text
stringclasses 645
values | lang
stringclasses 2
values | url
stringclasses 314
values |
|---|---|---|
TORONTO, May 13, 2024 (GLOBE NEWSWIRE) -- Kilmer Sports Ventures, a part of Kilmer Group, announced today it has entered into exclusive negotiations with shareholders to acquire AS Saint-Étienne, one of France's most decorated and beloved football clubs.
Founded in 1933, AS Saint-Étienne’s 90-year legacy includes ten Ligue 1 championships, the top tier of French football, a deep commitment to community and an unrivalled fan base that extends well beyond the city to the whole region. After twenty years, current shareholders Bernard Caïazzo and Roland Romeyer are looking for new owners that will build on their vision for the club and, with the right resources and expertise, return Saint-Étienne to its elite position in the league.
If successful, the exclusive negotiations will transfer ownership of the club to Kilmer Sports Ventures, leveraging the unparalleled expertise of two leaders in the world of sports – Larry Tanenbaum, a 30-year veteran and one of the most well respected and trusted team owners in North America, and Ivan Gazidis, a legend in European football excellence with a demonstrated track record in building championship clubs.
“AS Saint-Étienne is more than just a football club, it’s a community,” said Larry Tanenbaum, Chairman and CEO of Kilmer Group. “It’s the beating heart of the city and the region, and has been for nearly 90 years. That’s something, as new owners, we would respect, preserve, and promote. I’m optimistic for what lies ahead.”
"It's an honour to engage with a club as prestigious as AS Saint-Étienne,” said Ivan Gazidis, President of Kilmer Sports Ventures. “Our aim is, step-by-step, to engage with the club’s fans and to bring Saint-Étienne back to the highest level of French football, where it can compete with pride in accordance with the club’s historic values."
For media inquiries:
Courtney Glen, Kilmer Group, [email protected]
About Kilmer Sports Ventures:
Kilmer Sports Ventures is a division of Kilmer Group and focuses on investment opportunities in the world of sport and entertainment. Kilmer Group is a multi-generational platform with a long history in business development and investment focused on three verticals: Infrastructure & Real Estate, Sports & Media, and Private Equity, which includes a majority ownership in Coca-Cola Canada Bottling Limited. | en | https://www.globenewswire.com/news-release/2024/05/14/2881002/0/en/Kilmer-Sports-Ventures-Enters-into-Exclusive-Negotiations-to-Acquire-French-Professional-Football-Club-AS-Saint-%C3%89tienne.html |
As global markets show signs of resilience, with indices like the S&P 500 approaching record highs, Sweden's recent economic adjustments, including a key interest rate cut by the Riksbank, paint a promising backdrop for investors looking at dividend stocks. In such an environment, understanding what constitutes a robust dividend stock is crucial; factors like stable earnings, consistent payout histories, and strong market positions become particularly valuable.
Name
Dividend Yield
Dividend Rating
Betsson (OM:BETS B)
5.97%
★★★★★☆
Zinzino (OM:ZZ B)
3.59%
★★★★★☆
Loomis (OM:LOOMIS)
4.55%
★★★★★☆
HEXPOL (OM:HPOL B)
3.09%
★★★★★☆
Duni (OM:DUNI)
4.55%
★★★★★☆
Skandinaviska Enskilda Banken (OM:SEB A)
5.54%
★★★★★☆
Avanza Bank Holding (OM:AZA)
4.54%
★★★★★☆
Nordea Bank Abp (OM:NDA SE)
8.04%
★★★★★☆
Bilia (OM:BILI A)
4.55%
★★★★☆☆
Husqvarna (OM:HUSQ B)
3.44%
★★★★☆☆
Click here to see the full list of 24 stocks from our Top Dividend Stocks screener.
Here's a peek at a few of the choices from the screener.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: Bahnhof AB (publ) operates in the Internet and telecommunications sector primarily in Sweden and across Europe, with a market capitalization of approximately SEK 5.54 billion.
Operations: Bahnhof AB generates its revenue primarily from the internet and telecommunications services within Sweden and other parts of Europe.
Dividend Yield: 3.9%
Bahnhof AB's recent earnings report showed a revenue increase to SEK 491.38 million and net income growth to SEK 56.17 million, indicating financial health. However, its dividend sustainability is questionable with a high payout ratio of 97.7%, implying dividends are not well-covered by earnings despite a stable dividend history over the past decade. The stock trades below estimated fair value by 24.3%, offering potential undervaluation but its low yield of 3.88% trails behind top Swedish dividend payers.
Click here and access our complete dividend analysis report to understand the dynamics of Bahnhof.
Our comprehensive valuation report raises the possibility that Bahnhof is priced higher than what may be justified by its financials.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: BioGaia AB (publ) is a healthcare company that specializes in probiotic products with a global reach, boasting a market capitalization of approximately SEK 13.03 billion.
Operations: BioGaia AB generates its revenue primarily from the sale of probiotic products across various global markets.
Dividend Yield: 5.3%
BioGaia's dividend yield of 5.35% ranks well in Sweden, but its sustainability is questionable with a high cash payout ratio of 215.5%, indicating dividends are not adequately covered by free cash flow. Although the company's P/E ratio at 35.1x is favorable compared to the industry, inconsistent dividend payments over the past decade and coverage issues raise concerns about reliability and growth prospects, despite a recent earnings uptick to SEK 121.85 million in Q1 2024 from SEK 115.95 million last year.
Click here to discover the nuances of BioGaia with our detailed analytical dividend report.
The valuation report we've compiled suggests that BioGaia's current price could be inflated.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: G5 Entertainment AB (publ), based in Sweden, specializes in developing and publishing free-to-play games for smartphones, tablets, and personal computers, with a market capitalization of SEK 1.12 billion.
Operations: G5 Entertainment AB generates its revenue primarily from the development and publication of free-to-play games for various digital platforms.
Dividend Yield: 5.8%
G5 Entertainment offers a dividend yield of 5.77%, ranking in the top quartile within the Swedish market, supported by a stable yet short history of dividend payments over seven years. Despite recent earnings declines to SEK 37.48 million from SEK 47.76 million, dividends remain well-covered with an earnings payout ratio of 54.4% and cash payout ratio of 36.8%. The company's upcoming board reshuffle could influence future financial strategies, maintaining investor interest in its governance dynamics.
Get an in-depth perspective on G5 Entertainment's performance by reading our dividend report here.
Our valuation report unveils the possibility G5 Entertainment's shares may be trading at a discount.
Discover the full array of 24 Top Dividend Stocks right here.
Have you diversified into these companies? Leverage the power of Simply Wall St's portfolio to keep a close eye on market movements affecting your investments.
Discover a world of investment opportunities with Simply Wall St's free app and access unparalleled stock analysis across all markets.
Explore high-performing small cap companies that haven't yet garnered significant analyst attention.
Fuel your portfolio with companies showing strong growth potential, backed by optimistic outlooks both from analysts and management.
Find companies with promising cash flow potential yet trading below their fair value.
This article by Simply Wall St is general in nature. We provide commentary based on historical data and analyst forecasts only using an unbiased methodology and our articles are not intended to be financial advice. It does not constitute a recommendation to buy or sell any stock, and does not take account of your objectives, or your financial situation. We aim to bring you long-term focused analysis driven by fundamental data. Note that our analysis may not factor in the latest price-sensitive company announcements or qualitative material. Simply Wall St has no position in any stocks mentioned.
Companies discussed in this article include OM:BAHN B OM:BIOG B and OM:G5EN.
Have feedback on this article? Concerned about the content? Get in touch with us directly. Alternatively, email [email protected] | en | https://finance.yahoo.com/news/three-swedish-dividend-stocks-offering-020622086.html |
Here's a fresh new logo we baked just for you. 😘 pic.twitter.com/m54aX7N5dB
The IndieWire website posted two more new images from the project on Monday.
This year's Annecy will take place from June 9 to June 15 in the French town of the same name. Established in 1960, Annecy is the world's oldest and largest animation film festival.
While the film was also previewed last year at Annecy, the screening showed unfinished footage.
The film was previously slated to open on April 12, 2024, but was delayed to December 13, 2024.
The Lord of the Rings: The War of the Rohirrim is set in the world of J.R.R. Tolkien's Middle-Earth. New Line Cinema is producing the film in partnership with Warner Bros. Animation. Sola Entertainment is responsible for the animation studios for the film, and Warner Bros. Pictures will distribute the film.
Brian Cox plays Helm Hammerhand, the King of Rohan and protagonist. Gaia Wise plays Helm's daughter Hera. Luke Pasqualino plays Wulf, a Dunlending lord. Miranda Otto reprises her role from the original films as Éowyn, Shieldmaiden of Rohan, and she is also the narrator.
The cast also includes Lorraine Ashbourne, Yazdan Qafouri, Benjamin Wainwright, Laurence Ubong Williams, Shaun Dooley, Michael Wildman, Jude Akuwudike, Bilal Hasna, and Janine Duvitski.
The film is described as an original anime feature, depicting "a legendary battle that helped shape Middle-earth and set the stage" for Tolkien's The Lord of the Rings. It "explores and expands the untold story behind the fortress of Helm's Deep, delving into the life and bloodsoaked times of one of Middle-earth's most legendary figures; the mighty King of Rohan - Helm Hammerhand."
Joseph Chou (Blade Runner: Black Lotus TV series) is producing, and Jeffrey Addiss and Will Matthews (The Dark Crystal: Age of Resistance) are writing the screenplay. The Oscar-winner Philippa Boyens, who was part of the screenwriting team on the live-action The Lord of the Rings and The Hobbit film trilogies, is a consultant on the project.
Jason DeMarco — Adult Swim's senior vice president and head of anime and action series as well as senior vice president in the anime and action series/longform department at Warner Bros. Animation and Cartoon Network Studios — is a producer on the film, and he confirmed that the film is in 2D.
Sources: Variety (Jamie Lang), Jason DeMarco's Twitter account
News homepage / archives | en | https://www.animenewsnetwork.com/news/2024-05-13/annecy-screens-the-lord-of-the-rings-the-war-of-the-rohirrim-footage-in-june/.210784 |
Over the weekend, it was announced that actor James Laurenson had passed away in April at the age of 84. Rest in peace.
Born in New Zealand in 1940, Laurenson moved to the U.K. in the ’60s where he began acting professionally, working on both stage and screen. Over the decades, his notable credits include The Crown, Coronation Street, Australian detective series Boney, and, in his final film role, Matilda: The Musical.
And though he wasn’t gay himself, Laurenson is fondly remembered as being part of a very important moment in LGBTQ+ pop culture history: He was one half of the first-ever gay kiss on British television!
And the other half? None other than Sir Ian McKellen.
Back in 1970, the actors starred in a production of Christopher Marlowe’s classic Renaissance play Edward II at the Picadilly Theatre in London. McKellen played the titular character in one of his first breakthrough roles, with Laurenson as Piers Gaveston, the king’s “favorite,” a.k.a. a polite, old world way of saying the two were lovers.
(Needless to say, the play has long been a controversial one thanks to its homo-romantic themes.)
The production was such a sensation, breaking theatrical box office records for the Picadilly, that the BBC eventually decided to record and broadcast the play on air, which meant a rather passionate—and historic!—kiss between McKellen and Laurenson was beamed into homes across the U.K.
Nope, this wasn’t some chaste peck on the lips, or a fake smooch while the actors had their backs turned to the camera—it was an honest-to-goodness kiss, a fiery, emotion-filled one that goes on for a number of seconds unbroken.
For the curious, the full broadcast of Edward II is currently on YouTube, with the big moment occurring right around the 17:20 mark.
Again, not only was this a first for the BBC, but it’s considered by some to be the first man-on-man kiss to air on television ever. That’s all the more impactful when you consider that homosexuality was decriminalized in the U.K. just three years earlier, in 1967.
But it’s not like anyone was necessarily setting out to make history with the kiss. A few years back, McKellen was featured in an interview special with BBC Two’s Amol Rajan, reflecting that the network “wasn’t out to shock people or educate people, it was just doing a play that had a big success at the Edinburgh Festival and two seasons in London.”
McKellen, who was still closeted at the time Edward II aired, added: “I didn’t do that play because I was on a mission to tell people about homosexuality and certainly not my own.”
Of course, the actor did eventually come out publicly—in a 1988 radio interview for (where else?) The BBC—and years later is able to appreciate the impact the kiss has had on audiences.
“I’ve heard from people I shall never meet saying I’m so grateful to you for that kiss which I was watching in Indiana with my parents and we had a good conversation about it afterwards and I’m now a happily married gay man… So it was wonderful,” he shared.
As for Laurenson, McKellen said he’s “always grateful” for the kiss they shared. Or kisses rather. Edward II ran for nearly a year prior to its BBC broadcast, which meant the pair had to lock lips night after night after night.
“I still recall the first softness of James Laurenson’s lips,” McKellen once wrote, “which was a bonus throughout the run.”
The late Laurenson’s legacy—and lips—live on through his impressive body of work, and we’ll be forever grateful to both actors for moving the needle forward for LGBTQ+ representation in media.
We can't rely on mainstream media to tell our stories. That's why we don't lock Queerty articles behind a paywall. Will you support our mission with a contribution today? | en | https://www.queerty.com/that-time-ian-mckellen-james-laurenson-gave-us-one-of-the-first-and-fieriest-gay-kisses-on-tv-20240513 |
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.Save this picture!© Peter BennettsSave this picture!Plan - SiteSave this picture!© Peter BennettsBell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.Save this picture!© Peter BennettsSave this picture!© Peter BennettsPreston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.Save this picture!© Peter BennettsSave this picture!Plan - Ground Floor Bell StationSave this picture!© Peter BennettsThroughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.Save this picture!© Peter BennettsSave this picture!© Peter BennettsThe project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.Save this picture!© Peter BennettsSave this picture!© Peter BennettsThe plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.Save this picture!© Peter Bennetts
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.
Bell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.
Bell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.
Preston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.
Preston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.
Throughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.
Throughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.
The project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.
The project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.
The plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.
The plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.
You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users. | en | https://www.archdaily.com/1016542/preston-level-crossing-removal-project-wood-marsh |
Quinton “Rampage” Jackson’s boxing debut is going to have to wait.
MMA Mania has confirmed with sources that the scheduled boxing match on June 8, 2024, at Rumble of Titans: Duel In the Desert in Qatar between Jackson and former Heavyweight champion, Shannon Briggs, is now off. The bout’s cancelation comes as a result of fraud concerns from the fighters regarding the event’s promoter, Quantum Sports & Media (QSM) World. It’s unknown whether or not the promoters will still try and hold an event on the discussed date.
QSM’s Founders, Hossama Dawood Khan and Suleyman Dawood Khan, along with other family members, were alleged of defrauding concerts of artists, Drake and Travis Scott, per a lawsuit by Jazba Entertainment (h/t Global Village Space) in July 2023. The allegations stated that Jazba Entertainment was persuaded by the family to invest in a Dubai concert featuring the above acts on May 28, 2021. The event was pitched with the name “Rhythm” at Dubai’s Coca-Cola Arena. Jazba’s Pervaiz Akhtar with the aid of Kenyan promoter, Rani Jamal, transferred $250,000 to QSM World’s Qatar account for the event. QSM World ignored Akhtar and failed to deliver the promised concert materials once the transfer was made. The Khans were also alleged to have advertised a boxing event in 2022 that never happened after acquiring support from investors.
“Hossama Dawood Khan alleged that the $3 million investment made by Akhtar was forfeited by Drake and Travis Scott’s management when the concert was canceled,” Global Village Space’s report read. “However, representatives of the artists denied these claims, expressing surprise and disappointment that their names were misused in fraudulent activities.”
MMA Mania has since received a brief letter of legal action sent to QSM World in July 2023 along with proof of text messages that were unresponded to by Hossama Khan, countering his claim below that no legal action is being taken. It’s believed that all has just been ignored. A report was made to the Qatar embassy in London, England but a response has yet to be received by Jazba Entertainment as of March 2024. Jazba Entertainment plans to take action with Qatar’s capital, Doha.
“Both news articles are with the intention of defamation,” Khan said in a statement to MMA Mania this past March. “Also, if we have done something wrong, why have they not gone down a legal avenue as they have said in the article? To date, no legal action has been taken against us because legally they have done a breach of contract. Anyhow, we have moved on with our legal options to take down the news articles and our team is already working on it. As said before they’re just trying to defame our name.
“When you read both news articles they don’t match up,” he concluded. “One article says one thing and the other says another thing.”
QSM World requested The News International take down or at the very least edit out the QSM name from its story on the Khans on Feb. 22, 2024. Legal action was specified as not threatened but details for the request were not specified. Sources close to the situation alleged that QSM World is not registered in Qatar and currently uses a headquarters location in Doha Tower that does not exist.
As the boxing event got closer, a pre-fight press conference in Qatar was scheduled for March 28, 2024. The press conference didn’t happen and Khan’s reasoning for why was as follows.
“Regarding the press conference, it’s rescheduled as in Ramadan we can’t have musical performance in Ramadan,” Khan told MMA Mania.
Aside from the well-documented eating and drinking limitations of Ramadan, which ended on March 29, there don’t appear to be any rules in Qatar regarding musical events or performances. Nonetheless, the press conference was not rescheduled.
Check your inbox for a welcome email.
Oops. Something went wrong. Please enter a valid email and try again. | en | https://www.mmamania.com/2024/5/13/24156014/rampage-jackson-vs-shannon-briggs-boxing-match-falls-apart-amid-promoter-fraud-concerns-mma |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864585 |
In September 2023, Jim Ryan announced he would be retiring from Sony and leaving his role as president and CEO of Sony Interactive Entertainment at the end of March 2024. Today, Sony announced that it has named two people for separate CEO roles at SIE, which includes the PlayStation division. Both will officially begin working in their new gigs on June 1.
In a press release, Sony announced that one of the new CEOs will be Hideaki Nishino, He will be in charge of SIE's Platform Business Group. He currently serves as the senior vice president for the Platform Experience Group. Sony stated:
In his new capacity as CEO of the Platform Business Group, Nishino will continue to be responsible for technology, products, services, and platform experience. He will also oversee third party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
The other new SIE CEO will be Hermen Hulst, who will be running the company's Studio Business Group. Hulst currently works as the senior vice president and head of the PlayStation Studios division. He previously was the co-founder of Guerrilla Games. Sony said in his new CEO role, Hulst will be "responsible for the development, publishing, and business operations of SIE's first-party content."
In a post on his X (formerly Twitter) account, Hulst stated:
It’s a true privilege to be asked to lead the new Studio Business Group for Sony Interactive. I’m excited to continue working with incredibly talented teams and studios to deliver unforgettable game and entertainment experiences.
Both of the new PlayStation CEOs will have their own set of challenges after taking over from Jim Ryan. The division announced it was cutting 900 team members back in February, which included shutting down its London studio. The company also offered a warning in February that it had cut back its projections for PS5 sales for its current fiscal year and there will not be a major first-party PlayStation game released until sometime in 2025.
Login or Sign Up to read and post a comment.
Please enter your reason for reporting this comment. | en | https://www.neowin.net/news/sony-names-two-people-as-the-new-ceos-for-its-playstation-business/ |
The entertainment industry has been mourning the loss of journalist Sam Rubin. The longtime entertainment reporter for KTLA Morning News died on May 10 at age 64 and many celebrities in Hollywood have been paying tribute to him. NCIS vet Pauley Perrette is among those sharing memories of the beloved journalist and even shared a clip from one of their most recent interviews.
Perrette took to Instagram after news broke about Rubin’s passing to pay tribute to him, noting that he “was a friend and an excellent human.” She also shared that while doing interviews was “not a pleasant part” of her job, she was always excited to be interviewed by him and see him on the red carpet “because he was real, he was fun and he was a friend.” Alongside her heartfelt message, the former actress also shared a short clip of the two of them on KTLA, where they kissed each other on the cheek:
A post shared by Pauley Perrette (@thepauleyp)
A photo posted by on
The clip in question seems to be from an interview Perrette did in December, as she shared another clip where she’s wearing the same outfit. It was in promotion of her new documentary Red Ribbons of Love and just from the look of it, she was happy to be with Rubin and the rest of the KTLA team.
She also spoke with Rubin for certain milestones in her career, such as her final episode of NCIS. Unfortunately, Perrette was just on the phone, but she certainly sounded happy to be on the line with Rubin and the team. All in all, I'm glad that this clip was available for viewing, even years after the interview took place:
When one door on CBS closes, another one opens, as did for Perrette. She also spoke to Rubin during the initial COVID lockdown about her short-lived sitcom Broke, which was unfortunately canceled after one season. Since she retired from acting following the sitcom, it had likely been a long time since the two of them had spoken to each other or, at the very least, done an interview together. It's possible that their interview last December might have been their first conversation in a long time, making it all the more bittersweet that Perrette used a clip from it for her tribute.
Many other celebrities have been paying tribute to Sam Rubin, including Ben Stiller, Octavia Spencer, Jerry O’Connell, Ryan Reynolds, Jamie Lee Curtis, Tom Hanks, Kiefer Sutherland, and many, many more. Based on these reactions from some of the biggest names in Hollywood, he had a strong impact on the industry and a legacy that will continue.
Passionate writer. Obsessed with anything and everything entertainment, specifically movies and television. Can get easily attached to fictional characters.
NCIS’ Pauley Perrette Marks 1-Year Anniversary Of Her Stroke With Candid Post: ‘I’m Still Here'
Oh No! NCIS Vet Pauley Perrette Is Apparently Retired Now After Latest CBS Show Was Cancelled
After ABC Announced Fall TV Schedule, Here's Why I'm Worried About The Rookie And Will Trent Season Finales
Cinemablend is part of Future US Inc, an international media group and leading digital publisher. Visit our corporate site.
©
Future US, Inc. Full 7th Floor, 130 West 42nd Street,
New York,
NY 10036. | en | https://www.cinemablend.com/television/ncis-vet-pauley-perrette-tribute-tv-journalist-sam-rubin |
Monica Schipper/Getty
Jean Catuffe/Getty
Monica Schipper/Getty | en | https://people.com/olympic-champion-nathan-chen-graduates-from-yale-8647948 |
'I IDOLIZED YOU. YOU ARE AND WILL ALWAYS BE MY HERO'Sam Rubin's son, Colby, joined KTLA 5 Morning News on Monday to reflect on his father's passing and share a message to him. pic.twitter.com/NYFXYVqmtT
Gone, but never forgotten. Sam Rubin's son is honoring the beloved late KTLA reporter after his shocking and sudden death. pic.twitter.com/JEvFQqOePu
I would not be able to do that, especially so soon after his passing. What a brave thing to do. | en | https://ohnotheydidnt.livejournal.com/128394166.html |
https://toynewsi.com/436-52734
Researchers worldwide are analyzing and debating the feasibility of a scenario where an individual clad in leather and equipped with various heavy gear, executes a backflip while evading three rockets and gunfire, without retaliating with his Uzi or knife.
The wolf is about to do the same with, only carrying the full clip the ninja forgot back in the NinjaVan.
https://toynewsi.com/436-52734
Researchers worldwide are analyzing and debating the feasibility of a scenario where an individual clad in leather and equipped with various heavy gear, executes a backflip while evading three rockets and gunfire, without retaliating with his Uzi or knife.
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52734 |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864197 |
Slashdot is powered by your submissions, so send in your scoop
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864195 |
There's never a bad night for some Dark Knight entertainment, and if you're craving a Batman film, these days you're spoiled for choice. An icon of cinema, Batman has appeared in dozens of films and TV show projects over the years. The live-action movies are arguably where Batman has left his biggest mark on mainstream media, but you'd be surprised to see just how good some of his animated adventures are.
If we're talking big-bat-budget escapades, then you can't go wrong with classics like Tim Burton's one-two punch of Batman and Batman Returns. Starring Michael Keaton under the cowl, these films combined a dark atmosphere with an all-star cast of actors rising to menace the Caped Crusader. There's a timeless quality to these films, as they were produced before CGI enhancements became commonplace, and the performances from Keaton, Jack Nicholson, Michelle Pfeiffer, and Danny DeVito helped cement Burton's tour of Gotham as legendary entertainment.
Shifting ahead to the current age, we've had some interesting interpretations of Batman over the last decade. Christopher Nolan introduced a Batman who could actually turn his head in his Dark Knight trilogy, while Zack Snyder and Ben Affleck created a vigilante who was a terrifying mountain of muscles hellbent on murdering Superman in his first outing. A few years later, we got Robert Pattinson in The Batman--or The Pattman--a grounded take on the hero where the focus was on detective work.
On the animated front, some of the best Batman projects of all time can be found in this department. Batman: The Animated Series is the gold standard for the character, while Batman Beyond offers a fascinating departure from the status quo that features an all-new hero wearing the mantle of the Bat in a far-future version of Gotham. Batman: The Brave and the Bold is pure Silver Age silliness at its very best, while 2004's The Batman is a surprisingly cool take on the hero with radical redesigns of his sinister enemies--did anyone expect a Spongebob-voiced Penguin who had mastered Kung-Fu in this series? And the animated Justice League show puts Batman a global stage on which to wage his war on crime.
Then there are the DC Universe animated films, which are a collection of one-shots and connected tales that have been regularly produced for two decades now. These include fantastic adaptations of beloved comic stories like Batman: Year One, The Dark Knight Returns, and Under the Red Hood, as well as several original one-shot films.
As you can see, there are dozens of great Batman stories to watch, and the good news is many of them are available right now on Blu-ray. So, to help you track them all down so you can add them to your collection, we've we've compiled all the Batman Blu-rays currently available into a giant list below. You'll find almost every Batman film and TV show on there, minus some gaps for the few films that haven't made it past to Blu-ray yet--such as the awesome Batman vs Dracula--but we've also added a section for Batman-adjacent projects. These are mostly animated films featuring Batman, like several Lego movies, Justice League team-up appearances, and crossovers with other IPs like RWBY.
The '60s Batman TV series starring Adam West as the Caped Crusader and Burt Ward as Robin is goofy, silly, and effortlessly charming—Silver Age Superhero antics at their finest. This Blu-ray collection packs the entire 120-episode run onto several discs and comes with over three hours of extra content.
Batman's 1966 film has everything you could ask for in a movie featuring the dynamic duo: Supervillains on the loose, sharks being punched, and a memorable scene where Batman simply can't get rid of a bomb! A cult-classic, they don't make Batman movies like this anymore.
Tim Burton's 1989 Batman film reinvented the vigilante for a grittier era with a dark and gothic adventure pitting Michael Keaton's Dark Knight against Jack Nicholson's Joker. The film still holds up pretty well 35 years after it was first released, and this 4K cut is loaded with extras, Prince music videos, and a fascinating documentary examining Batman's impact on cinema.
Tim Burton and Michael Keaton return for another round of superheroics in Batman Returns, which just also happens to be one of the best Christmas movies of all time (if you don't mind being weirded out by Danny DeVito's Penguin). Michelle Pfeiffer puts in a show-stealing performance as Catwoman, and this film looks better than ever in 4K. Once you're done watching, you can enjoy more behind-the-scenes extras chronicling the creation of this iconic sequel.
There's no denying that Batman Forever is a kid-friendlier take on Gotham's protector that lacks the dark fantasy nature of Tim Burton's movies, but director Joel Schumacher went all in on this direction and created a fun movie for all ages. Jim Carrey and Tommy Lee-Jones chew up all the scenery whenever they're on screen, Val Kilmer nailed the duality of Batman and Bruce Wayne, and Chris O'Donnell made an impact as Robin in this weird but memorable film.
Batman and Robin might be a toy commercial, but it's one hell of a toy commercial. It's film a campy, zany, and colorful homage to the '60s-era of Batman, featuring an amazing cast that includes George Clooney as Batman, Arnold Schwarzenegger as Mr. Freeze, and Alicia Silverstone as the newest members of the Bat-Family, Batgirl.
