#Tenet online stream

[blurban-form]

Bluey’s School (Glasshouse School) (2/?)

References in this post are primarily from this link: https://academics.hamilton.edu/government/dparis/govt375/spring97/Teacher_Training/tt4.html

Waldorf Schools

Any episode that includes Bluey’s school… right away you can tell that it is an atypical school. It is: it’s a Waldorf school. The teaching style, curriculum, etc. are all distinct from standard approaches.

Here’s a deep dive on this based on some online research…

Rudolf Steiner, the founder of the first Waldorf school in Germany in 1919, believed that all children should be given "individualized" attention (rather than just those with special needs.)

This style of education emphasizes a focus on the 'individual' rather than the 'group', with each child being valued for their individual accomplishments: every child is deserving of the same attention typically given to gifted and learning-disabled students in conventional educational streams.

Classes within these schools are structured in a unique system of "blocks" that focus on particular areas of study for a period of three to four weeks rather than the same subjects for the whole school year or semester.

As children grow older, more concrete and technical areas of subjects are introduced. Through this method, not only are the developing child's needs met, but so are their interests. As a result, students are kept actively engaged.

Features of this style of education

Key elements of the Waldorf educational approach include:

Teachers try to fully engage the individual student at each step by gearing the curriculum to their age and needs.

Teachers focus on the child's learning processes and achievements in all areas, not just the academic. In this way, the children can be developed as complete human beings.

Waldorf classrooms don't include computers, televisions, etc. Note how in “Typewriter”, Bluey thinks she needs a typewriter for a story but her teacher takes the focus off of typing a story and onto Bluey and her friends actually having an adventure.

The Waldorf curriculum integrates arts and music into all areas of study. Daily activities include drawing, painting, singing, instrument playing…

Even the aesthetic atmosphere of the classroom is different to a standard school: The Tampa Tribune described a Waldorf school setting: "Imagine a classroom with old wooden tables, a backyard garden and children learning to knit and crochet. Where art and music is intertwined with every subject, students write their own textbooks and the toys are all handmade". Which is definitely the look/feel in Bluey’s school…

Additionally, a tenet of this style of education is that a focus on art and nature in education can lead to a greater appreciation for the beauty of life later on.

Waldorf schools encourage children to keep working on their imagination skills beyond kindergarten, using these skills to learn how to co-operate, share and interact. This concept of letting children progress into adulthood at their own level is a unique cornerstone of the Waldorf education method.

This concept of letting children progress into adulthood at their own level is a unique cornerstone of the Waldorf education method. This last piece is very key -- we seldom see anything being taught to the children; they’re free to do their own thing, make up activities, interact with one another, problem-solve, etc. and Calypso is there to gently guide them towards solutions occasionally.

So Why is This in “Bluey”?

The show “Bluey” is somewhat based on the show’s creator, Joe Brumm’s life experiences as a parent. Joe Brumm chose to have his daughter educated this way after she started the first grade. This is explained by Joe Brumm in an interview with the website The Father Hood:

"Bluey was still in embryonic form when Brumm’s eldest daughter started school. Her experience changed the course of the show.

'Play time was suddenly taken away from her, it was just yanked and seeing the difference in her was horrendous,' he says. 'There was no playing, there was no drawing, it was just straight into all this academic stuff. And the light in her eyes just died.'

Brumm researched alternatives for schooling and researched the value of play for child development. It is said that this is what led him to select Waldorf-style education for his daughter.

'Bluey is just one long extrapolation of that,' Brumm says. 'It’s to encourage people to look at play not just as kids mucking around, but as a really critical stage in their development that, I think, we overlook at their peril.'

Quotes from Joe Brumm from this link:

Closing comment & a caution

Personally, I think it’s interesting to see a different approach of educating children depicted in a TV show. It’s not “oddball”, it’s just a part of these dog-children’s lives.

I feel like the public is exposed to a lot of examples of children’s education on television and it’s generally portrayed in a negative light: e.g. The Simpsons, Bob’s Burgers… and even on shows like “Arthur” the kids were often complaining about school, or having something unpleasant/stressful take place while at school.

My only concern for Bluey and her classmates (and maybe it’s a long-term issue, nothing to worry about in the short term) is this: a potential downside to a Waldorf-style education would potentially be the sharp adjustment a student will encounter transitioning from this nurturing environment to one where that isn’t the case. It could well be unsettling.

…phew, ok, maybe one or two more posts about the school to come.

(Maybe, because of the source material, some of this post may sound a little like a giant sales pitch… it’s not meant to be. I think it’s interesting because it’s different; something else to learn about, etc.)

[justinspoliticalcorner]

Taylor Lorenz at Substack:

We need to know who is funding the creator economy

Yesterday, a federal indictment revealed that a Tennessee media company working with right-wing influencers including Benny Johnson, Tim Pool, Dave Rubin, and Lauren Southern, was receiving significant funding from the Russian state-sponsored network RT to push Russian disinformation. The indictment is absolutely wild and WIRED has a great rundown on the details, including how the propaganda efforts worked. The case serves as the latest high profile example of how “independent media” on the right is anything but independent, and underscores the need for more transparency around funding models in the creator economy. It also shows how disinformation efforts have increasingly focused on penetrating U.S. media through content creators, and how lucrative being a pawn in these schemes can be. While right wing content creators position themselves as scrappy upstarts, leaning into anti-establishment and populist brand positioning, they frequently accept money from far right interest groups, extremist billionaires, and even foreign actors.  Tenet Media received nearly $10 million, distributed out across a network of YouTubers and podcasters. As part of the disinformation campaign, Tenet Media influencers published hundreds of videos on social media that promoted Kremlin talking points. The videos were shared across platforms including YouTube, Facebook, Instagram, X, and TikTok, reaching tens of millions of viewers.

[...] The far right recognized the opportunities in personality-driven media decades ago. After boosting talk radio stars in the 80s and 90s, when social media proliferated, they began to invest heavily in news influencers who seamlessly blend entertainment, news commentary, and far right political messaging into YouTube videos, Instagram memes, podcasts and more. 

[...]

Ben Shapiro's Daily Wire has been heavily funded by wealthy Republican donors, including the Wilks brothers, Texas-based billionaires known for their oil and fracking fortune. Charlie Kirk, founder of Turning Point USA, has benefited from significant funding from conservative mega donors including the Koch network.  When right wing creators began getting deplatformed more frequently on mainstream social media apps in the second half of the 2010s, an entire ecosystem of alternative platforms aimed at helping extremist influencers monetize and amass audiences, cropped up. Rumble, a video sharing platform similar to YouTube backed by billionaire Peter Thiel, began paying far right influencers and anti vaxx content creators hundreds of thousands of dollars to create content on its platform in 2021. Locals, a newsletter platform owned by Rumble, allows influencers to monetize through newsletters in a similar way to Substack. DLive, a right wing Twitch competitor, allowed influencers storming the Capitol building on January 6th, to make thousands of dollars off their live streams. Kick and Cozy.tv, two other right wing live streaming platforms, permit nearly any far right extremist the ability to create content and start earning money. And X, under Musk, has paid out hundreds of thousands of dollars to right wing influencer accounts.

The robust financial backing the right wing content creator ecosystem enjoys, allows extremists the ability to fund professional production teams, social media ad buys, and marketing initiatives that give them a competitive advantage online. In contrast, progressive creators are left to rely on meager donations and crowdfunding efforts to sustain their work. This financial imbalance has made it nearly impossible for left-wing content creators to match the reach or production quality of their right-wing counterparts. Already, several Russia-backed Tenet Media influencers, including Benny Johnson and Tim Pool, have been doing damage control. They've publicly stated that they had no idea about the origins of the money and claimed that they were merely unwitting victims who were misled by the company. 

Right-wing media influencers like Nick Sortor (even though he wasn’t named in the indictment), Benny Johnson, and Tim Pool aren’t “independent media” in any way.

[greywindys]

I like unhinged shows, so it's okay for me hehe

Okay, I realized a third of the way through this that some of these are almost impossible to watch to anyone who isn't internet savvy doesn't have connections. For example, I have my friend's parents' Direct TV login that I use to watch some 2/3 of the shows on this list RIP. But if you ever get cable or Paramount+, you may be in luck! But, yeah, sorry, anon. I'll still list them for you! Here are some shows that I should maybe call "guilty pleasures," except I won't, because I'm not guilty about them. I like my prestige TV, and I like my reality shows, which are arguably prestige in their own right 😌 Anyhow...

