Entertainment
Experiencing the UFO Experience
There’s a new venue that just debuted at the Arizona Boardwalk, “The UFO Experience: The Truth is Out There.”
Last Updated on May 27, 2024 by Daily News Staff
Rebecca and I recently paid a visit to a new exhibit in the valley… 
Scottsdale, Arizona – Tuesday, December 13, 2022/ There’s a new venue that just debuted at the Arizona Boardwalk, “The UFO Experience: The Truth is Out There.” The museum is family-friendly with an immersive and interactive multi-room exhibit that focuses on the phenomenon historically and a peak inside how it has impacted pop-culture.
The UFO Experience replaces “The Science of Ripley’s Believe It or Not!” after its closing back in September of this year.
Rebecca and I found that the museum was fun, entertaining, educational, and yes, it was immersive, it also has a “Walk on the Moon,” bouncy house for the kids. “And Rebecca was informed that the bouncy house was for the kids…”
The self guided tour from the start was full of interactive displays, including a headphone station where you can listen to actual 911 calls from citizens and radio conversations between pilots and air traffic control regarding UFO sightings.
The exhibit covers the UFO topic from Ancient aliens, to modern sightings, abductions and has a historical timeline of the topic of aliens in cinema. There’s also a ton of UFO history in the gallery items and a few familiar aliens you’ll encounter during the tour.
The UFO Experience is for the believer, interested but not yet committed, and the skeptic alike. They give you a score sheet and tokens before entering to gauge if the exhibit had change your opinions either way, which you’ll express by the end of the tour.
The museum is the eighth attraction at the boardwalk joining Odysea Aquarium, Land of the Dinosaurs, and Butterfly Wonderland.
It’s hours of operations: 10am – 6pm everyday.
Located at Arizona Boardwalk
9500 E. Via de Ventura, Suite E250
Scottsdale, AZ 85256
Parking is free…
Links:
What Are UFOs?
An unidentified flying object (UFO), or unidentified anomalous phenomenon[^1] (UAP), is any perceived airborne, submerged, or transmedium phenomenon that cannot be immediately identified or explained.[^2] Upon investigation, most UAPs are identified as known objects or atmospheric phenomena, while a small number remain unexplained.
While unusual sightings have been reported in the sky throughout history, UFOs became culturally prominent after World War II, escalating during the Space Age. Studies and investigations into UFO reports conducted by governments (such as Project Blue Book in the United States and Project Condign in the United Kingdom), as well as by organisations and individuals, have occurred over the years without confirmation of the fantastical claims of believers. The U.S. government currently has two entities dedicated to UAP (or UFO) data collection and analysis: NASA’s UAP independent study team and the All-domain Anomaly Resolution Office.
Scientists and skeptic organizations such as the Committee for Skeptical Inquiry have provided prosaic explanations for UFOs. They assert that these phenomena are mostly caused by natural occurrences such as atmospheric anomalies, human technological activities, delusions, and even hoaxes. Despite these rational explanations, a small but vocal community of ufologists supports unconventional or pseudoscientific theories. These groups often claim that UFOs are evidence of extraterrestrial intelligence, technologically advanced cryptids, interdimensional contact, or future time travelers. However, even after decades of promoting such ideas by believers and through popular media, the kind of evidence required to solidly support such claims has not been forthcoming.
Beliefs surrounding UFOs have seeped into various aspects of culture and inspired parts of new religions. Social scientists have identified the ongoing interest and storytelling surrounding UFOs as a modern example of folklore and mythology, which can be understood through psychosocial explanations. There is a persistent recognition that the fascination with UFO phenomena serves as a lens through which societies express underlying anxieties and aspirations. This modern mythology continues to evolve, creating a complex tapestry of belief, skepticism, and cultural narrative that reflects broader human experiences and societal dynamics. (Wikipedia)
[^1]: Unidentified Flying Object
[^2]: Unidentified Anomalous Phenomenon
For more information and articles about UFOs and the unknown, then visit our Unknown Science section.
