Tobin Heath Breaks Down The World Sevens Football Experience
Tobin Heath Breaks Down The World Sevens Football Experience | Full Time Podcast
It has been billed as women's football 'reimagined,' but with the inaugural edition behind us, what really is World Sevens Football (W7F) offering to the sport's global ecosystem? This week on Full Time, hosts Tamerra Griffin and Meg Linehan are joined by USWNT legend Tobin Heath to discuss her role in developing the innovative seven-a-side tournament as chair of the player advisory council. Why was W7F such a breath of fresh air for players, and how can it disrupt the status quo? Then The Athletic's Charlotte Harpur, joins the podcast to give her perspective from covering the W7F on the media side and the concerns regarding its hand-picked competing teams. Plus, Charlotte gives her inside view on Tuesday's sudden news that Mary Earps has retired from international soccer.
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Washington Post
19 minutes ago
- Washington Post
An astonishing new approach to ‘Frankenstein'
The 'Frankenstein' that roared to life in D.C. this past weekend marks a triumphant U.S. directorial debut for London-based theater savant Emily Burns, who'd already earned a measure of local attention for adapting the script for the 'Macbeth' that brought Ralph Fiennes to Shakespeare Theatre Company last spring. As in that intriguing but uneven exercise, Burns has chucked a night-dark classic and a brisk contemporary vibe into her authorial Cuisinart. But this time, with the writer-director not just remixing the story but shepherding the whole shebang, the resulting world premiere is a blistering success — unabashedly intelligent, sumptuously visualized, taut as an assassin's garrote. It's jump-scary psychodrama with a literary pedigree, served up in sleek prestige-TV style. If there's any theatrical justice it'll end up making piles of money on Broadway and the West End. We're still in Geneva circa 1790, still in Mary Shelley's shadow-shrouded tale of an Enlightenment-inspired wannabe scientist. The moral and ethical probings still circle around what exactly Victor Frankenstein (Nick Westrate) has been up to of late. But there's also the intimately personal question, more urgent now than ever, of what the fallout will be for Elizabeth (Rebecca S'manga Frank), Victor's adopted sister and eventual wife. You might reasonably guess that in a rewrite grounded in what the script says is 'psychologically now,' she'll end up being far more than a tragic second-banana figure. What you might not expect is how far and how firmly Burns will manage to shift focus to Elizabeth without entirely dismissing Victor as 'the real monster,' that tired old oversimplification. Or how much genuinely suffocating suspense she'll wring from the hows and the whys and the what-could-you-possibly-be-thinkings. We'll have none of the novel's epistolary, travelogue-y throat-clearings to kick off this brutally efficient retelling; no Arctic vistas, no random ice floe encounters. Burns launches things in smothering gloom instead, with moody surtitles and a moodier voice-over. (Tired devices, you might sneer, right up until they pay off in a hair-raising collision of remembered horror, real-time revelation and rapacious need.) Those opening atmospherics give way, suddenly and startlingly, to a titanic thunderclap and a strobed glimpse of what looks for an instant like your standard mad-scientist lab setup. (The design elements, courtesy of scenarist Andrew Boyce, costumer Kaye Voyce, lighting guru Neil Austin, sound artist André Pluess and projectionist Elizabeth Barrett, prove uniformly superb and enviably unified.) A quick tonal shift, more light, and we're in the soaring moonlit kitchen of the Frankenstein family's stately home, well past midnight on the stormy eve of the young couple's long-planned wedding. Then Burns's lean story edit derails not just the planned nuptials but everyone's entire lives: Victor's 10-year-old brother, William, reported missing in the opening exchanges, is confirmed dead. Which is when things get all 21st-century head-shrinky: Justine (Anna Takayo), the devoted family retainer framed for the murder in Shelley's version, implicates her own self in this telling, confessing to the crime out of a morbid conviction that her impatience with William's preadolescent rowdiness had driven him out of the house and into the real killer's path. And Justine's piercing need to atone for what she sees as unforgivably bad (surrogate) parenting is merely the first suggestion of the soul-searchings to come over at the Frankenstein place. Victor and Elizabeth and eventually their righteous wet nurse (Takayo again, chameleoning nicely) will dig into memories of childhood alienation, tales of shifting parental affections and confrontations around what being a decent mother even means. Or, crucially, a halfway-decent father. It's all grounded impeccably, both in key themes from the original text and in stark traumas Shelley navigated in real life: Her mother's death was a direct result of her birth, while her own son, not coincidentally