The Challenge: I've been watching this show my entire life, I think. At least it feels that way. It was a staple on family vacation, and then I kept watching it from there. Originally called The Real World/Road Rules Challenge, it originated from MTV and cast people from the two aforementioned shows - The Real World and Road Rules. As you may or may not know, with the prominence of streaming, MTV isn't as popular as it once was, so the show has adapted to casting from various, other MTV shows (i.e. Are You the One? - an amazingly messy show btw) CBS shows, while also keeping some main stays from RW/RR, hence the name change to simple, "The Challenge." It's currently airing its 40th season, which IMO is a pretty commendable achievement on its own. The premise is simple - people, compete either individually or on teams, for a large sum of money. It's a mix of athleticism and politicking, and they recast people across seasons, so some of the rivalries can run deep. This may not be the easiest to just jump into if you don't really know who anyone is (though I've heard it can still be fun). All of the old seasons are available on Paramount+. Of the earlier seasons, I like season 19, 21, 25, 30, and I think these could be goo to start on to get to know some of the cast. Obligatory fair warning that some of the early seasons may not be for everyone as the humor etc. is all from that era. Also, unrelated, but my cousin does an amazing CT impression lmao.

Dragula: I honestly have no idea how I stumbled upon this one. Like, I've genuinely ruminated on this and still, nothing. But regardless, I'm happy I did! This is an alt-drag competition show that is currently airing its 6th season on Shudder. I had gone a few years of not watching any drag competition shows after kind getting bored of Ru Paul's Drag Race, and picked this up during season 3, but have since gone back and watched the earlier seasons as well. The show is niche and still actively growing (season 6 has been its biggest premiere yet!) - it's very fascinating to see how much it's grown since season 1. There are three tenets of Dragula -Horror, Filth and Glamor. And fair warning, while the filth part of this was lighter during season's 4 and 5, it's very, very much back this season (it's TV MA for a reason!). The elimination challenges, called "Exterminations," are unhinged, and some of them I haven't been able to watch lmao. But if you are curious, it's great viewing for Halloween, and has some memorable drama. The contestants this year are really talented and creative. Also, life pro-tip - the episodes are all on Dailymotion. I still recommend paying for a Shudder or AMC+ subscription to support the show (I'm finally watching The Terror this way, and also the Shudder original movies are pretty good this year), I also understand it's tough out there for lots of people!

House of Villains: This one also benefits from prior viewing experience, but I could see it being fun to watch for someone going in blind anyway. This airs on the E! network and is in its second season. It celebrates the reality TV show villain, which I can get behind because I think it's gotten exponentially more difficult to play this role on TV because of how rabid people have gotten online. Pretty much EVERY reality show I watch, regardless of how tame the drama is, always results in someone getting a disproportionate amount of hate. It sucks, because it discourages people from being their authentic, messy selves, and part of why some shows are casting career influencers who play it safe and boring. Anyhow, whoever thought this up at E! gets props from me. The premise is pretty basic- reality show villains compete for a sum of money, but it benefits from its cast, many of whom know how to be on TV, and how to make good TV. The shows is campy and self-aware. In addition to seeing people I know from other shows, I also like learning some of The Lore from shows I don't watch. It's very light viewing, too, great to watch after a draining work day.

Those are the shows I'm watching right now!

[contentment-of-cats]

Washington Post article highlights social media's role in pushing birth control misinformation

Search for “birth control” on TikTok or Instagram and a cascade of misleading videos vilifying hormonal contraception appear: Young women blaming their weight gain on the pill. Right-wing commentators claiming that some birth control can lead to infertility. Testimonials complaining of depression and anxiety.

Instead, many social media influencers recommend “natural” alternatives, such as timing sex to menstrual cycles — a less effective birth-control method that doctors warn could result in unwanted pregnancies in a country where abortion is now banned or restricted in nearly half the states.

Physicians say they’re seeing an explosion of birth-control misinformation online targeting a vulnerable demographic: people in their teens and early 20s who are more likely to believe what they see on their phones because of algorithms that feed them a stream of videos reinforcing messages often divorced from scientific evidence. While doctors say hormonal contraception — which includes birth-control pills and intrauterine devices (IUDs) —is safe and effective,they worry the profession’s long-standing lack of transparency about some of the serious but rare side effects has left many patients seeking information from unqualified online communities.

The backlash to birth control comes at a time of rampant misinformation about basic health tenets amid poor digital literacy and a wider political debate over reproductive rights, in which far-right conservatives argue that broad acceptance of birth control has altered traditional gender roles and weakened the family.

Physicians and researchers say little data is available about the scale of this new phenomenon, but anecdotally, more patients are coming in with misconceptions about birth control fueled by influencers and conservative commentators.

“People are putting themselves out there as experts on birth control and speaking to things that the science does not bear out,” said Michael Belmonte, an OB/GYN in D.C. anda family planning expert with the American College of Obstetricians and Gynecologists (ACOG). “I am seeing those direct failures of this misinformation.”

He says women frequently come in for abortions after believing what they see on social media about the dangers of hormonal birth control and the effectiveness of tracking periods to prevent pregnancy. Many of these patients have traveled from states that have completely or partly banned abortions, he said, including Texas, Idaho, Georgia, North Carolina and South Carolina.

Doctors stand a better chance of dispelling misinformation when they listen to patients’ concerns, said Belmonte, noting that some are more worried about the side effects of birth control than the effectiveness doctors have long been trained to emphasize. He has adopted ACOG’s recommendation that physicians candidly discuss common side effects such as nausea, headaches, breast tenderness and bleeding between periods; many of these resolve on their own or can be mitigated by switching forms of birth control.

Women of color whose communities have historically been exploited by the medical establishment may be particularly vulnerable to misinformation, given the long history of mistrust around birth control in this country, said Kimberly Baker, an assistant professor at UTHealth Houston School of Public Health. Forced sterilizations of tens of thousands of primarily Black, Latina and Indigenous women happened under U.S. government programs in the 20th century.

“That’s another huge reason why these negative videos around birth control get a lot of fanfare, because there’s already the stigma attached to it, and that’s steeped in our history,” she said

Why birth control misinformation is on the rise

Birth control misinformation has become prevalent on social media and is particularly dangerous in post-Roe America. For influencers of all political stripes seeking fame and fortune on the internet, negative content draws more clicks, allowing them to reach a wider audience to sell their products and services.

Nicole Bendayan, who has amassed more than 1 million combined followers on Instagram and TikTok for her holistic-health coaching business, shared on social media that she stopped using hormonal birth control because she was concerned about weight gain, low libido and intermittent bleeding, which she had assumed were side effects.

Bendayan’s TikTok about getting off birth control and becoming a “cycle-syncing nutritionist” who teaches women how to live “in tune” with their menstrual cycles has drawn 10.5 million views.

The 29-year-old is not a licensed medical specialist.

“I had a lot of really bad symptoms [and] went to see a bunch of different doctors. Every one of them dismissed me. Even when I asked if it had anything to do with birth control, they all said no,” Bendayan said in an interview with The Washington Post.She had used a vaginal ring for eight years and an IUD for two; she said that when she went off birth control, her symptoms went away.

“I believe that the access to birth control is important,” she said. “I don’t think that we’re given informed consent.”

Bendayan has told her followers that birth control may deplete magnesium, vitamins B, C and E, and zinc levels. She charges hundreds of dollars for a three-month virtual program that includes analyses of blood panels for what she calls hormonal imbalances.

When asked about the science behind why her symptoms resolved after getting off birth control, Bendayan said she did her own research and found studies that backed up what she was feeling. She doesn’t claim to be a doctor, but says she wants to help others.

“I always make it clear in a disclaimer that I’m not a medical professional and that I would happily work with their health-care team,” said Bendayan, who lives in Valencia, Spain. “I’m an educator.”

In recent years, an entire industry has popped up around regulating hormones that experts say is often a cash grab; there is no proven science that the hormone-balancing regimes pushed by some social media influencers such as Bendayanwork.

Social media companies struggle to combat misinformation as they balance free-speech protections. Meta, the parent company of Facebook and Instagram, says it works hard to protect online communities.

