6A — Monday, November 11, 2019
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The Michigan
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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.”

