puzzle by sudokusnydictation.com
By Chandi Deitmer
©2022 Tribune Content Agency, LLC
11/16/22
Los Angeles Times Daily Crossword Puzzle
Edited by Patti Varol and Joyce Nichols Lewis
11/16/22
ANSWER TO PREVIOUS PUZZLE:
Release Date: Wednesday, November 16, 2022
ACROSS
1 Like uncombed
hair
5 Muslim leader
9 Structure made
of snow or
blankets
13 “Gotcha”
14 Walking stick
15 Zones
17 *Netflix
documentary
series about a
controversial
zookeeper
19 Krispy __
20 Carton sealer
21 Tenant’s contract
23 Abolish
24 Home of the
NHL’s Blues
25 Floe makeup
27 Period
28 Surgery ctrs.
29 Langley org.
30 *Showtime
medical drama
starring Edie
Falco
33 Surrounded by
35 Razz
36 George Eliot’s
“Adam __”
37 Sinuous fish
38 Sitar music
42 “Not Gon’ Cry”
singer Mary J. __
45 Tolkien creature
corrupted by the
One Ring
47 *USA series
about corporate
crime
51 Caustic solution
52 Lady bird
53 Obtained
54 Iris locale
55 Duty
56 Husky hello
57 Vidalia __
59 SportsCenter
anchor Linda
61 Thunders
63 Annual Discovery
Channel
programming
event that could
feature the shows
in the answers to
the starred clues?
66 Fight with foils
67 Terrain map,
briefly
68 Ish
69 “On the double!”
70 Short itinerary?
71 Let the tears flow
DOWN
1 Quick thinking
2 “Starting now?”
3 Public
defender’s
offering
4 Like a basso
profundo voice
5 Sound of disgust
6 Large envelope
7 “Coming of Age
in Mississippi”
writer Moody
8 Many a contract
for a superstar
player, e.g.
9 Orange skin that
doesn’t peel?
10 Hockey legend
Bobby
11 Boston-based
sportswear giant
12 Salty Japanese
condiment
16 Word with
common or good
18 Rider’s controls
22 Korean rice liquor
24 Reminder of a
scrape
26 __ and paste
31 Girder material
32 Corner PC key
34 Amount owed
37 Big-headed sorts
39 Complete
40 Some northern
South Americans
41 Visa/MC
alternative
43 Key part of a
block party?
44 Tappable image
45 “Bad Feminist”
writer Roxane
46 Big name in
vacuums
47 Mooring spot
48 Medal
recipients
49 Swaddled one
50 Algonquian
language
58 “Now I get it”
60 “Stop! That
hurts!”
62 TV pioneer
64 Fishing pole
65 Keystone __
SUDOKU
WHISPER
“Almost
thanksgiving!”
“SI 110 is a lot
of work.”
WHISPER
By Will Eisenberg & Shannon Rapp
©2022 Tribune Content Agency, LLC
11/09/22
Los Angeles Times Daily Crossword Puzzle
Edited by Patti Varol and Joyce Nichols Lewis
11/09/22
ANSWER TO PREVIOUS PUZZLE:
Release Date: Wednesday, November 9, 2022
ACROSS
1 “You crack me
up”
5 Print sources?
9 Cookie quantity
14 Bake-off
appliance
15 Unseen Beckett
character
16 Bugler’s blast
17 Actor who plays
Cho Sang-woo
on “Squid Game”
19 Ingredient in
piccata dishes
20 “Exile in Guyville”
singer Phair
21 Clamor
23 Way to go
24 Travel that largely
avoids rush-hour
traffic
28 Alcorn __: HBCU
in Mississippi
30 Personal
31 Court clown
32 Arcade giant
33 Culture essayist
Tolentino
34 Letters of
urgency
35 Cult-favorite indie
band formed by
Jeff Mangum
42 Window boxes?
43 __ kwon do
44 Sad Keanu or
Grumpy Cat
45 Toiling away
49 Thanksgiving mo.
in Canada
50 Needle
51 Infuriate
54 Copenhagen
resident
55 Kung __ chicken
56 Orange or peach
57 Antique mall?
59 “Plug me in
soon!” warning
65 Countryman and
Clubman
66 “Silas Marner”
novelist
67 Loyal
68 Does some
onstage improv
69 Reject
70 38-Down
ingredients
DOWN
1 Bounce
2 “When They
See Us” creator
DuVernay
3 Feminine
pronoun
4 Art that may be
covered by a
boot
5 “The Purloined
Letter” writer
Edgar Allan __
6 Promos
7 Like heavy clogs
8 Showing little
emotion
9 “EastEnders”
network
10 Startles
11 Submit, in an
MMA match
12 Generate
13 Sheepdog, e.g.
15 Steady look
18 Bee complex
22 “Seriously!”
24 Barilla rival
25 Churns
26 Paddled, say
27 Get along well
28 W-2 fig.
29 Merch table buy
33 Raise
dramatically, as
prices
34 Bluish gray
36 Steak order
37 Nagging desire
38 Brunch choice
39 Aqua kin
40 Two-fifths of
Miami?