“Our policies are designed to give people a voice, while at the same time keeping people safe on our apps,” said Ryan Daniels, a spokesman for Meta.

TikTok recently removed at least five videos linking birth control to mental health issues and other health problems after The Post asked how the company prevents the spread of misinformation. One of the videos removed was of Bendayan saying certain forms of birth control could make users more susceptible to sexually transmitted infections, which experts say the evidence does not support. A TikTok spokeswoman said the videos violated company policies prohibiting “inaccurate, misleading or false content that may cause significant harm to individuals or society.”

Bendayan told The Post she “fully” supports “the removal of any content that may inadvertently perpetuate misinformation.” She added, “As I often remind my audience, it’s essential for individuals to conduct their own research and seek comprehensive understanding, especially considering the limitations of short-form content.”

An underlying conservative push

Prominent conservative commentators have seized upon mistrust of medical professionals, sowing misinformation as a way to discourage the use of birth control. Some commentators inaccurately depict hormonal contraception as causing abortions. Others say they’re just looking out for women’s health.

Brett Cooper,a media commentator for the conservative Daily Wire, argued in a viral TikTok clip that birth control can impact fertility, cause women to gain weight and even alter whom they are attracted to. It racked up over 219,000 “likes” before TikTok removed it following The Post’s inquiry.

In a Daily Wire video, Cooper and political commentator Candace Owens denounce birth-control pills and IUDs as “unnatural,” with Owens saying she’s a “big advocate of getting women to realize this stuff is not normal,” and claiming that viewers of her content told her copper IUDs can harm women’s fertility. Medical experts say there is no evidence birth control impacts fertility long term.

On his show, Ben Shapiro,another right-wing pundit,called discussing birth-control side effects a “political third rail,” while interviewing a guest who proclaimed that women on birth-control pills are attracted to men who are “less traditionally masculine.”

Shapiro, Cooper and Owens did not respond to requests for comment.

The online magazine Evie, describedby Rolling Stoneas the conservative Gen Z’s version of Cosmo, urges readers to ditch hormonal birth control with headlines such as “Why Are So Many Feminists Silent About The Very Real Dangers Of Birth Control?”

Brittany Martinez, founder of Evie Magazine, said in an email that the outlet’s work has made questioning birth control mainstream. “Women have been silenced and shamed by legacy media, the pharmaceutical industry, and, in many cases, by their own doctors who have gaslit them about their experiences with hormonal birth control,” she wrote.

Martinez co-founded a menstrual cycle tracking app called 28that is backed by conservative billionaire and tech mogul Peter Thiel. The company, 28 Wellness, told The Post it does not disclose itsinvestors, but Evie announced Thiel Capital’s support when the product launched. A spokesman for Thiel did not respond to requests for comment. The app’s website declares: “Hormonal birth control promised freedom but tricked our bodies into dysfunction and pain.” The “feminine fitness” app told The Post it has “never been marketed as an alternative to hormonal birth control.”

The influencers’ messaging helps drive potential legislation limiting access to hormonal birth control, said Amanda Stevenson, a sociologist, demographer and assistant professor at the University of Colorado at Boulder who is studying how antiabortion activists and lawmakers are trying to restrict birth control. Already Republican legislators in Missouri have tried, unsuccessfully, to stop the state’s Medicaid program from covering IUDs and emergency contraceptives. A panel of the U.S. Court of Appeals for the 5th Circuit this month upheld a Texas law requiring minors to obtain parental permission before accessing birth control.

Stevenson pointed to pronouncements by Lila Rose, anantiabortion activist with hundreds of thousands of followers on social media who has urged women to get off birth control, in what Stevenson called an effort to stigmatize it.

“To be anti-fertility is to be anti-woman, and the proliferation of hormonal birth control is just another way of trying to force women to be more like men, with significant consequences for our emotional and physical health,” Rose said in an email.

In a 2017-2019 federal survey, the latest available, 14 percent of women 15 to 49 years old said they were currently using oral contraceptive pills, and 10 percent said they were using long-acting reversible contraceptives such as an IUD. In a federal survey of women ages 15 to 44 who had had sex,the percentage who reported ever having used the pill dropped from 82 percent to 79 percent between 2002 and 2015, while the percentage for those ever having used an IUD more than doubled to 15 percent.

Side effects of birth control

All forms of medication, including hormonal birth control, can have side effects. Some are rare, but serious: Birth-control pills that contain estrogen can lead to blood clots and strokes. IUDs can perforate the uterine wall.

When Sabrina Grimaldi went to urgent care for chest pain last spring, the medical staff told her she had pulled a muscle and sent her home. Weeks later, when her left leg started to swell and turn purple, the 24-year-old from Arizona realized it was more than a pulled muscle. Medical providers discovered blood clots in her leg and in both of her lungs, which she said they told her were caused by her birth-control pills. Grimaldi wrote about her experience in the Zillennial Zine, an online magazine where she is editor in chief, and also shared it on TikTok.

“There’s all of those crazy things on the package that say you might have a blood clot or a heart attack or death, and you’re just like whatever. You don’t actually think that that’s going to happen,” Grimaldi said in an interview, noting that her doctor never discussed potential side effects with her.

The Food and Drug Administration points out that the risk of developing blood clots from using birth-control pills — 3 to 9 women out of 10,000 who are on the pill — remains lower than the risk of developing blood clots in pregnancy and in the postpartum period. Doctors note that Opill, the over-the-counter pill that will soon be available in stores and online, contains only progestin — meaning it does not have the blood clot risk of estrogen-containing pills.

The algorithms behind TikTok, YouTube and Instagram are designed to surface content similar to what viewers have already watched, which experts say leads viewers to believe that more people suffer complications than in reality.

Jenny Wu, an OB/GYN resident at Duke University, noticed that her Gen Zpatients were turning away from IUDs at higher ratesthan her millennial patients — and were referencing TikToks about the pain of IUD insertion. So she analyzed the 100 most popular TikTok videos about IUDs and found that a surprisingly high proportion — almost 40 percent — were negative.

“It’s changed how I practice,” she said. She now routinely offers patients a variety of pain management options including anti-inflammatory drugs, a lidocaine injection into the cervix, or anti-anxiety medication.

Catherine Miller, a junior at the University of Wisconsin at Stout, had never wanted to be on hormonal birth control after going down a rabbit hole of TikTok videos that listed negative side effects without context.

“It created this sense of fear that if I ever needed to be put on birth control, I would become a completely different person, I would gain a bunch of weight, and my life would be over,”the 20-year-old said. “I was like, well, obviously, this is true. This applies to everybody, because it’s the only thing I’m seeing.”

But in the fall, Miller took a human sexual biology class taught by a family physician who had spent decades counseling women on how to choose the right birth control. The professor walked the class through scientific research to dispel some of the misconceptions they had encountered.

After learning that her understanding of the risks was skewed by social media, Miller said, she worries about her generation of women facing a lack of accurate information — and choices. Abortion is banned in Wisconsin after 22 weeks of pregnancy.

“It’s terrifying to think about our options being taken away, and misinformation about the things that we still have access to,” she said. “That’s a combination for disaster.”

[astercontrol]

What is your function program? I compress porn for online streaming.

thank you for your service! <3

I am a pattern recognition program and I do practically everything. Usually in weird ways no one else has thought of. Sometimes this innovation is helpful, sometimes it is just... weird. I'll do shit like... design a computer monitor mounting apparatus using techniques I learned from datasets about macrame and shibari.

my asterisk motif has a bunch of different meanings (all things are connected, that's a pretty central tenet of my programming) BUT the main meaning is "wildcard." I'm everything, I'm whatever.

[finlaure13]

News·CBC Investigates

Meet the right-wing Canadian influencers accused of collaborating with an alleged Russian propaganda scheme

Tenet Media founder Lauren Chen allegedly took funds from pro-Moscow outlet

Jonathan Montpetit, Aloysius Wong · CBC News · Posted: Sep 06, 2024 5:00 AM ADT | Last Updated: September 6

The U.S. Justice Department's indictment unsealed on Wednesday alleges a company matching the description of Tenet Media took Russian money to influence the U.S. presidential election. (tenetmedia.com)

The social media accounts of two of Canada's most vocal far-right pundits have fallen unusually silent after U.S. officials accused them of being collaborators of a covert Russian propaganda campaign.

