This looks like the end of my journalism career. It started in 1997, when I was a U of A student who the newspaper hired to cover high school sports. When I first started, there were still typewriters in the newsroom, the phones were dumb and there was no internet on the computers.
I was one of the youngest people at the paper, and even when I was laid off at age 35 in 2014, I was still one of the youngest people working there at the time. For my last eight years at the paper, there were no pay raises, constant layoffs and everyone was always grouchy and miserable. No one in management was interested in my input about our direction or strategy. When it came time for my head to roll, I was ready for something new.
Three weeks later, I started at KGUN, and it was a refreshing change. Suddenly, I was the old man. People cared what I had to say, and my opinions about what we should cover and how we should go about doing it mattered. I was only getting paid $13 an hour, but I was refueled. I felt just like many of my coworkers, a year or two out of college and eager to embark on a new career. Soon after I started, Scripps completed its acquisition of KGUN, and there was a philosophy of investment in place. Instead of layoffs, new positions were added.
There was something special about this place. I felt like I belonged. It didn't take long to see that being laid off by the paper and hired by KGUN was the best thing that could have happened to me.
In my nearly nine years at KGUN, I've gotten older, but most of my coworkers are just about the same age as when I started. The youthful energy and enthusiasm has always ignited me, and was shared by most of my colleagues here who were my age or older. I mentored the younger journalists all I could, but they taught me much more.
It was always sad to see coworkers leave, but it was also inspiring, because they so often fulfilled the dreams they had that drove them as they paid their dues here and found their voices as they sharpened and discovered their talents. Over the years, KGUN embraced its role as a finishing school for the stars, launching journalists to greatness.
I worked a little more than 2,000 shifts here in my 8 1/2 years. Every day was a fresh new challenge, and it fueled my competitive spirit to try to help us nail breaking news and finding stories before the competition. I thrived on being a part of the team.
I also did things I never believed would be possible. Thanks to support from managers who were willing to try wild ideas, I ended up reviewing movies on the website, and then on air, for more than six years. I even got to review some video games on TV.
I am grateful to everyone I worked with at KGUN in the past and today. I now have friends I met here who are doing amazing things all over the country, as well as this newsroom.
I have a deep respect for everyone at KGUN. You do incredibly tough jobs that take guts and commitment. You are truth-seekers and tellers, and it's been an honor to share that mission with you.
Somehow, Tarantino is every bit as incisive, edgy and heartfelt as an author as he is a filmmaker. Even though I love the film "Once Upon a Time in Hollywood" and believe it to be one of the greatest films ever made, the novel's depth and voluminous insight make it far more astounding.
The filmmaker's love letter to bygone days of Hollywood, as well as a wistful alternate historical fiction wish, the novel bursts with scandal, nuance and conspiracies that Tarantino scooped up in his decades crafting some of the greatest films ever made.
An absolute treasure, this is a brilliant book that deserves to be savored, reread and used as a rabbit hole in which to dive through the connections and insinuations it implies. It makes me see the film in new light, and hope that Tarantino continues to write literature as well as direct.
Adapted from the seminal 2004 movie, the touring production of "Mean Girls" elevates the core concept to its absurd magical realism breaking point.
A cavalcade of backstabbing, misdirection and political maneuvering in the cruel halls of North Side HS, the show bursts with personality, inspired performances and energetic choreography. Buttressed by an ever-evolving projection background of Burn Book etchings and social media flame wars, the show rocks with chuckles, swoons and show-stopping tap dance breaks.
The pride that progenitor Tina Fey takes in the production is evident from the radio spots to the pre-recorded introduction, in which she quips that there's no need to film the show, since it was already a movie.
Expertly cast with a cream-of-the-crop selection of possible Broadway superstars in waiting, the show seizes control of the audience with kinetic energy. Even though the story and lesson-driven second act loses some of the charm of the anything-goes opening act, the end result far exceeds the sum of its impressive parts.
The most dynamic force is English Bernhardt, who brings nuance and full-throttle commitment to the lead role of Cady, the outsider who penetrates the social stranglehold of the Plastics as she starts to lose her sense of self in a power-mad lunge at the teenage dream. Able to project wide-eyed wonder, conniving ruthlessness and withering insecurity -- often between dialogue lines -- English displays immense capability and captivating promise.