41 Gymnast Suni
45 “Altogether ooky”
family
46 Woeful
47 Actress Ryder
48 Ready to move on
49 Annette of
“Virgin River”
50 Pulled tight
52 Lost color
53 “Come again?”
58 Burro
60 Come in first
61 Lad
62 Rowing
machine,
familiarly
63 Hallway runner
64 “You got it”
4 — Wednesday, November 16, 2022
Arts
The Michigan Daily — michigandaily.com
I love Star Wars because it’s
visually fun. The brilliant planets
and flashy space battles are
eternally stunning, but my favorite
aspect of Star Wars iconography
is
the
costuming.
The
best
characters are memorable because
of their unforgettable clothing and
accessories. From opulent gowns
to cyborg appendages, Star Wars
is stuffed to the brim with iconic
fashion moments.
The following are three Star
Wars “looks” that have seared
themselves most indelibly into
our collective cultural conscience
— outfits so awesome, our own
galaxy couldn’t help but take
notice.
Original
Trilogy:
Luke
Skywalker’s Chanel Boots
Luke Skywalker (Mark Hamill,
“Star Wars: A New Hope”) has a
lot of fantastic looks, but there’s a
special place in my heart for the
sinister all-black robes he debuts
in “Episode VI: Return of the
Jedi.” At this point, Luke has lost
a lot: his hand, his lightsaber, his
mentors, his friends. On top of
that, any delusions he had about
a heroic family lineage have been
destroyed.
He’s
beginning
to
question his abilities and shed
his innocent farm boy ideals. His
clothes reflect this growing moral
complexity.
Symbolic costuming is a big
part of Star Wars, especially for
its central heroes. As characters
change, so do their clothes, and
audiences
take
note.
Luke’s
gloomy “Return of the Jedi” outfit
sticks with us because it actually
enriches his story. His solemn
clothes represent his newfound
maturity and remind us of how far
he has come. When Luke comes to
blows with Darth Vader (James
Earl Jones, “The Lion King”) at the
end of the film, he looks as stern
and commanding as his towering
opponent. It’s clear that Luke has
grown into a Jedi worthy of this
climactic battle.
Luke’s “Return of the Jedi” look
also just stylistically rocks. Outfits
only add to the story if they’re
visually memorable, so it’s lucky
Luke delivers. Beyond the long,
black cloak, he wears a sharp tunic
and (most importantly) fabulous
knee-high boots. The internet has
spun these boots into their own
culturally important character,
joking that Luke is a budding
fashionista who makes sure to
wear nothing but the best to defeat
evil. His boots have been identified
as Chanel, based off of an iconic
“Devil Wears Prada” meme. The
Queer community celebrates them
as proof of Luke’s own Queerness.
The boots are widely recognized
by fans, to the point that they’re
often cited in fan merchandise and
have even caught Mark Hamill’s
attention. This is fun, but it’s also
important. Luke’s celebration as a
fashion-forward, effeminate hero
is undeniably different from the
way most leading male characters
are regarded. He is allowed to be
soft. Luke and his Chanel boots
serve as a reminder to many
generations of boys that heroism
does not require hypermasculinity.
Luke’s dramatic outfits solidify
him as a role model, a hero and
most importantly, an undeniable
fashion icon. Truly, only Luke
Skywalker could simultaneously
restore peace to the galaxy, play
with gender norms and pioneer
’70s-inspired space fashion.
Prequel
Trilogy:
Padmè
Amidala
I admit it’s a cheat to list an entire
character as a fashion moment.
But if there’s one character worthy
of this generalization, it is Padmè
Amidala (Natalie Portman, “Black
Swan”). To reduce her iconicism
to one or two outfits would be to
ignore the fact that every time
Padmè is on screen, her clothes
are stunning. From her first
appearance in “Episode I: The
Phantom
Menace”
in
ornate,
red, ceremonial robes, Padmè’s
impact on pop culture was all but
guaranteed.
The prequels featuring Padmè
take place before the rise of Darth
Vader and the Empire, when
freedom,
peace
and
cultural
exchange
were
widespread
throughout
the
galaxy.
Yet
Padmè’s
character
ultimately
exists to motivate the destruction
of that society: She is the love of
Anakin Skywalker’s life (Hayden
Christensen, “Star Wars Episode
III: Revenge of the Sith”), and it is
her love that eventually triggers his
transformation into the villainous
Darth Vader. When Padmè dies at
the end of the prequel series, so
does the refinement and balance of
galactic society.
It is her wardrobe that drives
this point home — a wardrobe
that
represents
the
best
of
galactic art and life. She has
ornate headdresses for public
appearances, whimsical gowns for
romantic getaways, no-nonsense
suits for senate hearings and
unassuming
civilian
clothes
that help her avoid assassination
attempts. Her outfits reflect her
own complexity — a complexity
that turns her from merely a
female character to an actively
feminist one.
