Flag down
9 Caller ID?
14 El __, Texas
15 Actor Idris who 
plays Heimdall in 
“Thor” films
16 Mozart wrote a lot 
of them
17 Dungeness 
delicacies
19 Omni rival
20 One reviewing 
challenges
22 Fish eggs
23 Brooding genre
24 One who’s got 
you covered
32 Pig’s sniffer
33 Weep for
34 See 27-Down
35 Sch. near the 
U.S.-Mexico 
border
36 Law school 
subject
37 Put on the cloud, 
say
38 Writer Deighton
39 “It Wasn’t All 
Velvet” memoirist
40 Asks
41 One seen in a 
Hanes catalog
44 Aromatic 
necklace
45 “How We Do 
(Party)” British 
singer Rita __
46 Predictable work 
... and, in a way, 
what the other 
three longest 
answers are?
54 Implied
55 Chain used by 
many contractors
56 Courtroom pro
57 Take testimony 
from
58 Depend
59 “The Ant and the 
Grasshopper” 
storyteller
60 Philosophies
61 Fort SSW of 
Louisville

DOWN
1 Shelter gp.
2 Big name in 
Tombstone

3 “By yesterday!”
4 Sleeps it off
5 Physician, 
ideally
6 Commercial word 
with Seltzer
7 “Oh, suuure”
8 Cut with a beam
9 Cruel
10 Papillon, e.g.
11 Deer sir
12 Dole (out)
13 Ballpark fig.
18 Influence
21 Ballpark 
opinions, at times
24 One-__ chance
25 Incessantly
26 “When the moon 
hits your eye” 
feeling
27 With 34-Across, 
Sally Field film
28 More adorable
29 Make blank
30 Piercing site, 
perhaps
31 Scottish center?
32 Sci-fi navigator
36 Specifically
37 Float fixer
39 Place with a 
bird’s-eye view

40 Went carefully 
(over)
42 Nickname of 
golfer Sergio 
García, who 
turned pro at 
age 19
43 Shakers’ 
relatives?
46 “Mom” actor 
Corddry
47 Treats, as a 
sprain

48 Surprised 
greeting
49 They’re not on 
the same page
50 Religious scholar
51 Premiere
52 Simple tie
53 Where Achilles 
was dipped for 
invincibility
54 Org. operating 
full-body 
scanners

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www.michigandaily.com

WEBSITE.

Many 
people, 
myself 
included, are fascinated by 
home videos. They evoke a 
sense of comfort and wonder. 
They make us consider how 
much we and the people we 
love have changed. In “how we 
live — messages to the family,” 
the final feature film screened 
at last weekend’s 57th Ann 
Arbor Film Festival, Austrian 
director 
Gustav 
Deutsch explores 
the 
beauty 
of 
home 
videos 
as 
an 
art 
form 
with 
remarkable 
compassion.
Deutsch begins 
the film by asking 
his 
audience 
to 
suspend 
their 
disbelief. 
He 
says, 
“Imagine 
we are sitting at 
home, the screen 
is set up, the projector ready 
and we start watching home 
movies together.” He then 
proceeds 
to 
present 
the 
footage, found through film 
archives across the globe, of a 
select few families that come 
from different backgrounds, 
nationalities and time periods, 
all the while commenting on 
the specifics of their lives.
“how we live” doesn’t seize 
you. It doesn’t demand that you 
pay attention to it. It doesn’t 
aspire to entertain. Because 
of this, it’s very easy to detach 
yourself from the images being 

presented. Admittedly, I found 
myself doing this at times. I 
struggled to connect to and 
invest myself in people I’ve 
never met, many of whom are 
long gone. However, there’s 
another, far more interesting 
way to engage with the film 
that I found myself embracing 
by the end of it. You can either 
view the faces and places 
shown on-screen as people 
you never knew and places you 
have never been, or you can 
try to adopt the perspective of 

the person behind the camera, 
someone who sees what they’re 
filming as something worth 
capturing.
In a particularly striking 
piece of film from the 1950s, 
a man on a ship films his wife 
overlooking the New York City 
skyline as they prepare to leave 
for Greece, their homeland. 
She is beautiful and she seems 
happy, but that’s about all 
that can be inferred from the 
footage alone. However, when 
you consider the image from 
the perspective of a husband 
in love, everything changes. 

“How We Live” is a myriad 
of moments just like this. In 
understanding that the people 
captured in these videos were 
once alive, with thoughts and 
feelings just like our own, we 
come to love them. Deutsch 
challenges us to practice our 
own empathy, to try our best 
to care about people and places 
we will never know ourselves.
Despite 
being 
an 
active 
participant 
in 
it, 
I 
often 
find 
myself 
criticizing 
my 
generation’s 
relationship 
with 
technology 
and its devotion 
to 
broadcasting 
all aspects of life 
on social media. 
After seeing “how 
we live,” my view 
has been altered. 
As 
a 
result 
of 
breakthroughs 
in 
technology, 
we’ve been given 
the wholly unique 
ability to capture 
our 
experiences 
with our phones and share 
them 
with 
others 
with 
unprecedented ease. And even 
though the majority of us will 
almost inevitably be forgotten 
by history, documenting the 
parts of our lives that best 
represent who we were and 
what we felt is our closest 
chance to becoming immortal. 
Perhaps one day a filmmaker 
from the future will want to 
resurrect us from the past and 
show the world how we lived. 
By acting as documentarians 
of our lives now, we can give 
them the chance.