After Batman and Robin's critical flop, Warner Bros. rebooted the franchise once again, this time for a more modern take on the hero. Director Christopher Nolan opted for a grounded approach to Batman, and recruited Christian Bale as his Dark Knight. Batman Begins is a fascinating reimagining of Bruce Wayne's journey to becoming Batman, featuring amazing art direction and one of the best Batsuits of all time. It also has one of the coolest versions of the Batmobile yet. Along with the movie, this Blu-ray release comes with a library of interesting extras charting Batman's return to the big screen after a lengthy absence.
The second film in Nolan's Batman trilogy, The Dark Knight, is an action-packed exploration of the toll Batman's war on crime has on their personal life. For many, The Dark Knight is the best Batman movie. But even if you disagree, there's no denying it's a brilliant crime film. Much of the movie's critical and financial success is owed to Heath Ledger, whose Oscar-winning performance as Batman's arch nemesis, the Joker. Sadly, it would be Ledger's final on-screen performance before he passed away 2008 shortly before the film's premiere.
The Dark Knight Rises closes out Nolan's Batman saga by putting Batman through the ringer. Exiled and broken by Bane-- a terrifying new powerhouse with grand designs to destroy Gotham--Batman must learn to conquer his fears if he wants to save his city from destruction.
While Man of Steel kicked off DC's short-lived "Snyderverse," Batman V Superman cemented it as an interconnected cinematic universe. The film features Ben Affleck under the cowl, turning in one of the most savage live-action renditions of Batman. As the name implies, the movie follows a conflict between Superman and Batman that lays the foundation for Snyder's Justice League movies. This Blu-ray is also for Snyder's director's cut, a longer version of the movie that is much better than the theatrical version.
Technically, Batman is only in Suicide Squad for a handful of minutes, but this still counts for the list! Suicide Squad is not a good movie, but if you're looking to have a complete Batfleck collection, then you'll have to compromise and add this average action flick to your shelf. On the plus side, you're getting a pretty solid selection of extras with this Blu-ray.
Like Suicide Squad, the 2017 cut of Justice League is mediocre at best. Joss Whedon took over for Zack Snyder after he left the production due to a personal tragedy in his life, and the end result is a by-the-numbers movie that looks average and lacks Snyder's artistic vision. Fortunately, there's a much better version of the film available to purchase--but this one is worth grabbing if you want a full collection on the shelf.
Zach Snyder's version of Justice League, aka "The Snydercut," would eventually see the light of day in 2021, some five years after the original version's theatrical release. Snyder's Justice League features all of his signature filming and editing traits, including a long run time that will push your bladder to the limit. It's also presented in a new aspect ratio to help center your gaze on all of the explosive slow-mo action unfolding before you. If you're a fan of Snyder's work then you'll love this finale to his Age of Heroes saga.
We've seen Batman as a ninja-punching vigilante and a god-slaying badass in previous films, but director Matt Reeves wanted to focus on the detective side of the Dark Knight in 2022's The Batman. With Robert Pattinson in the lead, The Batman offers the most realistic big-screen take on Batman yet, with a gritty and dirty tour of Gotham that sees a rookie Batman work to expose corruption and bring a murderer into the light.
Proving that he hadn't lost of any of his dark charm, The Flash saw Michael Keaton once again suit up as Batman to help the Scarlet Speedster save the Multiverse. Like the other Blu-rays on this list, you can kick back with several featurettes, deleted scenes, and more.
Detailing the evolution of Bruce Wayne into Batman, Gotham focuses on the city before it had a vigilante keeping the streets safe. It's weird, campy, and occasionally hamstrung by a low budget, but this is still a fun show that regularly puts its own spin on the Batman mythos. It's a shame it ends with a glimpse at what is easily the worst live-action Batman costume ever made.
Batman starred in several animated series over the years, but Batman: The Animated Series soars above them all. A killer combo of quality storytelling, classic influences, and stellar voice-acting by the late Kevin Conroy, Batman: The Animated Series offer 109 episodes of the Dark Knight at his best.
When age catches up to Bruce Wayne and he finds himself no longer capable of protecting Gotham from a new generation of criminals, a new, untested hero inherits the legacy of Batman. At the time it first aired, Batman Beyond was a bold new direction for the franchise, setting up a new world full of fresh threats for this new version of Batman to face off against in a futuristic version of Gotham City.
Batman took a step into a bigger world in Justice League, as he joined his fellow heroes to save the day from cataclysmic threats. If you loved the Batman or Superman animated series, then Justice League is a worthy followup full of multi-part adventures featuring DC's greatest heroes.
Justice League Unlimited is sees DC's best and brightest working together toward a common good. While Batman isn't featured in every episode, he still makes a big impact whenever he does appear. With intricate plots, excellent animation, and an all-star cast of famous voices, Justice League Unlimited is a love-letter to DC's past.
The Batman reimagines the Dark Knight as a younger and cooler new hero, one who still has plenty to learn. This particular series featured bold reimaginings of fan-favorite characters and supervillains, mixing a family-friendly approach with top-notch animation. It's a forgotten chapter in the history of Batman, but this series is an underrated gem that's worth having in your collection.
Another throwback to the Silver Age, Batman: The Brave and the Bold features the Caped Crusader teaming up with DC's best, brightest, and strangest heroes across multiple episodes--including the best version of Aquaman. Silly but never goofy, this is a fun show that'll put a smile on your face as you see Batman explore the DC Universe.
While not the best reboot of the Dark Knight, Beware the Batman is still fascinating to see a new direction for the vigilante. Combining slick CG animation with strange villains, and expanded roles for the supporting cast, Batman would hone his skills against foes like Anarky, Ra's Al Ghul, and Deathstroke in this forgotten series.
Batman: Mask of the Phantasm isn't just a fantastic animated film, it's one of the best Batman movies of all time. It might be aimed at a younger audience, but this movie pulls no punches with its portrayal of Bruce Wayne as he sacrifices the chance to have a happy life for an opportunity to become the Batman. Throw in stellar animation and Mark Hamill in his prime as the Joker, and you've got an all-time classic to watch now that it has received a 4K restoration.
Who has the coolest gadgets? Batman! Who has the tricked-out ride? Batman! Who has the best Lego movie? Batman! Who always pays his taxes? Not Batman!
The one-and-only Batman Beyond movie is an action-packed ride through Gotham, but the real fun here is the mystery at heart of this film as Bruce Wayne deals with ghosts from his past. Just how is the Joker alive when he's supposed to be very dead in this timeline? That's a case both Batmen will have to investigate if they can survive the return of the clown prince of crime. | en | https://www.gamespot.com/gallery/batman-blu-rays/2900-5163/ |
Spilling tea in an appearance on fashion industry favourite podcast The Cutting Room Floor, Hollywood super-stylist Law Roach has revealed which luxury labels refused to dress Zendaya.
Zendaya is in the spotlight this year, with the release of Dune and Challengers, as well as high-profile gig co-hosting the Met Gala last week. She wore not one but two looks to the event, and another to the afterparty, and Zendaya’s wardrobe choices have been earning increasing attention.
Now stylist Law Roach made headlines with the revelation that some of the fashion industry’s biggest brands refused to dress that star, and that it has influenced who he and Zendaya work with now, and who they don’t.
Roach appeared on The Cutting Room Floor podcast, telling host Recho Omondi about approaching brands early in Zendaya’s career.
“I would write Saint Laurent, Chanel, Gucci, Valentino, Dior, and they would all say, ‘No’,” he explained, reasoning that she was too “green”.
Roach said Zendaya still hasn’t worn the “big five” brands – Chanel, Gucci, Dior, Saint Laurent and Valentino – in public or in red-carpet appearances (although Variety reports they have been worn in editorial shoots). “She still has never worn Dior on a carpet,” he said. “She still has never worn Chanel on a carpet.”
One luxury house earned a change of tune. “When I said, ‘If you say no, it’ll be a no forever,’ that rang true for a long, long time.” Zendaya landed a contract with Valentino in 2020.
The star has brand relationships with luxury brands Bulgari and Louis Vuitton – though there have been rumours about that the relationship with the latter may be cooling) while Spanish brand Loewe has been a regular feature in the much-publicised tennis-themed wardrobe for her Challengers press tour. (Designer Jonathan Anderson did the costumes for the Luca Guadagnino film).
And there’s a constellation of designers she does wear in public: Prada, Thierry Mugler, Versace, Marc Jacobs, Erdem, Ralph Lauren.
Earlier this year Zendaya became the first star to cover both US Vogue and UK Vogue at the same time.
Zendaya is Law Roach’s main client, after the super-stylist stepped back from dressing celebrities in March. “The politics, the lies, and false narratives finally got me!” he posted in a shock Instagram post. “You win – I’m out.”
These days Zendaya is his focus, and he says he’s “the most unretired retired person”. And as her career surges, the work required for promotion of films like Dune and Challengers, both of which had highly considered promotional wardrobes and countless public appearances, likely keeps Roach busy.
The pair have been working together since the Euphoria star was 14, and she has been outspoken in the past about how she’s been treated by the media.
In 2015 E! Fashion Police host Giuliana Rancic made “outrageously offensive” comments about Zendaya’s hair at the Oscars, prompting the actor to speak out publicly. That same year she criticised Modeliste magazine for airbrushing her body.
Roach has been candid too, and this isn’t the first time he’s discussed the challenges he and Zendaya have had with brands. “Nobody wanted to dress her when she wasn’t known, so I would put her in things that other people had already worn,” Roach told The Guardian, explaining a tactic that earned Zendaya regular placements in the ‘who wore it better’ columns that were common in the magazines and blogs of the 2000s.
Now she’s wearing rare archival fashion and couture – for the Met Gala Zendaya wore bespoke Maison Margiela Artisanal and vintage Givenchy, both by John Galliano, and Roach, a star in his own right now, attended the Met Gala too.
His ongoing candour about the business of styling and the challenges Zendaya faced before ascending to stardom shed light on the politics of the industry and how brands try to control their image.
Emma Gleason is the New Zealand Herald’s lifestyle and entertainment deputy editor (audience). Based in Auckland, she covers entertainment, fashion and culture. | en | https://www.nzherald.co.nz/lifestyle/celebrity-stylist-law-roach-reveals-fashion-brands-which-refused-zendaya/25YIBYYIOFBL7D333C66IXMNQA/ |
Colby Rubin, son of the late KTLA entertainment reporter Sam Rubin, read a letter to his father during a Monday appearance on KTLA. The beloved interviewer had been with the Los Angeles channel for more than 30 years when he died suddenly of a heart attack on Friday, May 10 at the age 0f 64.
His son sat in his dad’s chair on the KTLA set and teared up as he read the letter, as did hosts Jessica Holmes, Mark Kriski, Frank Buckley and Dayna Devon. Colby said he’s been overwhelmed by the response to his father’s death.
“The outpour has been tremendous. People I didn’t even know have been reaching out,” Colby explained.
“Hi, Dad. I wrote this under the desk in your cubicle where you used to catch me sleeping,” the son shared in his letter. “Only you weren’t there when waking up this time. Dad, I can’t believe you’re going to never pick me up from school again. We’ll never get to go biking. I will never argue about food. You won’t be in my wedding.”
He added, “You were the kindest soul, you were the light in every row. I can’t imagine my life without you. You were part of my everything.”
Colby recalled how his dad was there for him when he needed a kayaking partner on a Boy Scout trip. He shared a text exchange from after he received negative feedback for a performance in his school play. His father wrote, “Ignore the noise. You will get bad reviews for every show,” closing with, “You have excellent genes. You have every gift. Respect your own talent.”
“I am completely who I am because of you,” Colby added. “You were always smiling and laughing, and you were everything good in the world… You instilled within me a moral compass and values that I hold myself to throughout my life.”
After reading the letter, Colby brought out cupcakes for everyone — just like his father used to do.
Devon, who had to wipe away tears, reached out to hug him, saying, “I think all of us that are parents can say that is the most beautiful thing I’ve ever heard. And I love your cupcake. Like Chris Schauble said earlier on the 6 o’clock news, we are here for you guys as a family. We have got you. We’ve got your back.”
Mark Kriski told Colby, “You’ve got a lot of uncles and aunts here. Forever.” | en | https://www.thewrap.com/sam-rubin-ktla-son-colby-letter/ |
Chris Pratt revealed that his wife, Katherine Schwarzenegger’s “hall pass” is Usher – but he isn’t too mad about it.
“She knows every word [of his music],” Pratt, 44, told Entertainment Tonight on Monday, May 13. “I didn’t even know that until we were doing a little road trip and she started putting on Usher. And man, she knows every single word, so I guess Usher’s her hall pass. I can’t blame her.”
Pratt previously posted a video of Schwarzenegger, 34, dancing to Usher’s Super Bowl halftime performance in February.
“When Usher sang ‘Don’t leave your girl around me’ was he talking to me?” the Parks and Recreation alum captioned the clip.
Pratt and Schwarzenegger tied the knot in June 2019 after one year of dating. The couple went on to welcome daughters Lyla and Eloise in 2020 and 2022, respectively. (Pratt also shares son Jack, 11, with ex-wife Anna Faris.)
In addition to gifting her a hall pass, Pratt also was sure to shower her with praise for Mother’s Day.
“Happy Mother’s Day to all the mamas out there! Love to my Mom Kathy who set a high bar for her love, patience, humor, and joy in motherhood. And a special thank you to my darling Katherine for all you do,” he wrote via Instagram alongside several photos of his mom, Kathy Pratt, and Schwarzenegger. “Witnessing you be a mom to Lyla and Eloise and a stepmom to Jack makes me fall more in love with you every day.”
He continued: “The 24/7 job of scheduling, transporting, loving, nurturing, managing calendars, planning activities, the nutrition, the boundaries, the rules, the patience, the gentleness, the firmness, the wisdom, and grace. It’s truly a marvel.”
Last month, Katherine’s dad, Arnold Schwarzenegger, gushed about how happy he was that his daughter found Chris (Arnold, 76, shares Katherine, Christina, 31, Patrick, 30, and Christopher, 26 with ex-wife Maria Shriver. He also shares son Joseph, 26, with Mildred Patricia Baena.)
Thank You!
You have successfully subscribed.
Subscribe to newsletters
Subscribe
By signing up, I agree to the Terms and Privacy Policy and to receive emails from Us Weekly
Deal of the Day
Act Fast — Crocs Are 25% Off Today!
View Deal
Check our latest news in Google News
Follow Us
Check our latest news in Apple News
Follow Us
You have successfully subscribed.
“He’s a fun guy to talk to. I’m really happy that my daughter has found him. And that he has found her … they found each other,” Arnold said on Jason Kelce and Travis Kelce’s “New Heights” podcast in April. “Because they fit really well together and just look wonderful together. They’re so in love with each other.”
Arnold went on to share that he thinks Chris is a “fantastic” actor, revealing that the twosome like to talk about their experiences in the industry.
“I mean, he’s really great,” he noted. “We talk a lot about show business because this is a whole new era now, and so we talk about that vs. when I got into the game.”
You have successfully subscribed.
You have successfully subscribed.
You have successfully subscribed. | en | https://www.usmagazine.com/celebrity-news/news/chris-pratt-says-usher-is-katherine-schwarzeneggers-hall-pass/#article |
https://toynewsi.com/13-52731
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52730 |
https://toynewsi.com/499-52733
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52732 |
HUYA Inc. (HUYA) has announced a strong first quarter for 2024, with substantial growth in its game-related services and a healthy increase in its user base. The company's strategic focus on commercialization, content, and technology advancements has led to a 137.6% year-over-year surge in game-related services, advertising, and other revenues, amounting to RMB 244 million. Despite a decline in live streaming revenues, HUYA achieved a net income of approximately RMB 92 million on a non-GAAP basis and plans to continue building shareholder value through operational improvements.
In conclusion, HUYA Inc. has demonstrated a strong start to 2024, with a growing user base and a strategic focus on diversifying revenue streams. The company's efforts to optimize costs and enhance cross-platform cooperation are expected to contribute to a stable revenue outlook and improved profitability for the full year.
HUYA Inc. has shown resilience and strategic agility in the face of a challenging market. Here are some InvestingPro Insights that shed light on the company's financial health and market performance:
InvestingPro Data metrics provide additional context to HUYA's financial landscape:
For readers looking to delve deeper into HUYA's financials and market performance, InvestingPro offers additional insights and metrics. With a total of 13 InvestingPro Tips available, investors can gain a comprehensive understanding of HUYA's position and potential. To access these insights, use the coupon code PRONEWS24 to get an additional 10% off a yearly or biyearly Pro and Pro+ subscription at https://www.investing.com/pro/HUYA.
Hanyu Liu: Good day and good evening and thank you for standing by. Welcome to HUYA's First Quarter 2024 Earnings Webinar. I am Hanyu Liu from HUYA's Investor Relations. At this time, all participants are in listen-only mode. Please be advised that today's webinar is being recorded. The company's financial and operational results were issued earlier today and are posted online. You can also view the earnings press release by visiting the IR website at ir.huya.com. A replay of the call will be available on the IR website in a few hours. Participants of management on today's call will be Mr. Junhong Huang, HUYA's Acting Co-CEO and Senior Vice President; and Ms. Ashley Wu, Acting Co-CEO and Vice President of Finance. Management will begin with prepared remarks and the call will conclude with a Q&A session. Before we continue please note that today's discussion will contain forward-looking statements made on the safe harbor provisions of the U.S. Private Securities Litigation Reform Act of 1995. Forward-looking statements involve inherent risks and uncertainties. As such, the company's results may be materially different from the views expressed today. Further information regarding these and other risks and uncertainties is included in the company's prospectus and other public filings as filed with the U.S. Securities and Exchange Commission. The company does not assume any obligation to update any forward-looking statements except as required under applicable law. Please also note that HUYA's earnings press release and this conference call include discussions of unaudited GAAP financial information as well as unaudited non-GAAP financial measures. HUYA's press release contains a reconciliation of the unaudited non-GAAP measures to the unaudited most directly comparable GAAP measures. With that, I'm pleased to turn the call over to our Co-CEO and SVP, Mr. Huang. Please go ahead.
Junhong Huang: Okay. Thank you, Hanyu. Hello, everyone. Thank you for joining our earning conference today. We are pleased to deliver first quarter results featuring a healthy user-based expansion, gross in-game-related services, and a more stable overall revenue trend. We also improved our profitability with non-GAAP net income reaching approximately RMB 92 million. With 2024 off to a good start, I'd like to share some details about the year's key strategies and recent developments, including our strategic transformation and commercialization focus, content, and platform ecology upgrades, and technology and product advancements. Let me start with an update on our strategic transformation. We are making encouraging progress in the commercialization of our game-related services driven by the rapid growth of revenues from game distribution and advertising services as well as in-game item sales. Our game-related services, advertising, and other revenues, formerly known as advertising and other revenues, reached RMB 244 million for the first quarter, representing growth of 137.6% year-over-year and 30.7% quarter-over-quarter. This growth reflects a strong and engaged base of high-value gamer users on our platform and validates our new directions potential. In terms of game distributions, we are broadening our coverage to include more games, both upcoming and existing titles. Our gamer users tend to have high commercial value potential with users' average spending level through HUYA's distribution channel performing well, particularly in the MMO and SLG categories. We are also refining our operations to capitalize on their value as we develop game distribution services. For in-game item sales, we offer a diverse range of popular game props for a growing number of games. Additionally, we are expanding our offering of broadcaster-customized in-game virtual items to help strengthen connections between broadcasters and their fans. With regard to game advertising services, we are working with more game companies and carrying out innovative broadcaster promotion activities and campaigns. We are also actively preparing the upcoming launch of eagerly-awaited D&F Mobile game to seize related opportunities in game distribution and promotion. In addition to providing rich live streaming content and more comprehensive services related to this game for our users and the game studio, we will leverage this game to grow our game-related service revenues. In addition, I want to point out that we typically recognize revenues from game distribution and in-game item sales after revenue sharing with the game companies. That is on a net basis. That means game-related services actual total transaction value is much higher than its revenue. Game-related services' strong and rapid growth this quarter reinforces our confidence that this business revenue will continue to scale. Also, as game-related services tend to offer higher gross margins, this business should accelerate improvements in our overall gross margin and profitability as its contribution to total revenues increase. In the long term, this transformation will not only enhance our revenue mix, but could also enhance our revenue scale and profit levels. Turning to content and platform ecology, strengthening our cooperation with various platforms and products to enhance our platform ecology is a key strategy for us in 2024. In the first quarter, we hosted the New Year's Esports All-Star event in cooperation with three other major game live streaming platforms, featuring League of Legends, Honor of Kings, and Peacekeeper Elite competitions broadcast on multiple live streaming and content platforms. With an array of celebrities and popular broadcasters from each platform participating, the event was well-received by users during the Chinese New Year period and went viral beyond the e-sports audience. Its success also marked a major breakthrough for the game live streaming industry in terms of content co-creation. Through deep cooperation with our partners, we overcame platform barriers for the first time to mutually benefit from our complementary content. We believe this more open environment offers vast opportunities for HUYA to create win-win outcomes for platforms of all kinds. As an industry leader and barrier-breaking pioneer, our goal is to become a central hub within a more open content ecosystem. We are currently working with several live streaming platforms on professional-generated content production, broadcaster-across-platform streaming, and commercialization. We are also embracing the short-form video sector by bringing our video and live streaming content to these platforms. In addition, as we further enhance our cooperation with Tencent Group, our high-quality content is being featured on various product lines within the Tencent ecosystem, such as WeChat channels, Tencent Video, QQ, and an array of game products, touching a wider range of users. Thus, initiatives like these, we believe we can better meet users' needs increase the HUYA platform's influence and create future opportunities. Strategically, we are building a third-tiered pyramid of e-sports tournaments and event content. At the top are licensed professional e-sports tournaments. Our extensive coverage of top-tier licensed tournaments showcases our content quality while helping us improve our event operations capabilities. The middle tier is our premium self-produced events and programs, leveraging our leading position in the e-sports market and our abundant broadcaster and professional player resources. We are offering more and more influential self-produced content. Finally, the bottom tier comprises e-sports events we recognize targeting massive participation from local communities, which also help to broaden the audience for e-sports content. Actually, we'll provide more details on our Q1 content activities later. In terms of technology and product advancements, we upgraded the HUYA live mobile application to version 12 in February. This release features enhanced e-sports information community content and game-related service functions, as well as new interactive features on game live channels. For example, a new dedicated event of [technical difficulty] e-sports categories and upgraded event live information reports. In the community section, we optimized the integration of game information and strategies for various games and added an e-sports encyclopedia tab with comprehensive data on events, teams, and players. All of these enhancements are designed to better meet users' needs for professional game and e-sports content. On a related note, several new features we mentioned on our last call, including AI-powered customized commentary, real-time game status information, and intelligent editing for highlight replays also became available with this iteration. We remain dedicated to technology and product advancement, leveraging HUYA's strengths in game data and AI to bring users a unique, super-real interactive experience in terms of real-time interaction. Watching while playing and deliberate content creation, in turn, these differentiated experiences will deepen our competitive mode. In summary, we will continue to embrace changes in user demand and industry dynamics as the industry and market evolve. Through innovation across content, platform, ecology, technology, products, and commercialization, as well as deepened cooperation with industry partners and content creators, we aim to propel HUYA's business growth as we fortify our leading position in the game live streaming market and expand our presence in the game value chain, we will also drive the future development of the live streaming and game industries. With that, I will now turn the call over to our Acting Co-CEO and VP of Finance, Ashley Wu, to share more details on our results. Ashley, please go ahead.
Ashley Wu: Thank you, Vincent, and hello, everyone. I'll provide some updates on our operating metrics and financials. On the user side, we continue to solidify our user base, despite the first quarter being the usual low season for live streaming activities. Upgrades to the HUYA Live app and innovative cross-platform e-sports events and operational activities drove HUYA Live's average mobile MAUs to 82.6 million for the first quarter, up from 82.1 million for the same period last year. Also, the expansion of our game-related services and users paying for in-game virtual items contributed to a slight sequential increase in paying users on HUYA Live, reaching 4.4 million. Moving on to our professional content initiatives. On the licensed content front, we broadcasted over 65 licensed professional e-sports tournaments in the first quarter of 2024, with the spring speed of LPL, KPL and CFPL attracting the most viewers. Major Copenhagen for Counter-Strike 2 and Master's Magic for VALORANT also emerged as it hits on our platform. During the quarter, our licensed tournaments spent over 20 titles, and the broad coverage of these popular e-sports games further enhanced our content competitiveness. In addition to licensed e-sports content, we broadcasted 14 self-organized e-sports tournaments and entertainment PGC shows during the quarter. Many of these performed quite well, even though the first quarter is traditionally the off-season for large events. In addition to the cross-platform New Year's Esports All-Star event that we just mentioned, HUYA Champions Cup for CrossFire Mobile and the commentary program for Major Copenhagen event also captured viewer attention. Furthermore, we hosted the second stop of our Village Game series, the Youth Qujiang Village Games for Honor of Kings in Qujiang, Zhejiang Province. This event was a big success, advancing our efforts to expand the influence of e-sports content while also promoting local culture and village revitalization. In terms of our financial performance, revenues from game-related services, advertising, and other businesses increased rapidly, partially offsetting a decline in live streaming revenues. The game-related services, advertising, and other segments accounted for 16% of our total revenues in Q1, up from 12% last quarter and 5% a year ago, due to game-related services' increasing contribution. As game-related services enjoy a high gross margin, their increased contribution to total revenues also contributed to our gross margin improvement this quarter, drifting gross margin to 14.7% in combination with our cost optimization efforts. As this segment's revenue continues to grow, we expect our overall gross margin to benefit further. We also reduced total operating expenses by 17.8% year-over-year, with double-digit savings in all three OpEx line items. We were pleased to achieve a meaningful profitability improvement in the first quarter. Let's move on to our Q1 financial details. Our total net revenues were RMB 1.5 billion for Q1, compared with RMB 1.96 billion for the same period last year. Live streaming revenues were RMB 1.26 billion for Q1, compared with RMB 1.86 billion for the same period last year, primarily due to the continuous soft microeconomic and industry environment, as well as our proactive business adjustments to support our strategic transformation and prudent operations. Game-related services, advertising, and other revenues were RMB 244 million for Q1, compared with RMB 103 million for the same period last year, primarily due to increased revenues from game distribution and advertising services and in-game item sales. Cost of revenues decreased by 24% year-over-year to RMB 1.28 billion for Q1, primarily due to decreased revenue sharing fees and content costs, as well as bandwidth costs. Revenue sharing fees and content costs decreased by 25% year-over-year to RMB 1.12 billion for Q1, primarily due to the decrease in revenue sharing fees associated with the decline in live streaming revenues, as well as lower costs related to e-sports content. Bandwidth (NASDAQ:BAND) costs decreased by 36% year-over-year to 60 million for Q1. This was primarily due to improved bandwidth cost management, bearable pricing terms, and continued technology enhancement efforts. Gross profit was RMB 221 million, and gross margin was 14.7% for Q1. Excluding share-based compensation expenses, non-GAAP gross profit was RMB 225 million, and non-GAAP gross margin was 14.9% for Q1. Research and development expenses decreased by 12% year-over-year to RMB 135 million for Q1, primarily due to decreased share-based compensation expenses. Sales and marketing expenses decreased by 26% year-over-year to RMB 76 million for Q1, primarily due to decreased marketing and promotion fees, as well as personnel-related expenses. General and administrative expenses decreased by 18% year-over-year to RMB 60 million for Q1, primarily due to decreased share-based compensation expenses. Other income was RMB 12 million for Q1, compared with RMB 4 million for the same period last year, primarily due to higher government subsidies. As a result, operating loss was RMB 39 million for Q1, compared with RMB 57 million for the same period last year. Interest income was RMB 117 million for Q1, compared with RMB 96 million for the same period last year. Net income attributable to HUYA Inc. was RMB 71 million for Q1, compared with RMB 40 million for the same period last year. Excluding the share-based compensation expenses and amortization of intangible assets from business acquisition, lack of income tax, non-GAAP net income attributable to HUYA Inc. was RMB 92 million for Q1, compared with RMB 85 million for the same period last year. Non-GAAP net margin was 6.1% for Q1. Diluted net income per ADS was RMB 0.3 for Q1. Non-GAAP diluted net income per ADS was RMB 0.39 for Q1. As of March 31, 2024, the company had cash and cash equivalents, short-term deposits, short-term investment, and long-term deposits of RMB 9.4 billion, compared with RMB 9.9 billion as of December 31, 2023. Finally, let me provide an update on our shareholder returns. Under our up to U.S. dollar 100 million share repurchase program that began in August 2023, we have repurchased 15.2 million HUYA ADS, with a total aggregate consideration of US$48.5 million as of the end of March 2024. We also announced a special cash dividend declaration, totaling approximately US$150 million in March 2024. These initiatives are expected to return an aggregate value of nearly US$200 million to our shareholders. We will continue to focus on improving our financial and operational performance while building long-term shareholder value. With that, I would now like to open the call to your questions.
