6A — Monday, November 11, 2019
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By Kevin Christian
©2019 Tribune Content Agency, LLC
11/11/19
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
11/11/19
ANSWER TO PREVIOUS PUZZLE:
Release Date: Monday, November 11, 2019
ACROSS
1 Craftsy website
5 Regarding
10 Like a bug in a
rug
14 “I understand
now”
15 Crime boss John
known as “The
Teflon Don”
16 Letter before
kappa
17 Spaghetti sauce
brand
18 Composer Ned
19 Inside look at a
hospital?
20 Sheepless
nursery rhyme
character
23 Clod chopper
24 Letter after kappa
28 Usain Bolt race
pace
31 Bric-a-__
33 Tokyo dough
34 Irish allegiance
shout
36 British sports car,
familiarly
37 Cold and damp
38 Many millennia
39 Auditioner’s goal
40 Over-easy item
41 End of a proverb
embodied by
three monkeys
45 Regret
46 __ legs: rear pair
47 Twins Ashley and
Mary-Kate
48 Episodic story
50 WWII female
51 “Why are you
laughing?”
58 Apple’s virtual
assistant
61 Refill, as a partly
drunk drink
62 Actress Falco
63 Day to beware
64 Make used (to)
65 Spy __ Hari
66 Milne’s “The
House at __
Corner”
67 Police car
warning
68 Scratches (out)
DOWN
1 Jimmy Carter’s
middle name
2 Bangkok native
3 USAF NCO
4 Sarcastic “Could
that be more
obvious?”
5 Go along with
6 __ tube: TV
7 Mexican “other”
8 Sch. near the Rio
Grande
9 Streaming delay
10 Typical dinner hr.
11 Country with
fjords: Abbr.
12 Actress Hagen
13 Carefree
21 Like 1,225-page
“War and Peace”
22 Apiece
25 Quaint
exclamation
26 Add (a player) to
the poker game
27 Mike Trout’s
team
28 Passover meals
29 Czech capital city
30 Dead __: look-
alike
31 __-shouldered
32 Captain, e.g.
35 “Where have
you __?”
39 2004-2011 TV
series about
firefighters
41 Ousted Iranian
leader
42 Core exercise
system
43 Sign on a new
store
44 Norwegian saint
49 “If only”
52 Author Morrison
53 Egg on
54 “No prob”
55 Minn. neighbor
56 Nick at __
57 Nays’
opposites
58 Drink sampling
59 Altar affirmative
60 Rock’s __
Speedwagon
Two years ago, British television network
Channel 4 released a show on Netflix that said
“screw you” to the teenage romance genre and
made a fresh series about two teenagers who
run away together. While it sounds “Moonrise
Kingdom”-esque, there’s so much more that
differentiates it from your average “Romeo and
Juliet” adaptation. Those fateful two years ago, the
show left off on a painstaking cliffhanger that left
fans wondering whether the show was meant to
end on an open-ended note. Then, “The End of the
F***ing World” came back into the picture quite
suddenly, with Netflix releasing its trailer only two
weeks before the new season was to come.
The show tells the tale of James (Alex Lawther,
“Alex’s Dream”) and Alyssa (Jessica Barden,
“Jungleland”), two teenagers from a small town
who are learning to navigate through their
unfortunate life circumstances. It has a cliché
premise but strays far from tropes: In the first
season, James thinks he’s a psychopath and aims
to kill Alyssa, who at the time was a pessimistic,
impulsive girl who dates James because he seems
interesting. They run away together, kill a man
whose house they were squatting in, run from the
cops, fall in love and the rest is history. James gets
shot at the end of Season 1, and the curtains close.
When we come back in Season 2, we’re introduced
to Bonnie (Naomi Ackie, “The Corrupted”), a
tortured woman who seeks out to avenge the death
of the Professor Clive Koch (Jonathan Aris, “The
War of the Worlds”), the man Alyssa and James
killed, who, by the way, had previously tried to
rape Alyssa and several other women.
