Mediaboss Marketing

Following in the footsteps of two of the best Washington running backs in recent memory isnt a bad way to go for a rookie out of Alabama.

Brian Robinson Jr. is set to be an integral member of the Commanders RB room this season along with Antonio Gibson, J.D. McKissic and Jaret Patterson. Robinson, unlike his position mates, is a big and barreling body who can truck through defenders, rather than solely juking around them.

Washington running backs coach Randy Jordan spoke on the contributions Robinson could make this season during OTAs. He evoked a couple of names that Commanders fans are sure to be familiar with.

It was a run where we didnt get up on the second level and he was able to kind of bait [the defense] with his eyes and his body, knowing that the lineman hadnt come off yet, Jordan said. And the backer went one way and he replaced the backer. I said, Dog, you cant coach that.

"Like, the only other guys Ive kinda seen that were Alfred Morris and Adrian Peterson. Those two guys.

Robinson imitating two of his D.C. predecessors, intentionally or otherwise, is a good omen for the 23-year-old. Morris was Washingtons lead rusher from 2012-15 while Peterson, even at age 33, led the squad in rushing yards in 2018 and 2019.

Washington Football Talk Podcast| Listen and Subscribe|Watch on YouTube

Morris was tinier than Robinson and used a stealthy combination of quickness, agility and strength to evade tacklers during his time in Burgundy & Gold. Its easy to see why Jordan sees the connection between Robinson and Peterson, though.

Both backs are around 6-foot-2 and 220 pounds. They both have shown the ability to cut on a dime and plow through defensive lines when need be. Its a lot to live up to, but Robinsons comparison to the future Hall-of-Famer in Peterson is high praise.

Jordan got more specific when discussing what specifically Robinson does that can make him such an effective weapon in the Commanders backfield.

Hes nifty now. Hes sneaky nifty, Jordan said. The thing is hes 62 and his ability to move backwardlike theres a couple runs he had in there and I said, Hey man, thats scary good, like thats graduate work. Thats like tour level.

Robinsons niftiness was part of the reason why he was able to rise through the ranks and become the RB1 at the best college program in the country: Alabama. Robinson impressed coaches early on, but had to wait until his predecessors Najee Harris and Josh Jacobs got their 15 minutes of fame before punching his own ticket.

Once he got the starting job, Robinson never looked back. He broke the Crimson Tide record when he became the first back in school history to rush for 200+ yards in a bowl game, which he did in the college football playoff vs. Cincinnati this past season.

Washington liked the pick immediately when they snagged Robinson in the third round this past April. He hasnt played a down of NFL football yet, but if his Alabama tape and initial impressions in Ashburn are any indication, his coach says, the Commanders could be in for a treat.

Just him being a natural running back, cause thats all hes played, so he understands where his limits are, Jordan said. Every run, he kinda knows where everybody is supposed to fit.

Visit link:
Brian Robinson Jr. reminds RB coach of Alfred Morris and Adrian Peterson - NBC Sports Washington

Substack has decided to lay off 13 people, around 14% of the company, which employs 94 people, to reach profitability without relying on fundraising amid a weak economy.

Substacks co-founder and CEO Chris Best informed staffers in a note, letting them know of their decision to part ways with some of their co-workers.

Our goal is to make Substack robust even in the toughest market conditions and to set the company up for long-term success without relying on raising money or, at least, doing so only on our time and our terms, Best wrote in a memo shared byAxios.

The layoffs were across human resources, support, and operations, the companys vice president of communications. Executives decided that Substack would be better served not to depend on fundraising, either for stability or growth.

In recent weeks, the macroeconomic outlook has become increasingly uncertain, making it clear that we should be prepared for a period of challenging conditions that could last years, Wrote said.

By refocusing our team and financial planning, we can fund our investments from our growing business while remaining a reliable partner for the writers who are building their own businesses on our platform.

Despite the 13 layoffs, Substack continues to proceed with new products and features since the company still has funds in the bank as they attempt to fuel growth.

Substack remains in a strong position. We continue to grow, we have a business model that works, and we have money in the bank. But the way we play to win in 2022 and beyond is different from the way we were playing in 2021, Best noted.

View post:
Jon Stewart: The Supreme Court is Now the Fox News of Justice - Barrett Sports Media

How far does the dial have to move to take a holiday movie from festive to freaky? At least since the events of Jaws hit Amity Island, Fourth of July celebrations have served as frightful fodder for satirists. Film has taken the holiday to especially horrifying heights.

