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

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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