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