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October 28, 2019 - Image 6

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The Michigan Daily

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6A — Monday, October 28, 2019
The Michigan Daily — michigandaily.com
Arts

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

By Craig Stowe
©2019 Tribune Content Agency, LLC
10/28/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

10/28/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Monday, October 28, 2019

ACROSS
1 Gives in to gravity
5 Annoying little
kids
9 Hunter’s plastic
duck, e.g.
14 Clear off the road,
as snow
15 Actress Gilbert of
“The Conners”
16 Make amends
17 What “Ten-hut!”
is short for
19 Income __
20 *Do business
shrewdly
22 Tidy up
23 “__ you kidding?”
24 Off-the-wall
27 Walmart
warehouse club
28 *Murmur lovingly
32 Muslim mystic
33 Lake near Carson
City
34 *Basic
experimentation
method
39 Sea item sold by
39-Down, in a
tongue-twister
40 Say no to
41 *Like a typical
walking stride
44 Bygone
Japanese audio
brand
48 Conclusion
49 Boardroom VIP
50 The Lone __
52 Compromising
standpoint ... and
what the answers
to starred clues
contain?
55 Deck alternative
58 Belittle
59 17-syllable
Japanese poem
60 Suffix with major
61 Auth. unknown
62 Desert retreats
63 Monica’s brother
on “Friends”
64 German thinker
Immanuel

DOWN
1 Reproduces like
salmon
2 __ Gibson, first
African-American
to win a Grand
Slam tennis title

3 Pep rally cheer
4 Candy and
such
5 Turkey’s largest
city
6 Principal
7 Spur to action
8 Beach footwear
9 Job of typing in
facts and figures
10 List-shortening
abbr.
11 Courteney who
played Monica
on “Friends”
12 Single
13 “By all means!”
18 Phillies’ div.
21 Significant
stretch of time
24 Twice cuatro
25 Way in
26 Forest female
29 “__ tree falls in
the forest ... ”
30 High-end
chocolatier
31 __ es Salaam
32 Lustful
34 At that time
35 Oboe or clarinet
36 Not feeling well
37 __ volente: God
willing

38 Vigorous
qualities to
put into
one’s work
39 See 39-Across
42 Nancy Drew’s
beau
43 Walk feebly
44 Arctic jacket
45 Exotic lizard kept
as a pet
46 Was happening
47 Passionate

51 Buenos Aires’
country: Abbr.
52 Karaoke prop that
often ends in “c”
nowadays
53 Jared of “Dallas
Buyers Club”
54 Tolkien creatures
55 Vietnamese
soup
56 Small battery
57 “__ the
season ... ”

SERVICES

Help Elderly w/HshlD
Tasks
WalktoUM, 734.276.6797
$10/hr

If you pay any attention to celebrity gossip, you know
that Hailey and Justin Bieber have had two weddings,
lots of church dates and even suffered through head
lice together. You also might know that since she was
hospitalized in October 2018, Selena Gomez has been
quietly focusing on improving her mental health. And
even if you don’t remember any of that, I’m guessing
the part of your mind reserved for the Disney-adjacent
drama of your youth can recall that Selena and Justin
have a lot of history together. They were on and off from
2011 to March 2018 — breaking up just four months
before Bieber proposed to Hailey Baldwin that July. The
media left fans to speculate how Selena felt, but on Oct.
23 with the release of her single “Lose You to Love Me,”
she told all.
“We’d always go into it blindly / I needed to lose you
to find me” Gomez realizes as piano notes fade into an
echo chamber of background vocals. She mentions the
engagement (“in two months you replaced us / like
it was easy”), but the hurt in her voice is from years of
mistreatment, not surprise. “You promised the world /
and I fell for it” could very well characterize the cyclical
nature of their relationship as she took him back again
and again despite his cheating. While I’m not sure that
any non-Gomez fans will be won over by “Lose You to
Love Me,” as its sound and lyrics are relatively average,
the song is remarkable in its maturity.
Gomez, now an avid mental health advocate, has
been vocal about seeking help in her darkest times, and
now she’s shining through. In fact, “Lose You to Love
Me” isn’t so much about Bieber as it is about Gomez’s
struggle to accept herself. Even when she seems to call
him out, for example, by singing “Set fires to my forest
/ and you let it burn” she understands that it’s pointless
to drag him — she can’t control the poor choices he’s
made. Instead, Gomez is focused on her reaction. She
takes off the “rose colored glasses” she had for him
and remembers that she gave it her “all.” When Gomez
ultimately decides “I needed to hate you to love me,” it’s
not to spite Justin, but to save herself.
The music video echoes this process of acceptance.
Many different Selenas fade into each other in black

