Category Archives: Evolution

COVID-19 still has major impacts on our daily lives and will continue to affect us in the years to come. But I believe without a doubt that a new era will begin that will be covered in history textbooks. I predict this era will be known as an era of rebuilding in regards to both the individual and society. On both a micro and macro level, we have had to re-establish a new normal.

With this in mind, I urge you to practice the art of forgiveness.

Forgiveness is not just a practice regarding other people. In practice, forgiveness is leading with a gentle and compassionate outlook. It is also applicable to the big and the small experiences that may negatively impact your life. This can be anything from spilling coffee on your favorite shirt to being rejected from your top school.

The shirt is replaceable and the school failed to see what you have to offer, so instead of fixating on what you lost, think about what you can gain from these experiences. Some people fail to realize that this applies to your relationship with yourself as well.

For instance, both examples above are self-inflicted occurrences. It is not one elses fault that you spilled coffee or got rejected from an Ivy League Institution, no matter how graceful or academic you may be. However, it is important to remain confident in yourself. Your failures do not define who you are. They only make you human.

Like everyone else, I had ample time to do some self-reflection during the past year and a half. To pass what seemed like excruciatingly slow days, I threw myself into new activities. From hopping on the baked oat fad to downloading Sam Harris miraculous meditation app Waking Up I developed new facets of interest.

The commonality between these new activities boils down to the practice of mindfulness. According to The Greater Good Science Center at the University of California, Berkeley, mindfulness describes the habit of being aware of our current experiences, thoughts and emotions. It encourages us to live in the present moment and accept our current situation without judging ourselves based on our emotional responses.

To simplify even further, it boils down to the practice of self-love and acceptance.

Mindfulness in practice looks different for everyone. This makes sense because everyone has complex needs and emotions rooted in their own situation. However, I would like to think that inner peace and happiness are universal human emotions, or at least can be with the correct mindset.

Along with mindfulness, forgiveness is key. When thinking about the new era approaching post-covid, forgiveness is something at the forefront of my mind. When you forgive and let go, it is solely a positive experience. This is because anger and resentment manifest internally: No matter how wronged you feel, you are the only one hung up on these negative emotions. Do not give the power of a mind at ease away to anyone. You need to understand just how in control you are.

So, why wouldnt everyone forgive if it makes you feel better? There is a certain threshold of maturity required to truly forgive yourself and others. It means silencing your ego and letting yourself process your pain in order to discard it forever, and some people are simply not there yet.

I recently came across the psychology term radical acceptance. This was huge.

Radical acceptance is a practice used to stop painful feelings from becoming suffering. It is as simple as accepting your reality for what it is. This idea ties into forgiveness because it reinforces the belief that fixating on past emotional trauma does no good in the present.

I would argue that this change in how I viewed my emotions was more impactful and meaningful to me than the change of uprooting my life from California to Boston. In some ways, the pandemic sparked growth that I do not know would have been possible without it.

The time I spent alone was time that I dedicated to mindfulness, and through that, I landed on the power of forgiveness. Of course, I am 19 years old and have my days. After all, my college years are being spent in a pandemic-induced purgatory.

But when you forgive yourself and others, this translates to living a life of gratitude. This is because when you are not fixating on the wrongs, you will find yourself fixating on all that is right.

Youve most likely heard or used phrases like let go of the past or it is what it is. These popularly coined phrases facilitate the same idea as radical acceptance. Next time you hear one of these phrases, I encourage you to refrain from rolling your eyes and open your mind instead.

More here:

Intentional Evolution: Forgive to forget The Daily Free Press - Daily Free Press

New Nollywood saw films particularly distinguished by their enhanced narrative complexity, aesthetic value, and overall production quality compared to the films made during the video boom. While some films in this wave are still released directly on DVD, most are released theatrically to teeming fans via cinemas or streaming platforms.

What happened before New Nollywood?Long before the Ini Dima-Okojies and Timini Egbusons of today, cinema for most people was in the form of playing companies and travelling troupes. They performed in various cities and attracted a huge crowd of faithful looking to unwind and have a good time. These plays, either funded by the court, church or audiences, were promoted via advertisements and posters disseminating information to potential audiences.