On Wednesday, the U.S. Justice Department unsealed an indictment against two Russian nationals, accusing them of setting up a conservative media outlet as a front for pro-Kremlin propaganda.

The media outlet was unnamed in the indictment, but it was clear from details within that the charges referred to Tenet Media, founded in 2023 by the Canadian influencer known as Lauren Chen and her husband, Liam Donavan.

Among the people they hired last year was Chen's longtime friend and occasional collaborator Lauren Southern, another Canadian far-right influencer with a massive social media following.

In the few short months it operated, the outlet produced a steady stream of content favourable to Donald Trump, including an appearance by his daughter-in-law, Lara Trump.

Since the indictment was made public, several Tenet Media collaborators have come forward to claim they were unaware of how the company was funded.

"These allegations clearly show that I and other commentators were the victims of this scheme," Dave Rubin, a right-wing pundit with 2.45 million YouTube subscribers, wrote on X, formerly known as Twitter.

Lauren Chen's YouTube channel, which had over 1,000 videos and 570,000 subscribers, was terminated on Thursday. (YouTube)

But Southern and Chen have yet to speak publicly. Reached by phone on Thursday, Chen told CBC News, "We're not commenting at this time." Southern did not respond to email.

Neither has posted anything online since the indictment was made public.

Neither Chen, Donavan nor Southern are the subject of criminal charges, and none are named in the indictment.

But the allegations have jeopardized their standing within right-wing circles.

Chen has already been fired from another conservative website, Glenn Beck's The Blaze. Her YouTube channel, which had more than 572,000 subscribers, was terminated on Thursday. And her bio page on the website for Turning Point USA, a pro-Trump campus activist group, has been deleted.

YouTube also removed Tenet Media's channel on Thursday, saying "it violated our community guidelines."

WATCH | Canadians linked to propaganda efforts:

Russia accused of using influencers to meddle in the 2024 U.S. election

2 days ago

Duration 2:03

Washington has accused Moscow of running a covert propaganda campaign to meddle in the 2024 U.S. presidential election, with documents revealing a connection to Canadian far-right influencers Lauren Chen and her husband, Liam Donovan.

'Broader conservative apparatus'

Born in Quebec and raised in Hong Kong, Chen rose to fame as a YouTuber under the moniker Roaming Millennial.

She was an outspoken supporter of Trump in the 2016 election and an eager soldier in the early years of the culture wars.

"She's situated as part of this broader conservative apparatus that seeks to instill social and cultural values that align with certain interests concerning anti-immigration, anti-LGBTQ rights and anti-feminism," said Eviane Leidig, who studied both Chen and Southern for her book Women of the Far Right, released last year.

As her subscriber base grew into the hundreds of thousands, Chen began making appearances on popular conservative outlets such as Fox News and the Daily Wire.

WATCH | 'This is compensated speech':

Content bankrolled by Russia 'not free speech,' says former FBI director

1 day ago

Duration 1:09

Frank Figliuzzi, former assistant director for counterintelligence at the FBI, explains why it's important to take the Department of Justice's indictment of Russian sponsored media outlets seriously, even if you agree with those outlets' opinions.

In the indictment, Chen appears to be referred to as Founder-1 and is said to have begun working for the parent company of RT — the Russian state-run news outlet — in the spring of 2021.

RT was forced to stop operating in both the U.S. and Canada as part of government-imposed sanctions in response to Russia's 2022 invasion of Ukraine.

But in the timeline laid out by U.S. officials, Founder-1 began recruiting conservative personalities with lucrative offers in 2023 for a new media outlet, all while being paid to do so by RT operatives.

From the details provided in the indictment, Chen was allegedly billing RT in part through Roaming Millennial Inc., a company registered in the Montreal area, where her mother lived.

Tenet Media was eventually registered in Tennessee as a subsidiary of Chen's Canadian company.

When Tenet Media launched in November, the RT operatives are suspected of having directed the two founders how to cover certain stories and what content to circulate on social media.

Among the examples listed in the indictment, the operatives instructed Chen to produce content that blamed the U.S. and Ukraine for the March 2024 terror attack in Moscow that was claimed by ISIS.

Eviane Leidig, author of The Women of the Far Right, says Lauren Chen is part of a 'broader conservative apparatus' that promotes anti-feminist and anti-LGBTQ values. (evianeleidig.com)

Southern helped popularise extremist theory

Since Tenet Media began publishing content, Southern has produced several videos for the outlet focusing on Canadian issues.

Their titles range from "Canada Is Becoming A COMMUNIST HELLHOLE," which compares Canada to the U.S.S.R., and "Mean Tweets = Life in PRISON in Canada?!" which criticizes the proposed Online Harms Act.

"If you think naively that the Russians don't care as much about influencing Canadian thought, penetrating the Canadian government at all levels — I'm here to tell you they care deeply about shaping how you think, how you vote and sowing chaos and discord," said Richard Fadden, former director of CSIS.

Former CSIS director Richard Fadden warns that Canadians are not immune to pro-Kremlin propaganda, especially as Russia seeks to manufacture distrust with Western institutions. (Adrian Wyld/The Canadian Press)

Southern, who grew up in British Columbia, was one of the early stars of the alt-right movement, known for her videos in which she confronted progressive activists.

She also travelled widely and made connections with far-right movements in Europe, South Africa and Australia, helping circulate extremist ideas more widely.

Southern was an early proponent of the "great replacement" conspiracy theory, which holds that white majority populations are being replaced by racialized migrants and has been been cited by several far-right terrorists.

Canadian conservative activist Lauren Southern livestreams a video during a rally in Berkeley, Calif., on April 27, 2017. Southern has produced videos for Tenet Media focused on Canada, including one calling the country a 'communist hellhole.' (Josh Edelson/AFP/Getty Images)

The theory was "seen as very fringe, as something that you would, might only find in the dark corners of the internet," said Leidig.

"But today it has become quite a mainstream and to some extent, popular idea."

Canadians targeted too

On Thursday, Public Safety Minister Dominic LeBlanc said the government was working with the U.S. "on this serious matter."

"Any Canadians who illegally assist in Russia's persistent attempts to use disinformation, criminal and covert activities, and corruption to undermine our sovereignty and democratic processes will face the full force of Canadian law," he said in a statement.

Intelligence experts say the details in the indictment were a further indication of the scope of Russian efforts to influence the American election.

"We have not seen an adversary attempt to influence an American election to this degree ever before," said Frank Figliuzzi, a former FBI assistant director for counterintelligence.

Fadden warned that, despite the focus on the impact of Russian propaganda on the U.S. election, Canadians are not immune to the influence of disinformation campaigns.

"The Russians' overarching objective is to increase the level of discontent in our institutions — and institutions in all of the Western countries," he said. "There is no rational reason that I can think of why Canada would be exempted."

Jonathan Montpetit

Journalist

[sononobello]

W9: community gaming, social gaming, and live streaming

The gaming industry has flourished through the establishment of social media communities and strong online interactions. Social media has played an important role in the growth of online games by enabling continuous and unrestricted online interaction. This result facilitates an expansion in the number of participants and establishes mentions and competition among different players.(Nardi, B.,2016). Through communication tools including tools that allow the sharing of relics or discussion of games. Woodcock, (2018) stated that game developments should be tied to the community and promoted on social networks with the aim of attracting as many players and their discussion as possible (Woodcock, (2018). In the context of the development of the gaming industry strongly linked to the development of social media, the applications of social media platforms have established many features for games and meet the entertainment needs of users. Hence, the advent of live-streaming games has directly upgraded the player's gaming experience and casual entertainment. Live streaming platforms, such as Twitch and YouTube Gaming, have introduced a new way for gamers to connect, share, and watch content. Meanwhile, the experience with online games is now set up not only as a gaming experience but also as an experience of observing others playing games in real time(Raïssi, 2012). The tenet of this new experience formation is real-time live streaming, which allows for interaction between viewers and streamers via chat. Hence, live-streaming can also bring commercial value to stakeholders including streamers and audiences through the donation function.

The rise of community gaming, social gaming, and live streaming reflects a broader cultural shift toward online connection. Furthermore, the rise of social gaming has directly democratized content creation and recognized games as an important cultural and economic driver (Rapp, A., 2021).

 For example, live streaming can enhance community gaming experiences by providing a platform for community events, while social game mechanics can foster community building within and around the game.