Nadina Hassan is impressive as Bernhardt's frenemy, Regina, swan diving into the delectable cruelty of the queen bee scrambling to avoid a tumble from grace. Jasmine Rogers delivers a spunky take on unappreciated sidekick Gretchen, and Megan Grosso is sneakily impressive as the doe-eyed Karen, bubbling with pizzazz in deadpan line delivery and flashy dance moves.
The serial scene stealers are the geek chorus of Janis (Lindsay Heather Pearce) and Damian (Eric Huffman), social outcasts who take Cady under their tattered wings, coaxing her to infiltrate the Plastics before snidely bemoaning the monster they create.
Adante Carter is solid as BMOC Aaron, and Heather Ayers channels Fey's cynicism as teacher Ms. Norbury, also ably tackling the roles of Cady and Regina's moms.
A sugary-sweet treat, "Mean Girls" falters only when it gets preachy, stumbling over its core nihilism to spread a weak message of unity and support. The show is at its best when it is cheerfully sadistic, playing to its core strengths. Like its core characters, it proves artfully hilarious at relating vindictive survival skills.
"Mean Girls" plays through April 2 at Centennial Hall. Buy tickets here.
Powered by a watershed performance by TV and film star Mimi Kennedy, "Pru Payne" is an insightful and emotionally devastating look at a great mind being rapidly washed away by dementia.
Kennedy, who was a part of the original Broadway cast of "Grease" before appearing in TV series such as "Mom" and "Dharma & Greg," as well as films including "Erin Brockovich" and "Midnight in Paris," delivers a passionate and incisively observant performance in the title role.
A globally renowned theater critic who finds herself in a rapid downward spiral as she tries to cobble together her memoir, Pru is bewildered, bubbling with anger and on the verge of depression as she loses her faculties. Kennedy's stunning command of the stage reverberates through the theater.
Gordon Clapp is nearly as impressive as Gus Cudahy, a soft-spoken, blue-collar worker Pru meets in rehab who sparks a long-dimmed light within her. Clapp's magnetism and chemistry with Kennedy helps color the romance and make it seem real.
In the periphery are Pru's son, Thomas (Tristan Turner), Gus's son, Greg (Art Cudahy) and Dr. Dolan (Veronika Duerr).
Sean Daniels' direction of the tight, intense 90-minute drama pulses with energy and creative stagecraft, with giant background slats that represent Pru's mental state lifting and lowering in time with her moments of lucidity and cloudiness.
Steven Drukman's script recalls "The Father" -- the 2020 film for which Anthony Hopkins won a best actor Oscar -- and is filled with clever references and acknowledgments, but perhaps stacked a bit too densely with showy nods for its own good.
A dynamic and riveting experience, "Pru Payne" is a stunning experience to behold, as well as a priceless specimen of a powerful actress using her vast experience to approach the peak of her massive potential.
"Pru Payne" plays through March 25 in Tucson and March 30-April 16 in Phoenix. Buy tickets here.
Boasting an impressive camera setup, robust battery life and smooth S Pen stylus integration, the Samsung Galaxy S23 Ultra flexes it’s muscles at the top of the Android high-end smartphone pyramid.
In my time with it, the device juggled apps, games and video with ease on T-Mobile’s blisteringly fast 5G network.
The dizzyingly detailed 200mp camera is the showpiece, capturing images and video with effortless ease from distance, in dark or overly bright conditions and at high speeds. It has a way of sharpening your touch and making your shooting skills look better than they actually are.
On the flip side, the 12mp selfie cam is also remarkably dynamic and efficient.
The Snapdragon 8 Gen 2 processor makes its presence known with silk-smooth multitasking and audio-visual presentation.
While the 8.2-ounce weight and overall bulk of the phone may be a slight hindrance, efficient and smooth design makes the form factor feel impressively simple to handle. As with a high-performance sports car, you can simply feel the muscle purring beneath the hood.
A quantum leap above the comparatively tiny and mighty Samsung Galaxy S23, the Ultra gave me the feeling of Arthur drawing Excalibur from the stone.
Although I was impressed with the Galaxy S23, I was blown away by the majesty and capability of the Ultra. This is a high water point for Samsung’s smartphone engineers.
Michael Lewis's book is so well-written that it can make anyone a fan of the intricacies of baseball, as well as the late 1990s/early 2000s Oakland A's.