The introduction of technology made it possible for these plays to be recorded and screened in tiny picture houses across cinemas in the industry. As a result, the local content, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde and Moses Olaiya, were on the big screen. This way, they reached a larger audience, and this saw a significant increase in the 70s.

By the 80s, the purchasing power of most Nigerians had increased (all thanks to the oil boom of the late 70s). This single action saw an increase in cinema visits as more people could spend more going to the cinemas. It also saw home television sets become a staple in Nigerian homes. The latter would then birth family television shows, and sitcoms created for families and revolved around the quintessential Nigerian home. These shows like New Masquerade, Basi & Company, to mention but a few, were riveting and aired at times when every family member was home from the daily hustle and bustle.

These television productions were later released on video, leading to the development of a small scale informal video trade, and subsequently the much talked about video boom of the 1990s. Despite all the success, this era of Nollywood was not easy as it was plagued with multiple errors. Like the oil boom was integral to purchasing power, its crash affected the industry as well. There were also issues revolving around lack of finance and marketing support, lack of standard film studios and production equipment and, very importantly, a lack of experience on the part of practitioners.

Also, owning television sets at home came with its problem more and more households rejected the idea of visiting cinemas. It also didnt help that the films produced during this era were screened over a single weekend, making them available on video immediately. Eventually, more families consumed films together as it had become inbuilt behaviour. These films were educational and taught the difference between good and evil, and already there was a culture of communal watching which made it all the better.

By the 90s, most cinema houses had collapsed due to a lack of activity. Churches acquired others that had not collapsed. As expected, video on demand was the thing, and films like Kenneth Nnabues Living in Bondage had paved the way for this. Video rental clubs thrived for families, and the allure was paying as little as N100 for a limited amount to a film.

Resting on the Shoulders of New NollywoodNew Nollywood may not have kicked in until recently, but its groundwork has been a long time in the works. Few years into the 2000s, there was a vibrant rebirth of cinemas designed for societys middle and upper echelon. By this time, televisions were still trendy, and films went from VHS (Video Home System) to VCD (video compact discs). Nonetheless, more people craved some form of social interaction. The cinemas afforded them some level of social activity and a modified sort of entertainment beyond film watching, seeing as they were located in prominent and busy malls. The Silverbird Group was one of the first significant players here, opening up a high scale mall in Victoria Island, which had a cinema and other entertainment attractions. Upon Silverbirds success, more and more cinemas erupted and spread into the less affluent neighbourhoods in the society.

Also, during this period, grants were provided by the government and various institutions to filmmakers to produce high-quality titles and aid proper distribution as piracy was eating deeply into the industry at that point. Some of these grants allowed filmmakers to take film courses and learn at prestigious schools. Other filmmakers tried to make breakaway films, which were quite different from the norm. These include Tunde Kelanis Thunderbolt, Tade Ogidans Dangerous Twins and Mildred Okwos 30 Days.

By the end of 2013, the film industry reportedly hit a record-breaking revenue of 1.72 trillion. One year later, the industry was worth 853.9 billion, making it the third most valuable film industry in the world, behind the United States and India.

With New Nollywood, Nigerian films have been elevated from what they used to be in the video boom area. They have considerably bigger budgets, extended film production periods and are better equipped to take the storytelling up a notch. Also, a little freedom with the range of stories to tell was introduced. One could argue that New Nollywood may not have gotten storytelling better than its predecessors, but there seems to be time to correct that mistake if the industry seems willing to.

Another exciting thing that came with New Nollywood was video-on-demand platforms and pay-TV networks, another interesting way technology has helped the industry. Although cinemas are great for social activity, theres an audience that either misses out on films due to their short stay in cinemas or just plain unwillingness to watch them. In 2020, Netflix launched locally in Nigeria and South Africa to prioritise content made by Africans. Since then, its commissioned a few original TV shows and films, most recently Kemi Adetibas seven-part series King of Boys: The Return of the King. Before its launch, the streaming giant had also been paying for content by Africans for streaming on its platform.

