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    Barkley hires social influencer Aniesia Williams as content director

    By SHOOTUpdated:No Comments2494 Views
    KANSAS CITY, Mo. --

    Barkley has hired Aniesia Williams, a social media strategist and journalist, as its new content director. As part of her role at the Kansas City-based agency, Williams will oversee content strategy for Wingstop’s active social media community.

    Prior to joining Barkley, Williams led audience diversity initiatives for Project:Now through the Clinton Global Initiative and was an advisory board member for Ready for Hillary, a Hillary Clinton PAC formed to engage and mobilize the African American community around the election.

    In addition, she has managed digital and social marketing campaigns for the Ford Motor Company, Family Dollar, Shell and Lionsgate. With a background in journalism, Williams is regular contributor to publications including Business Insider, Black Enterprise, Ebony Magazine and Root.

    “Barkley represents the way forward in connecting with the next generation of consumers. I want to be a part of that,” Williams said. “I’m excited to bridge culture into new initiatives for the company and prospective clients, and help Barkley become a leader through diversity and inclusion.”  

    Williams’ notable recent work includes social influencer events with not-for-profit organization Black Girls Code, and for the films Hidden Figures and A Wrinkle in Time. She was named SWIB (Women in Business) 2017 Social Influencer of the Year and The Network Journal’s 40 Under 40 in 2016.

    “At Barkley, we believe that to bring great ideas to life, we need to see it from as many perspectives as possible,” said Joe Cox, VP of engagement at Barkley. “Aniesia’s strong voice, impressive track record of impactful projects, and in-depth knowledge of social platforms made her the perfect fit for what we are doing at Barkley.”

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    Does “Hundreds of Beavers” Reflect A New Path Forward In Cinema?

    Monday, November 25, 2024

    Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik's mind when he was making "Hundreds of Beavers." Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.

    "When we were shooting, I kept thinking: It would be so stupid if this got mythologized," says Cheslik.

    And yet, "Hundreds of Beavers" has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik's film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.

    "Hundreds of Beavers" is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.

    No one would call "Hundreds of Beavers" expensive looking, but it's far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck's snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and "Naked Gun."

    At a time when independent filmmaking is more challenged than ever, "Hundreds of Beavers" has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.

    After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, "Hundreds of Beavers" has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.)... Read More

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