Benefitting from incredibly intimate access and an obsessive research bent, the tale breaks down the superstitions and "magic" involved in the game into similarly incongruous beliefs bolstered by higher math and scientific applications.
What it amounts to is an analytical breakdown of how exactly David will take down Goliath.
The unfortunate postscript is that the Goliaths will eventually adapt to the same analytic methods, griding the Davids further into the dust. But Lewis's snapshot of baseball history captures the once-in-a-lifetime moment when the smartest guys in the room worked for the poorest owners, and just about anything was possible.
It was exhausting to get through this one. Finishing it is a triumph of the will over my nagging urge to cast it aside to give up.
While I enjoyed Rand's "The Fountainhead," this one is the monstrosity that resulted in the author's unchecked whims running unchecked or challenged.
Characters speak in idiotic, pages-long diatribes. There are disturbingly detailed love scenes that seem like sad expressions of the longings of the romantically challenged. The story is a nonsensical fever dream that is comical for its childish idiocy.
Do not make the mistake I made. Avoid this book, even if you liked "The Fountainhead."
With my first experience with "Dear Evan Hansen" having been the mediocre 2021 film, I went into the beloved show with tempered expectations.
From the initial curtain, marked by a blast of cell phone notifications and a background screen cluttered with frenzied projections of social media posts, the touring production defines its presence and ensures that you'll be in for 150 minutes of captivating, moving, thought-provoking and envelope-pushing entertainment.
It's immediately apparent that "Dear Evan Hansen" never should have been a movie. Such is the spell cast by the stagecraft, the orchestra perched on a high-rise in the background and the thunderous emotion related by the performers that this is a stage show at its heart, and to take the stage out of the equation is to take away its pulse.
Anthony Norman is a powerhouse in the lead role. Rather than trying to imitate the iconic mannerisms and voice fluctuations of Ben Platt, he makes Evan thoroughly his own. Norman's Evan is an endearing jumble of jitters, stutters, tics and self-loathing that captivates throughout the entirety of the show.
Evan is at the center of an adolescent hellscape, surrounded by others who only seem to have it together, barely concealing their own inner torrents of doubt and despair.
Coleen Sexton is an empathetic, frazzled battlefield of conflicted interests as Heidi, Evan's single mother who desperately tries to help his son cope with his debilitating social anxiety while scrapping together enough income to get by while working and striving for a more lucrative career while going to night school.
August Emerson delves into distressingly dark territory as Connor, the boy whose suicide serves as the focal point of Evan's descent into self-actualization via deception. After Connor's death, Evan starts masquerades as his secret best friend. Through Evan, Connor's family -- including Evan's No. 1 crush, Zoe (Alaina Anderson) -- as well as the rest of the community, grieve through the lost boy they never truly knew, using Connor as their touchstone.
Anderson, whose tender, guarded demeanor masks her growing attraction to Evan and her conflicted feelings about Connor, thrives in a tour de force performance that is nearly equal to Norman's revelation of a central role. Together, they capture the tragicomic madness of teen romance.
Other standouts include Micaela Lamas's turn as Alana, the alpha female who spearheads Evan's efforts and Lady Macbeths him into realms far over his head, and Pablo David Laucerica's comic relief turn as Jared, Evan's frenemy, co-conspirator and one-man Greek (geek?) chorus.
Bolstered with an uplifting soundtrack and buttressed with the steady background patter of the mindless, irrepressible force of social media pressures, "Dear Evan Hansen" obliterated my expectations, leaving me stunned, heartbroken and oddly hopeful that I was not alone.
"Dear Evan Hansen" plays through Feb. 26 at Centennial Hall. Buy tickets here.
Tennessee Williams' 1944 autobiographical memory play "The Glass Menagerie" is an exquisite example of how dense writing can combine with subtle performances to extract riches that far exceed the sum of their parts.
Part tone poem, part coming-of-age drama, part elegy for faded promise, the play offers a stunning insight into the origins of one of the most lauded American playwrights.
Director Chanel Bragg orchestrates a dynamite cast. Aaron Cammack owns the stage as the wise-cracking narrator, Tom, who recalls the limbo of living with his delusional, domineering mother and church mouse sister while stuck at a dead-end job.
Lillie Richardson delivers sass and punch as Amanda, the mother, and Michelle Chin provides the delicate emotional core as Tom's sister, Laura. Paul Deo Jr. provides a much-appreciated burst of scene-shifting energy in the second act as Jim, the gentleman caller Amanda badgers Tom to bring home in hopes of kindling romance with Laura.