Before then, French television company Canal+ acquired the ROK film studio from VOD company IROKOtv for an undisclosed amount. According to a public statement released, ROK was expected to produce thousands of hours of Nollywood content to deliver films and original TV series for Canal+ Groups audiences. These are just some of the many platforms accessible for film in Nigeria.

On Creating For New AudiencesWhile looking at New Nollywood and Old Nollywood, one thing sticks out evolution. A lot of things have changed and created room for more. First was an evolution in cinema culture, then an evolution in technology which made and will keep making things better for filmmakers. As globalisation continues to affect everything, Nigerian cinema will not be left out.

The growth of Nollywood has created a demand for local Nigerian productions all over the world. With more and more streaming platforms archiving some classics, theres constantly a demand for more Nollywood productions. This demand has seen big players step into the market in Nollywoods attempts to make things accessible for audiences far and wide. And thanks to the internet and social media, memes from old classics like Tchidi Chikeres 2014 comedy, Pretty Liars, have made their way to our pop culture today. Thats not forgetting the millions of videos and pictures from evergreen film characters Aki (Chinedu Ikezie) and Pawpaw (Osita Iheme) that have achieved global fame and sparked curious interest from foreigners.

Likewise, theres a Y2K trend on Tiktok from the 2006 Girls Cot that is reminiscent of the Plastics from Mean Girls, and there are even themed parties from this era everywhere on social media. Things like this have created an interest amongst younger people to watch Nollywood, if not for anything, for context on the popular memes and gifs they use.

Also, one of the ways that Nollywood has also tapped into the power of globalisation is by featuring foreign cast members in their productions. In most cases, the goal for this is to corner a different, more diverse demographic. A good example is Biyi Bandeles Half of a Yellow Sun which cast Thandie Newton, Anika Noni Rose, and Chiwetel Ejiofor in lead roles. While this strategy hasnt entirely been successful, films like Namaste Wahala with Ini Dima Okojie and Ruslaan Mumtaz have benefitted from this.

Film festivals have also played a crucial role in discovering new audiences for Nollywood. In previous times, multiple films have screened at various festivals worldwide, with a slew of awards to validate the filmmakers efforts. In September 2019, Joel Kachi Bensons Daughters of Chibok won the Best Virtual Reality Story at the prestigious Venice International Film Festival. Likewise, Juju Stories by the Surreal16 Collective recently won the Boccalino dOro Award for Best Film at Locarno Film Festival. Eyimofe, a Guardian Digital Studios (GDN) production, has since clinched awards including the Achille Valdata Award at the 2020 Torino International Film Festival. There are showcases reserved for Nigerian cinema for some film festivals to show off the structures, material, and people behind the relevant films from the country.

The Nigerian audience has been particularly receptive to the films in both eras. After all, film is but an essential part of our culture. Marketing efforts are geared towards getting them into the cinemas seeing as its pivotal to profits for filmmakers and box office, which is also vital in determining the films journey and whether it ends up on specific streaming platforms. In December 2018, the Cinema Exhibitors Association of Nigeria (CEAN) revealed that Nigerians spent N680 million watching films at cinemas between the 14th and the 31st of the month. While this data covers both Nollywood and Hollywood films and may not be an appropriate visualisation of the costs in Nollywood, it shows the opportunities that can happen when films become much better than they are today.

With all the growth that Nollywood has seen, it is easy to think that the industry is at its highest potential it isnt. Access to funds for filmmakers remains one of the biggest problems that the industry faces, with a lack of talents and story development coming behind. New Nollywood may have the better everything, but the golden era still had better stories. Nonetheless, the industry is growing massively, and there is room for further development.

In 2019, Genevieve Nnajis directorial debut, Lionheart, was submitted as Nigerias first-ever submission to the Best International Feature Film at the Oscars. Since then, Desmond Ovbiageles The Milkmaid has also gotten as far as being the countrys submission but not making the shortlist. However, because of these opportunities, more filmmakers can dream of winning that category one day, and these are just some of the future aspirations for the industry.