Operator: Thank you, Ashley. And hello, everyone. [Operator Instructions] Today's first question comes from Lei Zhang from Bank of America Securities. Lei, your line is open. Please go ahead.
Lei Zhang: [Foreign Language] Thanks management for taking my question. My question is regarding the game related business. Can you give us some updates here? And we also noticed some new game to launch such as D&F Mobile. And will this bring more opportunity to us? Thank you.
Junhong Huang: [Foreign Language] We started our strategic transformation last August, focusing on commercialization upgrading and providing more game related services. At present, we have made positive progress in the commercialization of game related services. Through the rapid growth of revenue from game distribution and advertising services and in-game item sales, the revenue of our game related services, advertising and other segments in Q1 reached 244 million, up by 137.6% year-on-year and 30.7% quarter-over-quarter. This growth not only reflects the high quality gamer user base on HUYA platform, but also validates the development potential of our new business direction. Specifically, in terms of game distribution, we are constantly expanding the coverage of games to include more new and existing titles. This year, we have covered the distribution of popular games, including Honor of King, Battle of Golden Spatula, and performed very well. For the new games we participated in before, such as Demi-Gods and Semi-Devils 2 mobile and DreamStar, HUYA distribution channels have also achieved leading results, especially by our pool of users in the game, which proves that the game users on HUYA platform have high commercial potential. In this regard, we are constantly optimizing our operations in order to make better use of this advantage. In terms of sales of game props, we provide a variety of popular props for more games, which have covered dozens of games at present. At the same time, we are also cooperating with the companies to customize props for broadcasters, which helps to strengthen the relationship between the broadcasters and fans. For example, one of our previous broadcasters achieved a transaction value of more than RMB 10 million when selling personal customized game skins in just one streaming session, reflecting the potential of this business model. In terms of advertising services, we are cooperating with more different game companies and carrying out innovative broadcaster promotion activities to seize the opportunity of new games and mini games promotion in the market. At present, the game license permits are released normally, with more new titles appearing in the market. This not only can bring more rich live game content, but also bring more opportunities for us to develop game-related services. For example, we are now actively preparing for the upcoming D&F Mobile game, working closely with the game studio. We are also recruiting broadcasters for live streaming and doing promotion work for the launch of exclusive props and gifts. We have also set up a special pre-download area in the game center section of HUYA Live. Based on the long-term large-scale audience of D&F content in HUYA platform, we hope that D&Fs mobile games will also be popular on our platform and help the growth of game-related services revenue. Finally, in addition, I want to point out that we typically recognize revenues from game distribution and in-game item sales after revenue sharing with the game companies on a net basis. So that means game-related services' actual total transaction value is much higher than its revenue and growing more rapidly. Game-related services' strong and rapid growth in this quarter reinforces our confidence that this business revenue will continue to scale up. Also, as game-related services tend to offer higher gross margins, this business should accelerate the improvements in our overall gross margin and profitability as its contribution to total revenues increases. In the long term, this transformation will not only enhance our revenue mix, but also enhance our revenue scale and profit levels.
Operator: Thank you. And our next question comes from Yiwen Zhang from China Renaissance. Yiwen, please go ahead.
Yiwen Zhang: Thanks for taking my question. So this year, the second year of our three-year roadmap, can you update on 2024 revenue and profit expectations for this year. Thank you.
Ashley Wu: In the first quarter, our total revenue was RMB 1.5 billion, and the rapid growth of revenue from game-related services, advertising, and others partially offset the decline in live broadcast revenue. Therefore, although Q1 is usually an off-season for live broadcast business due to the influence of less large-scale events and more holidays during the Spring Festival for broadcasters, our total revenue only decreased by 1.7% compared with Q4 last year, and the overall revenue tends to be quite stable. In terms of revenue mix, game-related services, advertising, and others accounted for 16% of the total Q1 up from 12% in the previous quarter and 5% in the same period last year. On the profit, due to the high gross margin of game-related services, advertising, and other segments, the increase of their contribution to total revenue also pushed up gross margin in this quarter. With our continuous efforts in cost optimization, Q1's gross profit margin increased to 14.7% from 13.7% in the same period last year. We also reduced the total operating expenses by 17.8% year-over-year, and all the three OpEx line items, achieved double-digit year-on-year decline. On the whole, the profit level in Q1 achieved an effective improvement, of which GAAP net profit, increased by about 79%. As for this year's revenue, we expect that in Q1 live revenue from and year-over-year point of view will continue to be affected, by last year's strategic transformation of internal resources allocation, and more prudent operation. However, compared with the first quarter, the revenue level is expected to continue to be stable, and more so in the following quarters. As for the game-related services, everything and others, we expect that the following quarters of the year, will see a relative fast growth, which will lead to a gradual recovery of our overall revenues from the previous quarter. As mentioned just now, most of the revenue from game-related services is recognized after revenue sharing, with the game companies as the net revenue. So despite the rapid growth of our business scale, we recognized value not as that much, and at the same time, given the nature of the business, we think that it would lead to a higher level of gross - profit margins. From a full year perspective, due to the changes in revenue mix brought about, by the new business growth, the proportion of higher gross margin business and total revenue will gradually increase. We will continue to optimize our events content costs and broadcaster's costs. So compared to 2023, we expect the gross profit for the year will continue to improve. Gross margin, is also an indicator that we are now placing greater emphasis on operational side, will continue more prudent in our spending particularly on selling expenses and labor costs. Overall, we will continue to maintain our expectations of a full year profitability in 2024, and profit growth over 2023. Thank you.
Operator: Our next question comes from Ritchie Sun from HSBC. Ritchie, please go ahead.
Ritchie Sun: Thank you management, for taking my questions. I have a question about cash usage. We have $1.3 billion cash on hand and we are half way through the buyback program. So any update plans in terms of say the buyback progress to extend it, or even increase the quota as well as any plans for annual dividend down the road? Thank you very much.
Junhong Huang: We announced a share repurchase program of up to $100 million in mid-August last year. And in the first quarter of this year, we repurchased nearly $20 million worth of our stock. As of the end of March, we had repurchased a total of $48.5 million. And in March, we announced a special cash dividend totaling approximately $150 million. So in total, these initiatives have returned nearly $200 million to HUYA's shareholders. At the end of March 2024, the company held cash, cash equivalents, and deposits totaling approximately $1.3 billion. The change compared to the number at the end of last December is a result of share repurchase expenses, and payments from operations. After the completion of the current cash dividend payment of $150 million, we expect to have over $1.1 billion in cash, cash equivalents, and deposits. Shareholder returns are a key focus of the management, and we will continue to carry out our shareholder return initiatives, in a manner that aligns with the market conditions, and the company's operations. In order to reward the shareholders, for their support and to enhance the company's efficient use of cash. Thank you.
Operator: Now, we will take our last question today from Thomas Chong from Jefferies. Thomas, please go ahead. Thomas, please unmute yourself.
Thomas Chong: Thanks management for taking my question. My question, is about the live streaming industry trend. How should we think about the competitive landscape, or the relationship among different live streaming platforms? And how should we think about these changes will affect HUYA users as well as the hosts? Thank you.
Ashley Wu: From the industry's point of view, the overall environment has become more open, and we believe that the platforms are no longer isolated, or purely competitive to each other. The game live broadcasting industry has entered into a new paradigm of growth that features both cooperation and competition. In this new market environment, we also believe that it brings broader opportunities to platforms, to helping them to one another and share content and resources, thus creating more win-win possibilities. Therefore, HUYA, as the leader in this industry, is also striving to breakdown platform barriers, and meet multiple needs of the users, and seize business growing opportunities. Strengthening cooperation and linkage, with various platforms and products and upgrading the platform ecology, is one of our important strategies this year. On the one hand, we are cooperating more with some live broadcasting platforms in professional content production, cross-platform broadcasting, and commercialization. The New Year's e-sports All-Star events hosted by HUYA in February this year is the first All-Star events event for, which we have broken down the industry barriers. It also marks a major breakthrough in content co-creation in the live game industry. At present, we have a number of cross-platform self-made events, and activities in preparation. In addition to the broadcasters and signed e-sports players on HUYA platform, these events will also invite players from other platforms to participate in them. So as to achieve in-depth cooperation on multiple platforms. For example, the upcoming HUYA LoL Legend Cup, will bring together outstanding retired players and active e-sports players, from the whole network for competition. The players' selection and forming of teams have attracted widespread interest from League of Legends players, and e-sports viewers on multiple platforms. And this response has been very enthusiastic, which demonstrates HUYA's brand influence as well as its strength in tournament production and operation. In addition, we are also embracing the field of short video. Based on HUYA's rich broadcaster's resources and broadcast operational experiences, we will introduce our video and live content into these platforms helping the broadcasters in HUYA, to obtain more opportunities for commercialization. At the same time, with further strengthening our cooperation with Tencent Group, we are delivering high-quality content to various product lines within the Tencent ecosystem, such as Tencent Video, QQ, and multiple game products, so as to reach in larger user groups. In terms of the platform ecology, we hope to become a more open ecological hub and promote a revolution in the industry, by strengthening cooperation with live broadcasters and video platforms and game companies. Under the new business model, our service recipient will not only be limited to users on HUYA Live, but also to the larger user group on more platforms, throughout the wider network. So that we can also participate in a larger market. For existing users on HUYA, they will get more exciting content, which is conducive to enhancing user loyalty and activity. In addition, we are taking advantage of HUYA's technology and product advantages in live games, and create a differentiated user interaction experience on HUYA's platform, through game data capabilities and AI capabilities. Through our efforts in ecological upgrading, our broadcasters will also have the opportunity to expand their popularity, and enjoy wider sources of revenue. Our more diversified cooperation with game companies, and innovative game-related services initiatives, will also help the broadcasters to expand their revenue channels, so as to cement the relationship between HUYA and broadcasters' community and enhance the attraction of HUYA platform to broadcasters. Thank you.
Operator: Thank you once again for joining us today. If you have further questions, please feel free to contact HUYA's Investor Relations, through the contact information provided on our website, or Piacente Financial Communications. This concludes today's call, and we look forward to speaking to you again next quarter. Thank you. Bye-bye.
This article was generated with the support of AI and reviewed by an editor. For more information see our T&C. | en | https://www.investing.com/news/stock-market-news/earnings-call-huya-reports-robust-q1-2024-growth-expands-user-base-93CH-3438468 |
Home » Movie News » Chris Hemsworth on hearing Marvel movie criticism from Scorsese, Coppola: “It bothers me, especially from heroes”
Chris Hemsworth on hearing Marvel criticism from Martin Scorsese, Francis Ford Coppola: “It bothers me, especially from heroes.”
We’ve seen several high-profile directors take shots at Marvel movies over the years, including Martin Scorsese and Francis Ford Coppola, but Chris Hemsworth isn’t standing for it.
While speaking with The Times, the Thor actor opened up about how it feels to hear such harsh criticism from filmmakers he looks up to. “It felt harsh, and it bothers me, especially from heroes. It was an eye-roll for me, people bashing the superhero space,” Hemsworth said. “Those guys had films that didn’t work too — we all have. When they talked about what was wrong with superheroes, I thought, cool, tell that to the billions who watch them. Were they all wrong?“
Hemsworth added, “Cinema-going did not change because of superheroes, but because of smartphones and social media. Superhero films actually kept people in the cinemas during that transition, and now people are coming back. So they deserve a little more appreciation.“
Chris Hemsworth will next be seen in Furiosa: A Mad Max Saga as Dementus. Joining the Mad Max franchise has been a long-time goal for the actor. In fact, he told Entertainment Weekly that he wanted to audition to play Max Rockatansky himself in Mad Max: Fury Road but couldn’t get his foot in the door. “[I] couldn’t even get a call or a meeting or anything,” Hemsworth said. “I just hadn’t done enough to warrant that.” When Fury Road was finally released, Hemsworth got his agent on the phone immediately. “I was completely absorbed and taken for the adventure and the ride. I said, ‘I’ve got to work with this guy, he’s a genius,’” Hemsworth said. “And then, the rest is history.“
The official synopsis for Furiosa: A Mad Max Saga: “As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland they come across the Citadel presided over by the Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.“ Furiosa will hit theaters on May 24th.
Denis Villeneuve’s Dune: Part Two sets streaming premiere on Max, and it’s arriving sooner than you think.
Supergirl: Woman of Tomorrow starring Milly Alcock gets official 2026 release date, with Mortal Kombat 2 hitting theaters next year.
It’s Will Ferrell vs Reese Witherspoon in the R-rated trailer for wedding comedy You’re Cordially Invited.
Impurity, debauchery, and a crazed killer run wild in the trailer for Killer Body Count, a Tubi Original horror set to premiere this Friday.
In his new book, Tom Selleck recalls nearly playing Indiana Jones in Raiders of the Lost Ark, but dismisses the notion that High Road to China was a clone.
Liam Neeson will star alongside Zachary Levi in Guy Moshe’s upcoming action film Hotel Tehran, which will begin production this summer.
Andrew McCarthy is getting behind the camera for Brats, a documentary reuniting Brat Pack stars across 1980s teen cinema.
We traveled to Pixar Studios for a behind-the-scenes look at Inside Out 2 and discovered many new details and secrets about the sequel.
Following its runaway success on Prime Video this spring, Amazon is putting together Road House 2, with Jake Gyllenhaal returning.
INTRO: It’s a story we’ve all heard before. A group of friends stray off the beaten path and end up… | en | https://www.joblo.com/chris-hemsworth-scorsese-coppola-marvel-criticism/ |
Tencent Music Entertainment Group (NYSE:TME) has reported a solid start to 2024 with a 43% year-over-year increase in online music revenues for the first quarter. The growth was attributed to a surge in music paying users and a significant expansion of the net profit margin.
TME also declared an annual cash dividend policy and confirmed $210 million in cash dividends for the previous year. The company's focus on content development and social responsibility initiatives, alongside strong financial performance, sets a positive tone for the future.
Tencent Music Entertainment Group's financial performance in the first quarter of 2024 reflects the company's ability to adapt and innovate in a dynamic market. With a strong foundation in online music services and a strategic vision for content development and technological advancements, TME is well-positioned to maintain its growth trajectory and expand its influence in the music industry. The company's commitment to content quality, user experience, and social responsibility initiatives further solidifies its status as a leader in the sector. As TME continues to execute its strategies and explore new opportunities, investors and industry observers will be watching closely to see how these initiatives unfold in the coming quarters.
Tencent Music Entertainment Group (TME) has not only shown impressive performance in its first-quarter earnings but also exhibits a strong financial position and market behavior that could interest investors. According to InvestingPro data, TME's market capitalization stands at a robust $20.79 billion. This valuation is supported by a P/E ratio of 33.7, reflecting investor confidence in the company's earnings potential relative to its share price.
From a profitability perspective, TME has demonstrated a consistent ability to generate profits, with a gross profit margin of 35.29% over the last twelve months as of Q4 2023. This margin indicates a solid capability to control costs and efficiently manage its operations, which is essential for sustaining growth.
InvestingPro Tips highlight several key strengths of TME, including its status as a prominent player in the Entertainment industry and its high return over the last year, with a 103.3% price total return. Additionally, the company's liquid assets exceed its short-term obligations, which is a testament to its financial health and its ability to navigate market fluctuations.
For investors seeking further insights and tips relating to TME, there are additional InvestingPro Tips available, which can be explored in-depth for a comprehensive analysis. By using the coupon code PRONEWS24, readers can get an additional 10% off a yearly or biyearly Pro and Pro+ subscription, offering access to a total of 13 InvestingPro Tips for TME. These tips provide valuable information on the company's financials, market performance, and future profitability predictions, such as analysts' forecasts that TME will remain profitable this year.
As TME continues to focus on content development and technological innovation, these InvestingPro Insights offer a glimpse into the company's financial resilience and market potential, which could be pivotal for investors making informed decisions.
Millicent Tu: Good evening, good morning, and welcome to Tencent Music Entertainment Group's First Quarter 2024 Earnings Conference Call. I'm Millicent Tu, Head of IR. We announced our quarterly financial results today before the US market opened. An earnings release is now available on our IR website and via Newswire services. Today, you'll hear from Mr. Cussion Pang, our Executive Chairman, and Mr. Ross Liang, our CEO, who will share an overview of our company's strategies and business updates. And then Ms. Shirley Hu, our CFO, will discuss our financial results before we open the call for questions. Before we continue, I refer you to our Safe Harbor statement in our earnings release, which applies to this call as we'll make forward-looking statements. Please note that the company will discuss non-IFRS measures today, which are more thoroughly explained and reconciled to the most comparable measures reported under IFRS in the company's earnings release and filings with the SEC. At this time, all participants are muted. After management's remarks, there will be a Q&A. And please be advised that today's call is being recorded. With that, I'm pleased to turn the call over to Cussion, Executive Chairman of TME. Cussion?
Cussion Kar Shun Pang: Thank you, Millicent. Hello, everyone, and thank you for joining our call today. 2024 is off to a great start. Strong execution of our dual engine content and platform strategy is yielding impressive results and pushing vitality industry-wide. In the first quarter, the number of music paying users increased to 113.5 million, propelling 43% year-over-year growth in online music revenues. Our high quality growth strategy also drove a robust net profit margin expansion. Subscriber growth in this quarter significantly exceeded our expectations, reaching a quarterly historic high of 6.8 million net adds. What's more, we maintained the ARPPU at a healthy level. Both achievements demonstrate our keen understanding of users' needs and our knack for anticipating and meeting their demands operationally. As you have seen in our earnings release, supported by our strong fundamentals, we are very pleased to announce an annual cash dividend policy and US$210 million in cash dividends for the year of 2023 on top of our ongoing buyback program. This reflects our confidence in future growth and commitment to sharing our success with shareholders. Next, I would like to share an overview of this quarter's content development efforts. Through a balanced combination of copyright music and original content, we enable users to discover the latest and trendiest content and enjoy a superior experience on our platform. Let me go over a few highlights. First, we renewed and reinforced the partnership with record labels to broaden our music library's comprehensiveness and popularity. Our innovative value-added privileges, features, and promotion services extend far beyond mere licensing, further unlocking the value of music content industry-wide. We renewed our cooperation with Time Fengjun Entertainment [Foreign Language] featuring 30-day head-start benefits on new songs and adding Dolby Atmos upgrades for popular groups like TFBOYS and Teens in Times. [Foreign Language] We also expanded our agreement with HIM International Music [Foreign Language] incorporating an industry-first component authorizing TME to use licensed AI feature to promote HIM's iconic C-pop content. This will ensure the authentic and responsible use of AI, showcasing TME's commitment to protecting artists' rights and interest in the AIGC era. Artists benefit from TME's tech-powered promotions and copyright protection while users enjoy the latest interactive features, which is a win-win. Yoga Lin's [Foreign Language] new album Love, Lord [Foreign Language] is one recent success. For its premiere on our platform, we connected our AI sing song along feature and TME live offline concerts, spurring fan interaction within new scenarios. We enriched our K-pop content and related offerings with various artist fan activities, digital albums, and artist merchandise for new generation groups like Alice, BabyMonster and Riize. In the first quarter, K-pop user engagement and streams both grew year-over-year. Next, we expanded our original content, a key differentiator to attract users and enhance engagement. Based on our keen grasp of trends, we delivered an array of hits catering to users' ever-changing taste [indiscernible] quartile. We produced the original soundtracks for hit TV dramas, The Legend of Shen Li [Foreign Language] and In Blossom [Foreign Language] including 17 songs and 38 scores, featuring top tracks by TME's strategic partner artists such as Jess Lee, Zhao Wei and Wang Jingwen. These catchy OSTs create massive social media buzz that boost the streams and viewerships. Their outstanding performance showcases our ability to spot and set content trends while maximizing the value of content. Our OST for The Legend of Shen Li produced by Tencent Video also highlight the power of collaboration within the Tencent ecosystem. It smashed the records with over 150 million streams within 30 days of release, making it the number one OST debut so far this year. We also partnered with strategic artists and Indie musicians on music production and promotion to build our performance qualities music offering. Our self-produced song RIVER FLOW [Foreign Language] by TIA RAY [Foreign Language] and What I Anticipate Is Not Snow [Foreign Language] by Zhang Miaoge became the top-rated hits on social media this quarter. Moving on to our commitment to social responsibility. We cooperated with Tencent Charity for third consecutive year on our film program to drive autism awareness. If Music Has a Shape this year [Foreign Language] performed the project's film song, Do You Understand What's Left of Me? [Foreign Language] More than 60 other renowned artists and groups including Jay Chou, Zhou Shen, Joker Xue, Richie Jen and NewJeans also shared songs in support of children with autism. We then host an art exhibition featuring artwork by children with autism inspired by these musical works, leveraging multimedia to amplify our caring message and boost music's social value. In conclusion by expanding content and introducing more tailored platform offers that resonate deeply with users, we continue strengthening our vibrancy to drive industry development. We are confident that our powerful content and platform dual engines and ever-deepening understanding of content will propel our sustainable growth in 2024 and beyond. Now I would like to turn the call over to Ross for more color on our platform development. Ross, please go ahead. Thank you.
Zhu Liang: Thank you, Cussion. Hello, everyone. Strong execution once again resulted in solid online music growth, recording high net subscriber adds, steady ARPPU and highest MAUs, all reflect this robust performance. Our efforts to attract and retain users were the driving force behind it, utilizing our extensive industry experience and peerless insights into users and content. We are laser focused on anticipating and meeting users' needs with enhanced experiences and trending musical journeys. First, I want to talk about user retention. We have taken a multi-pronged approach to engaging users through constant innovation of trend-setting features. I will walk you through a few examples. Our new AIGC applications make music discovery more fun, engaging, and convenient. In the first quarter, we launched a large audio model that increases promotion accuracy, helping users discover more high-quality music content. Initial result shows that streaming share of promoted songs increased notable following the model's release. We also tested an AI assistant that supports text and voice chatting for more customized search experiences as well as an AI playlist assistant to curate playlists, a key personal music asset that strengthens users' techniques. Recently, we introduced an interactive rewards program. Users can exchange the points they earn for benefits such as trial subscription, digital albums, and personalized privileges while enhancing user experience. The program also opens new avenues for commercialization for the future. Ongoing platform upgrades continue to reinforce our products' appeal. This quarter, we introduced a light listening mode [Foreign Language] to facilitate a smooth listening experience in low bandwidth environments. Our enhancements allowing greater interface customization are driving increased user adoption of our platform's players. Beyond the listening experience, we captivated users with a variety of interactive activities, including themed song-guess contests, subscriber badges and more. These interactive features not only boosted song-streaming volumes, but also boosted more artist followers and additions to favorites. As users' personal music assets on our platform grow, so does their loyalty to TME. Moving now to user acquisition. Our focus here is on discovering and cultivating users with long-term paying potential through refined marketing and operations. During Chinese New Year, riding on the favorable seasonality, we utilized our deep understanding of users across various demographics to roll out a series of effective promotion activities. Our targeted multichannel promotions with e-commerce, telecom operators, and long-form video platforms contributed to a stronger-than-expected subscriber growth in the first quarter. We also teamed up with auto companies to launch holiday themed playlists and comment share promotions. This organically broadened our reach to new users and increased user activity, contributing positively to the sequential MAU recovery in our online music services. On partnerships, we recently focused the pre-installation partnership with the Xiaomi (OTC:XIACF) SU7. We also enhanced our collaboration with rideshare leader Caocao Chuxing. Our new self-service [real estate] music selection filters offers rideshare passengers an easy to navigate music consumption, further extending our reach. Our trendsetting annual QQMUSIC DIANFENG AWARDS [Foreign Language] for the first time included online-merge-offline offerings. Participation in interactive online filters rewarded fans with tickets to artists meet and greets, artists merchandise, and more. Thanks to a lineup of popular artists and inspired performance. This event reinforced our appeal among our core young user base. In short, our rich content and unparalleled product offerings continue to fill users acquisition and engagement. With users' needs at the heart of everything we do, we remain committed to creating a music platform that users cherish. With that, I will turn the call over to Shirley, our CFO, for a deep dive into our financials.
Min Hu: Thank you, Ross, and greetings to everyone. I will now turn to our financial results. Our success in effective monetization for music services and operational efficiency management continued to need [indiscernible] strong financial results in the first quarter of 2024. IFRS net profit increased by 28% year-over-year to RMB1.5 billion and non-IFRS net profit rose by 24% to RMB1.8 billion. Our total revenues were RMB6.8 billion down by 3% year-over-year. Our online music services achieved significant revenue growth, which largely offset the decline in revenue from social entertainment and other services. In the first quarter of 2024, our online music revenues increased by 43% to RMB5 billion on a year-over-year basis. This surge was driven by the strong expansion of our music subscription and growth in advertising business, supplemented by an increase in revenues from offline performances. Music subscription revenues in the first quarter reached RMB3.6 billion, marking a 39% increase year-over-year and a 6% rise sequentially. Our refined operation and effective pricing strategy enabled us to achieve higher than expected growth in music subscribers while maintain a healthy monthly ARPPU. Monthly ARPPU was RMB10.6, up from RMB9.2 in the same period last year. Taking the difference in number of days into consideration, our monthly ARPPU would have remained relatively stable sequentially. The number of online music paying users were 113.5 million, representing a 20% increase year-over-year and a record-breaking quarterly net adds of 6.8 million users. Our enriched content offerings and enhanced member privileges such as Dolby Atmos upgrades have made our products more attractive and improved user stickiness. Advertising revenue also had a strong year-over-year growth, primarily due to the growth in ad-supported advertising. We upgraded our incentive ad experience and provide more attractive and active features to our users, which helped the improvement in entrance rate. We continue to innovate and diversify our product suite and advertising formats. Social entertainment services and other revenues were RMB1.8 billion, down by 15% year-over-year. This was mainly due to adjustments in certain live streaming interactive functions and more stringent compliance procedures as we implemented several service enhancement and risk control measures since the second quarter of 2023. As these adjustments and procedures are largely completed, we expect our social entertainment services to remain relatively stable. Our gross margin for Q1 reached 40.9%, marking an increase of 7.8 percentage points year-over-year due to a few factors. First, growth of revenues in online music subscription and advertising has generated the benefits of economies of scale. Over the years, we have made significant efforts and investments in the music industry and have built win-win relationships with labels and artists and now these efforts and investments started bearing fruits. Additionally, the ramping up of our own content continued to impact our margin favorably. Lastly, we have optimized revenue sharing ratio for live streaming and also improved monetization in raising membership and advertising, which also benefit our gross margin. All above factors have collectively enabled us to move to a healthier margin model. Moving on to operating expenses, in the first quarter of 2024, they amounted to RMB1.1 billion, representing 16.8% of our total revenues compared with 17.5% in the same period last year. Selling and marketing expenses were RMB187 million, down by 12% year-over-year. We will continue to spend in areas such as online music with long-term growth prospective as well as content promotions. General and administrative expenses were RMB949 million, down by 7% year-over-year, primarily driven by lower employee-related expenses. Our effective tax rate for Q1 was 19.9% compared to 12.2% in the same period of 2023. This increase was primarily attributable to the accrual of withholding tax of RMB107 million related to earnings to be remitted by our PRC subdirectories to offshore entities. Additionally, changes in preferential tax rates for certain entities also impacted our effective tax rate. For Q1 2024, our net profit and net profit attributable to equity holders of the company were RMB1.5 billion and RMB1.4 billion respectively. Non-IFRS net profit and non-IFRS net profit attributable to equity holders of the company were RMB1.8 billion and RMB1.7 billion respectively. Our diluted earnings per ADS reached a record high this quarter at RMB0.91, up 25% year-over-year. Non-IFRS diluted earnings per ADS increased to RMB1.1, up 23% year-over-year. These results underscored our robust financial performance, enhanced operating efficiency and the beneficial impact of our share repurchase program. As of March 31st of 2024, our combined balances of cash, cash equivalents and term deposits were RMB34.2 billion as compared with RMB32.2 billion as of December 31st of 2023. This combined balance was also affected by changes in the exchange rate of RMB to USD at different balance sheet dates. Under share repurchase program announced in March 2023, as of March 31st of 2024, we had repurchased 32.2 million ADS from the open market for a total cash consideration of US$235.5 million, of which approximately US$61 million were repurchased in the first quarter. Looking forward, we will continue to invest in high-quality contents and original content productions as well as new products and technologies such as AIGC. We remain confident in the prospects of music industry and our music subscription and advertising business. This concludes our prepared remarks. We are now open to taking your questions.