Thems of fragility, withering hope and steaming angst fume throughout the play, which becomes a metaphor for Deep South society struggling to assume a new identity in the early 20th century.
Looming in the background is the neon sign from a dance hall, which promises escape from the daily routine while also serving as a hollow metaphor for the act of longing for adventure and romance.
I was stunned at the majesty of the production, which filled my soul, crushed my heart and teased my brain with its intricacies.
I watched the show starring Amy Adams in London's West End in August, and found that the ATC production compared favorably in almost every respect, from performances to stagecraft and actor chemistry. This is truly a special production, and its kinetic energy flows through the audience.
"The Glass Menagerie" plays in Tucson through Feb. 11, then moves to Phoenix Feb. 16-March 5. Buy tickets here.
I used to be a hardcore Samsung Galaxy smartphone user, but haven't checked out a device since the Galaxy Note 9. which was released in 2018.
When I got my hands on the Galaxy 23, I was impressed with the myriad advancements. Boasting considerable growth in processing, multitasking, battery life and camera areas, Samsung's latest entry-level smartphone manages to fight to the top of the heap in the battle for Android supremacy.
Comparable to Google's Pixel 7 Pro, the device excels in the realms of heavy gaming, video editing and high-taxing app use, such as GPS.
I was impressed with the tone and range in colors and depth that the 200-megapixel sensor -- equipped to a 50-megapixel main camera -- managed to capture.
Likewise, the 3,900-mAh battery -- an upgrade from the Galaxy S22's 3,700-mAh unit, managed to maintain a charge through hardcore days of use and abuse among T-Mobile's blistering 5G network and intermittent switchbacks to WiFi.
While I was distressed at how long it took the phone to rise to full battery life on my induction charger, it managed to hold its percentages well enough not to cause me any anxiety of needing to charge up mid-day.
The performance and efficiency is largely due to the Qualcomm Snapdragon 8 Gen 2 processor, which handles the demands of Android 13 with ease, juggling and prioritizing resource drain in your apps and connectivity needs.
The generous 128gb internal storage -- ugpradable via SD card -- also was a stress-reliever. It's pleasing to see Samsung equip the device with adequate storage, not demanding an immediate expansion.
Operating at impressive speeds and handling my abusive demands with ease, the Galaxy S23 had the muscle and heart to meet my needs as a daily driver. Galaxy smartphones have come a long way in the last half-decade.
While long-winded and overbearing in the way it shoves its social theories down your throat, I appreciated the storytelling and strength of characters.
Rand goes all-in on her dogged ideals of individualism and proud antisocialism. While the plot twists are ludicrous to the level of YA fiction, her passion and reverence for their ideals rings home.
Rand doesn't have much of an ear for the way human beings communicate with one another, her novel works as a spirited piece of evangelism for hardcore conservative beliefs and ideals.
Unlike "Atlas Shrugged," "The Fountainhead" shows that Rand has the skills and vision it takes to tell a compelling story. I enjoyed the experience.
The restaurant, located at 7262 N. Oracle Road, is aiming for what restaurateur Tyler Fenton calls "A New York, red sauce joint, Italian-American vibe."
The original Reilly Craft Pizza, at 101 E. Pennington, will remain unchanged.
Here are some dishes the restaurant offers:
Crispy brussels sprouts, hot sauce, pecan brittle
Marinara braised beef meatballs, garlic bread
Gelato swirl
Classic Moscow Mule
Iron Horse old fashioned
Pepperoni Pizza with tomato sauce, mozarella and fontina
Bolstered with impressive puppetry and generous interactivity, "Bluey's Big Play" manages to connect with its preschool audience while helping parents see through the eyes of their youngsters.
A thoroughly entertaining, 45-minute, one-act experience, the show draws chuckles and cheers.
Adapted from the Aussie show, available on Disney+, about a mischievous Blue Heeler dog and her family, the series delivers gentle lessons on manners and morals while providing colorful, relatable entertainment.
The play understands its audience and caters to the needs of parents with short-attention span youngsters. Far different from a typical stuffy night at the theater, the actors and their characters encourage the audience to express themselves as the show unfolds.
