6A — Monday, November 11, 2019 The Michigan Daily — michigandaily.com Arts Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com 7 Person House for fall 2 bath, 7 parking spaces, nice house, 1 block from CCRB, $5,895 plus util. (734) 646-5548 FOR RENT The Michigan Daily loves its readers a LATTE 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.”