To access additional details and articles pertaining to unidentified flying objects (UFOs) and unexplored phenomena, please explore the Unknown Science category on our website.
https://stmdailynews.com/category/science/unknown
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The Bridge
Scrappy, campy and unabashedly queer, public access TV series of the 1980s and 1990s offered a rare glimpse into LGBTQ+ life
Last Updated on March 10, 2026 by Daily News Staff
“Hello to all you lovely lesbians out there! My name is Debbie, and I’m here to show you a few things about taking care of your vaginal health.”
So opens the first “Lesbian Health” segment on “Dyke TV,” a lesbian feminist television series that aired on New York’s public access stations from 1993 to 2006.
The half-hour program focused on lesbian activism, community issues, art and film, news, health, sports and culture. Created by three artist-activists – Cuban playwright Ana Simo, theater director and producer Linda Chapman and independent filmmaker Mary Patierno – “Dyke TV” was one of the first TV shows made by and for LGBTQ women.
While many people might think LGBTQ+ representation on TV began in the 1990s on shows like “Ellen” and “Will & Grace,” LGBTQ+ people had already been producing their own television programming on local stations in the U.S. and Canada for decades.
In fact my research has identified hundreds of LGBTQ+ public access series produced across the country.
In a media environment historically hostile to LGBTQ+ people and issues, LGBTQ+ people created their own local programming to shine a spotlight on their lives, communities and concerns.
Experimentation and advocacy
On this particular health segment on “Dyke TV,” a woman proceeds to give herself a cervical exam in front of the camera using a mirror, a flashlight and a speculum.
Close-up shots of this woman’s genitalia show her vulva, vagina and cervix as she narrates the exam in a matter-of-fact tone, explaining how viewers can use these tools on their own to check for vaginal abnormalities. Recalling the ethos of the women’s health movement of the 1970s, “Dyke TV” instructs audiences to empower themselves in a world where women’s health care is marginalized.
Because public access TV in New York was relatively unregulated, the show’s hosts could openly discuss sexual health and air segments that would otherwise be censored on broadcast networks.
Like today’s LGBTQ content creators, many of the producers of LGBTQ+ public access series experimented with genre, form and content in entertaining and imaginative ways.
LGBTQ+ actors, entertainers, activists and artists – who often experienced discrimination and tokenism on mainstream media – appeared on these series to publicize and discuss their work. Iconic drag queen RuPaul got his start performing on public access in Atlanta, where “The American Music Show” gave him a platform to promote his burgeoning drag persona in the mid-1980s. https://www.youtube.com/embed/hab5HrnfEZk?wmode=transparent&start=0 RuPaul appears on a 1985 episode of ‘The American Music Show.’
The producers often saw their series as a blend of entertainment, art and media activism.
Shows like “The Gay Dating Game” and “Be My Guest” were tongue-in-cheek satires of 1950s game shows. News programs such as “Gay USA,” which broadcast its first episode in 1985, reported on local and national LGBTQ news and health issues.
Variety shows like “The Emerald City” in the 1970s, “Gay Morning America” in the 1980s, and “Candied Camera” in the 1990s combined interviews, musical performances, comedy skits and news programming. Scripted soap operas, like “Secret Passions,” starred amateur gay actors. And on-the-street interview programs like “The Glennda and Brenda Show” used drag and street theater to spark discussions about LGBTQ issues.
Other programs featured racier content.
In the 1980s and ‘90s, “Men & Films,” “The Closet Case Show” and “Robin Byrd’s Men for Men” incorporated interviews with porn stars, clips from porn videos and footage of sex at nightclubs and parties.
Skirting the censors
The regulation of sex on cable television has long been a political and cultural flashpoint.
But regulatory loopholes inadvertently allowed sexual content on public access. This allowed hosts and guests to talk openly about gay sex and safer sex practices on these shows – and even demonstrate them on camera.
The impetus for public access television was similar to the ethos of public broadcasting, which sought to create noncommercial and educational television programming in the service of the public interest.