The plotline, in which Bluey and her sister swipe their dad's phone in order to convince him to spend more time playing with them, also has pointed parenting advice. Surely, twinges of sympathetic guilt went down the spines of moms and dads who recall moments spent glued to their devices rather than taking part in the fleeting moments of childhood.
"Bluey's Big Play" helps remedy such guilt. The thrill and sheer joy of watching your little one get one of their first glimpses at theater is priceless.
"Bluey's Big Play" plays through Jan. 25 at Centennial Hall. For tickets, click here.
As a stirring rumination on childhood memories and moral foundations, as well as the kernel of the push for introspection that would shove the Deep South from Antebellum oblivion to the skirts of the Civil Rights movement, "To Kill a Mockingbird" is a substantial and powerful story renewed as a passionate play.
Aaron Sorkin's adaptation of Harper Lee's source material is powerful and vibrant, if a little long-winded for its own good. The flourishes he adds and moments he subtracts tend to revitalize the novel, adapting it to the 21st century.
Wielding a convincing cocktail of accent and mannerisms Melanie Moore thrives as Scout, the show's heart and soul as well as the projection of innocence that the surrounding characters strive to protect.
Most of the grandiose moments, of course, go to Richard Thomas as Atticus Finch. Channeling the delivery of Jeff Daniels in Sorkin's "The Newsroom," he stands in for the auteur's take on the conflicted moral crusader, who struggles with his tendency to favor passivity, weighed against his demands to topple injustice with all his might.
Steven Lee Johnson is a meek, aloof presence as a note-perfect Dill, and Justin Mark conjures a boastful Jem, making up for his insecurities with a feigned imitation of what he perceives to be manhood.
Also standing out is a stately performance by an autoritative David Manis as Judge Taylor, as well as the scene-stealing bubbling angst of Yaegel T. Welch as falsely accused rapist Tom Robinson and Jacqueline Williams as suppressed-rage simmering servant Calpurnia.
Several of the monologues boom with such power and precision that the audience reacted with spontaneous applause. At times, the court drama lifts to the raucous vibrance of a basketball game. When the judge bellows "All rise," it's not necessary. The spiritual effects of the play, accented by the music, lift spirits so high that the legs can't help but follow.
"To Kill a Mockingbird" plays at Centennial Hall through Jan. 22. Buy tickets here.
Bursting with smiles, good cheer and relentless optimism in the face of dire circumstances, "Annie" is the spoon full of sugar needed for those who fear we are teetering on the brink of a recession.
Joyous and energetic, the Depression-era musical is powered by cast chemistry and energetic showmanship. More than in most musicals, the pounding orchestrations from the pit flow into the audience, setting up the succession of show-stopping numbers for enrapturing triumph.
Ellie Rose Pulsifier powers the show with a rambunctious, effervescent title role performance, and she's complemented aptly by a crankily crusty turn by Stefanie Londino as corrupt orphanage manager Miss Hannigan.
Christopher Swan brings the necessary hard edge as Oliver Warbucks, the millionaire benefactor who takes Annie in as a publicity ploy. Julia Nicole Hunter, as Warbucks' assistant, Grace, provides a buffer as Warbucks power through his character arc, which is central to Annie's story and reflects the impact of her audacious good cheer.
Also making an impact is Nick Bernardi as conman Rooster Hannigan and Mark Woodard as President Franklin Roosevelt, who gets the idea for the New Deal in a meeting with the sprightly orphan.
Even though many of the plot points in "Annie" don't age well -- there are unwelcome hints of grooming and questionable relationship dynamics -- the spirit of the show manages to shine through the decades.
"Annie" radiates innocence and joy, and its charm makes it easy to take down your walls and let the good feelings flow. The show is every bit as ineffable as its fire-headed lead character.
Annie plays through Jan. 8 at Centennial Hall. Buy tickets here.
Shifting through perspectives, narrative styles and timelines through a lively, innovative narrative, William Faulkner paints an intriguing, mystery-laden portrait of a Southern artistocratic family imploding from within.
While the disjointed nature of the material makes it tough to keep pace with the narrative, the story unfolds in the manner of a puzzle, with often satisfying conclusions set up by a steady trickle of hints.
Faulkner's immense talents are on display throughout, but his storytelling methods are jarring and often exhausting. The novel is worthy of study and analysis, but it's so brutal that I left feeling punished and exhausted.
A classic that is worth the effort while not wholly satisfying, I recommend the book for someone looking for a readerly challenge to kick off the new year.