More:

The Evolution Of The Nigerian Film Industry Guardian Life - Guardian Nigeria

Evolving Pokmon in Pokmon GO is typically a pretty straightforward affair: stock up on some delicious candy and feed it to your respective mon to evolve. However, some Pokmon have required a bit more TLC before they morph into their other forms. Sometimes you need to walk a specific distance, while others are require a specific time of day or the happiness of the Pokmon to evolve. But with todays introduction of Inkay, things take a turn (literally).

In order to evolve Inkay in Pokmon GO, youll need to first stock up on 50 Inkay Candy. Once you have enough, head on over to the Inkay status menu, and flip your phone upside down. If placed down correctly, the EVOLVE icon will flip as well and will allow you to press it.

Easy enough? Sure is! As always, were loving the unique ways Niantic finds to personalize Pokmon evolutions in GO.

Nintendo super fan since birth, Jason is the creator of Amiibo News and editor-in-chief at Nintendo Wire. One of his life goals is to provide the latest Nintendo news to fellow gamers with his natural know-how.

Read more:

How to Evolve Inkay in Pokmon GO | New Evolution Mechanic! - Nintendo Wire

Sep 11th 2021

FOR HUMANS, adapting to climate change will mostly be a matter of technology. More air conditioning, better-designed houses and bigger flood defences may help ameliorate the effects of a warmer world. Animals will have to rely on changing their bodies or their behaviour. In a paper published in Trends in Ecology & Evolution, a team led by Sara Ryding, a PhD candidate at Deakin University, in Australia, shows that is already happening. Climate change is already altering the bodies of many animal species, giving them bigger beaks, limbs and ears.

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In some species of Australian parrot, for instance, beak size has increased by between 4% and 10% since 1871. Another study, this time in North American dark-eyed juncos, another bird, found the same pattern. Similar trends are seen in mammals, with species of mice, shrews and bats evolving bigger ears, tails, legs and wings.

All that dovetails nicely with evolutionary theory. Allens rule, named for Joel Asaph Allen, who suggested it in 1877, holds that warm-blooded animals in hot places tend to have larger appendages than those in temperate regions. Such adaptations boost an animals surface area relative to its body volume, helping it to shed excess heat. Being richly endowed with blood vessels, and not covered by insulating feathers, beaks make an ideal place for birds to dispose of heat. Fennec foxes, meanwhile, which are native to the Sahara desert, have strikingly large ears, especially compared with their Arctic cousins.

Ms Ryding examined museum specimens, comparing their bodies to those of their modern counterparts. She is not the first researcher to take that approach. But it is hard, when dealing with individual species, to prove that climate change was the cause of an anatomical alteration. All sorts of other factors, from changes in prey to the evolving reproductive preferences of males or females, might conceivably have been driving the changes.

Looking at the bigger picture makes the pattern clearer, says Ms Ryding. Her team combined data from different species in different places. Since they have little in common apart from living on a warming planet, she says, climate change is the most plausible explanation.

For now, at least, the increase is small, never much more than 10%. That may change as warming accelerates. Since any evolutionary adaptation comes with trade-offs, it is unclear how far the process might go. Bigger beaks might interfere with feeding, for instance. Larger wings are heavier, and bigger legs cost more energy to grow.

And there are other ways to adapt, too. Researchers have already seen changes in the geographical range of many species, from insects to fish. Another evolutionary rule-of-thumb, Bergmanns rule, holds that animals in hotter places tend to have smaller bodies, another way to boost the ratio between surface area and volume. Other animals may alter their behaviour as well as their bodies, such as by seeking shelter at hot times of the day.

Studying a broader range of animals will help firm up exactly what is happening. Much of Ms Rydings data concern birds, with less information available for other taxa. But it seems clear that the world of the future is not just going to be hotter than humans are used to. The animals living in it will look different, too.