In 1972, the Federal Communications Commission issued an order requiring cable television systems in the country’s top 100 markets to offer access channels for public use. The FCC mandated that cable companies make airtime, equipment and studio space to individuals and community groups to use for their own programming on a first-come, first-serve basis.
The FCC’s regulatory authority does not extend to editorial control over public access content. For this reason, repeated attempts to block, regulate and censor programming throughout the 1970s, 1980s and 1990s were challenged by cable access producers and civil liberties organizations.
The Supreme Court has continually struck down laws that attempt to censor cable access programming on First Amendment grounds. A cable operator can refuse to air a program that contains “obscenity,” but what counts as obscenity is up for interpretation.
Over the years, producers of LGBTQ-themed shows have fiercely defended their programming from calls for censorship, and the law has consistently been on their side.
Airing the AIDS crisis
As the AIDS crisis began to devastate LGBTQ+ communities in the 1980s, public access television grew increasingly important.
Many of the aforementioned series devoted multiple segments and episodes to discussing the devastating impact of HIV/AIDS on their personal lives, relationships and communities. Series like “Living with AIDS”, “HoMoVISIONES” and “ACT UP Live!” were specifically designed to educate and galvanize viewers around HIV/AIDS activism. With HIV/AIDS receiving minimal coverage on mainstream media outlets – and a lack of political action by local, state and national officials – these programs were some of the few places where LGBTQ+ people could learn the latest information about the epidemic and efforts to combat it.
The long-running program “Gay USA” is one of the few remaining LGBTQ+ public access series; new episodes air locally in New York and nationally via Free Speech TV each week. While public access stations still exist in most cities around the country, production has waned since the advent of cheaper digital media technologies and streaming video services in the mid-2000s.
And yet during this media era – let’s call it “peak public access TV” – these scrappy, experimental, sexual, campy and powerful series offered remarkable glimpses into LGBTQ+ culture, history and activism.
Lauren Herold, Visiting Assistant Professor of Gender & Sexuality Studies, Kenyon College
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Last Updated on March 9, 2026 by Daily News Staff
Dennis Wilson Wise, University of Arizona
Think of your favorite fantasy or science fiction novel. You’ll know the author and title, of course. But can you think of its editor or publisher?
In publishing, the people who work behind the scenes rarely get their due. But on Oct. 1, 2024, at least, one industry pioneer got the limelight. On that day, PBS aired “Judy-Lynn del Rey: The Galaxy Gal,” the first episode of its new documentary series “Renegades,” which highlights little-known historical figures with disabilities.
A woman with dwarfism, Judy-Lynn del Rey was best known for founding Del Rey Books, a science fiction and fantasy imprint that turned fantasy in particular into a major publishing category.
As a scholar of fantasy literature, I had the good fortune to serve as research consultant for the PBS project. Due to time constraints, however, the episode could tell only half of del Rey’s story, passing over how she affected science fiction and fantasy themselves.
Judy-Lynn del Rey, you see, had very clear notions on what kind of stories people wanted to buy. For some critics, she also committed the unforgivable sin of being right.
The Mama of ‘Star Wars’
Over the course of her career, del Rey earned a reputation as a superstar editor among her authors. Arthur C. Clarke, who co-wrote the screenplay for “2001: A Space Odyssey,” called her the “most brilliant editor I ever encountered,” and Philip K. Dick said she was the “greatest editor since Maxwell Perkins,” the legendary editor of Ernest Hemingway and F. Scott Fitzgerald.
She got her start, though, working as an editorial assistant – in truth, a “gofer” – for the most lauded science fiction magazine of the 1960s, Galaxy. There she learned the basics of publishing and rose rapidly through the editorial ranks until Ballantine Books lured her away in 1973.
Soon thereafter, Ballantine was acquired by publishing giant Random House, which then named del Rey senior editor. Yet her first big move was a risky one – cutting ties with Ballantine author John Norman, whose highly popular “Gor” novels were widely panned for their misogyny.
Nonetheless, del Rey’s mission was to develop a strong backlist of science fiction novels that could hook new generations of younger readers, not to mention adults. One early success was her “Star Trek Log” series, a sequence of 10 novels based on episodes of “Star Trek: The Animated Series.”