One of the main concerns with the new season
was the looming question of whether it was even
meant to exist. The entertainment industry,
particularly streaming platforms, has a nasty habit
of renewing television and movies until they’re
way past overkill, which fortunately isn’t the case
for this series. Season 2 maintains and enhances
all the elements that Season 1 had to begin with
— the drama, the suspense, the unpredictability,
the relatability and the comedic elements that
imitate the comic book from which the show was
adapted. They talk about how trauma impacts
romantic relationships in ways that are hardly
seen on television, and while James struggles to
tell Alyssa that he still loves her after all the time
apart, Alyssa says “I am not the answer,” making it
clear that she can’t fix his trauma in the way that
he expects her to.
Identical to the first season, the second comes
out with a short eight episodes, each a half-hour
long. Both seasons can be easily binged in one
full day of work or a long Friday night, but they’re
nonetheless complex and three-dimensional. No
important character is left behind — each one
has a complex story behind their actions that was
introduced in succinct ways that didn’t require
the show to waste precious screen time. With a
high production value, the show never slacks on
providing us with effortless visual artistry and
screenshot-worthy scene arrangements that add to
the plot in ways that need no explanation.
While they leave room for a season three, the
way the show’s writers weave the plot together
doesn’t call for one. They wrap up all the loose
ends in a neat little bow, and all the unanswered
questions from season one are presented smoothly
and sensibly. It is unpredictable at every turn,
but not enough for it to fly off the rails like some
crime shows think they can get away with. You’ll
find yourself empathizing with every character
(except hopefully Clive Koch) in ways you
wouldn’t expect, even characters like Bonnie who
are conventionally “the bad guy.” It goes by so
quick — there’s no reason not to watch this show
during your office job or your boring lecture. It’s
heartbreaking, hopeful, funny and all the other
positive adjectives associated with good television
and it’s definitely worth a snippet of your time.
‘End’ is f***ing sensational
SOPHIA YOON
Daily Arts Writer
NETFLIX
TV REVIEW
FILM REVIEW
At the end of Stanley Kubrick’s “The Shining,”
Jack Torrance, a struggling writer turned
psychopath, freezes to death while chasing his
wife and son. As Wendy and Danny Torrence
escape the secluded Overlook Hotel, it too is
consumed by a swirling blizzard. In Stephen
King’s novel, Jack and the Overlook explode in
a ball of fire. King frequently cites this as the
reason he hates the film: In the movie the hotel
freezes, and in the book it burns.
This works as a comparison. The film version
of “The Shining” is humanity at its coldest and
most remote, and the novel is humanity at its
most passionate and conflicted. Kubrick’s Jack
Torrance is detached from the start, and his
transformation into a violent sociopath is never
surprising, however much ghosts have to do
with it. King’s Torrance fights insanity for the
sake of his family, most of which seems to come
from The Overlook itself, not his own soul.
This mischaracterization, as King sees it, has
haunted him since “The Shining” was released.
To him, Jack Torrance is more than just a
character. The book was written while King was
suffering from alcoholism, and struggled to see
the light at the end of the tunnel. He used Jack
to explore this battle, detailing how it strained
his creative pursuits and relationships with his
wife and children.
It’s no wonder King wanted the adaption to
get it right. The problem is, “The Shining” as
a movie is too good to be written off for one
inaccuracy. The cinematography, production
design and performances are all too wonderful
to ignore. So, how does one reconcile the
personal core of the novel with the cinematic
gravitas of the film? Mike Flanagan’s “Doctor
Sleep” is how.
“Sleep” centers on Danny Torrence (Ewan
Mcgregor, “Star Wars: The Phantom Menace”),
a grown-up version of Jack’s son. Like Jack,
he suffers from alcoholism. He also has what’s
called “The Shining,” a psychic ability that
allows him to read thoughts from the living and
the dead.
He drifts from dive bar to dive bar, sleeping
under bridges and trying to forget the trauma
he endured at the hands of The Overlook and
his father. When he meets a young, powerful
girl named Abra (Kyliegh Curran) who’s being
hunted by a nefarious cult led by Rose the Hat
(Rebecca Ferguson, “The Girl on The Train”),
he has to face his demons to save her.
Danny Torrence possesses the heart that was
lacking in the original film, asking very human
questions that come from King’s novel. How
does one live on after horror? Does one try to
escape it altogether, or meet it head on? Will it
consume them regardless? Flanagan wrestles
with addiction, trauma, and family dysfunction
in a nuanced way that would make King proud.