The best Fourth of July horror movies make use of both their seasonal setting and thorny subject matter. Theres something innately disturbing about taking a summer holiday that should be celebratory and re-packaging it in that twisted carnival aesthetic, dripping with oversaturated reds, whites, and blues. Plus, exploring the birth of a country currently tearing itself in two bestows an embarrassment of thematic riches onto the writers and directors willing to stew in its spirit.

More from IndieWire

Fourth of July horror movies have become a genre category in their own right because they offer opportunities to criticize the U.S. as it currently is and reflect on the darker aspects of our history (and present). Not to mention, fireworks and crowds spell menacing horror movie magic. Toss in a zombified Uncle Sam and youve got a slasher worth lighting sparklers.

Roland Emmerich sicced aliens on the world in the aptly titled Independence Day, a sci-fi disaster movie starring Will Smith, Jeff Goldblum, and Bill Pullman among others. Robert De Niro played a freed prisoner hunting down his former attorney, played by Nick Nolte, in Martin Scorseses Cape Fear. Thats a remake of the 1962 psychological thriller of the same name, set against the backdrop of a well-to-do North Carolina community also partying on the Fourth. And while The Purge creator James DeMonaco may have technically set his fictive blood bath in the spring, its no secret that the murder marathon of the title, an annual event canonically sanctioned by the U.S. government, incorporates elements similar in tone to the real federal holiday.

Story continues

Whether youre rounding out a day of summer fun or sitting out of this years festivities, here are the best Fourth of July horror movies. The list has been capped at 13 titles in a star-spangled homage to the original colonies codified by the Declaration of Independence on this doomed day.

Best of IndieWire

Sign up for Indiewire's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.

Click here to read the full article.

The rest is here:
The 13 Best Fourth of July Horror Flicks, from Jaws to The Purge - Yahoo Entertainment

Between facets and domains: 10 aspects of the Big Five.

CG DeYoung, LC Quilty, JB Peterson

Journal of personality and social psychology 93 (5), 880, 2007

SH Carson, JB Peterson, DM Higgins

Creativity research journal 17 (1), 37-50, 2005

SH Carson, JB Peterson, DM Higgins

Journal of personality and social psychology 85 (3), 499, 2003

CG DeYoung, JB Peterson, DM Higgins

Personality and Individual differences 33 (4), 533-552, 2002

JB Peterson

New York: Routledge, 1999

RA Mar, K Oatley, JB Peterson

Walter de Gruyter GmbH & Co. KG 34 (4), 407-428, 2009

JB Hirsh, RA Mar, JB Peterson

Psychological review 119 (2), 304, 2012

CG DeYoung, JB Peterson, DM Higgins

Journal of personality 73 (4), 825-858, 2005

JB Hirsh, CG DeYoung, X Xu, JB Peterson

Personality and Social Psychology Bulletin 36 (5), 655-664, 2010

D Morisano, JB Hirsh, JB Peterson, RO Pihl, BM Shore

Journal of applied psychology 95 (2), 255, 2010

RA Mar, K Oatley, J Hirsh, J Dela Paz, JB Peterson

Journal of research in personality 40 (5), 694-712, 2006

JB Peterson

Penguin UK, 2018

JB Peterson, J Rothfleisch, PD Zelazo, RO Pihl

Journal of studies on alcohol 51 (2), 114-122, 1990

SB Kaufman, LC Quilty, RG Grazioplene, JB Hirsh, JR Gray, JB Peterson, ...

Journal of personality 84 (2), 248-258, 2016

M Djikic, K Oatley, S Zoeterman, JB Peterson

Creativity research journal 21 (1), 24-29, 2009

CG DeYoung, RG Grazioplene, JB Peterson

Journal of Research in Personality 46 (1), 63-78, 2012

JB Hirsh, JB Peterson

Journal of research in personality 43 (3), 524-527, 2009

CG DeYoung, LC Quilty, JB Peterson, JR Gray

Journal of Personality Assessment, 2013

RO Pihl, J Peterson, PR Finn

Journal of Abnormal Psychology 99 (3), 291, 1990

DM Higgins, JB Peterson, RO Pihl, AGM Lee

Journal of personality and social psychology 93 (2), 298, 2007

Read the original here:
Jordan B Peterson - Google Scholar

Even with the titanic marketing force of Disney and buzz (no pun intended) around featuring a lesbian couple kissing, Lightyear proved to be a flop. Although it was expected to top the charts and bring in $70 million in its first weekend (a modest goal, all things considered), the movie made $51 million, second behind the newest Jurassic Park installment. For context, Top Gun: Maverick made more than $100 million in its opening weekend.