A - Millicent Tu: Thank you, Shirley. [Operator Instructions] For the benefit of all participants on today's call, please limit yourself to one question and if you have additional one please re-enter. If you ask your questions in Chinese please repeat in English. And the first question comes from the line of Alicia Yap from Citigroup. Alicia, please.
Alicia Yap: Hi. Thank you, management. Good evening, management. Thanks for taking my questions. Congratulation on solid result. I'm going to ask in Chinese first and I will translate myself. [Foreign Language] My question is for 2024 outlook. So after achieving strong set of results, especially with record high quarterly net add, what should we be expecting for the net add trend for the second quarter and also the ARPPU trend for the second quarter and also the rest of the year? And any comment on the overall growth rate expectation for the total online music's revenue? Thank you.
Cussion Kar Shun Pang: Okay. Thank you so much, Alicia, for your questions. And for the full year of 2024, our online music and subscription revenue are well on track and the profitability is also expected to be slightly better than the previously anticipated. So for the subscription side, I think that we are pleased to see that the Q1, the net adds is really quickly exceeding our expectation. So it really give us a really strong start for this year, and therefore, we are confident that the total net adds for the 2024 will exceed our initial projections and indicating to be a total greater than the year of 2022 and yet slightly slower than last year, which is 2023. But on the other hand, we remain really committed in a healthy long-term growth of our business. So on a full-year ARPPU side, we expect it to continue to expand year-over-year, although at the moment I think a more modest growth rate compared to 2023. And to recap, I think, the last year's rapid year-over-year growth was primarily due to the scale back of the discounts. So based on the last year healthy ARPPU level and benefits of some of the operational optimization to be introduced throughout this year. We expect a slightly ARPPU growth in the second half of this year when compared to the first half. However, we will remain unchanged and confident in long-term ARPPU expansion potential, supported by our experience in users education and also a variety of operational strategies. A couple of points that I would like to add should be, we have a better than expected Q1 net adds, which is primarily due to a couple of reasons. First of all, I think, Q1 is typically the peak season for the entire year, especially due to the Chinese New Year, so as users are more willing to pay for the entertainment. And secondly, we are also expanding the effective promotional activities, which attract more high potential users. So we pulled out multi-channel promotions across different areas and will significantly drive the good growth of our user base, but I think that as we've communicate and seen in the 2023 pattern, I think rolling off the strong seasonality, the net adds should return to more normalized and sustainable levels over the next few quarters. So besides the subscription business, I think that for the long subscription business, we also had a strong start in Q1 this year and we expect growth to be solid in the remainder of this year as we continue to innovate the advertising products and expand the merchandise sales with labels and others as well.
Millicent Tu: Thank you. The next question comes from the line of Alex Poon from Morgan Stanley.
Alex Poon: Congratulation management on very strong quarter. My question is related to gross margin. In Q1, while we have negative seasonality for both advertising and social entertainment. We still expanded gross margin significantly sequentially from 38% to almost 41%. Can management share how the revenue and cost structure has changed on sequential basis and how should we think about gross margin in rest of 2024? Thank you very much.
Millicent Tu: [Foreign Language]
Min Hu: Gross margin is 40.9% in Q1, increased by 7.8% year-over-year, an increase of 2.6% quarter-over-quarter. There are several reasons as follows. The first, music subscription revenues and advertising revenues have a significant growth. Second, we have made significant efforts and investments in the music industry and have built win-win relationships with labels and artists. Additionally, we focused on ROCE to manage content costs more efficiently. Our online music revenues growth ratio was higher than net growth ratio of content cost. And the third, we gradually ramp up our self-owned content, which is a positive impact on our gross margin. And fourth, even the live streaming revenue decreased, we optimized the live streaming revenue sharing strategy. The live streaming revenue sharing ratio decreased and the VIP revenue and advertisement revenue on WeSing platform increased. All above benefit our gross margin. Our gross margin has improved for eight consecutive quarters. Looking forward to Q2, we expect subscription revenue and advertisement revenue will continue to be healthy growth. On the costs side, we expect our in-house made content will have positive impact on gross margin continually and we will continue to increase our operational efficiency and monitor each cost items for our ROCE model. We expect our gross margin will be increased in Q2 continually and look forward in the second half of 2024, we think our -- we expect our gross margin will be -- also increase.
Millicent Tu: Thank you. And the next question comes from Goldman Sachs, Lincoln Kong. Lincoln, please.
Lincoln Kong: Thank you, management, for taking my questions and congrats on the very strong quarter. So my question is about the online music services, specifically advertising. So could management comment so what you have seen in terms of advertising trend in the first quarter and into the second quarter? And by the different formats, what are the sort of the new advertising format company are thinking to implement? And any of the trends of those sponsorship ads or premium member ads, if management can share. Thank you.
Millicent Tu: [Foreign Language]
Zhu Liang: [Foreign Language] Thank you very much. Thanks for your question. Indeed, for the advertisement service, in Q1, we have a very strong growth, and I think in Q2, we're going to maintain such a strong growth. [Foreign Language] You know that we are not expanding our subscriber base, but I think the key challenge for advertisement is how we're going to leverage the traffic of the non-subscribers. [Foreign Language] So you can say that we see the traffic from the non-subscribers continue to go down because we are now having more subscribers. That is the reason for us, we need to continue to optimize the solution we provided to the advertisers and making sure we can also provide a very attractive interest package to continue to operate and optimize the traffic operation. [Foreign Language] So you can say that start from the year of 2023, we already registered a very good performance regarding the advertisement business. Well, regarding what we're going to do for this year. I think for this year, we're also going to maintain a very stable growth for the advertisement business. At least from what I can see from Q1 of this year, we have a very strong growth. Especially, we have the key revenue contributor coming from the e-commerce, the gaming industry, the content information and the faster consumption industry. And especially due to the e-commerce, they are launching the large scale promotional activities during the New Chinese Year. So we are going to say that in Q1 of this year, we also have a very good growth coming from the e-commerce channel regarding the advertisement business. [Foreign Language] Well, talking about the Q2 of 2024, I think the key event we're going to have in Q2 would be the 618 shopping festival online. In that way, we're going to leverage this great occasion to serve our e-commerce advertisers because we hope that by serving them, we will be able to have a very good growth compared with last year, and we also prepared many of the good solutions in order to continue to serve the e-commerce advertisers. [Foreign Language] You know that besides that, we are also leveraging the very enriched and diversified music ecosystem of TME, continue to roll out more diversified formats of advertising and new advertising business models. [Foreign Language] For example, for the investment advertising, it could also be well combined with our offline performance and concepts. [Foreign Language] As I mentioned, in Q1 of this year, we also launched an incentive-based advertisement format that is based upon the coin. By launching this new model, we hope that we will be able to continue to improve the user retention, while at the same time to start a new stream of the revenue for the advertising business. [Foreign Language] So you can say that based upon the three business models regarding the price competition, the contracted advertising and investment advertising, we do have a full portfolio of advertisement solution. In that way, we will be able to leverage this full mix of the product to continue to grow our advertising business in healthy and sustainable approach. Okay.
Millicent Tu: Thank you. And the next question from Zhang Lei, Bank of America Merrill Lynch (NYSE:BAC). Zhang Lei, please.
Zhang Lei: Hi. [Foreign Language] Thank you management for taking my question. My question is mainly regarding the margin trend, especially the sales and marketing trend. Consider we have a Q-on-Q control on the sales and marketing expense to maintain the MAU sequentially largely stable. So how should we look at the driver and the overall sales and marketing and the margin trend in the following quarters? Thank you.
Min Hu: [Foreign Language] Thank you very much. Thanks for your question. Just now, in our previous answer, we also mentioned about the GP margin. Actually, for our GP margin, we registered a significant growth, no matter on Y-o-Y or M-o-M basis. That should be a very solid baseline for our performance. I do believe in the near future, we're going to continue to grow this number. And in Q1 of this year, talking about the marketing expenses, it was ever going down on Y-o-Y and M-o-M basis. [Foreign Language] We're talking about the seasonalities of the marketing expenses. Q1 of each year are traditionally been considered as a low season of the marketing events because the majority of the brand promotions and the promotion activities being conducted in Q4 of each year. So in other words, in Q1, we launched less marketing events. [Foreign Language] But I can say that our platform or should I say the monetization of our music platform continue to be improved. And also with the well-established ROI management method in place, we do expect we're going to spend more marketing expenses in order to regain the traffic for our channels. [Foreign Language] Well, at the same time, we're also going to reduce the marketing expenses in the channel of live streaming. [Foreign Language] Well, my second point is regarding the content, especially the self-commissioned or self-developed content. This is going to serve as a key driver for our future business. So we're going to make good investment for the content promotion. [Foreign Language] So we foresee in Q2 of this year, the marketing expenses will rise. But overall speaking, the marketing expenses for 2024 full year, would be in line with what we saw last year in 2023. [Foreign Language] So coming next, let me comment on G&A expenses and especially the investment we made on the team. And actually for the past one year, we have already adopted the cost initiative and continue to downsize the team. [Foreign Language] Well, at the same time, we're also going to continue the investment in new technologies and in new products for example like AIGC. [Foreign Language] So, generally speaking, regarding G&A, we do believe that the total G&A expenses in 2024 would be in line with 2023. [Foreign Language] So, overall speaking, as you can see, we continue to grow the GP margin. And also, we foresee the revenue in H2 of this year will certainly go up where at the same time, we also stabilize the promotion expenses and the G&A expenses. So, I do believe that for the full year, the net profit rate and the net profit will be improved. [Foreign Language] Well, coming next, please allow me to talk about ERT, the effective tax rate. [Foreign Language] Regarding the effective tax rate, in Q1 of this year, it has been risen to 90.9%. The key reason is because the dividend payout need to be made from the onshore company to the offshore company. So we're going to pay for the withholding tax. So, that's the reason in 2024, the effective tax rate in Q1 will be upward. [Foreign Language] But generally speaking, the sum is quite small, and it's not going to impact the net profit and the net profit rate that much. So, overall speaking, I do foresee for net profit and the net profit in 2024, it's going to keep arriving on that time.
Millicent Tu: Thank you. And the next question from Macquarie, Ellie Jiang.
Ellie Jiang: Thank you so much, management, for taking my question and congrats on the great results. It's been very great to see the improvements in our music paying conversion. So, if you compare the existing users versus the newly acquired users. I just wonder if can management shed some light on the average pricing gaps between these two cohorts. Also, during the opening remark, management shared some very exciting AI-empowered initiatives that have been driving better user engagement. Just wondering anything you can share on the recent trends for the next month retention and whether there could be more operating leverage for higher customer lifetime value down the road. Thank you.
Millicent Tu: [Foreign Language]
Zhu Liang: [Foreign Language] Thank you very much. Thanks for the question. Regarding the existing customer, yes, indeed, for the existing customer or the user, we do have a very high retention rate and because many of them are our long-term user. And if we're going to convert them, that means they just continue to renew our service. So originally speaking, the conversion rate of our existing user would be very high. Well, for the newly acquired users, as we mentioned just now, in order to engage those user, we provide some discount and some of the promotional activities. Even if we're already scaling back discounts, but actually the conversion rate of the new users will go in line with our promotional activities and sometimes is subject to the change of the promotional activity timeline. [Foreign Language] The second part of the question is regarding how AI can empower the user retention. I have to say that the AI large model indeed helped to grow the retention. But let's be clear first, for the music platform, the recommendation system was based upon the newer network model. And it is different from the large-language model we're talking about today. But generally speaking, I do believe that as we're having those great models, and by introducing a large set of the parameters into our existing platform, we will be able to continue to improve the recommendation capacity and search capacity. And you can see it from our actual operational that can help us to continue to grow and optimize the user retention. So, indeed, by leveraging those cutting-edge technologies, our overall retention rate is being improved. [Foreign Language] Actually, when we talk about large-language model and generative technology, in Q1 of this year, we also launched an open-source, self-developed, [indiscernible] video model drive, which has already received very positive feedback from the open-source community. [Foreign Language] And something that we're truly proud of is that we also newly introduced a large model, we call it audio model. This audio model can help to distinguish the correlations between two nodes and the songs based on the characteristics of the audio. And this is also a very good result that has been harvested from the cutting-edge technology. [Foreign Language] Well, regarding the content creation, we have already received a very good result from Artificial Intelligence generated vocals. No matter from the user scale or from the revenue of the users, we are all seeing very good progress being made. In that way, it can actually facilitate the users of identifying new lyrics and new songs in a new content. [Foreign Language] And another milestone I'd like to mention in Q1 of this year was we are working with Tencent AI Lab and introduced the first music generation model for the folk music. And it is through this model we are working with Shanghai National Orchestra to organize the ever-first AI-empowered concert in China. [Foreign Language] And besides that, we are also keeping an eye on the 3D models in the industry. One is Sonar and another one is UBiO. And we are exploring those new models to see how they can fit into our platform.
Millicent Tu: Thank you. And the next question comes from Fang Wei from Mizuho. Fang Wei, please. Are you with us, Fang Wei? Okay.
Fang Wei: Hello?
Millicent Tu: Yes, Fang, we can hear you. Go ahead, please.
Fang Wei: Okay, thank you. Sorry about that. Yeah, thank you for taking the question. So I want to double-click on the offline concerts, right? So we see pretty good coming back last year and so far this year. Just wondering if management can help remind us your position and your strategy for this segment. And also what's the business models there other than sponsored advertising? Thank you.
Cussion Kar Shun Pang: Okay, thank you so much for your questions. [Foreign Language] Thank you so much for your questions. And basically, I think 2023 is a big year for the live performance businesses. And we are also seeing that it will continue to trend in this year. But definitely it's going to be normalized and will not have such a big growth when compared to last year's performances. I think from TME point of view, we have different pillars of strategy in order to support our overall strategies. First of all, we are committed to build our own IP. For example like the TMEA Music Festivals and also the award ceremony. This year is going to be the fifth year of us. And we have already received a lot of very good results and from our partnerships as well. And we are focusing on not just bringing the local artists, but also the international artists to our stage as well. Besides our own IP music festival and awards, we also team up, and also helped to organize and produce top-tier artists' live tours as well in China and also in Southeast Asia that we have successfully launched out in year 2023. And we are continuing to doing that. And the last one, which is, we will continue, besides the top-tier artists, we will be focusing on building some of the smaller stages. For example, like the live host events for the Tencent musicians, which will help us to incubate a lot of younger generation of musicians in order to continue to improve through the live performance events. Besides the strategies that we are -- the different types of concerts that we are organizing, we will have different business model as well. First of all, we have the ticketing, we can also have the advertising sponsorship model. And as what we have mentioned before, we are also working on the fans-based economy like the merchandise and all these kinds of things that we are working on. We will also continue to collaborate our live event, not just offline, but together with online with different privileges, with our super VIP panel as well. So we have an exciting journey that we are looking forward and we will continue to pull in more resources in order to grow the live performance business in TME.
Millicent Tu: Okay. In the interest of time, we'll take the last question from Thomas Chong, Jefferies, please. Thomas?
Thomas Chong: Hi. Good evening. Thanks management for taking my question. My question is about our new initiative, such as long-form audio, IoT. Can management comment about thoughts about the outlook in these areas? And my second question is about our long-term target. Given we have talked about our 2024 outlook on the topline and the bottom line? Can management comment how we should envision TME in three to five years' time down the road? Thank you.
Zhu Liang: [Foreign Language] Thank you very much. Thanks for your question. Regarding the long-form audio, from the business strategy perspective, it is going to complement to our existing online music service. It will help us cater the needs of the diversified customer base, especially including the users from different age groups. So that's the reason we are now continuing to introduce the top content and the new content in the market. Essentially, we do see some very good performance in the children-related music market. [Foreign Language] And the second point to that, we are going to keep a very close collaboration with Tencent Group especially with [indiscernible]. And I do believe in Q2 of this year a key event we are going to see is a rollout or release of [indiscernible] second phase. If that is successfully rolled out, I do believe and it's also going to help us to continue to improve the user retention for the long form audio.
Cussion Kar Shun Pang: I think for the entire, overall strategy of an entire company, I think that we are right now on a really good pace in driving the online music services in a really good form. So we will do it, going to be one by one, for example, to continue to improve our overall subscribers and also our ARPPU as well, but at the same time, this is the core -- the moat of our company. I think it's very, very important is we have to continue to build our content ecosystem, which ensuring that we will have a good coverage of all of the music libraries that we should have, and also we will continue to pull in more resources in doing content co-productions. Besiding that, we will also extend our footprint not just locally, but we also can doing some of the international development for example according to not just the business side, the platform side, but also the content side as well. So I think there is definitely going to be a lot of interesting and exciting projects ahead. I think from our company point of view, I think we definitely is not just doing a 100 meter sprint. We are doing a marathon. So I think that we should strike the balance. At the same time, we continue to have a quarter-by-quarter growth, but at the end of the day, we will be focusing on a long-term sustainable development of the entire group and we are ensuring that we are going to have to ensure to drive good investors returns to all our investors as well. So we would like to share our success not just doing the business well, but also ensuring that we have a good dividend policy and also somehow continue to have our share buyback program at the right moment. Okay. I think that's it for today.
Millicent Tu: Thank you. Thank you everyone for joining us today. If you have any further questions, please feel free to contact our IR team. And this concludes today's call and thank you so much again and look forward to speaking to you next quarter.
Cussion Kar Shun Pang: Okay. Thank you very much. Thank you.
Min Hu: Thank you.
Millicent Tu: Bye.
Min Hu: Bye.
This article was generated with the support of AI and reviewed by an editor. For more information see our T&C. | en | https://www.investing.com/news/stock-market-news/earnings-call-tencent-music-posts-a-43-yearoveryear-increase-in-revenues-93CH-3438458 |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173863933 |
It’s a true privilege to be asked to lead the new Studio Business Group for Sony Interactive. I’m excited to continue working with incredibly talented teams and studios to deliver unforgettable game and entertainment experiences. #sony #playstation #playstationstudios | en | https://variety.com/2024/gaming/news/playstation-ceo-hideaki-nishino-hermen-hulst-1236001731/ |
Catch up on stories from the past week (and beyond) at the Slashdot story archive
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173863927 |
The trial of Archegos founder Bill Hwang for alleged securities fraud and market manipulation opened in New York on Monday, and focused on the fund's spectacular 2021 implosion that cost large banks billions of dollars.
The family-owned hedge fund run by Hwang had taken huge bets on a few stocks with money borrowed from banks, and when several of those bets turned sour, the fund was unable to meet "margin calls" to cover the losses.
The 2021 collapse of the fund sent shock waves through financial markets and caused $10 billion in losses for Credit Suisse, Nomura, Morgan Stanley and other leading financial institutions.
Hwang and Patrick Halligan, chief financial officer of Archegos, were both arrested by the FBI in April 2022.
"Their alleged crimes jeopardized not only their own company but also innocent investors and financial institutions around the world," Deputy Attorney General Lisa Monaco told reporters at the time.
The two men, who deny the charges, went on trial in Manhattan federal court.
"Bill Hwang was a billionaire, and yet he risked nearly everything because he wanted more: more money, more success, more power," prosecutor Alexandra Rothman told the jury.
Archegos was a "house of cards built on manipulation and lies," she was quoted as saying by The Wall Street Journal.
'Deceptive conduct'
Hwang and Halligan used the firm "as an instrument of market manipulation and fraud, with far-reaching consequences for other participants in the United States securities markets," according to the indictment.
Hwang and other conspirators, including head trader William Tomita, sought to defraud investors by convincing them that shares in the fund's portfolio were on the rise when in fact the stock price increases "were the artificial product of Hwang's manipulative trading and deceptive conduct that caused others to trade," the indictment said.
They also repeatedly made "false and misleading statements" to convince others to trade with and extend credit to the firm, it said.
The fund used derivatives to take large stakes in top Chinese companies such as Baidu, Tencent Music Entertainment Group and Vipshop Holdings, plus U.S. giants such as ViacomCBS and Discovery.
The plan initially worked, and the fund tripled in size in just a year, while Hwang's personal fortune soared to $35 billion from $1.5 billion, turning him and the firm into "significant economic forces in the United States securities markets," the filing said.
The move to inflate share prices caused the firm to expand rapidly, "increasing in value from approximately $1.5 billion with $10 billion in exposure in March 2020 to a value of more than $36 billion with $160 billion in exposure at its peak in March 2021," said the U.S. Securities and Exchange Commission, the market regulator.
Hwang studied in the United States and went to work for Tiger Management, rising to form his own Tiger Asia Management. In 2012, Hwang paid $44 million to settle with the SEC over an insider trading case and shuttered the firm. | en | https://www.voanews.com/a/archegos-founder-goes-on-trial-for-fraud-market-manipulation/7609724.html |
This year is expected to be one of the busiest travel years in nearly two decades, with about 43.8 million people expected to travel at least 50 miles, according to AAA.
Joy Noelle Balanag booked her vacation months ago, hoping to beat the potentially record-breaking summer rush.
"I definitely am excited for this travel season. 2024 feels just like almost a breath of fresh air," she told CBS News. "I do plan on traveling on airplanes. I do plan on taking my car. Just, like, seeing where this summer season takes me."
Balanag won't be alone. This Memorial Day weekend, AAA is expecting a nearly 5% bump in airline travel over last year and United Airlines alone is planning to fly more than half a million people a day from May 23 through May 28, which would be the airline's busiest Memorial Day weekend ever. Delta is expecting 3 million passengers total over that same stretch, a 5% increase for the airline from 2023. American Airlines said it's preparing for 3.9 million customers over the long Memorial Day weekend.
Most travelers will drive that weekend, however, with AAA predicting a record 38.4 million people will hit the road. That's a 4% increase from last year. Gas prices are similar to where they were last year, up about 8 cents a gallon nationally compared to last Memorial Day weekend.
"It goes back to that bucket list, YOLO, you only live once mentality, Aixa Diaz of AAA told CBS News. "A lot of people are now going, 'You know what? Let's not take those trips we always take with our families. Let's get a little bit more adventurous.'"
One of the fastest-growing travel options since the COVID-19 pandemic is cruising.
The industry is expecting a new record high of nearly 35 million passengers this year, according to the Cruise Lines International Association. For the thousands on board the Carnival Firezne cruise ship's inaugural sold-out sailing, which began in late April, vacation season started early.
Passenger Jeanine Stage of Arizona told CBS News what she likes best about cruising is, "That you get to go to multiple destinations and you unpack your suitcase once."
"You got food, entertainment, even the casino, if you're into that, there's shows," she said.
All told, AAA is predicting 2024 will finish just narrowly behind 2005 as the busiest Memorial Day travel weekend since it began keeping track in 2000.
AAA expects the busiest time on the roads will be from noon to 7 p.m. on the Thursday and Friday before Memorial Day. United Airlines said that Thursday will be its busiest of the holiday weekend.
Among the top destinations this year: Florida, Las Vegas, Los Angeles and Denver. | en | https://www.cbsnews.com/news/memorial-day-2024-travel-records/ |
Following the departure of former Sony Interactive Entertainment CEO Jim Ryan, the company announced that Hideaki Nishino will be appointed CEO of the Sony Interactive Entertainment’s Platform Business Group, and Hermen Hulst will be appointed to CEO of Sony Interactive Entertainment’s Studio Business Group, effective June 1, 2024. Hiroki Totoki, who is currently serving as interim CEO of Sony Interactive Entertainment, will serve as chairman of Sony Interactive Entertainment in addition to his role as president, chief operating officer, and chief financial officer of Sony Group Corporation. Nishino and Hulst will report to Totoki, and intend to collaborate closely to strengthen each core business while maximizing synergies at Sony Interactive Entertainment.
“Sony Interactive Entertainment is a dynamic and growing business that delivers incredible entertainment experiences through the connection of content and technology,” said Sony Interactive Entertainment interim CEO and Sony Group Corporation president, chief operating officer, and chief financial officer Hiroki Totoki in a press release. “These two leaders will have clear responsibilities and will manage strategic direction to ensure the focus remains on deepening engagement with existing PlayStation users and expanding experiences to new audiences.”
Read more about each executive below.
Hidaeki Nishino
Nishino is currently senior vice president, Platform Experience Group, and leads the team responsible for developing the experiences and technology within PlayStation products and services. The Platform Experience Group pushes the boundaries of play in many ways, including the innovations in PlayStation 5, the immersiveness of PlayStation VR2, and connecting millions of people on PlayStation Network. In his new capacity as CEO of the Platform Business Group, Nishino will continue to be responsible for technology, products, services, and platform experience. He will also oversee third-party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
“We will continue to connect players and creators through world-class products, services, and technology,” said Sony Interactive Entertainment senior vice president, Platform Experience Group, Hideaki Nishino. “We always strive to grow our community even bigger with innovation in every area at Sony Interactive Entertainment. I am honored to be appointed such an important role alongside Hermen. By working more closely together, we will be positioned to build incredible experiences for an ever-expanding audience now and in the future.”
Hermen Hulst
Hulst is currently serving as senior vice president and head of PlayStation Studios, and responsible for developing content across many devices including PlayStation consoles and PCs and bringing video game intellectual property to new mediums such as film and television through PlayStation Productions. The PlayStation Productions team is working on several game adaptations and developed the Emmy award winning television series, The Last of Us, an adaptation from an award winning game. In his new role as CEO of the Studio Business Group, Hulst will be responsible for the development, publishing, and business operations of Sony Interactive Entertainment’s first party-content.
“I am thrilled to lead the studio business group and continue to build on our success with PlayStation 5, while preparing for the future,” said PlayStation Studios senior vice president and head Hermen Hulst. “The video game industry is one of the largest entertainment industries in the world and has been built on the marriage of content and technology, and I look forward to continuing to push the boundaries of play and entertainment.”
And here is a message from Hiroki Totoki sent to Sony Interactive Entertainment employees today:
A Message from Hiroki Totoki: A New Era at Sony Interactive Entertainment
It brings me great pleasure to announce that I have decided on the succession strategy for the role of CEO at Sony Interactive Entertainment. Over the last decade, Sony Interactive Entertainment has grown tremendously, building upon our continuous successes in hardware, software and services through a sharper focus on player engagement.
To continue this growth and momentum, we are moving forward with a new management structure for Sony Interactive Entertainment. Effective June 1, Hideaki Nishino will be appointed CEO of Sony Interactive Entertainment’s Platform Business Group, and Hermen Hulst will be appointed CEO of Sony Interactive Entertainment’s Studio Business Group. Effective the same date, I will step down from my current role as interim CEO and become Chairman of Sony Interactive Entertainment, in addition to my roles at Sony Group Corporation. Both Hermen and Nishino-san will report to me as Sony Interactive Entertainment Chairman.