In the ever-evolving arms race to produce the best smartphone camera, Google isn't backing down. With the Google Pixel 7 Pro, it continues its efforts to keep pace with the likes of iPhone and Galaxy in the sharpshooter sweepstakes.
Blessed with a telephoto lens that acts as icing on a cake layered with a 48MP telephoto camera juiced by a Tensor G2 chip.
Even from a distance, you can nail images at 12.5MP -- a minor sacrifice from the 48MP non-zoom revolution -- that lets you snag images from afar that make it seem as though you were up close.
Combined with the presence of the background-cleansing Magic Eraser seen in the Google Pixel 6 Pro and Google Pixel 6A, the shooting suite excels in distance, up-close, portrait and selfies.
The processor fuels much of what makes the Pixel 7 Pro stand out from the crowd. Juggling heavy data use from the likes of apps, games and video with nimble grace, the device is a beast that can take on the demands of your workday, offtime and communications needs. It hummed with effortless flow on T-Mobile's razor-sharp 5G network..
It all shines bright on a radiant 6.8-inch OLED display that stuns with a 120Hz refresh rate at a top peak brightness of 1,750 nits. At max brightness, you won't even have much of a need of a flashlight.
The one sacrifice is the battery life, which at times pays the price for the demands you find yourself putting the phone through. The presence of induction charging makes it easy to plop on a desk charger for a juice-up amidst your whirlwind of multitasking.
Robust and brawny without being imposing, the phone's light form factor makes it less taxing than you'd think on your hand. But that won't stop you from cradling it in your arms like the prized possession it proves to be.
"Cats" is musical comfort food. What it lacks in coherence and structure it makes up for in energy and a "wow" factor.
Andrew Lloyd Weber's madcap exploration into the plight of mankind through the lens of anthropomorphic felines is a Rorschach test. You can peer into its glittery soul and extract different impressions no matter how many times you see it.
Acrobatic choreography, remarkable synchronicity with a playful orchestra and solos given to improvisational flourishes punctuate the show.
The touring cast -- laden with dancers clawing at the door of the Broadway big time -- pulses with standouts. Most impressive were the boisterous John Anker Bow as Bostopher Jones, Gus and Peter, silk-smooth Allyson Duarte as Jellylorum and bellowing Hank Santos as Rum Tum Tugger.
Ibn Snell cuts a wily figure as Mistoffelees, Taryn Smithson crafts a playful Rumpleteazer and John Zamborsky is a scene-stealer as Skimbleshanks.
Peppered with moments of absurd comedy, lingering insight and you'll-never-see-that-again spectacles, "Cats" is a mesmerizing experience that pounces on your senses with effortless grace. Even as it manages to furrow your brow in constant confusion, it plasters a smile on your face and sends tingles down your spine.
"Cats" plays through Sunday at Centennial Hall. Buy tickets here.
In my 10 days with the iPhone Pro Max, I've put the device through the paces for personal and business use. As expected, the device continues the steady path of upgrades that Apple has been known for.
-Wideband 5G access. I didn't even know this existed, but it's a game-changer from my previous 5G experience. Downloads are faster, videos almost never buffer and apps stall less. You'll need to make sure your carrier provides the service, or else you won't benefit. Xfinity Mobile didn't even tack on an extra monthly fee for the upgrade.
-The move to eSIM. The hassle of having to swap out SIM cards for new devices is gone. It's just a matter of verifying your identity and service, and then you're good to go. Hopefully other manufacturers follow the trend.
-The 48MP camera. Always a leader in the camera department, Apple once again leads the way with its new camera system. Taking gorgeous, crisp shots -- even in adverse conditions -- the camera system can make selfies and snapshots look as though they were taken by a pro. There are all sorts of presets available to help you optimize your shooting based on the conditions in which you find yourself.
-The battery life. Through a combination of a more robust battery and a slew of clever hacks that reduce battery usage throughout the day -- such as strategic screen-dimming and background app usage prioritization -- it's remarkable how long the device can go in between recharges. Whether the battery manages to maintain this sort of stamina over the long haul remains to be seen, but it's off to a remarkable start.
-The "Dynamic Island" interface. The new UI breaks down the barriers between the software and the internal functionality, giving you adaptive responses that emphasize important alerts and downplay those you tend to dismiss. This sort of thing is a long time coming, and it's impressive how much time and effort it manages to save you.