While its fair to see this as yet another instance of the truism, go woke, go broke, its worth asking why Disney keeps doing this. They have a whole slew of perfectly profitable franchises to tap, and they can churn out blockbusters from any of them without breaking a sweat. Why do they feel the need to shoehorn a scene of lesbians kissing that no asked for? Why did they double-down against their own audience?

Probably the first and foremost reason that Disney executives do this is because they can. They believe they have a monopoly over young audiences and can start treating them like a captive audience. Daniel Greenfield makes a convincing case in Frontpage Mag that this is exactly what Disney is thinking: Disney may have started out feeding the imaginations of children, but now its business model is acquiring intellectual properties with active fandoms and milking the adult fans for every cent. Rest assured, Disney will keep issuing more sequels and spinoffs ad nauseam, knowing full well that their cult-like fandoms will continue to watch them.

When entertaining people becomes secondary, its only natural to propagate a message. These days, that message is diversity, inclusion, and equity (DIE, as Jordan Peterson puts it), which has become the standard in all popular entertainment. For example, it was clear Frozen II would make a lot of money just because it was Frozen II, so its creators decided to turn the movie into a convoluted propaganda piece that spoke on the environment, the treatment of indigenous people, and female empowerment. No one seemed to mind that the movie was terrible, and theres little doubt that Disney will make another sequel when the time is right.

However, what really seems to lie at the heart of this decision to promote lesbianism in a kids movie is something much more profound and personal than anyone cares to admit. Disney filmmakers and most of the creative class in Hollywood have become boring. They arent all that interesting, and nothing really interests them. Action, drama, romance, and all the magic of moviemaking doesnt excite them anymore.

Rather, like bored teenagers addicted to TikTok, Disney executives are more interested in identity politics and social justice, and they believe that everyone else is interested in this too. Sure, people may watch the new show about Obi-wan Kenobi because they know and love the character, but whats really going to hook them is the black female antagonist because shes (wait for it) black and female. And, if they dont like her, theyre haters and Disney will delight in taking a quixotic stand against these anonymous bigots.

Wokeness has become a vicious cycle for privileged creators: success makes them bored, so they go woke, but this bores them again, so they double-down on their wokeness, which soon becomes boring, etc. This cycle is then reinforced by social media, which affirms these peoples narcissism and casts their dissatisfied fans as ignorant bigots.

Seen from a healthy distance, this phenomenon of bored filmmakers injecting wokeness in Lightyear makes little sense. How can anyone be bored by a story about a space ranger fighting for his friends on a distant planet? Why would they feel the need to spice this up with wokeness? Was depicting acts of valor against space aliens not enough?

And yet, this is how a woke person sees the world. Discussing a theologians bold (and nonsensical) claim that Jesus was actually a transgender person, Catholic writer Michael Warren Davis notes how narrow this view is: The Bible is the most profound and influential book in the whole history of the world. It contains the philosophy of Jesus Christ, the most important philosopher and mystic in world history Now, imagine if all you could find in those pages was a parable for transvestic fetishism. What a boring little place your head must be.

For most people, this is the real problem with the woke agenda: its boring and predictable. Perhaps a few people were outraged when they heard of the lesbian kiss in Lightyear, but the majority people likely rolled their eyes and muttered, Oh okay. Ill pass then.

Not surprisingly, these peoples suspicions were confirmed. The movie was indeed dull: the characters were flat, the story was dumb, and the themes resonate more with adults suffering from a midlife crisis than with actual kids. Clearly, the creators of the movie were more worried about indulging themselves and crafting woke propaganda than in entertaining audiences. Its the work of bored people putting out a boring product for an increasingly bored audience thats burned out on the wokeness.

Hopefully, filmmakers at Disney can learn from this mistake and break the cycle. The world is so much more than peoples skin color and sexual orientation, and the possibilities for storytelling are endless. These people need to get over their boredom, stop obsessing over diversity and representation, and return to making fun movies that transcend all that and really go to infinity and beyond. Itd be a win-win: Fans would be happy, filmmakers would find purpose again, and the modern entertainment in general would be slightly less mediocre.

View original post here:
Dull 'Lightyear' Is Another Victim Of Bored, Woke Filmmakers - The Federalist