Nishino-san will continue his role leading the Platform Experience Group, overseeing technology, products, services, and platform experience. He will also oversee third party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
Hermen will continue to lead the Sony Interactive Entertainment Studios business, including PlayStation Studios, Bungie, and PlayStation Productions. He will be responsible for the development, publishing, and business operations of Sony Interactive Entertainment’s first party content as well as intellectual property expansion opportunities through PlayStation Productions.
Later this month you will learn more about the long-term vision for Sony Group and the essential role Sony Interactive Entertainment plays in that vision. As I mentioned previously, fiscal year 24 marks the start of the Mid-Range Plan period for Sony Group in which we will set the course for sustainable growth.
The future is incredibly bright for Sony Interactive Entertainment and that is thanks to all of you. Since I became Chairman in October 2023, I have been inspired by your enthusiasm, innovative approaches, and teamwork. These values will serve us well as we embark on the exciting future for Sony Interactive Entertainment.
Please join me in congratulating Nishino-san and Hermen on their new roles.
© Copyright Gematsu 2008 to 2023. All rights reserved.
Reproduction in whole or in part in any form or medium without acknowledgment of Gematsu is prohibited. Use of this site is governed by all applicable laws.
Website by 44 Bytes | en | https://www.gematsu.com/2024/05/sony-interactive-entertainment-appoints-new-ceos-hideaki-nishino-and-hermen-hulst |
Sony Interactive Entertainment is replacing outgoing CEO Jim Ryan with two new co-CEOs: previous head of PlayStation Studios Hermen Hulst and SIE exec Hideaki Nishino.
Hulst was previously co-founder and managing director at Horizon Zero Dawn studio Guerrilla Games until he left to head up PlayStation Studios in November 2019. Nishino, meanwhile, has been at SIE as SVP of global product strategy and management since April 2016. Hurst will be appointed CEO of SIE's studio business group, while Nishino will be CEO of the company's platform business group.
"I am thrilled to lead the studio business group and continue to build on our success with PlayStation 5, while preparing for the future," Hulst said in a statement. "The video game industry is one of the largest entertainment industries in the world and has been built on the marriage of content and technology, and I look forward to continuing to push the boundaries of play and entertainment."
Ryan announced his departure from SIE in September, and he officially retired at the end of March, with Sony Group Corporation president, COO, and CFO Hiroki Totoki stepping in as interim CEO starting April 1. Hulst and Nishino will start as co-CEOs starting June 1 and will then report to Totoki.
"We will continue to connect players and creators through world-class products, services, and technology. We always strive to grow our community even bigger with innovation in every area at Sony Interactive Entertainment," said Nishino. "I am honored to be appointed such an important role alongside Hermen. By working more closely together, we will be positioned to build incredible experiences for an ever-expanding audience now and in the future."
Here are the best PS5 games to play today.
After scoring a degree in English from ASU, I worked as a copy editor while freelancing for places like SFX Magazine, Screen Rant, Game Revolution, and MMORPG on the side. Now, as GamesRadar's west coast Staff Writer, I'm responsible for managing the site's western regional executive branch, AKA my apartment, and writing about whatever horror game I'm too afraid to finish.
Assassin's Creed Shadows release date seemingly leaked by Ubisoft in its own trailer placeholder
Many Helldivers 2 devs lost a week of work due to Sony's "PSN-gate," and they were already struggling with "massive pressure" from the shooter's explosive launch
Shaun of the Dead's Edgar Wright reportedly in talks to direct Sydney Sweeney-starring Barbarella remake
GamesRadar+ is part of Future US Inc, an international media group and leading digital publisher. Visit our corporate site.
©
Future US, Inc. Full 7th Floor, 130 West 42nd Street,
New York,
NY 10036. | en | https://www.gamesradar.com/games/playstation-replaces-outgoing-ceo-jim-ryan-with-two-new-bosses-as-co-ceos-hermen-hulst-and-hideaki-nishino/ |
Three years after releasing her second studio album, Happier Than Ever, Billie Eilish is preparing to follow up with Hit Me Hard And Soft. Slated for release on May 17, the album won’t be accompanied by any singles, as Billie wants fans to experience it all at once. After the tracklist was prematurely shared by Rolling Stone, Billie shared it herself. During her surprise appearance at Coachella, she previewed one song, “Lunch,” which turned out to be one of her raciest yet — which aligned with her assessment‘ that, “I feel like every time you put anything out, it feels like your nudes leaked a little bit, and I think this one, specifically, is like that.”
Here’s everything to know about Billie Eilish’s new album, Hit Me Hard And Soft.
A post shared by BILLIE EILISH (@billieeilish)
Hit Me Hard And Soft is out 5/17 via Darkroom/Interscope Records. Find more information here.
A post shared by BILLIE EILISH (@billieeilish)
1. “Skinny”
2. “Lunch”
3. “Chihiro
4. “Birds Of A Feather”
5. “Wildflower”
6. “The Greatest”
7. “L’Amour De Ma Vie”
8. “The Diner”
9. “Bittersuite”
10. “Blue”
There are no singles for Hit Me Hard And Soft
Like her previous albums, Billie’s upcoming project won’t have any features.
A post shared by BILLIE EILISH (@billieeilish)
A post shared by BILLIE EILISH (@billieeilish)
See the tour dates below.
09/29/2024 — Québec, QC @ Centre Videotron
10/01/2024 — Toronto, ON @ Scotiabank Arena
10/02/2024 — Toronto, ON @ Scotiabank Arena
10/04/2024 — Baltimore, MD @ CFG Bank Arena
10/05/2024 — Philadelphia, PA @ Wells Fargo Center
10/07/2024 — Detroit, MI @ Little Caesars Arena
10/09/2024 — Newark, NJ @ Prudential Center
10/11/2024 — Boston, MA @ TD Garden
10/13/2024 — Pittsburgh, PA @ PPG Paints Arena
10/16/2024 — New York, NY @ Madison Square Garden
10/17/2024 — New York, NY @ Madison Square Garden
10/18/2024 — New York, NY @ Madison Square Garden
11/02/2024 — Atlanta, GA @ State Farm Arena
11/03/2024 — Atlanta, GA @ State Farm Arena
11/06/2024 — Nashville, TN @ Bridgestone Arena
11/08/2024 — Cincinnati, OH @ Heritage Bank Center
11/10/2024 — Saint Paul, MN @ Xcel Energy Center
11/01/2024 — Saint Paul, MN @ Xcel Energy Center
11/13/2024 — Chicago, IL @ United Center
11/14/2024 — Chicago, IL @ United Center
11/16/2024 — Kansas City, MO @ T-Mobile Center
11/17/2024 — Omaha, NE @ CHI Health Center Omaha
11/19/2024 — Denver, CO @ Ball Arena
11/20/2024 — Denver, CO @ Ball Arena
12/03/2024 — Vancouver, BC @ Rogers Arena
12/05/2024 — Seattle, WA @ Climate Pledge Arena
12/06/2024 — Seattle, WA @ Climate Pledge Arena
12/08/2024 — Portland, OR @ Moda Center
12/10/2024 — San Jose, CA @ SAP Center at San Jose
12/11/2024 — San Jose, CA @ SAP Center at San Jose
12/13/2024 — Glendale, AZ @ Desert Diamond Arena
12/15/2024 — Inglewood, CA @ Kia Forum
12/16/2024 — Inglewood, CA @ Kia Forum
12/17/2024 — Inglewood, CA @ Kia Forum
02/18/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/19/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/21/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/22/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/24/2025 — Sydney, Australia @ Qudos Bank Arena
02/25/2025 — Sydney, Australia @ Qudos Bank Arena
02/27/2025 — Sydney, Australia @ Qudos Bank Arena
02/28/2025 — Sydney, Australia @ Qudos Bank Arena
03/04/2025 — Melbourne, Australia @ Rod Laver Arena
03/05/2025 — Melbourne, Australia @ Rod Laver Arena
03/07/2025 — Melbourne, Australia @ Rod Laver Arena
03/08/2025 — Melbourne, Australia @ Rod Laver Arena
04/23/2025 — Stockholm, Sweden @ Avicii Arena
04/24/2025 — Stockholm, Sweden @ Avicii Arena
04/26/2025 — Oslo, Norway @ Telenor Arena
04/28/2025 — Copenhagen, Denmark @ Royal Arena
04/29/2025 — Copenhagen, Denmark @ Royal Arena
05/02/2025 — Hannover, Germany @ ZAG Arena
05/04/2025 — Amsterdam, Netherlands @ Ziggo Dome
05/05/2025 — Amsterdam, Netherlands @ Ziggo Dome
05/07/2025 — Amsterdam, Netherlands @ Ziggo Dome
05/09/2025 — Berlin, Germany @ Uber Arena
05/29/2025 — Cologne, Germany @ Lanxess Arena
05/30/2025 — Cologne, Germany @ Lanxess Arena
06/01/2025 — Prague, Czech Republic @ O2 Arena
06/03/2025 — Kraków, Poland @ Tauron Arena
06/04/2025 — Kraków, Poland @ Tauron Arena
06/06/2025 — Vienna, Austria @ Stadthalle
06/08/2025 — Bologna, Italy @ Unipol Arena
06/10/2025 — Paris, France @ Accor Arena
06/11/2025 — Paris, France @ Accor Arena
06/14/2025 — Barcelona, Spain @ Palau Sant Jordi
06/15/2025 — Barcelona, Spain @ Palau Sant Jordi
07/07/2025 — Glasgow, UK @ OVO Hydro
07/08/2025 — Glasgow, UK @ OVO Hydro
07/10/2025 — London, UK @ The O2
07/11/2025 — London, UK @ The O2
07/13/2025 — London, UK @ The O2
07/14/2025 — London, UK @ The O2
07/16/2025 — London, UK @ The O2
07/17/2025 — London, UK @ The O2
07/19/2025 — Manchester, UK @ Co-op Live
07/20/2025 — Manchester, UK @ Co-op Live
07/22/2025 — Manchester, UK @ Co-op Live
07/23/2025 — Manchester, UK @ Co-op Live
07/26/2025 — Dublin, Ireland @ 3Arena
07/27/2025 — Dublin, Ireland @ 3Arena | en | https://uproxx.com/pop/billie-eilish-hit-me-hard-and-soft-album-release-info/ |
Sorry but something about this request looked a bit suspicious, and we block suspicious stuff. | en | https://www.ign.com/articles/playstation-names-hideaki-nishino-and-hermen-hulst-as-new-ceos-succeeding-jim-ryan |
May
2024
Little Kitty, Big City is a third-person platformer for the Nintendo Switch. It serves as the debut game for indie developer studio Double Dagger, taking a cute cat and dropping it into a big city ripe for exploration. I had to continually drag myself away from the game to write this review, so it’s safe to assume this is a fun time.
The plot is simple; our feline protagonist has fallen from the lofty heights of a high-rise apartment window. The aim is to find your way home. Simple enough, right? Unfortunately our pampered pet lacks the energy for such a climb, leading to an adventure full of surprises as you work your way through the city in search of energy-giving food.
Little Kitty, Big City emulates the movements of a cat very well. As I explored, I felt like I was, in fact, controlling a cat. The way you walk on all fours, bat at things with your paws, and jump all feel authentic and easy to do. There are other kitty moves to discover as well, such as stretching, meowing, sleeping, licking, and more. If you’re a cat person, you’ll adore trying each of these.
Moves are not the only collectible. In fact, there’s a ton of items to find and collect in Little Kitty, Big City. A handy to-do list shows your main objectives for the story while a cat-chievements list provides 39 optional achievements. These are often humorous, like dumpster diving or sitting in a certain number of boxes (as cats do). You can also recycle cans, give bones to dogs, snap pics of yourself with a phone, and much more.
These details are what make the game enjoyable. There’s an innocence to running through the streets and climbing buildings as a cat, and a feeling of exhilaration when you find something in the most obscure of places. It reminds me a little of my time with LEGO City Undercover in terms of seeking out hidden items in every nook and cranny. If you enjoy exploration, you’ll be similarly entertained.
My favorite collectibles are the 40 different hats. Of course, we all know dressing kitties in real life is, well, painful (surely, I’m not the only kid who forced clothes on their cat). But in Little Kitty, Big City, our little black cat loves wearing hats. And they’re adorable. I won’t spoil what they are because half the fun is finding each and every one. I also love the pun-tastic descriptions that accompany their discovery.
Another enjoyable component are the NPCs you meet along the way. These take the form of other animals, from birds and dogs to lizards and bugs. Each has a story to tell (the ducks are particularly interesting) and usually provide Kitty with a mission of some sort. I also commend the developers on the writing. I appreciate dialogue that serves as entertainment rather than being superfluous and easily skippable. I genuinely wanted to see what each character had to say, with some clever quips that made me chuckle.
The jazzy soundtrack is also worth mentioning. Little Kitty, Big City is a relaxing adventure; there are no life meters, deaths, or boss fights. In fact, there are no fights of any kind. Although you can catch birds, this is a playful maneuver after which the birds fly away unharmed, leaving you with a collectible feather. The goal is simply to explore and have fun, and the music suits this mood perfectly. The twinkling upbeat tunes settle neatly into the background, providing the perfect backdrop for your cat-based adventure.
There’s a map available for finding your way around town. If I could make any suggestions for improvement, it would be to the map. There’s technically nothing wrong with it; it provides a simple way to navigate the streets. However, it only shows a few icons, which disappear once you’ve found the item in question. There’s no text nor any way to interact with the map. I’d love to see the option to pin a location I’d like to revisit, or zoom in and out, or add a navigation point to direct me somewhere. This isn’t a sprawling world à la Tears of the Kingdom, but I still feel like some small enhancements could improve the experience.
The other thing I need to mention is the price. At US$24.99, this adventure seems a little too expensive for me. It’s a shame, because I think if it was just $5 cheaper, it would be a more reasonable outlay. I adore this game, but it does have a short runtime of under 10 hours. While there’s plenty to do and it’s a blast to play, I wonder if it would find more success with a slightly cheaper price tag. Perhaps future DLC will help cover this cost; I would certainly welcome any reason to revisit this delightful city and its cute inhabitants.
Overall, Little Kitty, Big City is an enjoyable platformer that successfully emulates playing the role of a cat. This sweet and relaxing game provides plenty to do in an easy-to-navigate environment that’s ripe for exploring. I appreciate the work the developers have put into this, and I hope they get a chance to create similar titles in the future.
Review: Little Kitty, Big City (Nintendo Switch)
Little Kitty, Big City is a joyful experience that successfully emulates playing the role of a cat. This sweet and relaxing game provides plenty to do in an easy-to-navigate environment that’s ripe for exploring. I appreciate the work the developers have put into this, and I hope they get a chance to create similar titles in the future.
The Author
Your source for the most up-to-date Nintendo news covering the Nintendo Switch.
Metacritic
OpenCritic
Privacy Policy
Manage Cookie Settings
© Pure Media LLC | en | https://purenintendo.com/review-little-kitty-big-city-nintendo-switch/ |
JAKARTA, Indonesia —
Fans of Korean pop bands around the world are increasingly channeling their millions-strong online community into climate and environmental activism, protesting business deals linked to coal power, urging K-pop entertainers to cut waste and raising awareness about climate-related issues.
Other climate activist groups have begun joining forces with Kpop4Climate, an environmental group founded in 2021 by K-pop fans Nurul Sarifah and Dayeon Lee. After Kpop4Climate petitioned South Korean automaker Hyundai Motor Co., it recently scrapped a deal linked to coal power plants in Indonesia.
The ability to quickly organize a large, dedicated group has made K-pop fans an increasingly influential lobby online as they participate in protests and promote causes that have included the Black Lives Matter movement. Politicians also have tried to tap into that power.
''I spotted how K-pop fans can be seen as a potential power,'' said Sarifah. ''We think we can harness that power for climate change action.''
In 2021, Korea Beyond Coal— a coalition of civic groups calling for South Korea to stop using coal power — teamed up with Kpop4Climate in 2021 to raise awareness about plans for a coal-burning power plant.
The plant site near Maengbang Beach, the photo shoot location for album artwork for one of K-pop band BTS's hit songs, is a popular destination for the band's fans and a joint petition created by Kpop4Planet and Korea Beyond Coal got thousands of signatures.
''We realized Kpop4Climate has the experience of mobilizing and connecting people and sharing information using social media ... which is very helpful when it comes to climate campaigning,'' said Euijin Kim, a communications officer for Solutions for Our Climate, which is part of Korea Beyond Coal.
The power plant is still going ahead, but the groups were able to raise awareness about the environmental issues caused by coal power, Lee said.
''We want to show the power and influence that the K-pop fans can have ... we believe that if we gather all together, we can make better social impacts and maybe change our society in more sustainable ways,'' said Lee. ''And, of course, love K-pop together.''
Korean pop culture fan clubs' activism and philanthropy began in the 1960s, said Stephanie Choi, a postdoctoral associate at the University of Buffalo studying K-pop culture. Now, K-pop fans regularly organize thousands of people on social media platforms to buy gifts for wildly popular K-pop singers and bands, or promote other causes.
Sarifah and Lee have aligned Kpop4Climate's activities with various causes, beginning with urging entertainment companies to cut back on waste related to the K-pop fan culture of collecting photo cards of band members, which are included in albums and sold as merchandise. K-pop labels often release multiple versions of albums with dozens of different photo cards, encouraging fans to bulk-buy albums to participate in lucky draws for meet-and-greet events with K-pop stars.
''The problem is that this creates a lot of waste,'' Lee said in an interview. ''We wanted to tackle that issue first, because it was the most well-known issue among K-pop fans.''
Entertainment companies haven't directly responded to Kpop4Climate's petitions and other approaches, but Lee still views the campaign as a success.
''There were changes after our campaigning: major entertainment companies published environmental, social and governance reports and published eco-friendly albums, including some releasing records using QR codes to minimize waste," she said.
Kpop4Climate's petition against Hyundai protested an agreement the company signed to buy aluminum from projects linked to coal power in Indonesia.
The memorandum of understanding signed in 2022 with a unit of one of Indonesia's largest coal miners, Adaro Energy Indonesia, gave Hyundai the right to purchase low-carbon aluminum from an industrial park Indonesian officials portray as ''green".
However, the smelter used to make the aluminum initially will be powered by newly built coal-fired plants. Hydroelectric and solar power will power the industrial park at a later date.
Given K-pop group BTS's collaboration with Hyundai, Kpop4Climate saw a chance to put their influence to work. In March 2023, Kpop4Climate launched a petition asking Hyundai to withdraw from the project until it phases out coal, and to disclose details of the energy used to make the aluminum. The petition got over 10,000 signatures in two months, and Kpop4Climate sent their pleas to Hyundai Motor's headquarters. In March, Hyundai Motor said it had ended its agreement with Adaro.
''Following the expiry of the MOU at the end of 2023, both companies have decided not to renew it and to explore other opportunities independently,'' a spokesperson for Hyundai Motor wrote in an email to The Associated Press.
Adaro did not respond to a request for comment sent by AP.
''This a victory of thousands of people, friends who took actions and also show that they genuinely care about the climate crisis and local communities," said Sarifah.
___ Asia entertainment editor Juwon Park in Seoul contributed to this report.
___
Associated Press climate and environmental coverage receives support from several private foundations. See more about AP's climate initiative here. The AP is solely responsible for all content. | en | https://www.startribune.com/k-pop-fans-around-globe-rally-for-climate-and-environment-goals/600365715/ |
With the continuous popularity of tvN‘s Lovely Runner, the fictional band Eclipse is also hitting an all-time career high with their songs!
According to the Melon chart, the song, “Sudden Shower” peaked at number eight on the Top 100 chart. Another one of their songs, “Run Run” was also seen at number 76.
Netizens felt that with records like this, they needed to go on a music show!
Even actor Byun Woo Seok’s agency was shocked at the news, they even posted it on its official Instagram stories.
Netizens could understand the agency’s surprise as it’s rare to see an actor enter the top ten on a music chart!
Recently, it was reported that tvN is in discussion for holding some sort of event to thank the fans for the support of the drama. No other details have been released yet.
Popular “K-Pop” Group Enters The Top 100 On Music Charts With Just One Performance
View Dark Theme | en | https://www.koreaboo.com/news/lovely-runner-ost-rises-number-eight-melon-top-100-chart-byun-woo-seok/ |
Please create an account to participate in the Slashdot moderation system
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173865277 |
Initially, the press conference followed a standard trajectory, with Paul and Tyson articulating their motivations for the upcoming bout and their strategies for victory. However, the atmosphere shifted gears dramatically when a young boxing enthusiast grabbed the spotlight with a question that veered far from the conventional script.
Introduced by mediator Ariel Helwani as a "young boy," the fan quickly showcased a penchant for unconventional inquiries. Amidst cheers and laughter from the audience, the fan's inquiry took an unexpected turn, prompting Tyson to quip, "Where is your mother at?" The remark set the tone for a comedic exchange that would steal the show.
Despite the fan's question about "body count," aimed at gauging the fighters' ability beyond the ring, Jake Paul found himself momentarily stunned into silence, a rarity for the typically outspoken personality. Tyson's repeated inquiry about the fan's parental supervision added another layer of amusement to the exchange, leaving the audience in stitches.
The viral clip of the exchange swiftly permeated social media platforms, shedding light on the young fan's knack for commanding attention. In a press conference marked by memorable moments, this interaction between the fan, Tyson, and Paul stood out as a testament to the unpredictability and entertainment value of the boxing world.
As the press conference tour continues, fans eagerly anticipate more moments like this at Thursday's edition from Arlington, Texas.
© Unidad Editorial Información Deportiva, S.L.U. All rights reserved.
Follow us | en | https://www.marca.com/en/boxing/2024/05/14/6642b9be268e3e92268b45a6.html |
Organizations continue to run insecure protocols across their wide access networks (WAN), making it easier for cybercriminals to move across networks, according to a Cato Networks survey.
The Cato CTRL SASE Threat Report Q1 2024 provides insight into the security threats and their identifying network characteristics for all aggregate traffic—regardless of whether they emanate from or are destined for the internet or the WAN—and for all endpoints across sites, remote users, and cloud resources.
“As threat actors constantly introduce new tools, techniques, and procedures targeting organizations across all industries, cyber threat intelligence remains fragmented and isolated to point solutions,” said Etay Maor, Chief Security Strategist at Cato Networks.
Once threat actors penetrate a network, they usually have less of a problem snooping critical data in transit across the network. All enterprises continue to run insecure protocols across their WAN, with 62% of all web application traffic being HTTP, 54% of all traffic being telnet, and 46% of all traffic being SMB v1 or v2 instead of SMBv3.
Lateral movement (where attackers will move across networks) was identified most frequently in the agriculture, real estate, and travel and tourism industries.
The most common AI tools used among enterprises during the first three months of 2024 were Microsoft Copilot, OpenAI ChatGPT, and Emol, an application that records emotions and talks with AI robots.
The strongest adoption of these tools was seen in the travel and tourism industry (used by 79% of organizations), and the lowest adoption among entertainment organizations (44%).
Newly discovered vulnerabilities do not necessarily mean that the threats exploiting them are the most common. While zero-day threats earn much attention in the industry, threat actors often eschew the use of the latest vulnerabilities and instead exploit unpatched systems.
When evaluating the top ten inbound common vulnerabilities and exposures (CVEs), the seven-year-old attack targeting the PHPUnit testing framework (CVE-2017-9841) was the most common found and it was found across 33% of the inbound CVE exploitations observed.
Furthermore, three years after its discovery, Log4Shell (CVE-2021-44228) remains one of the most used exploits and it was found across 30% of the outbound CVE exploitations observed.
Of the observed media and entertainment organizations, 48% did not use one of 200+ applications identified by Cato CTRL as information security tools. The top three industries targeted with T1499 Endpoint Denial of Service techniques are entertainment, telecommunication, and mining & metals.
In the services and hospitality sectors, threat actors utilize the T1212 Exploitation for Credential Access three times or more often than in other sectors. | en | https://www.helpnetsecurity.com/2024/05/14/log4j-wan-insecure-protocols/ |
Please create an account to participate in the Slashdot moderation system
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864891 |
The Cannes Film Festival Premiere for Furiosa: A Mad Max Saga is right around the corner, and Anya Taylor-Joy has already been spotted around town, reminding everyone that her stylist is absolutely killing it, and we should all be grateful for the experience. The social embargo for the film has already come down, but the review embargo will likely be dropping just after or right around that Cannes premiere, so we're going to get some more information from the (fortunate) people who have already seen the film about what we're in store for. Warner Bros. is also doing a pretty good job of showing us what we're in for with marketing that is balancing releasing new footage so people know what to expect if they are buying a ticket and plenty of behind-the-scenes stuff so we can see how this buckwild production came to be. We got some more of the latter today, this time spotlighting Taylor-Joy's performance as Furiosa. We already know that she doesn't have a lot of lines in this film, so hearing Taylor-Joy say that she put everything into this is probably truer than we even realize. She has to convey so much more without words, and hearing so many people say how impressed they were with her only adds to the hype.
Anya Taylor-Joy and Chris Hemsworth star in Academy Award-winning mastermind George Miller's Furiosa: A Mad Max Saga, the much-anticipated return to the iconic dystopian world he created more than 30 years ago with the seminal "Mad Max" films. Miller now turns the page again with an all-new original, standalone action adventure that will reveal the origins of the powerhouse character from the multiple Oscar-winning global smash Mad Max: Fury Road. The new feature from Warner Bros. Pictures and Village Roadshow Pictures is produced by Miller and his longtime partner, Oscar-nominated producer Doug Mitchell (Mad Max: Fury Road, Babe), under their Australian-based Kennedy Miller Mitchell banner.
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home. Taylor-Joy stars in the title role, and along with Hemsworth, the film also stars Alyla Browne and Tom Burke.
Warner Bros. Pictures Presents, in Association with Village Roadshow Pictures, A Kennedy Miller Mitchell Production, A George Miller Film, Furiosa: A Mad Max Saga. The film will be distributed worldwide by Warner Bros. Pictures, in theaters only nationwide on May 24, 2024, and internationally beginning on 22 May, 2024.
Enjoyed this? Please share on social media! | en | https://bleedingcool.com/movies/furiosa-new-bts-featurette-spotlights-anya-taylor-joys-performance/ |
The teenage son of beloved entertainment reporter Sam Rubin delivered an emotional, on-air tribute to his late father from his dad’s seat at the KTLA anchor desk just three days after the TV journalist unexpectedly died.
Colby Rubin, 16, delivered the heart-wrenching letter addressed to his dad during a Monday broadcast on KTLA, where the his dad worked worked for more than three decades.
“Hi Dad, I wrote this under the desk in your cubicle where you used to catch me sleeping — only you weren’t there to wake me up this time,” Colby read, looking directly at the camera.
“Dad, I can’t believe you’re gone.”
“You’ll never pick me up from school again. We’ll never get to go biking. We’ll never argue about food. You won’t be at my wedding. I can’t believe you are gone,” he said, choking up at times. “I love you so much. On the day you died, I hope you heard me say that.”
Colby shared how his dad, who died of a heart attack on Friday, was his biggest supporter and was always there whether to take him to Boy Scouts, Disney trips, physical therapy appointments, or even a 3 a.m. pickup from a sleepover.
“You were an incredible father and friend. On our car rides, you taught me so much about life — about your work, about how you got to get up every day and do what you love,” he continued.
“I idolized you and you are and will always be my hero. And I never got to tell you that and I’m so sorry, Dad.”
The teen said his dad always encouraged him and shared texts between them showing his father’s enduring support and advice.
“You encouraged me and loved me every day and built me up. I am completely who I am because of you,” Colby read.
“Dad, I am so proud to be your son. I had more of a father in 16 years than some people get their entire lives and I am so grateful. You are a beautiful human and you will never be forgotten,” he said, thanking everyone who has reached out in support of the family.
The letter left his father’s KTLA colleagues teary-eyed as they remembered their coworker and his deep love for his family while sitting next to his son.
Rubin had worked for the Los Angeles station since 1991 and became a staple on the red carpet, interviewing stars and receiving numerous awards throughout his career.