This article appeared in the Science & technology section of the print edition under the headline "My, what a big beak you have"

Read the rest here:

The effects of a warmer world are visible in animals' bodies - The Economist

The 20th anniversary of September 11: Reflections on the evolution of enterprise security | 2021-09-10 | Security Magazine This website requires certain cookies to work and uses other cookies to help you have the best experience. By visiting this website, certain cookies have already been set, which you may delete and block. By closing this message or continuing to use our site, you agree to the use of cookies. Visit our updated privacy and cookie policy to learn more. This Website Uses CookiesBy closing this message or continuing to use our site, you agree to our cookie policy. Learn MoreThis website requires certain cookies to work and uses other cookies to help you have the best experience. By visiting this website, certain cookies have already been set, which you may delete and block. By closing this message or continuing to use our site, you agree to the use of cookies. Visit our updated privacy and cookie policy to learn more.

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The 20th anniversary of September 11: Reflections on the evolution of enterprise security - Security Magazine

The Taliban: then and now. The picture above shows the Taliban militants being trained in Afghanistan in the early 2000s. The picture below is of the Taliban after they took over the Kabul Presidential Palace on August 15, 2021. | Credits: Twitter; AP 

Following a twenty-year battle against US and NATO forces, the Taliban have risen once again, having carried out a sweeping offensive that saw them claim huge swaths of territory in mere days before ultimately seizing the presidential palace in the Afghan capital of Kabul.

The hardline Islamist group has already announced an interim government to be led by Mullah Akhund and by some accounts, were originally planning to carry out their oath-taking ceremony today the 20th anniversary of the catastrophic 9/11 attacks in what was surely a bid to twist the knife in US wounds.

Images coming out of Afghanistan have shown that, upon repossessing American tactical weaponry and equipment, the Taliban seemed to have transformed into a potent military force a far cry from the 'rag-tag' bunch of untrained warriors seen between 1996 and 2001 when the group was last in power. But the group's evolution runs far deeper than just appearance.

Image Credits: Twitter

After their ousting in 2001, the group's members most of whom were Pashtun in origin scattered, with a majority of their leaders fleeing to Pakistan. The US occupation of Afghanistan provided the Taliban with an ideal anti-colonialist platform upon which they could ground their recruitment campaigns. Subsequent efforts to include individual members of the Taliban into the Afghan-rebuilding process came to nought.

Over time, the group began to carry out a revival from Afghanistan's 'dusty districts,' both aided and legitimised by rampant corruption in the Afghan government and the political exclusion of the Pashtun community.

In 2003, the Taliban's leader Mullah Omar formed a new leadership council to consolidate Taliban forces and within the next three years, the group proved itself to be a formidable insurgent force to be reckoned with, specifically in southern Afghanistan. They soon began expanding into the north and for the first time began increasing their influence among non-Pashtun communities.

In the aftermath of former US President Barack Obama's failed 'surge' strategy, the US changed tact, paving the way for the first series of talks 'Doha-1' between 2009 and 2014. In 2012, the Taliban's political office in Doha was set up. The commencement of the 'Doha-2' talks in 2018 effectively legitimised the Taliban as a key internal political actor in Afghanistan.

The Bamiyan Buddha intact (c. 1980s); right: The statue being blown up by the Taliban in March 2001. Image Credits: Twitter

When the US invaded Afghanistan, the Taliban was led by Mullah Mohammad Omar one of its founders and its military chief who went into hiding. In 2015, it was revealed that Omar had died in 2013.

In the years that followed the US invasion, the Taliban transformed from a predominantly military outfit into more of a political organisation with the chief objective of establishing the Islamic Emirate of Afghanistan. The group developed a vertical hierarchy with its leader (commander of the faithful), Hibatullah Akhundzada at the top.

Under him lies the Rahbari Shura (Leadership Council) which manages a range of commissions, not unlike the now-deposed Afghan government's ministries. These include a Military Commission and Political Commission. It has also established strong links with a range of informal networks, most notably the powerful Haqqani Network.

As its influence across Afghanistan grew, the Taliban also created a number of parallel government structures with individual military commanders tasked with exerting and maintaining control over designated territories.