But del Rey landed an even bigger success by snagging the novelization rights to a science fiction film that, at the time, few Hollywood executives believed would do well: “Star Wars.”
This savvy gamble led to years of lucrative tie-in products for Ballantine such as calendars, art books, sketchbooks, the Star Wars Intergalactic Passport and, of course, more novels set in the Star Wars universe – so many different tie-ins, in fact, that del Rey dubbed herself the “Mama of Star Wars.”
Afterward, she became someone who, as reporter Jennifer Crighton put it, radiated “with the shameless glee of one of the Rebel forces, an upstart who won.”
A big player in big fiction
Del Rey’s tendencies as an editor were sometimes criticized – often by competitors who could not match her line’s success – for focusing too much on Ballantine’s bottom line. But she also chose to work within the publishing landscape as it actually existed in the 1970s, rather than the one she only wished existed.
In his book “Big Fiction,” publishing industry scholar Dan Sinykin calls this period the “Conglomerate Era,” a time when publishing houses – usually small and family run – were being consolidated into larger corporations.
One benefit of this shift, however, was greater corporate investment in the industry, which boosted print runs, marketing budgets, author advances and salaries for personnel.
Ballantine’s parent company, Random House, was also known as an industry leader in free speech, thanks to the efforts of legendary CEOs Bennett Cerf and Robert L. Bernstein.
Accordingly, Random House gave their publishing divisions, including Ballantine, immense creative autonomy.
And when del Rey was finally given her own imprint in 1977, she took her biggest risk of all: fantasy.
The Del Rey era
In prior decades, fantasy had a reputation for being unsellable – unless, of course, your name was J.R.R. Tolkien, or you wrote Conan-style barbarian fiction. Whereas the top science fiction magazines often had distinguished runs, fantasy magazines often folded due to lack of sales.
In 1975, though, del Rey hired her husband, Lester del Rey, to develop a fantasy line, and when Del Rey Books launched two years later, it landed major successes with bestsellers such as Terry Brooks’ “The Sword of Shannara” and Stephen R. Donaldson’s “The Chronicles of Thomas Covenant the Unbeliever.” Yet even though Lester edited the fantasy authors, Judy-Lynn oversaw the imprint and the marketing.
One lesser-known example of her prowess is “The Princess Bride.”
Today, most people know the 1987 film, but the movie originated as a much earlier novel by William Goldman. The original 1973 edition, however, sold poorly. It might have faded into obscurity had del Rey not been determined to revive Ballantine’s backlist.
She reissued “The Princess Bride” in 1977 with a dazzling, gate-folded die-cut cover and a new promotional campaign, without which the novel – and the film – might never have found its later success.
Accolades accumulate
Thanks to these efforts, Del Rey Books dominated genre publishing, producing more bestselling titles through 1990 than every other science fiction and fantasy publisher combined. Yet despite complaints that the imprint prioritized commercial success over literary merit, Del Rey authors earned their fair share of literary accolades.
The prestigious Locus Poll Award for best science fiction novel went to Del Rey authors Julian May and Isaac Asimov in 1982 and 1983. Other Locus awardees include Patricia A. McKillip, Robert A. Heinlein, Larry Niven, Marion Zimmer Bradley and Barbara Hambly.
Barry Hughart’s “Bridge of Birds” was one of two winners for the World Fantasy Award in 1985 and won the Mythopoeic Society Award in 1986. Even more impressively, Del Rey ran away with the Science Fiction Book Club Award during that prize’s first nine years of existence, winning seven of them. The imprint’s titles also won three consecutive August Derleth Fantasy Awards – now called the British Fantasy Award – from 1977 through 1979.
Yet despite these accolades, Del Rey’s reputation continued to suffer from its own commercial success. Notably, Judy-Lynn del Rey was never nominated for a Hugo Award for best professional editor while she was alive. When she died in 1986, del Rey was belatedly voted for a posthumous award, but her husband, Lester, refused to accept it, saying that it came too late.