“He’s never gone,” Colby said. “He has this online footprint of over 30 years, so I always have somewhere to turn to.”
Colby said his family has received an outpouring of support and words of comfort since his dad’s death — even from people overseas.
In addition to his son Colby, Rubin is survived by his wife, Leslie, and their three other children, Rory, Perry, and Darcy. | en | https://nypost.com/2024/05/13/media/son-of-late-ktla-reporter-sam-rubin-shares-heart-wrenching-tribute-on-air/ |
Actress and musician Jillian Shea Spaeder chatted about her new short “The Noise.”
By
Published
Actress and musician Jillian Shea Spaeder (“Godmothered” on Disney+) chatted about her new short “The Noise.”
She wrote and produced this short (on the topic of an eating disorder), and it was directed by Bryce Gheisar.
On the idea for “The Noise,” she said, “I wrote ‘The Noise’ when I was struggling with my mental health. I wanted to personify the voices in my head on film.”
Regarding her daily motivations as an actress and musician, she said, “I just love creating! It is my favorite thing to do. I also look up to creators like Holly Humberstone and Jennifer Lawrence.”
She is hoping to raise awareness on mental health with this short. “I hope viewers take away the need to check in with themselves and others more,” she said. “Some of the happiest-seeming people can still be struggling. Talking to friends and family is the first step to improving mental health.”
On being an entertainer in the digital age, she said, “I love it! We live in a world where we can create and put things out without needing to be a part of a giant company.”
Regarding his future plans, she shared, “I hope to continue writing, acting, producing, and making music my whole life. I can’t see myself doing anything else.”
For hopefuls that wish to go into the entertainment business, she said, “My best advice for young and aspiring artists would be to do what you like.”
“It’s easy to fall into the trap of trying to create things that other people will like… but this takes away creative freedom and makes it a less fun process,” she added.
On her definition of the word success, she said, “Success to me means creating things I love and finishing things I start. I try not to define success by views, or streams. My definition of success is only based on things I can control!”
To learn more about Jillian Shea Spaeder, follow her on Instagram and visit her website.
Markos Papadatos is Digital Journal's Editor-at-Large for Music News.
Papadatos is a Greek-American journalist and educator that has authored over 21,000 original articles over the past 18 years. He has interviewed some of the biggest names in music, entertainment, lifestyle, magic, and sports. He is a 16-time "Best of Long Island" winner, where for three consecutive years (2020, 2021, and 2022), he was honored as the "Best Long Island Personality" in Arts & Entertainment, an honor that has gone to Billy Joel six times.
COPYRIGHT © 1998 - 2024 DIGITAL JOURNAL INC. Sitemaps: XML / News .
Digital Journal is not responsible for the content of external sites. Read more about our external linking. | en | https://www.digitaljournal.com/entertainment/jillian-shea-spaeder-talks-about-her-short-the-noise/article |
Download The Economic Times News App to get Daily Market Updates & Live Business News.
Subscribe to The Economic Times Prime and read the Economic Times ePaper Online.and Sensex Today.
Top Trending Stocks: SBI Share Price, Axis Bank Share Price, HDFC Bank Share Price, Infosys Share Price, Wipro Share Price, NTPC Share Price
Download The Economic Times News App to get Daily Market Updates & Live Business News.
Subscribe to The Economic Times Prime and read the Economic Times ePaper Online.and Sensex Today.
Top Trending Stocks: SBI Share Price, Axis Bank Share Price, HDFC Bank Share Price, Infosys Share Price, Wipro Share Price, NTPC Share Price
Trending Now
Hot on Web
In Case you missed it
Top Calculators
Top Searched Companies
Top Prime Articles
Top Performing MF
Top Definitions
Top Videos
Top Commodities
Top Slideshow
Top Story Listing
Follow us on:
Your Reason has been Reported to the admin.
Will be displayed
Will not be displayed
Will be displayed | en | https://economictimes.indiatimes.com/markets/stocks/news/gamestop-shares-surge-after-roaring-kitty-reemerges/articleshow/110099815.cms |
TORONTO, May 13, 2024 (GLOBE NEWSWIRE) -- Kilmer Sports Ventures, a part of Kilmer Group, announced today it has entered into exclusive negotiations with shareholders to acquire AS Saint-Étienne, one of France's most decorated and beloved football clubs.
Founded in 1933, AS Saint-Étienne’s 90-year legacy includes ten Ligue 1 championships, the top tier of French football, a deep commitment to community and an unrivalled fan base that extends well beyond the city to the whole region. After twenty years, current shareholders Bernard Caïazzo and Roland Romeyer are looking for new owners that will build on their vision for the club and, with the right resources and expertise, return Saint-Étienne to its elite position in the league.
If successful, the exclusive negotiations will transfer ownership of the club to Kilmer Sports Ventures, leveraging the unparalleled expertise of two leaders in the world of sports – Larry Tanenbaum, a 30-year veteran and one of the most well respected and trusted team owners in North America, and Ivan Gazidis, a legend in European football excellence with a demonstrated track record in building championship clubs.
“AS Saint-Étienne is more than just a football club, it’s a community,” said Larry Tanenbaum, Chairman and CEO of Kilmer Group. “It’s the beating heart of the city and the region, and has been for nearly 90 years. That’s something, as new owners, we would respect, preserve, and promote. I’m optimistic for what lies ahead.”
"It's an honour to engage with a club as prestigious as AS Saint-Étienne,” said Ivan Gazidis, President of Kilmer Sports Ventures. “Our aim is, step-by-step, to engage with the club’s fans and to bring Saint-Étienne back to the highest level of French football, where it can compete with pride in accordance with the club’s historic values."
For media inquiries:
Courtney Glen, Kilmer Group, [email protected]
About Kilmer Sports Ventures:
Kilmer Sports Ventures is a division of Kilmer Group and focuses on investment opportunities in the world of sport and entertainment. Kilmer Group is a multi-generational platform with a long history in business development and investment focused on three verticals: Infrastructure & Real Estate, Sports & Media, and Private Equity, which includes a majority ownership in Coca-Cola Canada Bottling Limited. | en | https://www.globenewswire.com/news-release/2024/05/14/2881002/0/en/Kilmer-Sports-Ventures-Enters-into-Exclusive-Negotiations-to-Acquire-French-Professional-Football-Club-AS-Saint-%C3%89tienne.html |
As global markets show signs of resilience, with indices like the S&P 500 approaching record highs, Sweden's recent economic adjustments, including a key interest rate cut by the Riksbank, paint a promising backdrop for investors looking at dividend stocks. In such an environment, understanding what constitutes a robust dividend stock is crucial; factors like stable earnings, consistent payout histories, and strong market positions become particularly valuable.
Name
Dividend Yield
Dividend Rating
Betsson (OM:BETS B)
5.97%
★★★★★☆
Zinzino (OM:ZZ B)
3.59%
★★★★★☆
Loomis (OM:LOOMIS)
4.55%
★★★★★☆
HEXPOL (OM:HPOL B)
3.09%
★★★★★☆
Duni (OM:DUNI)
4.55%
★★★★★☆
Skandinaviska Enskilda Banken (OM:SEB A)
5.54%
★★★★★☆
Avanza Bank Holding (OM:AZA)
4.54%
★★★★★☆
Nordea Bank Abp (OM:NDA SE)
8.04%
★★★★★☆
Bilia (OM:BILI A)
4.55%
★★★★☆☆
Husqvarna (OM:HUSQ B)
3.44%
★★★★☆☆
Click here to see the full list of 24 stocks from our Top Dividend Stocks screener.
Here's a peek at a few of the choices from the screener.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: Bahnhof AB (publ) operates in the Internet and telecommunications sector primarily in Sweden and across Europe, with a market capitalization of approximately SEK 5.54 billion.
Operations: Bahnhof AB generates its revenue primarily from the internet and telecommunications services within Sweden and other parts of Europe.
Dividend Yield: 3.9%
Bahnhof AB's recent earnings report showed a revenue increase to SEK 491.38 million and net income growth to SEK 56.17 million, indicating financial health. However, its dividend sustainability is questionable with a high payout ratio of 97.7%, implying dividends are not well-covered by earnings despite a stable dividend history over the past decade. The stock trades below estimated fair value by 24.3%, offering potential undervaluation but its low yield of 3.88% trails behind top Swedish dividend payers.
Click here and access our complete dividend analysis report to understand the dynamics of Bahnhof.
Our comprehensive valuation report raises the possibility that Bahnhof is priced higher than what may be justified by its financials.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: BioGaia AB (publ) is a healthcare company that specializes in probiotic products with a global reach, boasting a market capitalization of approximately SEK 13.03 billion.
Operations: BioGaia AB generates its revenue primarily from the sale of probiotic products across various global markets.
Dividend Yield: 5.3%
BioGaia's dividend yield of 5.35% ranks well in Sweden, but its sustainability is questionable with a high cash payout ratio of 215.5%, indicating dividends are not adequately covered by free cash flow. Although the company's P/E ratio at 35.1x is favorable compared to the industry, inconsistent dividend payments over the past decade and coverage issues raise concerns about reliability and growth prospects, despite a recent earnings uptick to SEK 121.85 million in Q1 2024 from SEK 115.95 million last year.
Click here to discover the nuances of BioGaia with our detailed analytical dividend report.
The valuation report we've compiled suggests that BioGaia's current price could be inflated.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: G5 Entertainment AB (publ), based in Sweden, specializes in developing and publishing free-to-play games for smartphones, tablets, and personal computers, with a market capitalization of SEK 1.12 billion.
Operations: G5 Entertainment AB generates its revenue primarily from the development and publication of free-to-play games for various digital platforms.
Dividend Yield: 5.8%
G5 Entertainment offers a dividend yield of 5.77%, ranking in the top quartile within the Swedish market, supported by a stable yet short history of dividend payments over seven years. Despite recent earnings declines to SEK 37.48 million from SEK 47.76 million, dividends remain well-covered with an earnings payout ratio of 54.4% and cash payout ratio of 36.8%. The company's upcoming board reshuffle could influence future financial strategies, maintaining investor interest in its governance dynamics.
Get an in-depth perspective on G5 Entertainment's performance by reading our dividend report here.
Our valuation report unveils the possibility G5 Entertainment's shares may be trading at a discount.
Discover the full array of 24 Top Dividend Stocks right here.
Have you diversified into these companies? Leverage the power of Simply Wall St's portfolio to keep a close eye on market movements affecting your investments.
Discover a world of investment opportunities with Simply Wall St's free app and access unparalleled stock analysis across all markets.
Explore high-performing small cap companies that haven't yet garnered significant analyst attention.
Fuel your portfolio with companies showing strong growth potential, backed by optimistic outlooks both from analysts and management.
Find companies with promising cash flow potential yet trading below their fair value.
This article by Simply Wall St is general in nature. We provide commentary based on historical data and analyst forecasts only using an unbiased methodology and our articles are not intended to be financial advice. It does not constitute a recommendation to buy or sell any stock, and does not take account of your objectives, or your financial situation. We aim to bring you long-term focused analysis driven by fundamental data. Note that our analysis may not factor in the latest price-sensitive company announcements or qualitative material. Simply Wall St has no position in any stocks mentioned.
Companies discussed in this article include OM:BAHN B OM:BIOG B and OM:G5EN.
Have feedback on this article? Concerned about the content? Get in touch with us directly. Alternatively, email [email protected] | en | https://finance.yahoo.com/news/three-swedish-dividend-stocks-offering-020622086.html |
Here's a fresh new logo we baked just for you. 😘 pic.twitter.com/m54aX7N5dB
The IndieWire website posted two more new images from the project on Monday.
This year's Annecy will take place from June 9 to June 15 in the French town of the same name. Established in 1960, Annecy is the world's oldest and largest animation film festival.
While the film was also previewed last year at Annecy, the screening showed unfinished footage.
The film was previously slated to open on April 12, 2024, but was delayed to December 13, 2024.
The Lord of the Rings: The War of the Rohirrim is set in the world of J.R.R. Tolkien's Middle-Earth. New Line Cinema is producing the film in partnership with Warner Bros. Animation. Sola Entertainment is responsible for the animation studios for the film, and Warner Bros. Pictures will distribute the film.
Brian Cox plays Helm Hammerhand, the King of Rohan and protagonist. Gaia Wise plays Helm's daughter Hera. Luke Pasqualino plays Wulf, a Dunlending lord. Miranda Otto reprises her role from the original films as Éowyn, Shieldmaiden of Rohan, and she is also the narrator.
The cast also includes Lorraine Ashbourne, Yazdan Qafouri, Benjamin Wainwright, Laurence Ubong Williams, Shaun Dooley, Michael Wildman, Jude Akuwudike, Bilal Hasna, and Janine Duvitski.
The film is described as an original anime feature, depicting "a legendary battle that helped shape Middle-earth and set the stage" for Tolkien's The Lord of the Rings. It "explores and expands the untold story behind the fortress of Helm's Deep, delving into the life and bloodsoaked times of one of Middle-earth's most legendary figures; the mighty King of Rohan - Helm Hammerhand."
Joseph Chou (Blade Runner: Black Lotus TV series) is producing, and Jeffrey Addiss and Will Matthews (The Dark Crystal: Age of Resistance) are writing the screenplay. The Oscar-winner Philippa Boyens, who was part of the screenwriting team on the live-action The Lord of the Rings and The Hobbit film trilogies, is a consultant on the project.
Jason DeMarco — Adult Swim's senior vice president and head of anime and action series as well as senior vice president in the anime and action series/longform department at Warner Bros. Animation and Cartoon Network Studios — is a producer on the film, and he confirmed that the film is in 2D.
Sources: Variety (Jamie Lang), Jason DeMarco's Twitter account
News homepage / archives | en | https://www.animenewsnetwork.com/news/2024-05-13/annecy-screens-the-lord-of-the-rings-the-war-of-the-rohirrim-footage-in-june/.210784 |
Over the weekend, it was announced that actor James Laurenson had passed away in April at the age of 84. Rest in peace.
Born in New Zealand in 1940, Laurenson moved to the U.K. in the ’60s where he began acting professionally, working on both stage and screen. Over the decades, his notable credits include The Crown, Coronation Street, Australian detective series Boney, and, in his final film role, Matilda: The Musical.
And though he wasn’t gay himself, Laurenson is fondly remembered as being part of a very important moment in LGBTQ+ pop culture history: He was one half of the first-ever gay kiss on British television!
And the other half? None other than Sir Ian McKellen.
Back in 1970, the actors starred in a production of Christopher Marlowe’s classic Renaissance play Edward II at the Picadilly Theatre in London. McKellen played the titular character in one of his first breakthrough roles, with Laurenson as Piers Gaveston, the king’s “favorite,” a.k.a. a polite, old world way of saying the two were lovers.
(Needless to say, the play has long been a controversial one thanks to its homo-romantic themes.)
The production was such a sensation, breaking theatrical box office records for the Picadilly, that the BBC eventually decided to record and broadcast the play on air, which meant a rather passionate—and historic!—kiss between McKellen and Laurenson was beamed into homes across the U.K.
Nope, this wasn’t some chaste peck on the lips, or a fake smooch while the actors had their backs turned to the camera—it was an honest-to-goodness kiss, a fiery, emotion-filled one that goes on for a number of seconds unbroken.
For the curious, the full broadcast of Edward II is currently on YouTube, with the big moment occurring right around the 17:20 mark.
Again, not only was this a first for the BBC, but it’s considered by some to be the first man-on-man kiss to air on television ever. That’s all the more impactful when you consider that homosexuality was decriminalized in the U.K. just three years earlier, in 1967.
But it’s not like anyone was necessarily setting out to make history with the kiss. A few years back, McKellen was featured in an interview special with BBC Two’s Amol Rajan, reflecting that the network “wasn’t out to shock people or educate people, it was just doing a play that had a big success at the Edinburgh Festival and two seasons in London.”
McKellen, who was still closeted at the time Edward II aired, added: “I didn’t do that play because I was on a mission to tell people about homosexuality and certainly not my own.”
Of course, the actor did eventually come out publicly—in a 1988 radio interview for (where else?) The BBC—and years later is able to appreciate the impact the kiss has had on audiences.
“I’ve heard from people I shall never meet saying I’m so grateful to you for that kiss which I was watching in Indiana with my parents and we had a good conversation about it afterwards and I’m now a happily married gay man… So it was wonderful,” he shared.
As for Laurenson, McKellen said he’s “always grateful” for the kiss they shared. Or kisses rather. Edward II ran for nearly a year prior to its BBC broadcast, which meant the pair had to lock lips night after night after night.
“I still recall the first softness of James Laurenson’s lips,” McKellen once wrote, “which was a bonus throughout the run.”
The late Laurenson’s legacy—and lips—live on through his impressive body of work, and we’ll be forever grateful to both actors for moving the needle forward for LGBTQ+ representation in media.
We can't rely on mainstream media to tell our stories. That's why we don't lock Queerty articles behind a paywall. Will you support our mission with a contribution today? | en | https://www.queerty.com/that-time-ian-mckellen-james-laurenson-gave-us-one-of-the-first-and-fieriest-gay-kisses-on-tv-20240513 |
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.Save this picture!© Peter BennettsSave this picture!Plan - SiteSave this picture!© Peter BennettsBell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.Save this picture!© Peter BennettsSave this picture!© Peter BennettsPreston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.Save this picture!© Peter BennettsSave this picture!Plan - Ground Floor Bell StationSave this picture!© Peter BennettsThroughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.Save this picture!© Peter BennettsSave this picture!© Peter BennettsThe project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.Save this picture!© Peter BennettsSave this picture!© Peter BennettsThe plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.Save this picture!© Peter Bennetts
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.
Bell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.
Bell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.
Preston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.
Preston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.
Throughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.
Throughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.
The project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.
The project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.
The plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.
The plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.
You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users. | en | https://www.archdaily.com/1016542/preston-level-crossing-removal-project-wood-marsh |
Quinton “Rampage” Jackson’s boxing debut is going to have to wait.
MMA Mania has confirmed with sources that the scheduled boxing match on June 8, 2024, at Rumble of Titans: Duel In the Desert in Qatar between Jackson and former Heavyweight champion, Shannon Briggs, is now off. The bout’s cancelation comes as a result of fraud concerns from the fighters regarding the event’s promoter, Quantum Sports & Media (QSM) World. It’s unknown whether or not the promoters will still try and hold an event on the discussed date.
QSM’s Founders, Hossama Dawood Khan and Suleyman Dawood Khan, along with other family members, were alleged of defrauding concerts of artists, Drake and Travis Scott, per a lawsuit by Jazba Entertainment (h/t Global Village Space) in July 2023. The allegations stated that Jazba Entertainment was persuaded by the family to invest in a Dubai concert featuring the above acts on May 28, 2021. The event was pitched with the name “Rhythm” at Dubai’s Coca-Cola Arena. Jazba’s Pervaiz Akhtar with the aid of Kenyan promoter, Rani Jamal, transferred $250,000 to QSM World’s Qatar account for the event. QSM World ignored Akhtar and failed to deliver the promised concert materials once the transfer was made. The Khans were also alleged to have advertised a boxing event in 2022 that never happened after acquiring support from investors.
“Hossama Dawood Khan alleged that the $3 million investment made by Akhtar was forfeited by Drake and Travis Scott’s management when the concert was canceled,” Global Village Space’s report read. “However, representatives of the artists denied these claims, expressing surprise and disappointment that their names were misused in fraudulent activities.”
MMA Mania has since received a brief letter of legal action sent to QSM World in July 2023 along with proof of text messages that were unresponded to by Hossama Khan, countering his claim below that no legal action is being taken. It’s believed that all has just been ignored. A report was made to the Qatar embassy in London, England but a response has yet to be received by Jazba Entertainment as of March 2024. Jazba Entertainment plans to take action with Qatar’s capital, Doha.
“Both news articles are with the intention of defamation,” Khan said in a statement to MMA Mania this past March. “Also, if we have done something wrong, why have they not gone down a legal avenue as they have said in the article? To date, no legal action has been taken against us because legally they have done a breach of contract. Anyhow, we have moved on with our legal options to take down the news articles and our team is already working on it. As said before they’re just trying to defame our name.
“When you read both news articles they don’t match up,” he concluded. “One article says one thing and the other says another thing.”
QSM World requested The News International take down or at the very least edit out the QSM name from its story on the Khans on Feb. 22, 2024. Legal action was specified as not threatened but details for the request were not specified. Sources close to the situation alleged that QSM World is not registered in Qatar and currently uses a headquarters location in Doha Tower that does not exist.
As the boxing event got closer, a pre-fight press conference in Qatar was scheduled for March 28, 2024. The press conference didn’t happen and Khan’s reasoning for why was as follows.
“Regarding the press conference, it’s rescheduled as in Ramadan we can’t have musical performance in Ramadan,” Khan told MMA Mania.
Aside from the well-documented eating and drinking limitations of Ramadan, which ended on March 29, there don’t appear to be any rules in Qatar regarding musical events or performances. Nonetheless, the press conference was not rescheduled.
Check your inbox for a welcome email.
Oops. Something went wrong. Please enter a valid email and try again. | en | https://www.mmamania.com/2024/5/13/24156014/rampage-jackson-vs-shannon-briggs-boxing-match-falls-apart-amid-promoter-fraud-concerns-mma |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864585 |
In September 2023, Jim Ryan announced he would be retiring from Sony and leaving his role as president and CEO of Sony Interactive Entertainment at the end of March 2024. Today, Sony announced that it has named two people for separate CEO roles at SIE, which includes the PlayStation division. Both will officially begin working in their new gigs on June 1.
In a press release, Sony announced that one of the new CEOs will be Hideaki Nishino, He will be in charge of SIE's Platform Business Group. He currently serves as the senior vice president for the Platform Experience Group. Sony stated:
In his new capacity as CEO of the Platform Business Group, Nishino will continue to be responsible for technology, products, services, and platform experience. He will also oversee third party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
The other new SIE CEO will be Hermen Hulst, who will be running the company's Studio Business Group. Hulst currently works as the senior vice president and head of the PlayStation Studios division. He previously was the co-founder of Guerrilla Games. Sony said in his new CEO role, Hulst will be "responsible for the development, publishing, and business operations of SIE's first-party content."
In a post on his X (formerly Twitter) account, Hulst stated:
It’s a true privilege to be asked to lead the new Studio Business Group for Sony Interactive. I’m excited to continue working with incredibly talented teams and studios to deliver unforgettable game and entertainment experiences.
Both of the new PlayStation CEOs will have their own set of challenges after taking over from Jim Ryan. The division announced it was cutting 900 team members back in February, which included shutting down its London studio. The company also offered a warning in February that it had cut back its projections for PS5 sales for its current fiscal year and there will not be a major first-party PlayStation game released until sometime in 2025.
Login or Sign Up to read and post a comment.
Please enter your reason for reporting this comment. | en | https://www.neowin.net/news/sony-names-two-people-as-the-new-ceos-for-its-playstation-business/ |
The entertainment industry has been mourning the loss of journalist Sam Rubin. The longtime entertainment reporter for KTLA Morning News died on May 10 at age 64 and many celebrities in Hollywood have been paying tribute to him. NCIS vet Pauley Perrette is among those sharing memories of the beloved journalist and even shared a clip from one of their most recent interviews.
Perrette took to Instagram after news broke about Rubin’s passing to pay tribute to him, noting that he “was a friend and an excellent human.” She also shared that while doing interviews was “not a pleasant part” of her job, she was always excited to be interviewed by him and see him on the red carpet “because he was real, he was fun and he was a friend.” Alongside her heartfelt message, the former actress also shared a short clip of the two of them on KTLA, where they kissed each other on the cheek:
A post shared by Pauley Perrette (@thepauleyp)
A photo posted by on
The clip in question seems to be from an interview Perrette did in December, as she shared another clip where she’s wearing the same outfit. It was in promotion of her new documentary Red Ribbons of Love and just from the look of it, she was happy to be with Rubin and the rest of the KTLA team.
She also spoke with Rubin for certain milestones in her career, such as her final episode of NCIS. Unfortunately, Perrette was just on the phone, but she certainly sounded happy to be on the line with Rubin and the team. All in all, I'm glad that this clip was available for viewing, even years after the interview took place:
When one door on CBS closes, another one opens, as did for Perrette. She also spoke to Rubin during the initial COVID lockdown about her short-lived sitcom Broke, which was unfortunately canceled after one season. Since she retired from acting following the sitcom, it had likely been a long time since the two of them had spoken to each other or, at the very least, done an interview together. It's possible that their interview last December might have been their first conversation in a long time, making it all the more bittersweet that Perrette used a clip from it for her tribute.
Many other celebrities have been paying tribute to Sam Rubin, including Ben Stiller, Octavia Spencer, Jerry O’Connell, Ryan Reynolds, Jamie Lee Curtis, Tom Hanks, Kiefer Sutherland, and many, many more. Based on these reactions from some of the biggest names in Hollywood, he had a strong impact on the industry and a legacy that will continue.
Passionate writer. Obsessed with anything and everything entertainment, specifically movies and television. Can get easily attached to fictional characters.
After Chicago P.D.'s Clues About Upton's Departure, Is Atwater Getting A Juicy New Story For Season 12?
'Isn't That Crazy?': Julia Louis-Dreyfus Shares Wild Story About Being Recognized By Seinfeld Fan While Giving Birth
After ABC Announced Fall TV Schedule, Here's Why I'm Worried About The Rookie And Will Trent Season Finales
Cinemablend is part of Future US Inc, an international media group and leading digital publisher. Visit our corporate site.
©
Future US, Inc. Full 7th Floor, 130 West 42nd Street,
New York,
NY 10036. | en | https://www.cinemablend.com/television/ncis-vet-pauley-perrette-tribute-tv-journalist-sam-rubin |
Monica Schipper/Getty
Jean Catuffe/Getty
Monica Schipper/Getty | en | https://people.com/olympic-champion-nathan-chen-graduates-from-yale-8647948 |
'I IDOLIZED YOU. YOU ARE AND WILL ALWAYS BE MY HERO'Sam Rubin's son, Colby, joined KTLA 5 Morning News on Monday to reflect on his father's passing and share a message to him. pic.twitter.com/NYFXYVqmtT
Gone, but never forgotten. Sam Rubin's son is honoring the beloved late KTLA reporter after his shocking and sudden death. pic.twitter.com/JEvFQqOePu
I would not be able to do that, especially so soon after his passing. What a brave thing to do. | en | https://ohnotheydidnt.livejournal.com/128394166.html |
https://toynewsi.com/436-52734
Researchers worldwide are analyzing and debating the feasibility of a scenario where an individual clad in leather and equipped with various heavy gear, executes a backflip while evading three rockets and gunfire, without retaliating with his Uzi or knife.
The wolf is about to do the same with, only carrying the full clip the ninja forgot back in the NinjaVan.
https://toynewsi.com/436-52734
Researchers worldwide are analyzing and debating the feasibility of a scenario where an individual clad in leather and equipped with various heavy gear, executes a backflip while evading three rockets and gunfire, without retaliating with his Uzi or knife.
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52734 |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864197 |
Slashdot is powered by your submissions, so send in your scoop
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864195 |
There's never a bad night for some Dark Knight entertainment, and if you're craving a Batman film, these days you're spoiled for choice. An icon of cinema, Batman has appeared in dozens of films and TV show projects over the years. The live-action movies are arguably where Batman has left his biggest mark on mainstream media, but you'd be surprised to see just how good some of his animated adventures are.
If we're talking big-bat-budget escapades, then you can't go wrong with classics like Tim Burton's one-two punch of Batman and Batman Returns. Starring Michael Keaton under the cowl, these films combined a dark atmosphere with an all-star cast of actors rising to menace the Caped Crusader. There's a timeless quality to these films, as they were produced before CGI enhancements became commonplace, and the performances from Keaton, Jack Nicholson, Michelle Pfeiffer, and Danny DeVito helped cement Burton's tour of Gotham as legendary entertainment.