-The display. Working in concert with the advancements of iOS 16, the always-on display helps you keep an eye on things passively while getting things done. I tend to plop my phone on an induction charger as I work -- the need to do that is decidedly small with a device that packs battery life on this level -- and maintain it in my peripheral vision as I focus on my task at hand. Without the cumbersome need to unlock it, I can keep track of crucial notifications without averting my eyes.
-The gaming and streaming ability. I tended in the past to shy away from mobile gaming because of the way it torches my battery life. Likewise, I winced at the thought of watching an entire NFL game on my phone while out and about. Thanks to a combination of technology, interface maneuvering and execution of synergy among all working parts, the 14 Pro Max is something I can game on and watch video nearly ad infinitum.
Those are my first impressions, and I look forward to providing more of my experiences going forward. Will check back in periodically as my iPhone 14 journey continues.
There would be a heck of a lot more history majors if "Six" replaced textbooks and documentaries in class.
A wild, joyous and bouncy exploration of the lives and fates of King Henry VIII's six wives, the production blends the brainy lyrics of "Hamilton" with the crowd interaction and musicality of "Jersey Boys."
Since bursting on the theater scene in the West End in 2017, making its way to Broadway and a national tour, "Six" has dazzled audiences with an energetic concert experience.
A show like this lives and dies by its performers' charisma and their chemistry. Saucy, tightly interlocking choreography and personalized improvisation coalesce into inspired numbers that get the audience tapping their feet and clapping their hands.
If one cog is weak, the whole thing would stop ticking. But that wasn't a problem with this production.
Gerianne Perez belts out feminist ballads as Gerianne Perez. Zan Berube brings a table-dancing groupie flair as Anne Boleyn. Amina Faye brings her booming voice to Jane Seymour. And Aline Mayagoitia elevates the oft-dismissed Katherine Howard as a tragicomic diva with Ariana Grande-style panache.
A nonstop succession of brilliant numbers -- bolstered by an enthusiasm backup band -- culminates in a boisterous finale and roof-raising encore.
"Six" is a fascinating dive into what otherwise might be a dry history lesson. It's nothing short of a ten.
"Six" plays at Centennial Hall through Sunday. To buy tickets, click here.
The OnePlus smartphone line has long proven that you don't need the iPhone or Galaxy brand names to toe around a top-tier device. The 10T 5G is more than an incremental improvement on past offerings, smoothing over past shortcomings to come together in a spirited, sleek product that looks as good as it runs.
Geared for those who long for upper-crust performance at middle-of-the-road pricing, the $650 device juggles the most taxing games, videos and apps with ease, functioning with suaveness for both the business-minded and entertainment-focused user.
The performance has greatly improved over the last OnePlus device I looked at, the 8T. Designed to be a lower-cost, streamlined version of its predecessor, the OnePlus 10 Pro, it packs a whopping Snapdragon 8 Gen 1 processor and boasts a shimmering 6.7-inch display witha 1080x2412 resolution humming at up to 120 frames pe second.
Its cameras may lack the bells and whistles of the Google Pixel line, but manages to work impressively in both fast-moving and dim conditions to capture rockstar-level stills and videos. The lack of zoom quality does rear its head if you try to tinker as you shoot. Functionality-wise, the camera system fits the bill of a mid-to-low-high end spot in the smartphone camera pantheon.
In an era in which most phones come with only a cord, the device comes with a bulky, admirably powerful 150-watt charger that is among the fastest I have seen on the market.
On the downside, the rapid charging is a must because the device's brilliant display and loaded processor tends to burn through battery life, particularly when you are multitasking or mowing down videos and games without WiFi.
Its OxygenOS OIS minimizes the shovelware and gear-grinding slowdown that some other setups dictate, offering a manageable and customizable interface that lets you embrace the features you like and disregard the unnecessary.
With positives far outweighing minuses, the OnePlus 10T is more of a destination smartphone than a stepping stone. A capable and fluid effort, the device puts just about all the capabilities of a higher-end phone in your pocket, while failing to burn through as much cash that you've got in there.
Bursting at the seams with more than 200 illustrations in 192 pages of concept art, posters and relics from Disney history, "Beyond the Tiara" delves into the cash cow that is the Disney Princess phenomenon.