Reference

Crenshaw, N., & Nardi, B. (2016). “it was more than just the game, it was the community”: Social Affordances in online games. 2016 49th Hawaii International Conference on System Sciences (HICSS). https://doi.org/10.1109/hicss.2016.471 

Johnson, M. R., & Woodcock, J. (2018). The impacts of live streaming and Twitch.tv on the video game industry. Media, Culture &amp; Society, 41(5), 670–688. https://doi.org/10.1177/0163443718818363 

Kaytoue, M., Silva, A., Cerf, L., Meira, W., & Raïssi, C. (2012). Watch me playing, I am a professional. Proceedings of the 21st International Conference on World Wide Web. https://doi.org/10.1145/2187980.2188259 

Rapp, A. (2021). Time, engagement and video games: How game design elements shape the temporalities of play in massively multiplayer online role‐playing games. Information Systems Journal, 32(1), 5–32. https://doi.org/10.1111/isj.12328 

[ytbtocool]

Format Freedom: Mastering Video Conversion Techniques"

Introduction:

In the dynamic landscape of digital content creation, the pursuit of format freedom has become a crucial endeavor. This guide, titled "Format Freedom: Mastering Video Conversion Techniques," is an exploration of the art and science behind video conversion. Join us on a journey to master the techniques that liberate your videos from format constraints, providing the freedom to be experienced seamlessly across various platforms and devices.

1. Decoding the Language of Video Formats:

Understanding the nuances of video formats is the first step toward achieving format freedom. From the ubiquitous MP4 to the specialized realms of AVI, MKV, and MOV, each format speaks its own language. This section serves as a primer, decoding the language of video formats and laying the foundation for mastering the art of video conversion.

2. Motivations for Seeking Format Freedom:

a. Universal Accessibility:

The primary motivation behind mastering video conversion lies in achieving universal accessibility. In a world saturated with diverse devices, format freedom ensures that your content is not bound by the limitations of a single format, allowing it to reach audiences on any screen.

b. Tailoring for Streaming Platforms:

As streaming platforms continue to evolve, mastering video conversion is about tailoring content for various platforms. It's not just about changing formats; it's about optimizing for each platform's unique requirements, ensuring a seamless streaming experience for your audience.

c. Efficient Storage without Compromise:

Achieving format freedom involves efficient storage without compromising quality. Video conversion allows for the compression of files into more efficient formats, striking a delicate balance between preserving visual integrity and minimizing digital footprint.

3. Palette of Video Conversion Tools:

a. Online Converters:

For those seeking user-friendly solutions, online converters are an accessible entry point into video conversion. This guide explores popular online tools, providing insights into their features and offering guidance on leveraging them effectively to achieve format freedom.

b. Software Solutions:

Venturing into more advanced terrain, software solutions open up a realm of possibilities for mastering video conversion. This section explores comprehensive video conversion programs, highlighting their features, customization options, and the efficiency they bring to the process.

c. Command Line Empowerment:

For users comfortable with a more technical approach, mastering video conversion involves delving into command-line tools such as FFmpeg. Unveiling the power of command-line empowerment, this section provides insights into a hands-on approach, giving users greater control over the conversion process.

4. Crafting Seamless Conversion Workflows:

a. Batch Processing Brilliance:

Efficiency is key in mastering video conversion. The guide shares tips on orchestrating batch processing brilliance, allowing users to transform multiple videos simultaneously and streamline their workflows with precision.

b. Quality vs. Compression Mastery:

In the delicate balance between quality and compression, mastering video conversion is about achieving the perfect blend. This section provides insights into striking the right balance, ensuring that your videos maintain their visual brilliance while being optimized for various applications and devices.

5. Navigating Challenges and Preserving Quality:

a. Preserving Visual Integrity:

A central tenet of mastering video conversion is the preservation of visual integrity. The guide addresses challenges related to quality loss, offering techniques and settings to mitigate risks and empower users to maintain the essence of their content during conversion.

b. Ensuring Compatibility Across Screens:

Just as an artist adapts their work for different canvases, mastering video conversion ensures compatibility across diverse devices and platforms. This section explores common compatibility challenges, offering insights to ensure that your content is appreciated seamlessly on every screen.

Conclusion: Empowering Your Content with Format Freedom:

"Format Freedom: Mastering Video Conversion Techniques" is not just a guide; it's a roadmap to empower your content with the freedom to transcend format boundaries. As you embark on this journey, mastering the techniques within video conversion becomes a skill that liberates your videos, allowing them to shine brilliantly across screens and platforms. By embracing the art and science of video conversion, you not only achieve format freedom but also elevate your digital content to new heights, ensuring it resonates seamlessly with your audience's diverse preferences and devices.

[disappearingground]

Jenny Lewis: ‘My friends have heard some of the stories, but there’s some good ones I’ve been saving’

The Guardian June 4, 2023

The US singer-songwriter and former Rilo Kiley frontwoman on touring with Harry Styles, being happily single and the importance of joy – mostly in puppy form – in your life

By Kathryn Bromwich

One of Jenny Lewis’s many appealing traits is a certain kind of rock star insouciance. So when she was announced as the support act for Harry Styles’s North American tour in autumn 2021, prompting many of his fans to respond with: “Who the fuck is Jenny Lewis?”, the singer-songwriter created a Spotify playlist of the same name. It showcased the many highlights of her 20-plus-year career in music, from her days as frontwoman of indie rock band Rilo Kiley, through various side projects, to her current solo career making shimmering pop songs infused with country and 1970s rock (“The more she goes on … the more she sounds like one of the greats,” wrote Kitty Empire in these pages, about her last album, 2019’s On the Line).

Despite their initial misgivings, the fans “were amazing from show one”, says Lewis. She had just come out of the pandemic and total isolation – “I hadn’t even gone to a restaurant or done anything” – and found herself on the biggest stages she had ever played, arenas filled with thousands of new young fans. “I got pure love and support and total attention,” she recalls, speaking over Zoom from her home in Los Angeles, sunlight streaming in through the wall-to-wall windows behind her. “They make signs at the shows to get Harry’s attention, but about four shows in, someone in the crowd had a sign that said: ‘I’m here for Bobby Rhubarb.’”

Bobby Rhubarb is Lewis’s two-year-old cockapoo, a present from a poet friend named Serengeti and the subject of the first single from her fifth solo album, Joy’All (“I need a dog that’s hypoallergenic / In the poodle milieu and photogenic”). The song, Puppy and a Truck, came out of an online songwriting workshop organised by Beck and is a sweet, moving bop about being single in her 40s and finding a deep sense of fulfilment in her new life. “I don’t got no kids / I don’t got no roots,” she sings at the end, in a tone that could be read as wistful, or liberated, or both.

Shit gets real, there’s a lot of suffering, and how are you going to weather it?

This balance of emotions is a central tenet of Joy’All, an album that came out of lockdown and Lewis’s first opportunity to stop and process everything that had happened to her in the preceding years. “I think going through a big tragedy, or the loss of both of your parents, or the end of a long-term relationship,” she says of this time, “the common theme as a human being is just: shit gets real, there’s a lot of suffering, of varying degrees, and how are you going to weather it?”

During her time alone, she experienced “a spiritual shift – I realised that the pursuit of joy is a really important thing”. She found this in Bobby Rhubarb, who brought new rhythms to her daily routine and reminded her of the things that truly matter – “Like play and going on a walk.” She read books by Hermann Hesse, Raymond Chandler and Ram Dass, consumed “a lot of murder content” and grew two massive weed plants (“pleased to meet you, Mary Jane”, goes new track Love Feel).

Joy’All is an uplifting, layered album filled with ear-worming hooks and memorable lines, preceded by a spate of career-best singles such as Psychos (featuring what she calls the “ultimate Tinder profile description line: ‘I’m not a psycho / I’m just tryna get laid’”) and Giddy Up, a Kacey Musgraves-esque country-pop tune about taking a chance on romance, and cognitive dissonance. Throughout the LP, difficult events are balanced out by joyous ones: “the essence of life / is suffering” goes one line, later becoming “the essence of life / is ecstasy”. The pain of a breakup sits alongside the thrill of a new liaison; there are references to an encounter at an after-school party that “almost destroyed” her, but also to listening to Marvin Gaye with an “ice-cold Modelo”.