Shifting ahead to the current age, we've had some interesting interpretations of Batman over the last decade. Christopher Nolan introduced a Batman who could actually turn his head in his Dark Knight trilogy, while Zack Snyder and Ben Affleck created a vigilante who was a terrifying mountain of muscles hellbent on murdering Superman in his first outing. A few years later, we got Robert Pattinson in The Batman--or The Pattman--a grounded take on the hero where the focus was on detective work.
On the animated front, some of the best Batman projects of all time can be found in this department. Batman: The Animated Series is the gold standard for the character, while Batman Beyond offers a fascinating departure from the status quo that features an all-new hero wearing the mantle of the Bat in a far-future version of Gotham. Batman: The Brave and the Bold is pure Silver Age silliness at its very best, while 2004's The Batman is a surprisingly cool take on the hero with radical redesigns of his sinister enemies--did anyone expect a Spongebob-voiced Penguin who had mastered Kung-Fu in this series? And the animated Justice League show puts Batman a global stage on which to wage his war on crime.
Then there are the DC Universe animated films, which are a collection of one-shots and connected tales that have been regularly produced for two decades now. These include fantastic adaptations of beloved comic stories like Batman: Year One, The Dark Knight Returns, and Under the Red Hood, as well as several original one-shot films.
As you can see, there are dozens of great Batman stories to watch, and the good news is many of them are available right now on Blu-ray. So, to help you track them all down so you can add them to your collection, we've we've compiled all the Batman Blu-rays currently available into a giant list below. You'll find almost every Batman film and TV show on there, minus some gaps for the few films that haven't made it past to Blu-ray yet--such as the awesome Batman vs Dracula--but we've also added a section for Batman-adjacent projects. These are mostly animated films featuring Batman, like several Lego movies, Justice League team-up appearances, and crossovers with other IPs like RWBY.
The '60s Batman TV series starring Adam West as the Caped Crusader and Burt Ward as Robin is goofy, silly, and effortlessly charming—Silver Age Superhero antics at their finest. This Blu-ray collection packs the entire 120-episode run onto several discs and comes with over three hours of extra content.
Batman's 1966 film has everything you could ask for in a movie featuring the dynamic duo: Supervillains on the loose, sharks being punched, and a memorable scene where Batman simply can't get rid of a bomb! A cult-classic, they don't make Batman movies like this anymore.
Tim Burton's 1989 Batman film reinvented the vigilante for a grittier era with a dark and gothic adventure pitting Michael Keaton's Dark Knight against Jack Nicholson's Joker. The film still holds up pretty well 35 years after it was first released, and this 4K cut is loaded with extras, Prince music videos, and a fascinating documentary examining Batman's impact on cinema.
Tim Burton and Michael Keaton return for another round of superheroics in Batman Returns, which just also happens to be one of the best Christmas movies of all time (if you don't mind being weirded out by Danny DeVito's Penguin). Michelle Pfeiffer puts in a show-stealing performance as Catwoman, and this film looks better than ever in 4K. Once you're done watching, you can enjoy more behind-the-scenes extras chronicling the creation of this iconic sequel.
There's no denying that Batman Forever is a kid-friendlier take on Gotham's protector that lacks the dark fantasy nature of Tim Burton's movies, but director Joel Schumacher went all in on this direction and created a fun movie for all ages. Jim Carrey and Tommy Lee-Jones chew up all the scenery whenever they're on screen, Val Kilmer nailed the duality of Batman and Bruce Wayne, and Chris O'Donnell made an impact as Robin in this weird but memorable film.
Batman and Robin might be a toy commercial, but it's one hell of a toy commercial. It's film a campy, zany, and colorful homage to the '60s-era of Batman, featuring an amazing cast that includes George Clooney as Batman, Arnold Schwarzenegger as Mr. Freeze, and Alicia Silverstone as the newest members of the Bat-Family, Batgirl.
After Batman and Robin's critical flop, Warner Bros. rebooted the franchise once again, this time for a more modern take on the hero. Director Christopher Nolan opted for a grounded approach to Batman, and recruited Christian Bale as his Dark Knight. Batman Begins is a fascinating reimagining of Bruce Wayne's journey to becoming Batman, featuring amazing art direction and one of the best Batsuits of all time. It also has one of the coolest versions of the Batmobile yet. Along with the movie, this Blu-ray release comes with a library of interesting extras charting Batman's return to the big screen after a lengthy absence.
The second film in Nolan's Batman trilogy, The Dark Knight, is an action-packed exploration of the toll Batman's war on crime has on their personal life. For many, The Dark Knight is the best Batman movie. But even if you disagree, there's no denying it's a brilliant crime film. Much of the movie's critical and financial success is owed to Heath Ledger, whose Oscar-winning performance as Batman's arch nemesis, the Joker. Sadly, it would be Ledger's final on-screen performance before he passed away 2008 shortly before the film's premiere.
The Dark Knight Rises closes out Nolan's Batman saga by putting Batman through the ringer. Exiled and broken by Bane-- a terrifying new powerhouse with grand designs to destroy Gotham--Batman must learn to conquer his fears if he wants to save his city from destruction.
While Man of Steel kicked off DC's short-lived "Snyderverse," Batman V Superman cemented it as an interconnected cinematic universe. The film features Ben Affleck under the cowl, turning in one of the most savage live-action renditions of Batman. As the name implies, the movie follows a conflict between Superman and Batman that lays the foundation for Snyder's Justice League movies. This Blu-ray is also for Snyder's director's cut, a longer version of the movie that is much better than the theatrical version.
Technically, Batman is only in Suicide Squad for a handful of minutes, but this still counts for the list! Suicide Squad is not a good movie, but if you're looking to have a complete Batfleck collection, then you'll have to compromise and add this average action flick to your shelf. On the plus side, you're getting a pretty solid selection of extras with this Blu-ray.
Like Suicide Squad, the 2017 cut of Justice League is mediocre at best. Joss Whedon took over for Zack Snyder after he left the production due to a personal tragedy in his life, and the end result is a by-the-numbers movie that looks average and lacks Snyder's artistic vision. Fortunately, there's a much better version of the film available to purchase--but this one is worth grabbing if you want a full collection on the shelf.
Zach Snyder's version of Justice League, aka "The Snydercut," would eventually see the light of day in 2021, some five years after the original version's theatrical release. Snyder's Justice League features all of his signature filming and editing traits, including a long run time that will push your bladder to the limit. It's also presented in a new aspect ratio to help center your gaze on all of the explosive slow-mo action unfolding before you. If you're a fan of Snyder's work then you'll love this finale to his Age of Heroes saga.
We've seen Batman as a ninja-punching vigilante and a god-slaying badass in previous films, but director Matt Reeves wanted to focus on the detective side of the Dark Knight in 2022's The Batman. With Robert Pattinson in the lead, The Batman offers the most realistic big-screen take on Batman yet, with a gritty and dirty tour of Gotham that sees a rookie Batman work to expose corruption and bring a murderer into the light.
Proving that he hadn't lost of any of his dark charm, The Flash saw Michael Keaton once again suit up as Batman to help the Scarlet Speedster save the Multiverse. Like the other Blu-rays on this list, you can kick back with several featurettes, deleted scenes, and more.
Detailing the evolution of Bruce Wayne into Batman, Gotham focuses on the city before it had a vigilante keeping the streets safe. It's weird, campy, and occasionally hamstrung by a low budget, but this is still a fun show that regularly puts its own spin on the Batman mythos. It's a shame it ends with a glimpse at what is easily the worst live-action Batman costume ever made.
Batman starred in several animated series over the years, but Batman: The Animated Series soars above them all. A killer combo of quality storytelling, classic influences, and stellar voice-acting by the late Kevin Conroy, Batman: The Animated Series offer 109 episodes of the Dark Knight at his best.
When age catches up to Bruce Wayne and he finds himself no longer capable of protecting Gotham from a new generation of criminals, a new, untested hero inherits the legacy of Batman. At the time it first aired, Batman Beyond was a bold new direction for the franchise, setting up a new world full of fresh threats for this new version of Batman to face off against in a futuristic version of Gotham City.
Batman took a step into a bigger world in Justice League, as he joined his fellow heroes to save the day from cataclysmic threats. If you loved the Batman or Superman animated series, then Justice League is a worthy followup full of multi-part adventures featuring DC's greatest heroes.
Justice League Unlimited is sees DC's best and brightest working together toward a common good. While Batman isn't featured in every episode, he still makes a big impact whenever he does appear. With intricate plots, excellent animation, and an all-star cast of famous voices, Justice League Unlimited is a love-letter to DC's past.
The Batman reimagines the Dark Knight as a younger and cooler new hero, one who still has plenty to learn. This particular series featured bold reimaginings of fan-favorite characters and supervillains, mixing a family-friendly approach with top-notch animation. It's a forgotten chapter in the history of Batman, but this series is an underrated gem that's worth having in your collection.
Another throwback to the Silver Age, Batman: The Brave and the Bold features the Caped Crusader teaming up with DC's best, brightest, and strangest heroes across multiple episodes--including the best version of Aquaman. Silly but never goofy, this is a fun show that'll put a smile on your face as you see Batman explore the DC Universe.
While not the best reboot of the Dark Knight, Beware the Batman is still fascinating to see a new direction for the vigilante. Combining slick CG animation with strange villains, and expanded roles for the supporting cast, Batman would hone his skills against foes like Anarky, Ra's Al Ghul, and Deathstroke in this forgotten series.
Batman: Mask of the Phantasm isn't just a fantastic animated film, it's one of the best Batman movies of all time. It might be aimed at a younger audience, but this movie pulls no punches with its portrayal of Bruce Wayne as he sacrifices the chance to have a happy life for an opportunity to become the Batman. Throw in stellar animation and Mark Hamill in his prime as the Joker, and you've got an all-time classic to watch now that it has received a 4K restoration.
Who has the coolest gadgets? Batman! Who has the tricked-out ride? Batman! Who has the best Lego movie? Batman! Who always pays his taxes? Not Batman!
The one-and-only Batman Beyond movie is an action-packed ride through Gotham, but the real fun here is the mystery at heart of this film as Bruce Wayne deals with ghosts from his past. Just how is the Joker alive when he's supposed to be very dead in this timeline? That's a case both Batmen will have to investigate if they can survive the return of the clown prince of crime. | en | https://www.gamespot.com/gallery/batman-blu-rays/2900-5163/ |
Spilling tea in an appearance on fashion industry favourite podcast The Cutting Room Floor, Hollywood super-stylist Law Roach has revealed which luxury labels refused to dress Zendaya.
Zendaya is in the spotlight this year, with the release of Dune and Challengers, as well as high-profile gig co-hosting the Met Gala last week. She wore not one but two looks to the event, and another to the afterparty, and Zendaya’s wardrobe choices have been earning increasing attention.
Now stylist Law Roach made headlines with the revelation that some of the fashion industry’s biggest brands refused to dress that star, and that it has influenced who he and Zendaya work with now, and who they don’t.
Roach appeared on The Cutting Room Floor podcast, telling host Recho Omondi about approaching brands early in Zendaya’s career.
“I would write Saint Laurent, Chanel, Gucci, Valentino, Dior, and they would all say, ‘No’,” he explained, reasoning that she was too “green”.
Roach said Zendaya still hasn’t worn the “big five” brands – Chanel, Gucci, Dior, Saint Laurent and Valentino – in public or in red-carpet appearances (although Variety reports they have been worn in editorial shoots). “She still has never worn Dior on a carpet,” he said. “She still has never worn Chanel on a carpet.”
One luxury house earned a change of tune. “When I said, ‘If you say no, it’ll be a no forever,’ that rang true for a long, long time.” Zendaya landed a contract with Valentino in 2020.
The star has brand relationships with luxury brands Bulgari and Louis Vuitton – though there have been rumours about that the relationship with the latter may be cooling) while Spanish brand Loewe has been a regular feature in the much-publicised tennis-themed wardrobe for her Challengers press tour. (Designer Jonathan Anderson did the costumes for the Luca Guadagnino film).
And there’s a constellation of designers she does wear in public: Prada, Thierry Mugler, Versace, Marc Jacobs, Erdem, Ralph Lauren.
Earlier this year Zendaya became the first star to cover both US Vogue and UK Vogue at the same time.
Zendaya is Law Roach’s main client, after the super-stylist stepped back from dressing celebrities in March. “The politics, the lies, and false narratives finally got me!” he posted in a shock Instagram post. “You win – I’m out.”
These days Zendaya is his focus, and he says he’s “the most unretired retired person”. And as her career surges, the work required for promotion of films like Dune and Challengers, both of which had highly considered promotional wardrobes and countless public appearances, likely keeps Roach busy.
The pair have been working together since the Euphoria star was 14, and she has been outspoken in the past about how she’s been treated by the media.
In 2015 E! Fashion Police host Giuliana Rancic made “outrageously offensive” comments about Zendaya’s hair at the Oscars, prompting the actor to speak out publicly. That same year she criticised Modeliste magazine for airbrushing her body.
Roach has been candid too, and this isn’t the first time he’s discussed the challenges he and Zendaya have had with brands. “Nobody wanted to dress her when she wasn’t known, so I would put her in things that other people had already worn,” Roach told The Guardian, explaining a tactic that earned Zendaya regular placements in the ‘who wore it better’ columns that were common in the magazines and blogs of the 2000s.
Now she’s wearing rare archival fashion and couture – for the Met Gala Zendaya wore bespoke Maison Margiela Artisanal and vintage Givenchy, both by John Galliano, and Roach, a star in his own right now, attended the Met Gala too.
His ongoing candour about the business of styling and the challenges Zendaya faced before ascending to stardom shed light on the politics of the industry and how brands try to control their image.
Emma Gleason is the New Zealand Herald’s lifestyle and entertainment deputy editor (audience). Based in Auckland, she covers entertainment, fashion and culture. | en | https://www.nzherald.co.nz/lifestyle/celebrity-stylist-law-roach-reveals-fashion-brands-which-refused-zendaya/25YIBYYIOFBL7D333C66IXMNQA/ |
Colby Rubin, son of the late KTLA entertainment reporter Sam Rubin, read a letter to his father during a Monday appearance on KTLA. The beloved interviewer had been with the Los Angeles channel for more than 30 years when he died suddenly of a heart attack on Friday, May 10 at the age 0f 64.
His son sat in his dad’s chair on the KTLA set and teared up as he read the letter, as did hosts Jessica Holmes, Mark Kriski, Frank Buckley and Dayna Devon. Colby said he’s been overwhelmed by the response to his father’s death.
“The outpour has been tremendous. People I didn’t even know have been reaching out,” Colby explained.
“Hi, Dad. I wrote this under the desk in your cubicle where you used to catch me sleeping,” the son shared in his letter. “Only you weren’t there when waking up this time. Dad, I can’t believe you’re going to never pick me up from school again. We’ll never get to go biking. I will never argue about food. You won’t be in my wedding.”
He added, “You were the kindest soul, you were the light in every row. I can’t imagine my life without you. You were part of my everything.”
Colby recalled how his dad was there for him when he needed a kayaking partner on a Boy Scout trip. He shared a text exchange from after he received negative feedback for a performance in his school play. His father wrote, “Ignore the noise. You will get bad reviews for every show,” closing with, “You have excellent genes. You have every gift. Respect your own talent.”
“I am completely who I am because of you,” Colby added. “You were always smiling and laughing, and you were everything good in the world… You instilled within me a moral compass and values that I hold myself to throughout my life.”
After reading the letter, Colby brought out cupcakes for everyone — just like his father used to do.
Devon, who had to wipe away tears, reached out to hug him, saying, “I think all of us that are parents can say that is the most beautiful thing I’ve ever heard. And I love your cupcake. Like Chris Schauble said earlier on the 6 o’clock news, we are here for you guys as a family. We have got you. We’ve got your back.”
Mark Kriski told Colby, “You’ve got a lot of uncles and aunts here. Forever.” | en | https://www.thewrap.com/sam-rubin-ktla-son-colby-letter/ |
Chris Pratt revealed that his wife, Katherine Schwarzenegger’s “hall pass” is Usher – but he isn’t too mad about it.
“She knows every word [of his music],” Pratt, 44, told Entertainment Tonight on Monday, May 13. “I didn’t even know that until we were doing a little road trip and she started putting on Usher. And man, she knows every single word, so I guess Usher’s her hall pass. I can’t blame her.”
Pratt previously posted a video of Schwarzenegger, 34, dancing to Usher’s Super Bowl halftime performance in February.
“When Usher sang ‘Don’t leave your girl around me’ was he talking to me?” the Parks and Recreation alum captioned the clip.
Pratt and Schwarzenegger tied the knot in June 2019 after one year of dating. The couple went on to welcome daughters Lyla and Eloise in 2020 and 2022, respectively. (Pratt also shares son Jack, 11, with ex-wife Anna Faris.)
In addition to gifting her a hall pass, Pratt also was sure to shower her with praise for Mother’s Day.
“Happy Mother’s Day to all the mamas out there! Love to my Mom Kathy who set a high bar for her love, patience, humor, and joy in motherhood. And a special thank you to my darling Katherine for all you do,” he wrote via Instagram alongside several photos of his mom, Kathy Pratt, and Schwarzenegger. “Witnessing you be a mom to Lyla and Eloise and a stepmom to Jack makes me fall more in love with you every day.”
He continued: “The 24/7 job of scheduling, transporting, loving, nurturing, managing calendars, planning activities, the nutrition, the boundaries, the rules, the patience, the gentleness, the firmness, the wisdom, and grace. It’s truly a marvel.”
Last month, Katherine’s dad, Arnold Schwarzenegger, gushed about how happy he was that his daughter found Chris (Arnold, 76, shares Katherine, Christina, 31, Patrick, 30, and Christopher, 26 with ex-wife Maria Shriver. He also shares son Joseph, 26, with Mildred Patricia Baena.)
Thank You!
You have successfully subscribed.
Subscribe to newsletters
Subscribe
By signing up, I agree to the Terms and Privacy Policy and to receive emails from Us Weekly
Deal of the Day
Act Fast — Crocs Are 25% Off Today!
View Deal
Check our latest news in Google News
Follow Us
Check our latest news in Apple News
Follow Us
You have successfully subscribed.
“He’s a fun guy to talk to. I’m really happy that my daughter has found him. And that he has found her … they found each other,” Arnold said on Jason Kelce and Travis Kelce’s “New Heights” podcast in April. “Because they fit really well together and just look wonderful together. They’re so in love with each other.”
Arnold went on to share that he thinks Chris is a “fantastic” actor, revealing that the twosome like to talk about their experiences in the industry.
“I mean, he’s really great,” he noted. “We talk a lot about show business because this is a whole new era now, and so we talk about that vs. when I got into the game.”
You have successfully subscribed.
You have successfully subscribed.
You have successfully subscribed. | en | https://www.usmagazine.com/celebrity-news/news/chris-pratt-says-usher-is-katherine-schwarzeneggers-hall-pass/#article |
https://toynewsi.com/13-52731
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52730 |
https://toynewsi.com/499-52733
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52732 |
HUYA Inc. (HUYA) has announced a strong first quarter for 2024, with substantial growth in its game-related services and a healthy increase in its user base. The company's strategic focus on commercialization, content, and technology advancements has led to a 137.6% year-over-year surge in game-related services, advertising, and other revenues, amounting to RMB 244 million. Despite a decline in live streaming revenues, HUYA achieved a net income of approximately RMB 92 million on a non-GAAP basis and plans to continue building shareholder value through operational improvements.
In conclusion, HUYA Inc. has demonstrated a strong start to 2024, with a growing user base and a strategic focus on diversifying revenue streams. The company's efforts to optimize costs and enhance cross-platform cooperation are expected to contribute to a stable revenue outlook and improved profitability for the full year.
HUYA Inc. has shown resilience and strategic agility in the face of a challenging market. Here are some InvestingPro Insights that shed light on the company's financial health and market performance:
InvestingPro Data metrics provide additional context to HUYA's financial landscape:
For readers looking to delve deeper into HUYA's financials and market performance, InvestingPro offers additional insights and metrics. With a total of 13 InvestingPro Tips available, investors can gain a comprehensive understanding of HUYA's position and potential. To access these insights, use the coupon code PRONEWS24 to get an additional 10% off a yearly or biyearly Pro and Pro+ subscription at https://www.investing.com/pro/HUYA.
Hanyu Liu: Good day and good evening and thank you for standing by. Welcome to HUYA's First Quarter 2024 Earnings Webinar. I am Hanyu Liu from HUYA's Investor Relations. At this time, all participants are in listen-only mode. Please be advised that today's webinar is being recorded. The company's financial and operational results were issued earlier today and are posted online. You can also view the earnings press release by visiting the IR website at ir.huya.com. A replay of the call will be available on the IR website in a few hours. Participants of management on today's call will be Mr. Junhong Huang, HUYA's Acting Co-CEO and Senior Vice President; and Ms. Ashley Wu, Acting Co-CEO and Vice President of Finance. Management will begin with prepared remarks and the call will conclude with a Q&A session. Before we continue please note that today's discussion will contain forward-looking statements made on the safe harbor provisions of the U.S. Private Securities Litigation Reform Act of 1995. Forward-looking statements involve inherent risks and uncertainties. As such, the company's results may be materially different from the views expressed today. Further information regarding these and other risks and uncertainties is included in the company's prospectus and other public filings as filed with the U.S. Securities and Exchange Commission. The company does not assume any obligation to update any forward-looking statements except as required under applicable law. Please also note that HUYA's earnings press release and this conference call include discussions of unaudited GAAP financial information as well as unaudited non-GAAP financial measures. HUYA's press release contains a reconciliation of the unaudited non-GAAP measures to the unaudited most directly comparable GAAP measures. With that, I'm pleased to turn the call over to our Co-CEO and SVP, Mr. Huang. Please go ahead.
Junhong Huang: Okay. Thank you, Hanyu. Hello, everyone. Thank you for joining our earning conference today. We are pleased to deliver first quarter results featuring a healthy user-based expansion, gross in-game-related services, and a more stable overall revenue trend. We also improved our profitability with non-GAAP net income reaching approximately RMB 92 million. With 2024 off to a good start, I'd like to share some details about the year's key strategies and recent developments, including our strategic transformation and commercialization focus, content, and platform ecology upgrades, and technology and product advancements. Let me start with an update on our strategic transformation. We are making encouraging progress in the commercialization of our game-related services driven by the rapid growth of revenues from game distribution and advertising services as well as in-game item sales. Our game-related services, advertising, and other revenues, formerly known as advertising and other revenues, reached RMB 244 million for the first quarter, representing growth of 137.6% year-over-year and 30.7% quarter-over-quarter. This growth reflects a strong and engaged base of high-value gamer users on our platform and validates our new directions potential. In terms of game distributions, we are broadening our coverage to include more games, both upcoming and existing titles. Our gamer users tend to have high commercial value potential with users' average spending level through HUYA's distribution channel performing well, particularly in the MMO and SLG categories. We are also refining our operations to capitalize on their value as we develop game distribution services. For in-game item sales, we offer a diverse range of popular game props for a growing number of games. Additionally, we are expanding our offering of broadcaster-customized in-game virtual items to help strengthen connections between broadcasters and their fans. With regard to game advertising services, we are working with more game companies and carrying out innovative broadcaster promotion activities and campaigns. We are also actively preparing the upcoming launch of eagerly-awaited D&F Mobile game to seize related opportunities in game distribution and promotion. In addition to providing rich live streaming content and more comprehensive services related to this game for our users and the game studio, we will leverage this game to grow our game-related service revenues. In addition, I want to point out that we typically recognize revenues from game distribution and in-game item sales after revenue sharing with the game companies. That is on a net basis. That means game-related services actual total transaction value is much higher than its revenue. Game-related services' strong and rapid growth this quarter reinforces our confidence that this business revenue will continue to scale. Also, as game-related services tend to offer higher gross margins, this business should accelerate improvements in our overall gross margin and profitability as its contribution to total revenues increase. In the long term, this transformation will not only enhance our revenue mix, but could also enhance our revenue scale and profit levels. Turning to content and platform ecology, strengthening our cooperation with various platforms and products to enhance our platform ecology is a key strategy for us in 2024. In the first quarter, we hosted the New Year's Esports All-Star event in cooperation with three other major game live streaming platforms, featuring League of Legends, Honor of Kings, and Peacekeeper Elite competitions broadcast on multiple live streaming and content platforms. With an array of celebrities and popular broadcasters from each platform participating, the event was well-received by users during the Chinese New Year period and went viral beyond the e-sports audience. Its success also marked a major breakthrough for the game live streaming industry in terms of content co-creation. Through deep cooperation with our partners, we overcame platform barriers for the first time to mutually benefit from our complementary content. We believe this more open environment offers vast opportunities for HUYA to create win-win outcomes for platforms of all kinds. As an industry leader and barrier-breaking pioneer, our goal is to become a central hub within a more open content ecosystem. We are currently working with several live streaming platforms on professional-generated content production, broadcaster-across-platform streaming, and commercialization. We are also embracing the short-form video sector by bringing our video and live streaming content to these platforms. In addition, as we further enhance our cooperation with Tencent Group, our high-quality content is being featured on various product lines within the Tencent ecosystem, such as WeChat channels, Tencent Video, QQ, and an array of game products, touching a wider range of users. Thus, initiatives like these, we believe we can better meet users' needs increase the HUYA platform's influence and create future opportunities. Strategically, we are building a third-tiered pyramid of e-sports tournaments and event content. At the top are licensed professional e-sports tournaments. Our extensive coverage of top-tier licensed tournaments showcases our content quality while helping us improve our event operations capabilities. The middle tier is our premium self-produced events and programs, leveraging our leading position in the e-sports market and our abundant broadcaster and professional player resources. We are offering more and more influential self-produced content. Finally, the bottom tier comprises e-sports events we recognize targeting massive participation from local communities, which also help to broaden the audience for e-sports content. Actually, we'll provide more details on our Q1 content activities later. In terms of technology and product advancements, we upgraded the HUYA live mobile application to version 12 in February. This release features enhanced e-sports information community content and game-related service functions, as well as new interactive features on game live channels. For example, a new dedicated event of [technical difficulty] e-sports categories and upgraded event live information reports. In the community section, we optimized the integration of game information and strategies for various games and added an e-sports encyclopedia tab with comprehensive data on events, teams, and players. All of these enhancements are designed to better meet users' needs for professional game and e-sports content. On a related note, several new features we mentioned on our last call, including AI-powered customized commentary, real-time game status information, and intelligent editing for highlight replays also became available with this iteration. We remain dedicated to technology and product advancement, leveraging HUYA's strengths in game data and AI to bring users a unique, super-real interactive experience in terms of real-time interaction. Watching while playing and deliberate content creation, in turn, these differentiated experiences will deepen our competitive mode. In summary, we will continue to embrace changes in user demand and industry dynamics as the industry and market evolve. Through innovation across content, platform, ecology, technology, products, and commercialization, as well as deepened cooperation with industry partners and content creators, we aim to propel HUYA's business growth as we fortify our leading position in the game live streaming market and expand our presence in the game value chain, we will also drive the future development of the live streaming and game industries. With that, I will now turn the call over to our Acting Co-CEO and VP of Finance, Ashley Wu, to share more details on our results. Ashley, please go ahead.