Padmè is the only woman
featured in all three of the prequel
films. It’s unfortunate that she
stands alone in this regard, but it’s
exciting that she’s not trivialized
and is instead allowed to be
outstanding. Padmè is one of the
most
distinguished
characters
to ever grace a Star Wars story,
outshining even the Jedi whose
paths she crosses. She is by turn a
politician, spy, mother, diplomat,
adventurer and lover. She fights
for justice, falls in love, takes
matters into her own hands and
delegates easily. Padmè’s clothes
are memorable not just because
they look cool, but because she is
cool. Her outfits are celebrated as
Halloween costumes and at fan
conventions and through social
media because she’s worthy of
admiration. We want to be her, we
want to love her and we want to
emulate her.
‘Star Wars’ fashion
moments with
intergalactic influence
LOLA D’ONOFRIO
Daily Arts Writer
Design by Reid Graham
Read more at MichiganDaily.com
You will never be Ryan
Gosling from ‘Drive’
Eleven years ago, film bro
culture was forever changed
with the release of Nicolas
Winding
Refn’s
(“The
Neon
Demon”) “Drive,” starring Ryan
Gosling (“La La Land”) and Carey
Mulligan (“The Great Gatsby”).
Gosling’s character, known as
“Driver” — he’s simply too cool
to have a name — is a Hollywood
stuntman who moonlights as
a getaway driver. His quiet
disposition and proclivity for
long,
brooding
stares
prove
his ineffable coolness, and he
says just 116 lines in the film’s
100-minute runtime.
But the coolest thing about
Driver isn’t his tranquility in the
face of violent crime, nor is it his
brooding tendencies — it’s his
jacket.
Words cannot describe the
grip Driver’s white satin bomber
jacket with a flippable collar and
golden
embroidered
scorpion
on the back had on film bros
everywhere
after
the
film’s
release. GQ recognizes it as a
career-defining look for Gosling.
Vogue recently published a deep
dive investigating the jacket’s
inspiration and creation. Know
Your Meme records a whole slew
of memes that resulted from the
look, many of which continue to
flourish today. The memes do not
refer to the jacket itself but rather
how it was co-opted by the online
“Sigma Male” community, who
saw the jacket as a reflection of
themselves as “equal to Alpha
(men) on the hierarchy but living
outside the hierarchy by choice.
My
predominant
fashion
philosophy is simple: Wear what
you want. But who am I kidding,
the jacket from “Drive” is not
suited for someone whose life
includes no risks greater than
taking an unprotected left on
the way to the grocery store.
This might sound harsh, but by
recognizing these men’s flawed
identification with the jacket,
I speak to an issue larger than
fashion.
In our clothes and the way we
present ourselves, we imbue our
identities: who we believe we are
and how we hope others perceive
us. When Sigma Males and film
bros alike ooh and ahh at this
jacket, even buying replicas for
themselves at times, the jacket’s
draw is more than the stitching;
they idolize what this jacket —
worn by a Hollywood heartthrob
playing
a
character
with
a
gangster’s swagger — represents.
The
jacket
is
a
touchpoint
for their idealized version of
masculinity. What they fail to
realize is that, just like Driver
himself, the jacket is not as cool
off the screen.
SARAH RAHMAN
Senior Arts Editor
Read more at MichiganDaily.com
Design by Evelyne Lee
Reforming the uniform
Content Warning: Mentions of
body dysmorphia.
For 13 years, I wore a school
uniform. From kindergarten to
fifth-grade things were pretty
lax — jeans and a school T-shirt
sufficed. In sixth grade, the
uniform tightened up. Every
day was a variation of polo
shirts, button-downs, skorts or
pleated skirts in yellow, gray,
blue or plaid. My outerwear
had to be a school color, and
any logos could be no bigger
than an index card. No boots,
no sandals, no flashy socks.
The shortest permissible skirt
was the width of a dollar bill
— 2.61 inches — above the bend
of the knee — and trust me,
teachers checked. At the time,
the uniform wasn’t fun. For a
kid desperately trying to figure
out how to express myself, the
school uniform seemed like the
most restrictive thing I could
have endured.
My
13-year-old
need
for
artistic expression, however,
was no match for the opinions
that adult faculty rolled out
every time students complained:
School
uniforms
prevent
bullying,
they
said.
They
enforce discipline; they create a
safer school environment; they
“make everyone equal.”
Despite
research
that
disproves these arguments, we
didn’t have a say as students, so
we put up with uniforms. Year
after year we bought overpriced
skirts and jackets, cut shirts
to
wear
as
dickies
under
sweatshirts and hand-hemmed
skorts to fit better. Year after
year, we all looked the same.
From sixth grade to senior year,
I never had to wonder what I
was going to wear and, looking
back, I do see the benefits of
that.
My
mornings
weren’t
spent wasting time over what
colors went together or which
jacket to wear that day. I didn’t
have a choice. But this certainty
is a double-edged sword. I
never had to worry about what
to wear, but I also never got to
worry about what to wear.
MADDIE AGNE
Daily Arts Writer
Read more at MichiganDaily.com
Design by Arunika Shee