Delving into the DNA of what brought each animated character into existence, the work of author Emily Zemler pulls back the curtain on the insight, character development, voice performances and historical influence that went into each character.
Included on the roster are Moana, Merida, Rapunzel, Tiana, Mulan, Pocahontas, Jasmine, Belle, Ariel, Aurora, Cinderella and Snow White.
The foreword is by Jodi Benson, the voice actor behind Ariel. There are also interviews with composer Alan Menken and Lea Salonga, who voiced princess songs in "Mulan" and "Aladdin."
The book seems geared to younger fans, with nods to historians who can take the rose-colored view with a grain of salt. It would have been interesting to have included some feminist voices on the evolution of the Disney Princess concept throughout the eras, as well as some comparisons with non-Disney female animated figures throughout correlating times.
Still, the book stands as a gorgeous and informative coffee table tome that pays heartfelt tribute to the aspirational figures in the Disney realm.
Roaring with a majesty worthy of a jungle cat's roar, "The Lion King" is a dazzling experience that touches hearts and ignites imaginations.
Bursting at the scenes with remarkable stagecraft, puppetry and costumes, the show is a mesmerizing display.
To watch "The Lion King" is to be whisked away into the timeless Tanzanian junglescape, with antelopes prancing, giraffes and elephants looming large, birds soaring above and hyenas scurrying about. The stage production ignites the mind's eye in a way the animated and live-action movies can't come close to approaching.
Massive stage set pieces, such as Pride Rock and the Elephant graveyard are used with aplomb, and rhythmic, functional choreography captures the ebb and flow of nature. The classic tunes by Elton John and Tim Rice serves as the unceasing soundtrack, paced with bongo drums and lush orchestrations.
No matter how stunning the visuals may be, the show would falter if it weren't bolstered by astoundingly energetic and empathetic performances. The immensely talented touring production cast breathes vivid life into the impressive shell.
Spencer Plachy and Jordan Pendleton turn in remarkable star-making turns as Young Simba and Young Nala, with Aaron Nelson and Kayla Cyphers ably taking the batons in act two as their grown counterparts.
Standouts include Spencer Plachy chews up scenery as the conniving Scar, Gugwana Diamini cast a spell as the majestic Rafiki and Gerlad Ramsey looms large as Mufasa.
Whisking by at a breakneck pace, "The Lion King" weaves its timeless tale to behold. It's an honor to kneel at its throne.
"The Lion King" plays at Centennial Hall through Sept. 25. Buy tickets here.
The storytelling and writing style carry this book.
William Faulkner details the steadily crushed hopes of Thomas Sutpen as he attempts to make his claim on wealth and prosperity in the Antebellum South.
Ahead of its time socially, the book uses coarse language to describe harrowing subject manner. This is often a tough read.
The experience is well worth it to capture the particular setting and frame of mind of the period, but could be a struggle for those who aren't ready for the subject matter.
Those who are looking for the power and performance of the Google Pixel 6 Pro but can do without the 6.7-inch screen, the slimmer, sleeker 6.1-inch Google Pixel 6a.
Svelte and slick, the device slides in and out of your pocket or bag with much more ease than the bulkier, braunier 6 Pro. The light weight makes it less taxing on your hands and wrists when held aloft for long sessions.
The amount of power the little device packs is impressive, truly managing to make its bones as a pint-sized edition of Google's top-tier device. And that's at a $450 price point.
Most impressive is the camera system, which shoots video and snaps Magic Erasers-boosted shots with ease and grace.
A visual dynamo just like its big brother, the camera system shows a remarkable affinity for capturing images, even when movement and dim light attempt to wreak havoc on your artistic vision.
The stereo speakers also punt out some remarkable depth and boom. While listening to music, podcasts or audio books, you won't even need to hook it up to Bluetooth or an auxiliary cable in order to hear some full-throated sound.
Much like the T-Mobile REVVL Pro 5G, the 6A takes full advantage of T-Mobile's blisteringly fast 5G network.
On the downside, the battery life suffers, possibly because of the OS's insistence on multitasking as gamely as the 6 Pro. A dimmer display does what it can to keep your juice level high, but the downside is that some videos are tough to see when you're outdoors in full sunlight.
The lack of wireless charging is also a drawback for some. But taken as a whole, the advantages far outweigh the minor drawbacks, making the Pixel 6a a steal, especially for those who see its tiny yet mighty size as an advantage.