Although the current narrative continues to be that Del Rey Books published mainly formulaic mass-market fiction in its science fiction and fantasy lines, the time may be ripe to celebrate the foresight and iconoclasm of a publisher who expanded speculative fiction beyond the borders of a small genre fandom.
Dennis Wilson Wise, Professor of Practice in English Literature, University of Arizona
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Basic Fun! Unveils Category-Defining Home Arcade Collection for Fall 2026
Basic Fun! is launching a new Arcade1Up home arcade collection for Fall 2026, featuring PAC-MAN and Ms. PAC-MAN cabinets, alongside the first-ever SONIC THE HEDGEHOG cabinet marking a partnership with SEGA. The lineup aims to deliver authentic arcade experiences without quarters, appealing to both nostalgic fans and new players.
Basic Fun! is hitting “start” on a new chapter for home arcade.
In a Feb. 14, 2026 announcement, the Boca Raton-based toy and consumer products company revealed its first new Arcade1Up home arcade collection since acquiring select assets of the brand in 2025. The Fall 2026 lineup is anchored by two heavy hitters: PAC-MAN (including Ms. PAC-MAN) and the first-ever SONIC THE HEDGEHOG home arcade cabinet.
Basic Fun! says the new cabinets are built to deliver the authentic arcade feel fans expect—powered by iconic franchises, premium features, and classic arcade attitude—no quarters required.
What’s in the Fall 2026 Arcade1Up lineup
PAC-MAN and Ms. PAC-MAN cabinets
Basic Fun! is leaning into the foundation of arcade nostalgia with PAC-MAN and Ms. PAC-MAN home arcade cabinets.
The company notes it is the anchor electronics licensee for PAC-MAN home arcade products through a licensing agreement with Bandai Namco Entertainment. The new machines are positioned for both longtime fans and a new generation of players—built to honor the legacy that helped define the golden age of arcades.
Sonic makes his home arcade debut
The bigger “first” in this release: SONIC THE HEDGEHOG is getting his first-ever home arcade cabinet.
Basic Fun! says Sonic’s debut comes via a multi-year partnership with SEGA, timed to the franchise’s 35th anniversary. The featured product is the Sonic Supreme Series Arcade Game, described as a premium, full-size standing cabinet built for speed, style, and nostalgia.
Basic Fun! also teased that this is the first of multiple Sonic titles planned for the collection.
What to watch for
- Arcade1Up’s next era: This is Basic Fun!’s first major statement since acquiring select Arcade1Up assets in 2025—so the build quality, features, and pricing strategy will matter.
- Sonic’s pipeline: The company is calling this the first of multiple Sonic titles. If that holds, Sonic could become a recurring pillar alongside PAC-MAN.
- Retail rollout: Basic Fun! says the collection will debut at major retailers this fall, which should make availability less of a scavenger hunt for fans.
Quote
“For many years, Arcade1Up has been at the heart of the retro arcade community, and we’re honored to build on that legacy,” said Dan Westcott, Senior Vice President of Global Brand Marketing at Basic Fun!. “Our focus is simple: authentic gameplay, nostalgic design, and premium features that capture the true arcade-at-home experience for fans of all kinds. No quarters required.”
Where to see the lineup
Media, influencers, and industry partners can get a first look at the new home arcade lineup at Toy Fair®, running February 14–17 at the Javits Center in New York City.
Basic Fun! also shared booth details here: https://tfny2026.mapyourshow.com/8_0/exhibitor/exhibitor-details.cfm?exhid=61755
About Basic Fun!
Basic Fun! is a global designer and marketer of classic and innovative entertainment products, distributed across 50,000+ retail locations and online channels through 2,500+ retailers, distributors, and family entertainment venues in 60+ countries. The company is headquartered in Boca Raton, Florida, with offices in the UK and Hong Kong.
For more information, visit basicfun.com.
PAC-MAN™ & ©Bandai Namco Entertainment Inc.
Ms. PAC-MAN™ & ©Bandai Namco Entertainment Inc.
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
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