and white, all seated like they’re at a confession booth.
Angry, sad, disgusted, laughing, confused, Gomez finally
settles into a smirk, and then she’s O.K.. While the video
is a bit disorienting (it was shot entirely on an iPhone
and heavily edited), it’s fitting. Their relationship was
such an emotional rollercoaster it makes sense that she
felt everything at once when the ride officially ended.
The next single, “Look at Her Now,” was released
24 hours later. The flip side to heartbreak, this song
is a celebration. The “mm-mm-mm mm-mm-mm
mm-mm” hook is extraordinarily catchy, to the point
that it’s either irresistible or unbearable. But even if
this earworm is unwelcome, it will make you want to
dance. “Of course she was sad / but now she’s glad /
she dodged a bullet,” Gomez shrugs. This song more
clearly chronicles their ups and downs (“fast nights that
got him / that new life was his problem”), but similarly
shoves it all in the past.
By referring to herself in the third person in “Look
at Her Now,” not only does Gomez more effectively
detach herself from the pain she’s singing about moving
on from, but she also emphasizes the universality of
her experience: “She knows she’ll find love / only if
she wants it / She knows she’ll find love / only up from
the way down,” Gomez assures herself and her young,
mostly female audience. Yes, getting over a long, toxic
relationship is hard, she affirms, but you’re going to find
love if you want to find love. You’re not alone.
That’s why Gomez dances surrounded by lookalikes
and flashing colors in the “Look at Her Now” music
video. Not overly joyous or sharp in her movements,
she looks cool, collected and comfortable. Seemingly
months removed from the “Lose You to Love Me” video,
Gomez isn’t trying to convince anyone of her well-being.
It’s evident in the way she picks up the iPhone herself
and looks directly into the camera. She’s over it.
Together, these songs close a chapter. Although
hearing about the progression of the Bieber-Gomez
saga should be boring by now, it’s too relatable. And
for that reason, it’s so important that Gomez shares
her story. If anyone was exhausted by the back-and-
forth, it was her. Her ability to come out on the other
side better than OK, having grown and learned to love
herself, is incredibly hopeful for anyone who relates to
her hurt. Gomez has tried to start over so many times
and now, finally, she has.

Selena’s self-acceptance

KATIE BEEKMAN
Daily Arts Writer

INTERSCOPE RECORDS

SINGLE REVIEW

Recently, I followed the Twitter account
@MobyDickatSea. The profile’s function is
simple: to tweet out passages from Herman
Melville’s “Moby Dick” once every two
hours and indicate their location in the
story. I haven’t read the novel in years, and
I can’t honestly say that it stuck with me
in a profoundly memorable way. But I find
this account fascinating for its context in
the general mess of Twitter (that is to say,
its lack of context with anything else in
my timeline). I found a similarly passive
appreciation for Robert Eggers’s (“The
Witch”) “The Lighthouse” for its zany
boldness.
There might be a reason that the grimy
sailors-caught-out-at-sea myths appeal so
strongly to me now, but I refuse to pinpoint
it. Regardless, “The Lighthouse” is certainly
one of the most compelling horror movies
of the year, one that will be rewatched time
and time again by those who dare to embrace
its madness. Above all, the film hones in on
what makes the 2010s a particularly special
decade for the horror genre.
The
film
does
not
stray
far
from
Melvillian territory, playing out like a series
of hallucinatory vignettes from two newly
stationed lighthouse keepers on a remote
island in the 19th century. Thomas Wake,
the older, gruffer and scruffier of the two
is played by Willem Dafoe (“Vox Lux”) in
one of the most fleshed-out performances
of his career. He is rageful and briny and
barking, but he is quippy too, in a guffawing
grandfatherly way. Dafoe’s impending snub
for a Best Actor nomination will be lamented
by horror fans in the likes of Toni Collete
in “Hereditary” and Essie Davis in “The
Babadook”.
His companion on the island is Robert
Pattinson’s (“High Life”) Ephraim Winslow,
a mustached, squeaky-voiced Canadian with
an alcohol addiction and a general disdain
for working life. The two actors are the only
speaking characters in the entire movie,
but have electric chemistry that keeps
“The Lighthouse” from dragging for even a
moment.
As equally important to the experience as
the pair’s performance is the way the film
is shot. Eggers constrains his camera with
a squarish 1.19:1 aspect ratio as well as a
black-and-white lens. The result is obviously
claustrophobic and indicative of the time
period, but it also has an important effect on
how the director chooses to compose each
frame. Most notably, Eggers employs two-
shots sparingly. whenever we see our main
characters, they are typically alone. They are
often facing the camera directly, resembling
Jonathan
Demme’s
uncomfortable
POV
close-ups in “The Silence of the Lambs.”
The deteriorating sense of personal space,
exacerbated by low ceilings and ominous
lighting on builds into the film’s conclusion,
leaving a viewer squeamish and discomfited.
Moreover, when both characters appear in
the same frame, they appear pressed against
each other, poised for conflict but intimate

and, occasionally, romantic. Winslow and
Wake are deeply repressed — they ache for
any escape from the dry monotony of the
island, and their drunken nightly musings
dance beautifully on the line between
revelation and foolspeak.
In many ways, “The Lighthouse” is a
testament to the foothold that horror has
on the film industry in 2019. To think that
a film so utterly deranged could be funded,
produced and even limitedly released in
another decade is unfathomable. But “The
Lighthouse” understands what makes the
horror of today successful: an arthouse
director that infuses intellect behind every
scare, a perfectly assembled cast performing
at the top of its potential, commentary
that transforms the very real into the very
personal and a level of technical craft
that requires multiple viewings to fully
appreciate.
Robert Eggers is likely one of the savviest
young voices in horror. It’s easy to say that he
played the same cards with “The Lighthouse”
as he did with his debut feature in 2015,
“The Witch.” After all, they are both period-
horror with limited settings, a naturalistic
tone and measured pacing. But beyond the
surface, they couldn’t be more different.
Where “The Witch” devotes an intense focus
to its broad ideas of feminism, colonialism
and Puritanism, “The Lighthouse” is not so
clear about its message, preferring to pull its
viewers subjectively along into the madness.
If anything, this pairing illustrates Eggers’s
range as a filmmaker. He isn’t bound to
the coherency of his narratives; he is more
attentive to the gnawing, gnarling, all-
consuming experience of horror itself.

‘The Lighthouse’ is grime
& heaven for horror fans

ANISH TAMHANEY
Daily Arts Writer

A24

FILM REVIEW

The film does not stray far from Melvillian
territory, playing out like a series of
hallucinatory vignettes from two newly
stationed lighthouse keepers on a remote
island in the 19th century

Lose You to Love Me & Look at Her
Now

Selena Gomez

Interscope Records

The
Lighthouse

A24

Michigan Theater

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