Tyler Robinson Waiver Hearing — September 29, 2025

On December 8, 2025, the world premiere of DAVID was held at Megaplex Theatres Thanksgiving Point in Lehi, Utah. This gallery documents arrivals and attendees through editorial photography syndicated via ZUMA Press. DAVID is an animated biblical musical drama directed by Brent Dawes and Phil Cunningham, written by Dawes and Cunningham, and produced by Steve Pegram, Tim Keller, and Rita Mbanga. Conceived by Cunningham from childhood readings of David’s story in Africa and inspired by Acts 13:22 — “I have found in David, son of Jesse, a man after my own heart” — the film is Angel Studios’ first animated musical. Following the success of Jungle Beat, Cunningham and Sunrise Animation Studios announced the project in 2021, with Angel Studios co‑founder Jordan Harmon and actor Kirk Cameron rallying support through crowdfunding. To ensure authenticity, the creative team traveled to Israel, immersing themselves in landscapes and artifacts tied to David’s era — from pottery and a 3,000‑year‑old juglet used for oil, to explorations of Jerusalem, Hezekiah’s Tunnel, the Pool of Siloam, and the Valley of Elah where David faced Goliath. These journeys informed the film’s visual foundation, blending historical research with artistic storytelling. The voice cast includes Phil Wickham as David, Brandon Engman as Young David, Asim Chaudhry as King Achish, Mick Wingert as Zaydel, Lauren Daigle as Rebecca, and Brian Stivale as Samuel. With music composed by Joseph Trapanese, the film brings biblical narrative into a modern animated musical form. DAVID is scheduled to be released in theaters in the United States on December 19, 2025, by Angel Studios. The images presented here reflect a moment of shared presence and symbolic authorship, capturing the dignity of those who gathered to mark the film’s debut. (Credit Image: © Charles‑McClintock Wilson/ZUMA Press Wire)

From national monuments to cultural touchstones, this collection highlights iconic locations that shape local identity and reflect the spirit of place. Captured with honesty, context, and a documentary eye.

On November 12, 2025, Utah Valley University hosted the Senators Modeling Civility forum, convened by the Gary R. Herbert Institute for Public Policy. The event took place at the Noorda Center for the Performing Arts Concert Hall at 3:00 p.m. MST and brought together students, faculty, and community members for a rare bipartisan exchange. Senators Mark Kelly (D–AZ) and John Curtis (R–UT) shared the stage in a 60‑minute dialogue moderated by CNN anchor Dana Bash, addressing themes of political violence, collaboration, and leadership. Following the forum, both senators engaged directly with the press in a designated media zone, reinforcing the event’s emphasis on transparency, accountability, and civic dialogue. Their press engagement included brief statements, informal exchanges, and moments of composure—gestures such as Kelly pausing to drink water and Curtis closing his eyes momentarily—which underscored the human dimension of institutional restraint. Executive Director Justin Jones of the Herbert Institute also joined press interactions, situating the forum within the university’s broader mission of fostering civil discourse. The program included an audience Q&A, strict security protocols with bag restrictions and metal detectors, and was exclusively streamed by CNN, underscoring its national significance. The discussion emphasized respectful civic engagement and institutional restraint in the wake of the September 10 assassination of conservative activist Charlie Kirk, situating the forum as both a local academic initiative and a national reflection on the urgency of civil discourse.

This collection documents the architectural presence and symbolic resonance of civic institutions across the United States. From courthouses and city halls to universities, federal buildings, and public service signage—these images reflect the infrastructure of governance, education, and community identity. Through his lens, Charles-McClintock Wilson captures not only the facades and emblems of civic life, but the enduring narratives they represent: authority, access, memory, and belonging.

CONTENT ADVISORY THIS ARTICLE CONTAINS DOCUMENTARY IMAGES AND DESCRIPTIONS RELATED TO A FATAL PUBLIC INCIDENT. WHILE PRESENTED WITH EDITORIAL RESTRAINT AND JOURNALISTIC NEUTRALITY, SOME CONTENT MAY BE DISTRESSING TO VIEWERS. VIEWER DISCRETION IS ADVISED. On September 10, 2025, conservative activist Charlie Kirk was shot and fatally wounded during a scheduled public event at Utah Valley University in Orem, Utah. At the time of the incident, George Zinn was identified as the alleged shooter and taken into custody by campus security and local law enforcement. Zinn was later released and subsequently arrested on unrelated charges. The manhunt continued for 33 hours. On the evening of September 11, Tyler Robinson, a 22-year-old resident of Washington, Utah, was arrested without incident. The following day, Utah Governor Spencer Cox confirmed Robinson as the sole suspect in the shooting. This sequence documents the immediate aftermath: the initial arrest of Zinn, the evacuation of attendees, and Kirk’s transport to the hospital. The images are presented as a factual record of events that unfolded in real time. They reflect institutional response, public disruption, and the operational mechanics of law enforcement and emergency services. Considerable thought was given to the decision to publish these photographs. While some have already appeared in media outlets, this curated sequence is presented in the context of professional photojournalism and public documentation. The decision to release these images is grounded in the responsibility to bear witness, to provide accurate visual reporting, and to contribute to the public record. This sequence is not intended to dramatize or editorialize. It is offered with journalistic clarity and civic neutrality. The photographs reflect a moment of disruption and response—captured through the lens of a working photojournalist documenting events as they occurred. They are presented to inform, to contextualize, and to preserve the integrity of the historical record.

In this series, Charles examines modern commerce through architectural forms—its signs, storefronts, and patterns that connect people to services, routines, and consumer culture.

In the quiet aftermath of Charlie Kirk’s final public appearance at Utah Valley University, a spontaneous memorial unfolded—unannounced, uncurated, yet deeply intentional. This gallery documents the gestures left behind: folded flags, handwritten tributes, flowers placed with reverence. Each image captures not just grief, but the choreography of civic mourning. Through symbolic framing and editorial restraint, the sequence invites viewers to witness how public memory is shaped—not by spectacle, but by silence, dignity, and the objects we choose to leave behind.

Tucked in the mountains of Summit County, Smith & Morehouse Reservoir is a peaceful spot full of life and activity. I recently spent the day documenting the simple beauty of people enjoying summer — paddleboarding, kayaking, fishing, and soaking in the scenery. These are the kinds of quiet moments I love to capture: real, unposed, and full of story.

Movement shapes the rhythm of daily life. This series captures the vehicles, roads, and infrastructure that connect people and places—from rural highways to city intersections—offering a visual study of motion, design, and the human need to keep going.

On September 10, 2025, Utah Valley University hosted the opening stop of Charlie Kirk’s American Comeback Tour—a campus event designed to reignite civic engagement, youth mobilization, and direct discourse. These images document the atmosphere as it was intended: energized, expressive, and deeply personal. Every frame is presented as captured—unaltered, unembellished, and editorially authentic. Supporters gathered in red hats and bold slogans, staff coordinated logistics, and attendees arrived with curiosity and conviction. This sequence reflects the spirit of the event before the stage was taken—a visual record of presence, community, and the emotional clarity that defined the day.