named William, was ailing around the time of the novel's conception and dead by the age of 3. The author lost three other children in their infancy, too. No shortage of resonance in all that for this adaptation's explorations of what courage it takes to contemplate the making of a child, how hugely the process of creating life can go awry, how quickly the simplicities of youth can curdle into the monstrosities of adult humanity. Frank's hypnotically sure performance as Elizabeth is the staging's bright lodestar. Her voice is caramel and cloves, expressive even in Burns's lighter modern phrasings, downright beguiling in more lyrical passages taken whole from Shelley's period text. Her body language speaks more resonantly yet: Stillness can equal immense authority onstage, and this actor's economy of movement generates black hole gravity, making larger gestures all the more seismic when they erupt. Takayo's is a nervier and more restless presence, as is Westrate's — aptly enough given the essential fecklessness of this adaptation's still-charming Victor. He's twitchy and shifty and impossible to repose any real faith in, this thoroughly modern man-child, which is one potent way Burns sustains the evening's exquisite narrative tension. Grounding a character's evasions and fictions in a physical vocabulary that screams 'I cannot be trusted' is a sly tactic for making an audience second-guess what it already knows to be a horrifying truth. That truth, of course, involves what constitutes monstrosity, and in whose eyes. Burns's last great coup is the climactic reveal that finally settles the question of whether this tale of a grotesque and murderous villain bears any resemblance to fact. It's not quite a spoiler to acknowledge that a Creature does make an appearance — actor Lucas Iverson gets a playbill credit, after all — but the specifics of that answer and the delicacy in how Burns and company navigate the moment elicited audible gasps at Sunday's matinee. Like nearly every rich and gorgeous element of this 'Frankenstein,' it's flat-out astonishing. Frankenstein, through June 29 at the Klein Theatre. About 2 hours 20 minutes, including an intermission.
Associated Press
20 minutes ago
- Associated Press
Journalism opens as the Belmont favorite. Kentucky Derby winner Sovereignty is the 2nd choice
SARATOGA SPRINGS, N.Y. (AP) — Kentucky Derby runner-up and Preakness winner Journalism opened as the 8-5 favorite in the Belmont Stakes when post positions were drawn Monday for the final leg of the Triple Crown. Derby winner Sovereignty was set as the second choice on the morning line at odds of 2-1 and drew the No. 2 post. Journalism, near the outside with the No. 7 post, is the only horse running in all three Triple Crown races. 'He's been kind of the same horse since July of last summer,' trainer Michael McCarthy said. 'He does everything you'd ask a good horse to do: He eats well, trains well, acts well. I thought through the last six, seven weeks here, his energy's been the same throughout.' Sovereignty is back after owners and trainer Bill Mott opted to skip the Preakness and run the Belmont on five weeks of rest, and things have gone swimmingly since he arrived at historic Saratoga Race Couse. 'We've been very lucky with everything that's gone on sine he's been here,' Mott said. 'He's been moving well over the track.' Sovereignty and Journalism in the field set up this Belmont, the second at Saratoga while renovations are made to its usual home on Long Island, to be a rematch between the first two Triple Crown winners who were also first and second the Derby. 'He's improved, as I think as many of these horses have,' Mott said of Sovereignty. 'I think this entire group, if you look at their form and the way they've developed over the course of this year, I think they've made steady progress and it should be an interesting race.' No. 6 Baeza, who finished third in Kentucky on the first Saturday in May, opened at 4-1. Hall of Fame trainer Bob Baffert's Rodriguez, who was scratched from the Derby because of a minor foot bruise and held out of the Preakness, was next at 6-1 and will leave the starting gate from the No. 3 post. The field of eight horses also includes No. 8 Heart of Honor, tied for the longest shot on the board at 30-1 after finishing fifth in the Preakness. New to the Triple Crown trail are No. 1 Hill Road (10-1), No. 5 Crudo (15-1) and No. 4 Uncaged (30-1). Journalism, who was favorited in the Derby and the Preakness and at the moment is the top 3-year-old in the country, looks like the horse to beat. 'Saratoga is very good for horses,' McCarthy said. 'He seems a little bit re-energized up here. We're looking for a wonderful renewal of the Belmont here on Saturday.' ___ AP horse racing:
CNET
25 minutes ago
- CNET
Need to Sign or Scan Papers? Here's How To Use Your iPhone's Hidden Document Scanner