On our call, Lewis is engaging company, with a sparkling intelligence and a warm, easy laugh. With her feathered red hair and a T-shirt bearing the logo of the Beastie Boys label Grand Royal, she exudes an energy halfway between Stevie Nicks and Natasha Lyonne, interrupting herself with a joke when she feels she is coming across as too LA (she divides her time between there and Nashville). She was born in Las Vegas in 1976 and by the 1980s had a thriving career as a child actor, with roles in TV shows such as The Twilight Zone, The Golden Girls, Baywatch and Murder, She Wrote, as well as films including Pleasantville, Foxfire – opposite a young Angelina Jolie – and the now cult classic Troop Beverly Hills.

Lewis learned a lot during those years: memorising lines, accessing emotion while performing (“You have to think of the worst possible thing to make yourself cry, which is such an interesting thing for a brain that is still forming”). But by the early 00s she was out of that world. She has spoken openly about the trials she faced in childhood: her absent musician father, Eddie, and the heroin addiction of her Vegas entertainer mother, Linda. Lewis’s deceptively cheerful-sounding 2019 track Wasted Youth is about her mother spending her acting earnings first on buying, then selling drugs: “I wasted my youth / On a poppy, doo-doo, doo-doo, doo / Just for fun.” Their relationship broke down, with Lewis becoming estranged from her father and mother for many years. She reconciled with them before their deaths in 2010 and 2017 respectively.

Having some time and distance has given her perspective, allowed her to see things from their point of view as well as her own. “My attitude is good, in that I accept my mom for who she was. I understand that it was probably really hard for her and she did what she had to do to survive. I appreciate all of her choices, even if they weren’t the greatest choices.” She understands now that some addicts don’t get clean. “The recovery rate for heroin addicts – it’s a very small percentage. So the more I’ve learned about that, the more I can accept the whole thing.” She is still unearthing memories from that time; a memoir is in the works (Patti Smith’s Just Kids is a touchstone). “My friends have heard some of the stories, but there’s some good ones I’ve been saving,” she says, rubbing her hands together.

There were also, she adds, many amazing moments in her youth. “I think sometimes the good ones get overshadowed. But my mom was so charismatic and funny and cool. She was a hipster.” One moment in particular springs to mind: “She was in this rehabilitation centre after surgery and I went to visit her. And when I got to her room she was passed out with a peanut butter sandwich listening to Tame Impala. I was like: ‘How is she so cool?’ There were these absurd moments – the context was very serious, but there was always something funny going on.”

Lewis’s upbringing has been an endless source of material. Many of her songs with Rilo Kiley were verbatim accounts of the incredible characters in her mother’s orbit. “Blake [Sennett, Lewis’s then boyfriend and bandmate] and I would get together, he’d be playing guitar and I would just start reciting this stuff. He’d go: ‘Where the heck did you get this?’ And I was like: ‘Ah, never mind.’” A Better Son/Daughter is still the song she gets approached about most. “I’ve seen some tattoos [of it] as well,” shes says, “which is always incredible – it’s like, was that a mistake? But people really connect with that song and share their experiences with depression and addiction and their relationship with their parents.”

As well as the fans who have been with her from the beginning, Lewis now has a cohort of admirers who were too young to appreciate the music at the time. Early 00s female pop-punk acts such as Paramore and Avril Lavigne are now being reappraised; echoes of Rilo Kiley can be heard in the catchy, emotionally literate breakup songs of Olivia Rodrigo and Taylor Swift (the band’s hit Portions for Foxes was included in a list of 18-year-old Swift’s most listened to iPod songs). “It’s like the spin cycle on your washing machine,” cackles Lewis. “It’s the cool cycle: 20 years and suddenly you’re cool. You’re like, wait, you hated this shit back then.”

In addition to Rilo Kiley, Lewis has also been part of duo Jenny and Johnny – with former partner Johnathan Rice – and all-female indie supergroup Nice As Fuck, whose debut performance was at a Bernie Sanders rally in 2016. “I keep leaving behind versions of myself,” says Lewis. “The actor version, the girl in a band version, the start a band with your boyfriend version, the all-girl New York punk band version. I’m constantly starting these things and then moving forward.” While she loves collaboration and has learned a lot from it over the years – she has worked with the Postal Service, Vampire Weekend, Bright Eyes, She & Him, and Ringo Starr, who played drums on Heads Gonna Roll – for now she is happy having autonomy over her own work. “My relationship with my songwriting started out very solitary. I’ve only co-written with a couple of people. Mostly my boyfriends, whoever I’m going out with at the time. But now I’m totally free to do whatever I want to do creatively. What is interesting to me in a song might not be interesting to a collaborator, but I don’t really care because I’m writing more for myself.”

Maybe Elon Musk can throw a giant festival on Mars called CancelFest, where all the cancelled people go

Musician Ryan Adams did some early production work on her last album; he was later accused of sexual misconduct by several women. Lewis has talked about this on numerous occasions, standing in solidarity with his accusers, and is understandably keen to move on. “There’s a broader conversation on behaviour among rock’n’rollers and the bigger conversation of what to do with people who misbehave,” she says, choosing her words carefully. “I think we should all be accountable for our own behaviour. But I don’t think you can cast people out completely. There has to be some sort of rehabilitation process.” Her eyes crinkle into a smile. “Maybe Elon Musk can throw a giant festival on Mars called CancelFest, where all the cancelled people go.” She turns serious again. “It’s such a complex question. I don’t have an answer. There are some shady characters in the world but I sometimes hope they’re on their karmic journey, and they will figure it out, if not in this lifetime in the next – in a Buddhist context. But I don’t believe people are all bad.”

Like everyone who lived through the dubious gender politics of the early 00s, Lewis still has some thought patterns of her own to unlearn. “I think my generation, we assumed there was only one spot if you were a woman. So in being ‘just one of the guys’ I was kind of getting into the club. And you’d be very protective of your role within that because there were so few women.” On the Styles tour, when she introduced her song Just One of the Guys, she dedicated it to all the tomboys in the crowd. “I could feel my band cringing when I said that. And I thought: ‘Oh wow, I guess tomboy is not a term that we use any more.’ And then I looked it up and it’s got a totally negative historical meaning.” So she is adapting. “Here’s the thing: things are changing, language is changing. We just have to learn and accept the fact that we may not understand right away. I don’t have a problem with addressing people in a way that makes them feel comfortable. I don’t understand why people get pissed – do you want others to feel bad? It doesn’t make sense.”

One way in which society isn’t moving forward as fast as she would like is the pressure to have children and be in a relationship. “If you’re not, and you’re in your 40s, there’s this old maid thing. But I feel better now than I have felt in my life. I’m totally single and I’m in complete control of my creative output and my schedule – not to say that, you know, I don’t have my romantic dalliances.” She is on a dating app, largely for entertainment value (she points out the remarkable number of men who include photos of Larry David among their own pictures). She went on a date recently, which “ended up being very fun, even though he wasn’t the one”, she laughs. “He was wearing a Star Wars T-shirt when he walked up and I was like: ‘Oh, I’ve never seen Star Wars. This just can’t work.’”

Lewis has addressed the fact she doesn’t have children in a number of songs, something about which her feelings fluctuate. “The other day I had a visceral reaction to reading that Robert De Niro [just had] a baby and he’s 79. It’s the luxury of being a man or a Peter Pan – I also consider myself to be a sort of Peter Pan figure.” Most of her friends don’t have kids, but now some of the men are reaching their mid-40s and starting families. As a woman on the road for many years, there wasn’t a moment where she felt the need to stop and take care of a child.

“I’d never imagined myself as a bride or a mother. And, of course, there’s a little bit of fear when you come from a relationship like I had with my mom, which was very complex. So I didn’t care, didn’t care, didn’t care, and then when it’s no longer an option, there’s a sense of Fomo. But ultimately, I made this choice. And I’m totally good with it.” Her affection gets lavished on Bobby Rhubarb. “She gets all of my love and I treat her in all the ways I wish my mom had. So I just snuggle the shit out of her.”

In an interview with the NME a few years ago she talked about how, with confessional songwriting, you “can’t put the worms back in the can”. Are there any songs she wishes she could take back? “No. There are some interviews I wish I could put back in the can – not this one! – where I’m spouting off about cancel culture like a dumdum anyway, but I honour the work. Even songs that have been written about me that aren’t flattering. What you say later in an interview, that’s on you. I’ve talked about some personal things that I really wish I could take back, but no – the work is in amber for ever.”