The Taliban's new Badri 313 unit is, reportedly, tasked with securing the Afghan capital.ImageCredits:Twitter

According to a confidential NATO report obtained by Radio Free Europe/Radio Liberty citing information disclosed by Mullah Yaqoob, the son of the late Taliban leader, Mohammad Omar, in the fiscal year ended March 2020, the Taliban's revenues touched US$ 1.6 billion. Compare this with Afghanistan's total budget in 2020 of $5.5 billion of which under 2 per cent was allocated as defence expenditure.

The United Nation's World Drug Report 2020 showed that between 2015 and 2020, Afghanistan was responsible for 84 per cent of the world's opium production. A huge chunk of these revenues flowed directly to the Taliban who maintain control of opium fields and the entire drug supply chain.

As per a 2008 report from the Afghanistan Research and Evaluation Unit, the group is believed to set a 10 per cent levy at every stage of the drug production chain. The NATO report estimates that the group raked in $416 million in 2019-20 from the production and sale of narcotics.

Afghanistan is also a resource-rich country, and mining of marble, copper, gold, iron ore and other metals and minerals has proved lucrative for the Taliban. The Taliban's Stones and Mines Commission estimates that the insurgent outfit earned roughly $400 million from mining activities in 2019-20. NATO's estimates are even higher at $464 million.

As the Taliban's influence over Afghan territory grew, so did its 'tax' revenue. Reports indicate that taxed industries include mining, media, telecommunications and other infrastructural projects. Road taxes are also imposed on vehicles passing through Taliban-controlled regions, and brick-and-mortar shop owners are also required to pay the Taliban to do business. The NATO report states that these taxes that some would call revenues via extortion amounted to $160 million annually.

Over the years, the Taliban has attempted to limit its dependence on foreign contributions from anonymous donors and institutions worldwide. But the coffers have continued to swell from such donations.

Link:

20 years since 9/11 attacks: Tracing the evolution of the Taliban - Times Now

There's quite a bit going on in the Aquaman side of the DC Universe, as DC is exploring Jackson Hyde's transformation into the new Aquaman and Arthur and Mera's continuing saga as well. There's also a new spotlight on one of Aquaman's biggest enemies, Black Manta, courtesy of writer Chuck Brown and artist Valentine De Landro. The new series finds Manta attempting to discover the mysterious origins of an artifact that ends up being stolen from him, and he'll need to work with his right hand Gallous to figure out what its for and how to keep it from driving him crazy. ComicBook.com had the chance to ask Brown some questions about Manta's new series, and we wanted to start with what is perhaps most misunderstood about the character.

"Hmm. Good question. I definitely didn't want to take away the fact that he does have a villainousnature, but I want people to know that he doesn't have a black heart in the sense, a dark heart in a sense where he'll kill for the sake of killing," Brown said. "And I want to slowly take people away from that and show another side of him where, to show that people can change and people don't all have to be totally murderous and villainous all the time, and elevate the character beyond that, yet still maintaining his edge and his viciousness and his fury."

That's not always easy to pull off, especially with villains you love. "Not really. No. I love villains. I do love villains. And sometimes when I'm writing the scripts, I may go a little too far and then thank God for supporting characters. Because when you start writing those supporting characters, you put yourself in their shoes and they bring that part of Black man to back and bring me back from making things a little too raw and too dark in a sense. I think that's huge part of what Gallous and Torrid are about, how keeping that balance of the character," Brown said.

The issue also gives us a glimpse of the relationship between Manta and his son, Jackson, though the two never actually meet on the page.

"In the first issue, it's actually an open letter to Jackson Hyde, which is why he's questioning his whole life. He wants to be in his son's life more because you realize that he's dying. So he wants to make amends with his son," Brown said. "It won't be a direct correlation. He won't actually appear in the books, but it is a letter to his son in the opening of Issue one. And Aquaman and that relationship will also pop up as well as a theme in the book as well."

While Jackson isn't in the first issue, Manta's ally Gallous is, and she is a critical part of the ongoing story and Manta's evolution as a character throughout the series.