While Flanagan’s script suffers from some
hyperbole and simplistic dialogue, the plot
moves along well enough, with some great
twists
and
horrifying
punches
sprinkled
throughout. It is his directing that really
shines, though. Flanagan’s cinematography is
endlessly inventive, making every scene, from
the mundane to the cosmic, intoxicating.
There are moments in “Doctor Sleep” that
are searingly terrifying, that will haunt one
when they lay alone in the dark, trying to sleep.
Yet I still found it to be one of the most uplifting
movies of the year, showing how people can
band together and reach for something higher.
“Doctor Sleep” has the scares of Kubrick, with
the heart of King.
“Doctor Sleep” is more than just a cash grab
or nostalgia fest. It’s an artistic reconciliation,
aesthetically blending the two respective
horror masterpieces it comes from along with
the psychological ideas that made them both
so compelling. It is simultaneously dark and
empathetic, terrifying and heartwarming. No
horror fan should miss it.
However much it throws Kubrick’s canonical
imagery at the viewer, engendering some of the
powerful, but fleeting, feelings that nostalgic
movies like “The Force Awakens” do, one
difference is key: At the end of “Doctor Sleep,”
finally, after decades, The Overlook can finally
burn. It’s a sight to see.
‘Sleep’ is a horror must-see
ANDREW WARRICK
Daily Arts Writer
COMMUNITY CULTURE NOTEBOOK
I’m thankful for home. My lack of one, precisely.
Let me clarify: I’ve never really felt at home
anywhere.
I could say that Los Angeles is my home because
that’s where the majority of my extended family is
from. We spend Christmas there. We lived in a little
blue house in Lunada Bay when I was in elementary
school. I could say I’m from Florida because I was
born there, but we left when I was only a few
months old on a plane with Linda Ronstadt sitting
next to me and my mother. The place I lived the
longest was Alabama. I lived there through middle
school and learned how to respect those older than
me, but also gained a sense of strict, unwavering
gender roles. I could say I’m from Virginia, where
I went to high school, because my parents still live
and work there now.
The places I’ve listed are the major ones. I’ve
lived in 10 different “homes” in my life.
I could say that my home originated with
my ancestors in Greece, Southern Germany or
Scotland. We still eat all the food from before my
grandparents emigrated, and the languages were
sprinkled into my life.
I’ve never had a hometown. I don’t have a place
that I’m really “from.” I’m from the United States
I suppose, but if there’s one thing I’ve learned, it is
that our country is boundlessly different depending
on where you hail from. From common vernacular
to basic morals and beliefs, the most influential
people in my life would be foreign to each other.
When I think of home, I think of a place that’s
nowhere specific, but my family is there: My
mother, father and brother are there. We are all
laughing about how hilarious it is to be all together.
Preferably, we are on a beach, but maybe it’s at a
diner.
I’m grateful for the people that fill up my life, the
ones that are far more important than the places
and material things that shape them. I will never
long for a certain lifestyle because I’ve known so
many.
Moving around has allowed me to be free from
some of the prejudices or biases that come with
being from any one place. I’ve learned how to be
compassionate. Pain is still pain and love is still love
regardless of where you are from.
When people ask me where I’m from, I still
pause. It shouldn’t be a hard question; it’s just that
whatever my response is, no matter how succinct or
clever, will never give that person an actual sense of
who I am. But now, I like to think of it as more of a
secret weapon than a downfall.
Now, I’m from Ann Arbor just as much as I’m
from anywhere else. I’m addicted to the notion
of the University being referred to as “hoMe.”
People from all over the world, not just the
country, congregate here to share ideas and tackle
the world’s wicked problems. I’m sure there are
countless students here that think home is more
about the people you love rather than a place. That’s
what’s so great about this rapidly globalizing world
in the first place, right?
On making my own hoMe
NATALIE KASTNER
Daily Arts Writer
The End of the
F***ing World
Season 2
Netflix
Streaming Now
Doctor Sleep
Warner Bros. Pictures
Ann Arbor 20+ IMAX,
Goodrich Quality 16
“Doctor Sleep” is more
than just a cash grab
or nostalgia fest. It’s an
artistic reconciliation,
aesthetically blending
the two respective
horror masterpieces it
comes from along with
the psychological ideas
that made them both
so compelling.
I’m from Ann Arbor
just as much as I’m
from anywhere
else. I’m addicted
to the notion of
the University
being referred to as
“hoMe.”