[bradyoil]

From ECD To Commercial Directing With Ed Han.

Director Ed Han started on the agency side and is now a nusy commercial director, having helmed spots for Lincoln, Roomba, Hersey's and more. I love Ed's core philosophy of discover the overlooked, celebrate the journey, share the sublime. Those tenets certianly come through in his work. During our talk, he stressed the importance of ensuring "clarity in communication" when doing our job as directors. Amen Ed.

Check out his spot we talk about here. 

FLOW Click my name for your MAGIC MIND discount code: JORDANB - so gobble it up. If you follow me on Instagram you've liekly seen my unpaid endorsment of this mind power juice.

EVENTS My next in-person Commercial Directing Bootcamp is Saturday, January 20th, 2024. Sign up soon or miss out.

Check out my Masterclass or Commercial Directing Shadow online courses. (Note this link to the Shadow course is the one I mention in the show.) All my courses come with a free 1:1 mentorship call with yours truly. Taking the Shadow course is the only way to win a chance to shadow me on a real shoot! DM for details.

How To Pitch Ad Agencies and Director’s Treatments Unmasked are now bundled together with a free filmmaker consultation call, just like my other courses. Serious about making spots? The Commercial Director Mega Bundle for serious one-on-one mentoring and career growth.

  Jeannette Godoy’s hilarious romcom “Diamond In The Rough” streams on the YouTube, Tubi and more. Please support my wife filmmaker Jeannette Godoy’s romcom debut. It’s “Mean Girls” meets “Happy Gilmore” and crowds love it.

  Thanks,

  Jordan 

  This episode is 95 minutes.

My cult classic mockumentary, “Dill Scallion” is online so I’m giving 100% of the money to St. Jude Children’s Hospital. I’ve decided to donate the LIFETIME earnings every December, so the donation will grow and grow. Thank you.

Respect The Process podcast is brought to you by True Gentleman Industries, Inc. in partnership with Brady Oil Entertainment, Inc.

Check out this episode!

[mindovermuses]

It may be ridiculous, but the explanation of HOW CR got around the legal issues around the copyrighted names of those deities is in the video I linked in my post. It definitely wasn't out of the goodness of WotC's legal teams hearts. ( https://www.youtube.com/watch?v=m-DnddGY0BQ )

They haven't trademarked a "nature god", but they have trademarked and copyrighted the names and specific tenets of the deities used by Critical Role thus far and the company is walking a legal tight rope to make sure they don't use the wrong wording every time they mention one of them.

I would honestly respect the hell out of them for making such a business decision given WotC's current mindset. A major lawsuit for intellectual property theft could really hurt Critical Role and everything we love about them and it would 100% be within WotC's rights to do so if their partnership contract has ended. It sucks, but that's the law. (And don't think WotC wouldn't do something stupid like suing them given the idiotic business and legal responses they've had in the past couple of years.)

Imagine if Critical Role suddenly had to take down every episode where they call a god by a WotC name or pay crazy back-royalties for doing so on top of having to re-edit EVERY past stream to take out that information? Many things are in the Creative Commons License and wouldn't cause a problem (including some terms they mistakenly added while backtracking on a past mistake), but the actual names of the gods aren't included in that.

I understand how annoyingly frustrating this entire thing is- WotC is shooting themselves in BOTH feet with the direction they're trying to go in the name of infinite profits, but it's a real possibility that I think it's important that people know could be behind some of the major changes that might be coming in future campaigns.

Matt and Critical Role aren't the bad guys in this- they would just be doing what is necessary to protect their company and livelihoods. The greedy bastards at WotC/Hasbro who have literally went on record in the past year as wanting to turn DnD into Fortnight with microtransactions while using AI to write campaigns and make art are the ones driving MANY of the big online names that caused DnD to become popular again to flee while they still can. ( https://www.youtube.com/@TheCharacterSheet/videos )

In short, I agree. It's 100% ridiculous, but for very different reasons.

I think a huge problem I’m seeing in some attempts at meta with C3 is that there is a subset of viewers who do not understand the place, value, and meaning of real world religion. It breeds takes like “well throw the gods out! Who needs them! They caused characters and the world pain! Free Vax from the Raven Queen!”

I throw that last one in there because it is the most ridiculous yet frequent and is really the crux of the issue. Vax’s story is very much about faith and the importance of faith and devotion. If you place no value on that you’ll end up grossly misunderstanding the character and the nature of his tragedy.

I’m going to out myself as an atheist, but I think the issue with a lot of these takes are that they come from internet atheists who are either resentful of and hostile toward religion because of personal experiences or do not know any devout people in their lives who they respect and can empathize with. And while I am not trying to downplay the very real phenomenon of religious trauma, when healing from it it is crucial to realize that all spiritual traditions are not synonymous with the one that harmed you. I would really implore more people to explore why many good people find spiritual traditions and religion to be a source of solace, community, and meaning before writing off the idea wholesale as something only functioning as a means of power and control that people can be educated out of believing. I encourage you to branch out and here are some examples of things I’ve done to challenge my own judgement over the last ten years: read the writings of gay Catholics exploring the queerness of Jesus. Read some beautiful poetry written by a trans man who specializes in Anglican theology. Explore religious observances different from the ones you experienced and attend a Seder. Go if a coworker invites you to a celebration of Ganesh. Learn the significance of solstice celebrations because your coworker is officiating one for a Wiccan event. Break fast at sundown during Ramadan with in solidarity with your roommate.

Deciding that all fictional religion must be an allegory for a specific kind of toxic nationalistic prosperity gospel Christian cult found in America will only limit how you engage with both fiction and the real world. It took me a long time to get to this place about it and I hope I’ve put the spark of curiosity and not judgment into at least one person reading this.

[mariacallous]

Editor's Note: This piece is part of a series titled "Nonstate armed actors and illicit economies in 2023" from Brookings's Initiative on Nonstate Armed Actors.

Four factors will critically shape the landscape of nonstate armed actors and illicit economies in 2023 and beyond:

the new geopolitics;

persisting structural weaknesses of government responses to nonstate armed actors, amplified by the lasting effects of COVID-19;

the synthetic drugs revolution sweeping global crime markets; and

the reshaping of criminal actors and their power and allegiances in Russia and Ukraine.

This opening commentary for the yearly briefing book of the Brookings Initiative on Nonstate Armed Actors details the first two.

The overall picture is one of an augmented, if reshaped, threat of nonstate armed actors — even as global powers have abandoned many elements of the post-9/11 global fight against terrorism and focused less on combating militants and organized crime outside their homelands. Yet the power of nonstate actors vis-à-vis the state has grown, including their capacity to embed themselves in official government structures as hybrid actors, rather than merely informally governing territories, economies, and institutions.

Great Power Competition

The effects of great power competition on nonstate armed actors go beyond reduced attention to nonstate threats outside the homelands, and beyond the U.S. pullback from large-scale military deployments and state-building abroad. Great power competition makes efforts to combat nonstate armed actors far more difficult, yet newly significant.

A core characteristic of the post-9/11 counterterrorism regime was global acceptance of the notion that nonstate armed actors must be countered everywhere. The means differed across localities and global acquiescence was never perfect: For example, Iran adroitly sponsored militias in the Middle East and North Africa. Despite intense U.S. pressure and expansive buyoffs, Pakistan never ended its vital sponsorship of the Taliban in Afghanistan. Governments and political parties in Latin America, Jamaica, Brazil, India, Nepal, and parts of Africa co-opted and used criminal actors for their own political ambitions. Yet, when their policies deviated in practice, governments found it necessary to cloak the subterfuge in a veneer of compliance.

The world is now back to the Cold War-era tenet that one country’s terrorist is another’s freedom fighter. One manifestation is not merely the proliferation of private security companies and militias outside the West — often proxies for rival powers — but also attitudes toward foreign fighters. While much of the post-9/11 regime was defined by efforts to stop the stream of foreign fighters, they now head to Ukraine — not just brought in by Russia from Syria and Central Asia, but also thousands from the West to support Ukrainians, sometimes in violation of their countries’ laws but without prosecution in the West.