"She's like the daughter he never had. She's very aware that she is a pirate. She works for a super villain, she's his broker, but she's also aware that on some level Black man had saved her life and molded her to the person that she is. And almost on some level in her mind, she's trying to repay him by trying to keep him from the total edge of darkness," Brown said. "in the sense. I really love this character. She's so fun to write. It's great for a punchline. And I did not want her to be just a henchman to him. And I think he knows that as well. But yeah, she's definitely one of my favorite, favorite characters in the book."

There is a pull sometimes to transform a villain into a hero and redeem them in some way, but that will not be the case with Manta.

"No, I don't think it's a redemption story," Brown said. "I think it's just showing him, evolution. People can change. Change for the worse or change for the good or just new people come into your lives and it affects you in ways you had no idea it would. That's just real life. Again, like I said, I was fascinated with the character for a long time. I wasn't looking for just a villain to redeem, but it's more about reflection of our own lives. None of us are who we are and when we went on my journey on life. And that's kind of what I'm doing with Black man, just show that change and that pain. And what life can do and where it can take you."

Black Manta #1 is in comic stores now.

What did you think of Black Manta? Let us know in the comments and as always you can talk all things comics with me on Twitter @MattAguilarCB!

Continue reading here:

Black Manta Writer Breaks Down the Evolution of Manta, Fractured Relationship with Jackson Hyde, and More - ComicBook.com

INDIANAPOLIS Frank Reich, Marcus Brady and the rest of the Colts offensive staff have been tinkering with the offense for months now, preparing for the shift from Philip Rivers to Carson Wentz.

Four seasons in Indianapolis has given Reich plenty of experience far too much, some might say in adjusting his offense to a different quarterback. Four seasons into his time in charge of the Colts, and Wentz will be Reichs fourth opening-day starter.

Barring a setback withWentzs surgically-repaired foot this week, the Colts will unleash all of that work on Seattles defense Sunday afternoon.

Thats going to come up on a week-to-week scenario, how defenses decide to play us, Brady said. Were going to be who we are, its what we worked on through training camp, this offseason with Carson and the personnel we have here.

More: Insider: Colts' offense is about to find out how important practice is

More: 3 things to know from Colts unofficial depth chart at running back, corner, defensive end

More: Can Carson Wentz lead Colts back to playoffs? Insiders predict outcome of all 17 games

Indianapolis has worked hard to emphasize the parts of the offense that fit Wentzs skill set. Wentz is far more mobile than Rivers, and Reich has said that the Colts want to push the ball down the field more this season than they did last year, given the strength of the quarterbacks arm.

We already have a chance to kind of get a feel for what flavor, what emphasis our team is going to have with a new quarterback, Reich said. I think weve already been getting that flavor the whole offseason, talking to our team and projecting with our team: Heres who were going to be. Heres the things that dont change, heres the things that are going to slightly change. Always giving a vision for what we want to be, but then allowing it to work out organically.

That last part might be the key.

No matter how much work Reich and the rest of the Indianapolis offensive staff have done this offseason, the reality is that the offense the Colts debut against the Seahawks is likely just the beta test of what it will ultimately become with Wentz at the helm.

If the past three seasons are any indication, the Indianapolis offense is going to take a little bit of time to truly find its identity.

I think that happens naturally, anyway, year to year, Reich said. You never know how defenses are going to play you, and theres a lot of dynamics that go into it.

Dynamics that can change for a lot of different reasons. Injuries and uncertainty on the offensive line stunted the early growth of the Andrew Luck version of the offense; Indianapolis opened that season as a quick, high-percentage, high-volume throwing team with trouble running the football, then turned into a balanced, Run the Damn Ball and fire it downfield for big plays offense when the line solidified and Mack returned to the lineup.

A year ago, Philip Rivers had to learn to play within himself and stop taking so many chances, and Indianapolis had to adjust to the Septemberlosses of Marlon Mack and Parris Campbell, who'd both been expected to play critical roles. Five games into the season, an awful second half in Cleveland helped crystallize what the Colts should be, and the second-half development of Jonathan Taylor allowed Indianapolis to fully realize its vision.