These days, it's pretty easy to digitally sign important documents, but sometimes you just need to sign a physical piece of paper and scan it to send over email. When you just have to put your signature on a physical document and digitally upload it, and you don't have a standalone scanner handy, the easiest method to do it is right in your pocket — using your iPhone to turn images into PDFs. Yes, your iPhone doubles as a document scanner. It may not produce images as sharp as a dedicated scanner would, but it does a respectable job, even when the phone is positioned at odd angles trying to capture text. iPhones have had this hidden feature since iOS 11 launched in 2017, but as the cameras built into Apple phones have improved, so has their ability to take decent scans of documents and turn them into PDFs you can email. You won't need to download additional software or pay for a third-party app — Apple's Notes app that comes preinstalled on iPhones does the trick. The good news is that it's quick and easy to scan a document, save it, and send it wherever it needs to go. Keep in mind that the new iOS 18 changes the icons you use to select document scanning, which we've noted below. If you've upgraded to iOS 18, the process will be different, but we'll walk you through it. Here's how to scan a document with your iPhone. James Martin/CNET Scan a document with your iPhone or iPad To scan a document with your iPhone or iPad, first place the document on a flat surface in a well-lit area. Open up the Notes app and either open an existing note or start a new one by tapping the New Note button in the bottom right corner (pencil-in-square icon). On iOS 17 versions and older, tap the Camera button at the bottom of the screen (or if you're editing a note, the same Camera icon will be above the keyboard) and tap Scan Documents. If you're on iOS 18, instead of a Camera icon, you'll tap the Attachments button (the paperclip icon) and likewise tap Scan Documents. This will open a version of the Camera app that just looks for documents. Once you position your iPhone over the document that needs scanning and in view of the camera, a yellow rectangular layer will automatically appear over the document showing approximately what will be captured. Hover over the document for a few seconds and the iPhone should automatically capture and scan the document, but you can also tap the Shutter button in the bottom center. James Martin/CNET Sign, share or save your scanned document Once you've captured a document, you can tap it, and others you've captured in the same session, to edit them before saving them. You can also tap Retake in the top right corner to start again. When you edit the document, you can re-crop it from the original photo captured (if you need to tweak its edges), switch between color filters (color, black and white, grayscale or the unedited original photo). Then you can save the scanned document. Once it's saved into a note, you can tap the Markup button (circled pen icon) at the bottom to sketch or scribble with different colors. If you tap the Add button on the bottom right (plus sign icon), you can add text, your signature, shapes or even stickers. To send or locally save the document, tap Share button at the top (the square-and-arrow icon) to send it via Messages or apps, copy it, save it locally to the Files app, print it out via linked printer or other options. How to export your scanned document as a PDF Understandably, you may want to send your scanned document as a PDF. Tap the Share button at the top (the square-and-arrow icon) and scroll down below the contact and app roulettes to the additional list of options. The easiest way to send your scanned document as a PDF is a bit convoluted: among the aforementioned list, tap Print and then tap the Share button at the top (square-and-arrow icon) once more -- this will share your PDF-converted document. Then pick your share method of choice, most easily via email, though you can also upload it to cloud storage or send it via text message if you want. You can also use a third-party app to convert your document to PDF if you so choose. Scroll down past the Print button to find your app of choice. For instance, if you have the Adobe Acrobat app downloaded to your device, you can select Convert to PDF in Acrobat to do so -- though you'll need to wade past several screens attempting to upsell you on Adobe subscriptions first. Why can't I find the camera button to scan documents? If you're running iOS 18, the Camera button has been replaced with an Attachments button (paperclip symbol). It should function just the same: Tap it and choose Scan Documents from the dropdown menu If you can't see the Camera or the Attachments button, check to see if you've opened the note in either the iCloud section or the On My iPhone section — you'll only be able to scan documents and save them in either of these places. If you can't tell, tap Folders in the top left corner of the Notes screen and select either iCloud or On My iPhone. The documents scanner is just one of many unnoticed iPhone features that come prepackaged in Apple's handsets, often nested in the apps that come with your phone. Some hidden iOS 18 features add even more surprising capabilities already on your iPhone. But you can also find ways to do other tasks, like making a GIF on your iPhone, using third-party apps and through your browser.