Similarly, efforts to stop terror being financed through Islamic hawalas and money-laundering became a super potent pillar of the post-9/11 order. Yet online fundraising and hundi informal money-transfers now fund arms purchases by the anti-junta resistance in Myanmar, with Western governments appropriately rejecting the Myanmar junta’s demand they be labeled terrorist, and not aggressively countering the financial flow.

Meanwhile, as the United States prioritizes narrower foreign policy objectives — strengthening the Asia-Pacific region against China’s dominance, and countering Russian aggression in Europe and beyond — China and Russia are far more extensively inserting themselves into local conflicts in distant places. Beijing does so not merely through diplomatic and economic sway, but also by offering a vision of China as a peacemaker and a stabilization alternative to the West. It explicitly embraces governments without insisting on policies of inclusiveness, nondiscrimination, and equity. It is also selling its often-authoritarian law enforcement capabilities, including cyber, in the Asia-Pacific, Africa, and Latin America.

Through its proxy, the Wagner Group that operates in various African countries and Ukraine, Russia is selling an alternative vision of counterterrorism (CT) and counterinsurgency (COIN). It centers on crushing militants through sheer brutality, replicating Russian scorched-earth COIN policies in Afghanistan, Chechnya, and Syria, and embraces indifference to civilian casualties and torture. Wagner’s approach makes no pretense of seeking to win local populations’ hearts and minds, but rather to crush their will as much as the will of the militants.

From Mozambique to Libya to Mali, Wagner’s approach is already showing deficiencies: failing to defeat insurgents and exacerbating local militancy and jihadi threats. Such failures reveal that Wagner frequently focuses on different goals — namely, access to local resources such as gold and minerals, and even antiquities as Libyan officials told me in February 2022, to prop up the Russian regime.

Wagner’s deployments to Ukraine have further depleted its most valuable assets and elite capabilities, as the group operates over wider and disparate geographic areas with little local knowledge. Though few Wagner operatives appear to have been pulled out of Africa, the quality and training of new recruits have suffered dramatically. And Wagner’s performance in Ukraine, such as in the Bakhmut battle, remains lackluster and characterized by high casualties.

Yet despite Wagner’s visible COIN and CT deficiencies, its pitch remains potent and the group remains entrenched in Africa and Venezuela, where Latin American law enforcement officials told me in spring 2022 that Wagner now has a presence and role in gold smuggling. What Wagner is selling beyond COIN and CT is serving as a praetorian guard to foreign governments, whether elected or juntas, and a tool for subduing political opposition.

On January 20, the United States announced it would designate the Wagner Group as a significant transnational criminal organization, an indictment based among others on Wagner’s weapons purchases from North Korea. Beyond Wagner and its support networks, the United States and other governments will also be able to impose sanctions on actors hiring Wagner or allowing its activities on their territory. But the United States will be able to choose who it wants to sanction, and which governments, such as in Africa, to allow off the hook.

Persistent weakness of government responses to militancy

The reprioritization and reshuffling of countries’ responses to militancy abroad is taking place in the context of continual local government weaknesses.

In Africa, two arcs of instability persist. One runs from Nigeria across the Sahel and West Africa, with intense instability in Mali, Cameroon, Chad, and Burkina Faso. In Nigeria, instability is driven by many groups other than jihadis, but the Islamic State in West Africa Province remains the most dangerous and is expanding into wider parts of the country.

The other arc of instability runs from the Horn through southern Tanzania to Mozambique.

In many of these countries, COIN and CT efforts have struggled for years, yet militants’ capacities are increasing. This closely mirrors the problems of COIN efforts in Afghanistan and stabilization efforts in Colombia. Eventually, often with external support, governments partially clear the militants from select areas, but the “hold” phase becomes a mire, and effective “building” of a legitimate state addressing local needs rarely takes place. Thus, conflicts drag on, and militants perhaps mutate, but persist.

COIN efforts in Mozambique are the latest case in point. After the much-heralded “success” of the Rwandan and Southern African Development Community (SADC) in clearing al-Shabaab from the Cabo Delgado region in the fall of 2021, militancy dispersed to other parts of the country and southern Tanzania. Local human security remains precarious, and nothing significant has been done to address the real marginalization, disparities, and grievances that feed the conflict.

COVID-19 amplified many national governments’ deficiencies and unwillingness to mount effective and multifaceted policies to counter militant and criminal groups, from badly needed and difficult-to-achieve police reform to anti-crime socio-economic programs to address root causes of instability. Government budgets have not recovered, even as hundreds of millions of people were thrown into poverty, illicit economies, and the hands of nonstate armed actors.

Worse still, local governments often fight the militants half-heartedly: unwilling to devolve power, be accountable, share resources more equitably, and make the necessary expenditures to truly end conflict. Many governments benefit materially, diplomatically, and politically from simmering violence. Wagner’s partial, brutal solution is sufficient for their purposes.

In the West, the dominant terrorism threat now is far-right extremism. In the United States, as Dan Byman outlines, law enforcement and justice agencies scored important investigation and prosecution successes in 2022, including of perpetrators of the January 6 insurrection. As Bruce Hoffman and Jacob Ware point out, among the prosecutions that promise to have significant  incapacitation and deterrence effects have been leaders of the Oath Keepers and Proud Boys.

The far right’s dangerous agitation persists. In my December 2022 interviews with Trump’s supporters and County Supremacy adherents in Montana and Idaho, I found not only a virulent rejection of federal government institutions, but also a firm belief that the idea of a United States of America was finished. To them, white people suffered intensifying repression, freedom and rule of law had ended, a civil war — perhaps around the 2024 elections – was inevitable, and preparing for self-defense was necessary. While espousing such ideas is different from acting them out, I also heard supporters speaking of stockpiling weapons. Perhaps most significantly, I heard systematic and determined efforts to shape all local and state elections, from local school boards to sheriffs. Indeed, the infiltration of radical, insurrectionist ideas into U.S. local law enforcement remains perhaps America’s greatest vulnerability.

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Ein Agent wird rekrutiert, um einen besonderen Auftrag auszuführen: Er soll den 3. Weltkrieg verhindern. Diesmal ist jedoch keine nukleare Bedrohung der Grund, sondern es muss eine Person gestoppt werden, welche die Fähigkeit besitzt, die Zeit zu manipulieren.

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INHALTSANGABE Ein CIA-Agent (John David Washington) wird nach einem Einsatz bei einem Terroranschlag auf die Kiewer Oper enttarnt und überwältigt. Selbst unter Folter weigert er sich jedoch, seine Kollegen zu verraten und nimmt sich selbst das Leben – oder glaubt das zumindest. In Wahrheit hat er so einen ultimativen Test bestanden und dadurch Zugang zu einer supergeheimen Organisation gewonnen, die versucht den Dritten Weltkrieg zu verhindern. Die Mitarbeiter stoßen immer wieder auf Gegenstände aus der Zukunft, die sich rückwärts in der Zeit bewegen – die sogenannte Inversion. Offenbar handelt es sich dabei um eine Kriegserklärung aus der Zukunft, deren Mittelsmann der russische Waffenhändler Andrei Sator (Kenneth Branagh) ist. Gemeinsam mit seinem neuen Partner Neil (Robert Pattinson) versucht der Protagonist, Zugang zu Sator zu erhalten und den Krieg der Zeiten zu verhindern. Eine Möglichkeit scheint Sators Ehefrau Kat (Elizabeth Debicki) zu sein…

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The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

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Un'epopea d'azione che ruota attorno allo spionaggio internazionale, ai viaggi nel tempo e all'evoluzione. Forse su un uomo che cerca di prevenire la terza guerra mondiale attraverso il viaggio nel tempo e la rinascita.

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⭐⭐⭐⭐⭐⭐⭐ John David Washington est le nouveau protagoniste dans le spectacle original de science-fiction signé Christpher Nolan, Tenet. Armé d'un seul mot - Tenet - et se battant pour la survie du monde entier, le protagoniste voyage à travers le monde crépusculaire de l'espionnage international dans une mission qui se déroulera au delà du temps réel. Pas un voyage dans le temps… l'inversion.

Sortie 2020-08-22 Durée 150 minutes Genre Action, Thriller, Science-Fiction Etoiles John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Dimple Kapadia Directeur Christopher Nolan, Christopher Nolan, Christopher Nolan, Emma Thomas, John Papsidera

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❍❍❍ Thank’s For All And Happy Watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie.

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