In essence, those two seasons represent the trajectory Reich wants his offense to take.

We want to be growing and getting better on offense, figuring out how to be more productive, score more points, how to use our players strengths more, Reich said. To that end, it will take weeks, it will take a year. Hopefully were evolving through the whole year.

The only time the Colts havent been able to take that step was in 2019.

Forced to adjust the offense on the fly two weeks before the season due to Lucks retirement, Indianapolis got off to a 5-2 start with an offense that forced teams to pay attention to its running game, limited mistakes in the passing game and made a couple of plays here or there against secondaries geared up to stop the running game.

The adjustment that Colts team needed to make midway through the season was obvious; Indianapolis needed to produce more big plays in the passing game, especially against defenses that stacked the box week after week, essentially daring the Colts to go down the field.

Indianapolis knew what it needed to be. Jacoby Brissett simply couldnt get the Colts there.

The Colts are confident Wentz is a quarterback like Luck and Rivers, a passer with the ability to get them to the playoffs as the offense grows around them.

If he has to be Superman, he can do that, running back Nyheim Hines said. If he just has to turn around and hand the ball off, he can do that, too. I think with Carson, hes going to do whatever is required to win the game. Thats what we all feel about him; hes going to do whatever it takes.

Whatever it takes will likely change on a weekly basis, beginning with the season opener against the Seahawks.

And the more time the Colts have with Wentz under center, the more theyll know exactly what the offense needs to be.

Originally posted here:

Insider: Evolution of Carson Wentz version of Colts offense is likely only beginning - IndyStar

J Balvin has returned with his sixth studio album, Jose, which finds the Colombian superstar tapping into an intimate showing, delivering a new version of himself to fans at home.

The stacked 24-track effort features appearances from the usual suspects within the current pantheon of Latin stars including Sech, Ozuna, KAROL G, Nicky Jam, and Bad Bunny while dipping his toes stateside with the likes of Khalid, Dua Lipa, and Skrillex.

"This is like my own playlist of the types of songs I like to hear from me. And its my personal [taste], its the sound that I always wanted to do.Coloreswas a concept. Now, the concept in this album isme, Jose," Balvin told Remezclaabout the new project. "Its not even the artist. Its what I like to hear, what Jose likes to hear. Its like an album that I did, of course for my people and for the world, but it is going to be the first album that I can listen to as Jose being a fan of J Balvin."

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J Balvin Issues His Evolution On "Jose" Album - HotNewHipHop

To define how the legal system in India works, the Bench of Justice Arvind Singh Sangwan, while granting blanket bail to former DGP Sumedh Singh Saini Friday, referred to a story from the Panch Tantra regarding evolution of legal jurisprudence in India.

Once upon a time, in a kingdom, an ape (monkey) intruded into village population. The whole village including young, old, educated and uneducated gathered to shunt him out. The poor ape climbed a tall tree. As the crowd gathered, the ape had no idea as to what offence he had committed that everyone is running after his life. In the meantime, the village Sarpanch, carrying a stick (symbol of authority), came there and looking at the crowd and hearing their noise, enquired about the matter. A man came out of the crowd and said I am lambardar (headman) appointed by the King to shunt the ape out of the village. The sarpanch politely asked him as to what is the matter and why you want to shunt him out. The lambardar said I am the representative of King and you have no business to ask me. The sarpanch again asked you all are on one side?. The whole crowd said yes. The sarpanch again asked then who is on the side of ape, there was a pin drop silence. The lambardar said that how do you expect anyone to be on the side of the ape? The sarpanch smiled, raised his stick and said this is injustice, I stand for the ape and will not allow you to shunt him out unless you give plausible reasons, read the story, as per the order,

Justice Sangwan further said, This is how the legal system in India works where the court follows the principal of audi alteram partem, i.e. nobody should be condemned unheard. The plight of the petitioner appears to be similar to the story as this court protected the right of the petitioner by passing various orders, which will be referred in later part of this order.

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With tale from Panch Tantra, Punjab and Haryana HC bench details evolution of legal jurisprudence in India - The Indian Express