‘how we live’ is a waltz 
of homemade video magic

ELISE GODFRYD
Daily Arts Writer

Downhill Lullaby

Sky Ferreira

Capitol Records

SINGLE REVIEW: ‘DOWNHILL LULLABY’

After a nearly six-year 
hiatus, 
Sky 
Ferreira 
has 
returned 
with 
the 
new 
single “Downhill Lullaby” 
from a forthcoming 
untitled 
studio 
album. This time, 
she 
has 
forsaken 
her typical synthy 
production 
and 
uptempo rhythm in 
favor 
of 
haunting 
strings and a dark, 
rolling 
bass 
line. 
It is a downbeat 
and 
atmospheric 
track 
that 
toes 
the 
line 
between 
being a slow burner 
and being a dirge, 
almost redolent of 
Lana Del Rey — a far cry 
from the grungy electropop 
of Night Time, My Time. 
The highlight of the song is 
the surreal, swelling string 
arrangement, 
performed 

by 
Danish 
violinist 
Nils 
Gröndahl.
The song was co-produced 
by the “Twin Peaks” music 

supervisor 
Dean 
Hurley, 
which is fitting given its 
Lynchian, 
“out-of-time” 
feeling and foreboding tone 
(Ferreira cameoed in “Twin 
Peaks: The Return” a year 

ago). It is not a pop song — 
it’s not exactly hummable, 
and it’s certainly not catchy. 
It feels as though it would be 
best listened to late 
at night at a point 
in your life when 
everything 
feels 
wrong.
It 
is 
pleasant 
as a one-off, but 
an 
album 
full 
of 
“Downhill Lullaby”-
style tracks would 
quickly 
turn 
into 
a 
slog. 
Luckily, 
Ferreira has stated 
that the rest of her 
upcoming 
project 
will be more poppy 
— but it remains to 
be seen whether it will be as 
bold.

— Jonah Mendelson, Daily 
Arts Writer

CAPITOL RECORDS

how we live — 
messages to the 
family 

The Michigan Theater

Kranzelbinder Gabriele Productions

FESTIVAL COVERAGE

KRANZELBINDER GABRIELE PRODUCTIONS

After a long break, “Game of 
Thrones” will return to HBO in 
a few weeks for its final season. 
The first four episodes will clock 
in at 54, 58, 60 and 70 minutes, 
respectively. The final two are 
slated at 80 minutes each. “It’s 
a spectacle,” the chairman of 
HBO told Variety in January. 
“The guys have done six movies. 
The reaction I had while 
watching them was, ‘I’m 
watching a movie.’ ” The 
slight 
wrinkle 
in 
this 
compliment was that the 
guys in question — that 
is, 
showrunners 
David 
Benioff and D.B. Weiss — 
had already said at a panel 
years 
before 
that 
they 
saw their series not as a 
television show, and not 
as a collection of movies, 
but rather as one grand 
73-hour movie. 
This sort of thinking 
has suddenly become very 
en vogue among the prestige TV 
creative class. Television that 
aspires to the long, cinematic and 
amorphous is now considered 
nothing less than a hallmark 
of genius. And freed from the 
traditional 
mindset 
of 
the 
medium, with the gates of cinema 
in sight, what’s to stop episodes of 
television from creeping slowly 
past the hour mark and toward 
90-minute territory? 
The appeal of the streaming 
age is that it has made obsolete 
the less savory constraints of 
television. A show no longer 

needs to be 22 or 45 minutes 
because 
there’s 
nothing 
necessarily scheduled to come 
before or after it; it exists in its 
own space. Scripts and scenes 
don’t have to be timed for act 
breaks anymore because there 
are no ads. No advertisements 
means no advertisers, and thus 
no need for creators to hew to 
the plots and characters and 
premises 
that 
conventional 
wisdom dictates will win over 
the most viewers. In many ways, 

this is a good thing — without 
these developments, we don’t 
end up with “Orange is the New 
Black” or “Shrill” or “BoJack 
Horseman.” It is a kind of radical 
conceit: art for art’s sake. Art 
that doesn’t have to mold itself to 
network contours. Art made just 
because it can be made.
And artistic freedom is great, 
sure. But with great power 
comes great responsibility. For 
every Dalí painting there is an 
“Episode I: Phantom Menace.” 
For every Mahler symphony, 
a (shudder) montage set to 

“Fix You” by Coldplay on “The 
Newsroom.” Just because you 
can do something doesn’t mean 
you should. There is — believe it 
or not — value in constraint and 
discipline. Maybe in theory there 
are circumstances in which it’s 
appropriate for an episode to 
run 70 minutes long, but if “Mad 
Men” could lay bare the show’s 
central relationship in one utterly 
perfect 48-minute episode, if 
“The Good Place” can upend its 
entire plot and sprinkle in some 
eschatological ruminations 
in 22 minutes every week, 
I’m having a difficult time 
imagining 
what 
exactly 
those circumstances are. 
There has always been 
a lot of handwringing in 
the art world about the 
relationship 
between 
content 
and 
form. 
Are 
they distinct elements? Is 
the message inextricable 
from the messenger? There 
are no easy answers here, 
except that when you’re 
making television, both of 
them are very important. 
Cable and streaming shows these 
days deal in profound ideas and 
metaphors, and when done well, 
they are moving and beautiful 
and impossible not to appreciate. 
But when the pacing is sluggish, 
when the scenes feel a slog, when 
you are angrily checking your 
watch and wondering why HBO 
spends so much money on CGI-
ing dragons and not, say, on one 
editor, the profundity is all for 
naught. I love TV that challenges, 
that experiments and subverts. 
More importantly, though, I love 
TV that ends. 

Your television show does 
not need to be as long as it is

MAITREYI ANANTHARAMAN
Daily Arts Writer

TV NOTEBOOK

HBO

There has always been 
a lot of handwringing in 
the art world about the 
relationship between 
content and form.

6 — Thursday, April 4, 2019
Arts
The Michigan Daily — michigandaily.com