Ashley Wu: Thank you, Vincent, and hello, everyone. I'll provide some updates on our operating metrics and financials. On the user side, we continue to solidify our user base, despite the first quarter being the usual low season for live streaming activities. Upgrades to the HUYA Live app and innovative cross-platform e-sports events and operational activities drove HUYA Live's average mobile MAUs to 82.6 million for the first quarter, up from 82.1 million for the same period last year. Also, the expansion of our game-related services and users paying for in-game virtual items contributed to a slight sequential increase in paying users on HUYA Live, reaching 4.4 million. Moving on to our professional content initiatives. On the licensed content front, we broadcasted over 65 licensed professional e-sports tournaments in the first quarter of 2024, with the spring speed of LPL, KPL and CFPL attracting the most viewers. Major Copenhagen for Counter-Strike 2 and Master's Magic for VALORANT also emerged as it hits on our platform. During the quarter, our licensed tournaments spent over 20 titles, and the broad coverage of these popular e-sports games further enhanced our content competitiveness. In addition to licensed e-sports content, we broadcasted 14 self-organized e-sports tournaments and entertainment PGC shows during the quarter. Many of these performed quite well, even though the first quarter is traditionally the off-season for large events. In addition to the cross-platform New Year's Esports All-Star event that we just mentioned, HUYA Champions Cup for CrossFire Mobile and the commentary program for Major Copenhagen event also captured viewer attention. Furthermore, we hosted the second stop of our Village Game series, the Youth Qujiang Village Games for Honor of Kings in Qujiang, Zhejiang Province. This event was a big success, advancing our efforts to expand the influence of e-sports content while also promoting local culture and village revitalization. In terms of our financial performance, revenues from game-related services, advertising, and other businesses increased rapidly, partially offsetting a decline in live streaming revenues. The game-related services, advertising, and other segments accounted for 16% of our total revenues in Q1, up from 12% last quarter and 5% a year ago, due to game-related services' increasing contribution. As game-related services enjoy a high gross margin, their increased contribution to total revenues also contributed to our gross margin improvement this quarter, drifting gross margin to 14.7% in combination with our cost optimization efforts. As this segment's revenue continues to grow, we expect our overall gross margin to benefit further. We also reduced total operating expenses by 17.8% year-over-year, with double-digit savings in all three OpEx line items. We were pleased to achieve a meaningful profitability improvement in the first quarter. Let's move on to our Q1 financial details. Our total net revenues were RMB 1.5 billion for Q1, compared with RMB 1.96 billion for the same period last year. Live streaming revenues were RMB 1.26 billion for Q1, compared with RMB 1.86 billion for the same period last year, primarily due to the continuous soft microeconomic and industry environment, as well as our proactive business adjustments to support our strategic transformation and prudent operations. Game-related services, advertising, and other revenues were RMB 244 million for Q1, compared with RMB 103 million for the same period last year, primarily due to increased revenues from game distribution and advertising services and in-game item sales. Cost of revenues decreased by 24% year-over-year to RMB 1.28 billion for Q1, primarily due to decreased revenue sharing fees and content costs, as well as bandwidth costs. Revenue sharing fees and content costs decreased by 25% year-over-year to RMB 1.12 billion for Q1, primarily due to the decrease in revenue sharing fees associated with the decline in live streaming revenues, as well as lower costs related to e-sports content. Bandwidth (NASDAQ:BAND) costs decreased by 36% year-over-year to 60 million for Q1. This was primarily due to improved bandwidth cost management, bearable pricing terms, and continued technology enhancement efforts. Gross profit was RMB 221 million, and gross margin was 14.7% for Q1. Excluding share-based compensation expenses, non-GAAP gross profit was RMB 225 million, and non-GAAP gross margin was 14.9% for Q1. Research and development expenses decreased by 12% year-over-year to RMB 135 million for Q1, primarily due to decreased share-based compensation expenses. Sales and marketing expenses decreased by 26% year-over-year to RMB 76 million for Q1, primarily due to decreased marketing and promotion fees, as well as personnel-related expenses. General and administrative expenses decreased by 18% year-over-year to RMB 60 million for Q1, primarily due to decreased share-based compensation expenses. Other income was RMB 12 million for Q1, compared with RMB 4 million for the same period last year, primarily due to higher government subsidies. As a result, operating loss was RMB 39 million for Q1, compared with RMB 57 million for the same period last year. Interest income was RMB 117 million for Q1, compared with RMB 96 million for the same period last year. Net income attributable to HUYA Inc. was RMB 71 million for Q1, compared with RMB 40 million for the same period last year. Excluding the share-based compensation expenses and amortization of intangible assets from business acquisition, lack of income tax, non-GAAP net income attributable to HUYA Inc. was RMB 92 million for Q1, compared with RMB 85 million for the same period last year. Non-GAAP net margin was 6.1% for Q1. Diluted net income per ADS was RMB 0.3 for Q1. Non-GAAP diluted net income per ADS was RMB 0.39 for Q1. As of March 31, 2024, the company had cash and cash equivalents, short-term deposits, short-term investment, and long-term deposits of RMB 9.4 billion, compared with RMB 9.9 billion as of December 31, 2023. Finally, let me provide an update on our shareholder returns. Under our up to U.S. dollar 100 million share repurchase program that began in August 2023, we have repurchased 15.2 million HUYA ADS, with a total aggregate consideration of US$48.5 million as of the end of March 2024. We also announced a special cash dividend declaration, totaling approximately US$150 million in March 2024. These initiatives are expected to return an aggregate value of nearly US$200 million to our shareholders. We will continue to focus on improving our financial and operational performance while building long-term shareholder value. With that, I would now like to open the call to your questions.
Operator: Thank you, Ashley. And hello, everyone. [Operator Instructions] Today's first question comes from Lei Zhang from Bank of America Securities. Lei, your line is open. Please go ahead.
Lei Zhang: [Foreign Language] Thanks management for taking my question. My question is regarding the game related business. Can you give us some updates here? And we also noticed some new game to launch such as D&F Mobile. And will this bring more opportunity to us? Thank you.
Junhong Huang: [Foreign Language] We started our strategic transformation last August, focusing on commercialization upgrading and providing more game related services. At present, we have made positive progress in the commercialization of game related services. Through the rapid growth of revenue from game distribution and advertising services and in-game item sales, the revenue of our game related services, advertising and other segments in Q1 reached 244 million, up by 137.6% year-on-year and 30.7% quarter-over-quarter. This growth not only reflects the high quality gamer user base on HUYA platform, but also validates the development potential of our new business direction. Specifically, in terms of game distribution, we are constantly expanding the coverage of games to include more new and existing titles. This year, we have covered the distribution of popular games, including Honor of King, Battle of Golden Spatula, and performed very well. For the new games we participated in before, such as Demi-Gods and Semi-Devils 2 mobile and DreamStar, HUYA distribution channels have also achieved leading results, especially by our pool of users in the game, which proves that the game users on HUYA platform have high commercial potential. In this regard, we are constantly optimizing our operations in order to make better use of this advantage. In terms of sales of game props, we provide a variety of popular props for more games, which have covered dozens of games at present. At the same time, we are also cooperating with the companies to customize props for broadcasters, which helps to strengthen the relationship between the broadcasters and fans. For example, one of our previous broadcasters achieved a transaction value of more than RMB 10 million when selling personal customized game skins in just one streaming session, reflecting the potential of this business model. In terms of advertising services, we are cooperating with more different game companies and carrying out innovative broadcaster promotion activities to seize the opportunity of new games and mini games promotion in the market. At present, the game license permits are released normally, with more new titles appearing in the market. This not only can bring more rich live game content, but also bring more opportunities for us to develop game-related services. For example, we are now actively preparing for the upcoming D&F Mobile game, working closely with the game studio. We are also recruiting broadcasters for live streaming and doing promotion work for the launch of exclusive props and gifts. We have also set up a special pre-download area in the game center section of HUYA Live. Based on the long-term large-scale audience of D&F content in HUYA platform, we hope that D&Fs mobile games will also be popular on our platform and help the growth of game-related services revenue. Finally, in addition, I want to point out that we typically recognize revenues from game distribution and in-game item sales after revenue sharing with the game companies on a net basis. So that means game-related services' actual total transaction value is much higher than its revenue and growing more rapidly. Game-related services' strong and rapid growth in this quarter reinforces our confidence that this business revenue will continue to scale up. Also, as game-related services tend to offer higher gross margins, this business should accelerate the improvements in our overall gross margin and profitability as its contribution to total revenues increases. In the long term, this transformation will not only enhance our revenue mix, but also enhance our revenue scale and profit levels.
Operator: Thank you. And our next question comes from Yiwen Zhang from China Renaissance. Yiwen, please go ahead.
Yiwen Zhang: Thanks for taking my question. So this year, the second year of our three-year roadmap, can you update on 2024 revenue and profit expectations for this year. Thank you.
Ashley Wu: In the first quarter, our total revenue was RMB 1.5 billion, and the rapid growth of revenue from game-related services, advertising, and others partially offset the decline in live broadcast revenue. Therefore, although Q1 is usually an off-season for live broadcast business due to the influence of less large-scale events and more holidays during the Spring Festival for broadcasters, our total revenue only decreased by 1.7% compared with Q4 last year, and the overall revenue tends to be quite stable. In terms of revenue mix, game-related services, advertising, and others accounted for 16% of the total Q1 up from 12% in the previous quarter and 5% in the same period last year. On the profit, due to the high gross margin of game-related services, advertising, and other segments, the increase of their contribution to total revenue also pushed up gross margin in this quarter. With our continuous efforts in cost optimization, Q1's gross profit margin increased to 14.7% from 13.7% in the same period last year. We also reduced the total operating expenses by 17.8% year-over-year, and all the three OpEx line items, achieved double-digit year-on-year decline. On the whole, the profit level in Q1 achieved an effective improvement, of which GAAP net profit, increased by about 79%. As for this year's revenue, we expect that in Q1 live revenue from and year-over-year point of view will continue to be affected, by last year's strategic transformation of internal resources allocation, and more prudent operation. However, compared with the first quarter, the revenue level is expected to continue to be stable, and more so in the following quarters. As for the game-related services, everything and others, we expect that the following quarters of the year, will see a relative fast growth, which will lead to a gradual recovery of our overall revenues from the previous quarter. As mentioned just now, most of the revenue from game-related services is recognized after revenue sharing, with the game companies as the net revenue. So despite the rapid growth of our business scale, we recognized value not as that much, and at the same time, given the nature of the business, we think that it would lead to a higher level of gross - profit margins. From a full year perspective, due to the changes in revenue mix brought about, by the new business growth, the proportion of higher gross margin business and total revenue will gradually increase. We will continue to optimize our events content costs and broadcaster's costs. So compared to 2023, we expect the gross profit for the year will continue to improve. Gross margin, is also an indicator that we are now placing greater emphasis on operational side, will continue more prudent in our spending particularly on selling expenses and labor costs. Overall, we will continue to maintain our expectations of a full year profitability in 2024, and profit growth over 2023. Thank you.
Operator: Our next question comes from Ritchie Sun from HSBC. Ritchie, please go ahead.
Ritchie Sun: Thank you management, for taking my questions. I have a question about cash usage. We have $1.3 billion cash on hand and we are half way through the buyback program. So any update plans in terms of say the buyback progress to extend it, or even increase the quota as well as any plans for annual dividend down the road? Thank you very much.
Junhong Huang: We announced a share repurchase program of up to $100 million in mid-August last year. And in the first quarter of this year, we repurchased nearly $20 million worth of our stock. As of the end of March, we had repurchased a total of $48.5 million. And in March, we announced a special cash dividend totaling approximately $150 million. So in total, these initiatives have returned nearly $200 million to HUYA's shareholders. At the end of March 2024, the company held cash, cash equivalents, and deposits totaling approximately $1.3 billion. The change compared to the number at the end of last December is a result of share repurchase expenses, and payments from operations. After the completion of the current cash dividend payment of $150 million, we expect to have over $1.1 billion in cash, cash equivalents, and deposits. Shareholder returns are a key focus of the management, and we will continue to carry out our shareholder return initiatives, in a manner that aligns with the market conditions, and the company's operations. In order to reward the shareholders, for their support and to enhance the company's efficient use of cash. Thank you.
Operator: Now, we will take our last question today from Thomas Chong from Jefferies. Thomas, please go ahead. Thomas, please unmute yourself.
Thomas Chong: Thanks management for taking my question. My question, is about the live streaming industry trend. How should we think about the competitive landscape, or the relationship among different live streaming platforms? And how should we think about these changes will affect HUYA users as well as the hosts? Thank you.
Ashley Wu: From the industry's point of view, the overall environment has become more open, and we believe that the platforms are no longer isolated, or purely competitive to each other. The game live broadcasting industry has entered into a new paradigm of growth that features both cooperation and competition. In this new market environment, we also believe that it brings broader opportunities to platforms, to helping them to one another and share content and resources, thus creating more win-win possibilities. Therefore, HUYA, as the leader in this industry, is also striving to breakdown platform barriers, and meet multiple needs of the users, and seize business growing opportunities. Strengthening cooperation and linkage, with various platforms and products and upgrading the platform ecology, is one of our important strategies this year. On the one hand, we are cooperating more with some live broadcasting platforms in professional content production, cross-platform broadcasting, and commercialization. The New Year's e-sports All-Star events hosted by HUYA in February this year is the first All-Star events event for, which we have broken down the industry barriers. It also marks a major breakthrough in content co-creation in the live game industry. At present, we have a number of cross-platform self-made events, and activities in preparation. In addition to the broadcasters and signed e-sports players on HUYA platform, these events will also invite players from other platforms to participate in them. So as to achieve in-depth cooperation on multiple platforms. For example, the upcoming HUYA LoL Legend Cup, will bring together outstanding retired players and active e-sports players, from the whole network for competition. The players' selection and forming of teams have attracted widespread interest from League of Legends players, and e-sports viewers on multiple platforms. And this response has been very enthusiastic, which demonstrates HUYA's brand influence as well as its strength in tournament production and operation. In addition, we are also embracing the field of short video. Based on HUYA's rich broadcaster's resources and broadcast operational experiences, we will introduce our video and live content into these platforms helping the broadcasters in HUYA, to obtain more opportunities for commercialization. At the same time, with further strengthening our cooperation with Tencent Group, we are delivering high-quality content to various product lines within the Tencent ecosystem, such as Tencent Video, QQ, and multiple game products, so as to reach in larger user groups. In terms of the platform ecology, we hope to become a more open ecological hub and promote a revolution in the industry, by strengthening cooperation with live broadcasters and video platforms and game companies. Under the new business model, our service recipient will not only be limited to users on HUYA Live, but also to the larger user group on more platforms, throughout the wider network. So that we can also participate in a larger market. For existing users on HUYA, they will get more exciting content, which is conducive to enhancing user loyalty and activity. In addition, we are taking advantage of HUYA's technology and product advantages in live games, and create a differentiated user interaction experience on HUYA's platform, through game data capabilities and AI capabilities. Through our efforts in ecological upgrading, our broadcasters will also have the opportunity to expand their popularity, and enjoy wider sources of revenue. Our more diversified cooperation with game companies, and innovative game-related services initiatives, will also help the broadcasters to expand their revenue channels, so as to cement the relationship between HUYA and broadcasters' community and enhance the attraction of HUYA platform to broadcasters. Thank you.
Operator: Thank you once again for joining us today. If you have further questions, please feel free to contact HUYA's Investor Relations, through the contact information provided on our website, or Piacente Financial Communications. This concludes today's call, and we look forward to speaking to you again next quarter. Thank you. Bye-bye.
This article was generated with the support of AI and reviewed by an editor. For more information see our T&C. | en | https://www.investing.com/news/stock-market-news/earnings-call-huya-reports-robust-q1-2024-growth-expands-user-base-93CH-3438468 |
Home » Movie News » Chris Hemsworth on hearing Marvel movie criticism from Scorsese, Coppola: “It bothers me, especially from heroes”
Chris Hemsworth on hearing Marvel criticism from Martin Scorsese, Francis Ford Coppola: “It bothers me, especially from heroes.”
We’ve seen several high-profile directors take shots at Marvel movies over the years, including Martin Scorsese and Francis Ford Coppola, but Chris Hemsworth isn’t standing for it.
While speaking with The Times, the Thor actor opened up about how it feels to hear such harsh criticism from filmmakers he looks up to. “It felt harsh, and it bothers me, especially from heroes. It was an eye-roll for me, people bashing the superhero space,” Hemsworth said. “Those guys had films that didn’t work too — we all have. When they talked about what was wrong with superheroes, I thought, cool, tell that to the billions who watch them. Were they all wrong?“
Hemsworth added, “Cinema-going did not change because of superheroes, but because of smartphones and social media. Superhero films actually kept people in the cinemas during that transition, and now people are coming back. So they deserve a little more appreciation.“
Chris Hemsworth will next be seen in Furiosa: A Mad Max Saga as Dementus. Joining the Mad Max franchise has been a long-time goal for the actor. In fact, he told Entertainment Weekly that he wanted to audition to play Max Rockatansky himself in Mad Max: Fury Road but couldn’t get his foot in the door. “[I] couldn’t even get a call or a meeting or anything,” Hemsworth said. “I just hadn’t done enough to warrant that.” When Fury Road was finally released, Hemsworth got his agent on the phone immediately. “I was completely absorbed and taken for the adventure and the ride. I said, ‘I’ve got to work with this guy, he’s a genius,’” Hemsworth said. “And then, the rest is history.“
The official synopsis for Furiosa: A Mad Max Saga: “As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland they come across the Citadel presided over by the Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.“ Furiosa will hit theaters on May 24th.
Denis Villeneuve’s Dune: Part Two sets streaming premiere on Max, and it’s arriving sooner than you think.
Supergirl: Woman of Tomorrow starring Milly Alcock gets official 2026 release date, with Mortal Kombat 2 hitting theaters next year.
It’s Will Ferrell vs Reese Witherspoon in the R-rated trailer for wedding comedy You’re Cordially Invited.
Impurity, debauchery, and a crazed killer run wild in the trailer for Killer Body Count, a Tubi Original horror set to premiere this Friday.
In his new book, Tom Selleck recalls nearly playing Indiana Jones in Raiders of the Lost Ark, but dismisses the notion that High Road to China was a clone.
Liam Neeson will star alongside Zachary Levi in Guy Moshe’s upcoming action film Hotel Tehran, which will begin production this summer.
Andrew McCarthy is getting behind the camera for Brats, a documentary reuniting Brat Pack stars across 1980s teen cinema.
We traveled to Pixar Studios for a behind-the-scenes look at Inside Out 2 and discovered many new details and secrets about the sequel.
Following its runaway success on Prime Video this spring, Amazon is putting together Road House 2, with Jake Gyllenhaal returning.
INTRO: It’s a story we’ve all heard before. A group of friends stray off the beaten path and end up… | en | https://www.joblo.com/chris-hemsworth-scorsese-coppola-marvel-criticism/ |
Tencent Music Entertainment Group (NYSE:TME) has reported a solid start to 2024 with a 43% year-over-year increase in online music revenues for the first quarter. The growth was attributed to a surge in music paying users and a significant expansion of the net profit margin.
TME also declared an annual cash dividend policy and confirmed $210 million in cash dividends for the previous year. The company's focus on content development and social responsibility initiatives, alongside strong financial performance, sets a positive tone for the future.
Tencent Music Entertainment Group's financial performance in the first quarter of 2024 reflects the company's ability to adapt and innovate in a dynamic market. With a strong foundation in online music services and a strategic vision for content development and technological advancements, TME is well-positioned to maintain its growth trajectory and expand its influence in the music industry. The company's commitment to content quality, user experience, and social responsibility initiatives further solidifies its status as a leader in the sector. As TME continues to execute its strategies and explore new opportunities, investors and industry observers will be watching closely to see how these initiatives unfold in the coming quarters.
Tencent Music Entertainment Group (TME) has not only shown impressive performance in its first-quarter earnings but also exhibits a strong financial position and market behavior that could interest investors. According to InvestingPro data, TME's market capitalization stands at a robust $20.79 billion. This valuation is supported by a P/E ratio of 33.7, reflecting investor confidence in the company's earnings potential relative to its share price.
From a profitability perspective, TME has demonstrated a consistent ability to generate profits, with a gross profit margin of 35.29% over the last twelve months as of Q4 2023. This margin indicates a solid capability to control costs and efficiently manage its operations, which is essential for sustaining growth.
InvestingPro Tips highlight several key strengths of TME, including its status as a prominent player in the Entertainment industry and its high return over the last year, with a 103.3% price total return. Additionally, the company's liquid assets exceed its short-term obligations, which is a testament to its financial health and its ability to navigate market fluctuations.
For investors seeking further insights and tips relating to TME, there are additional InvestingPro Tips available, which can be explored in-depth for a comprehensive analysis. By using the coupon code PRONEWS24, readers can get an additional 10% off a yearly or biyearly Pro and Pro+ subscription, offering access to a total of 13 InvestingPro Tips for TME. These tips provide valuable information on the company's financials, market performance, and future profitability predictions, such as analysts' forecasts that TME will remain profitable this year.
As TME continues to focus on content development and technological innovation, these InvestingPro Insights offer a glimpse into the company's financial resilience and market potential, which could be pivotal for investors making informed decisions.
Millicent Tu: Good evening, good morning, and welcome to Tencent Music Entertainment Group's First Quarter 2024 Earnings Conference Call. I'm Millicent Tu, Head of IR. We announced our quarterly financial results today before the US market opened. An earnings release is now available on our IR website and via Newswire services. Today, you'll hear from Mr. Cussion Pang, our Executive Chairman, and Mr. Ross Liang, our CEO, who will share an overview of our company's strategies and business updates. And then Ms. Shirley Hu, our CFO, will discuss our financial results before we open the call for questions. Before we continue, I refer you to our Safe Harbor statement in our earnings release, which applies to this call as we'll make forward-looking statements. Please note that the company will discuss non-IFRS measures today, which are more thoroughly explained and reconciled to the most comparable measures reported under IFRS in the company's earnings release and filings with the SEC. At this time, all participants are muted. After management's remarks, there will be a Q&A. And please be advised that today's call is being recorded. With that, I'm pleased to turn the call over to Cussion, Executive Chairman of TME. Cussion?
Cussion Kar Shun Pang: Thank you, Millicent. Hello, everyone, and thank you for joining our call today. 2024 is off to a great start. Strong execution of our dual engine content and platform strategy is yielding impressive results and pushing vitality industry-wide. In the first quarter, the number of music paying users increased to 113.5 million, propelling 43% year-over-year growth in online music revenues. Our high quality growth strategy also drove a robust net profit margin expansion. Subscriber growth in this quarter significantly exceeded our expectations, reaching a quarterly historic high of 6.8 million net adds. What's more, we maintained the ARPPU at a healthy level. Both achievements demonstrate our keen understanding of users' needs and our knack for anticipating and meeting their demands operationally. As you have seen in our earnings release, supported by our strong fundamentals, we are very pleased to announce an annual cash dividend policy and US$210 million in cash dividends for the year of 2023 on top of our ongoing buyback program. This reflects our confidence in future growth and commitment to sharing our success with shareholders. Next, I would like to share an overview of this quarter's content development efforts. Through a balanced combination of copyright music and original content, we enable users to discover the latest and trendiest content and enjoy a superior experience on our platform. Let me go over a few highlights. First, we renewed and reinforced the partnership with record labels to broaden our music library's comprehensiveness and popularity. Our innovative value-added privileges, features, and promotion services extend far beyond mere licensing, further unlocking the value of music content industry-wide. We renewed our cooperation with Time Fengjun Entertainment [Foreign Language] featuring 30-day head-start benefits on new songs and adding Dolby Atmos upgrades for popular groups like TFBOYS and Teens in Times. [Foreign Language] We also expanded our agreement with HIM International Music [Foreign Language] incorporating an industry-first component authorizing TME to use licensed AI feature to promote HIM's iconic C-pop content. This will ensure the authentic and responsible use of AI, showcasing TME's commitment to protecting artists' rights and interest in the AIGC era. Artists benefit from TME's tech-powered promotions and copyright protection while users enjoy the latest interactive features, which is a win-win. Yoga Lin's [Foreign Language] new album Love, Lord [Foreign Language] is one recent success. For its premiere on our platform, we connected our AI sing song along feature and TME live offline concerts, spurring fan interaction within new scenarios. We enriched our K-pop content and related offerings with various artist fan activities, digital albums, and artist merchandise for new generation groups like Alice, BabyMonster and Riize. In the first quarter, K-pop user engagement and streams both grew year-over-year. Next, we expanded our original content, a key differentiator to attract users and enhance engagement. Based on our keen grasp of trends, we delivered an array of hits catering to users' ever-changing taste [indiscernible] quartile. We produced the original soundtracks for hit TV dramas, The Legend of Shen Li [Foreign Language] and In Blossom [Foreign Language] including 17 songs and 38 scores, featuring top tracks by TME's strategic partner artists such as Jess Lee, Zhao Wei and Wang Jingwen. These catchy OSTs create massive social media buzz that boost the streams and viewerships. Their outstanding performance showcases our ability to spot and set content trends while maximizing the value of content. Our OST for The Legend of Shen Li produced by Tencent Video also highlight the power of collaboration within the Tencent ecosystem. It smashed the records with over 150 million streams within 30 days of release, making it the number one OST debut so far this year. We also partnered with strategic artists and Indie musicians on music production and promotion to build our performance qualities music offering. Our self-produced song RIVER FLOW [Foreign Language] by TIA RAY [Foreign Language] and What I Anticipate Is Not Snow [Foreign Language] by Zhang Miaoge became the top-rated hits on social media this quarter. Moving on to our commitment to social responsibility. We cooperated with Tencent Charity for third consecutive year on our film program to drive autism awareness. If Music Has a Shape this year [Foreign Language] performed the project's film song, Do You Understand What's Left of Me? [Foreign Language] More than 60 other renowned artists and groups including Jay Chou, Zhou Shen, Joker Xue, Richie Jen and NewJeans also shared songs in support of children with autism. We then host an art exhibition featuring artwork by children with autism inspired by these musical works, leveraging multimedia to amplify our caring message and boost music's social value. In conclusion by expanding content and introducing more tailored platform offers that resonate deeply with users, we continue strengthening our vibrancy to drive industry development. We are confident that our powerful content and platform dual engines and ever-deepening understanding of content will propel our sustainable growth in 2024 and beyond. Now I would like to turn the call over to Ross for more color on our platform development. Ross, please go ahead. Thank you.
Zhu Liang: Thank you, Cussion. Hello, everyone. Strong execution once again resulted in solid online music growth, recording high net subscriber adds, steady ARPPU and highest MAUs, all reflect this robust performance. Our efforts to attract and retain users were the driving force behind it, utilizing our extensive industry experience and peerless insights into users and content. We are laser focused on anticipating and meeting users' needs with enhanced experiences and trending musical journeys. First, I want to talk about user retention. We have taken a multi-pronged approach to engaging users through constant innovation of trend-setting features. I will walk you through a few examples. Our new AIGC applications make music discovery more fun, engaging, and convenient. In the first quarter, we launched a large audio model that increases promotion accuracy, helping users discover more high-quality music content. Initial result shows that streaming share of promoted songs increased notable following the model's release. We also tested an AI assistant that supports text and voice chatting for more customized search experiences as well as an AI playlist assistant to curate playlists, a key personal music asset that strengthens users' techniques. Recently, we introduced an interactive rewards program. Users can exchange the points they earn for benefits such as trial subscription, digital albums, and personalized privileges while enhancing user experience. The program also opens new avenues for commercialization for the future. Ongoing platform upgrades continue to reinforce our products' appeal. This quarter, we introduced a light listening mode [Foreign Language] to facilitate a smooth listening experience in low bandwidth environments. Our enhancements allowing greater interface customization are driving increased user adoption of our platform's players. Beyond the listening experience, we captivated users with a variety of interactive activities, including themed song-guess contests, subscriber badges and more. These interactive features not only boosted song-streaming volumes, but also boosted more artist followers and additions to favorites. As users' personal music assets on our platform grow, so does their loyalty to TME. Moving now to user acquisition. Our focus here is on discovering and cultivating users with long-term paying potential through refined marketing and operations. During Chinese New Year, riding on the favorable seasonality, we utilized our deep understanding of users across various demographics to roll out a series of effective promotion activities. Our targeted multichannel promotions with e-commerce, telecom operators, and long-form video platforms contributed to a stronger-than-expected subscriber growth in the first quarter. We also teamed up with auto companies to launch holiday themed playlists and comment share promotions. This organically broadened our reach to new users and increased user activity, contributing positively to the sequential MAU recovery in our online music services. On partnerships, we recently focused the pre-installation partnership with the Xiaomi (OTC:XIACF) SU7. We also enhanced our collaboration with rideshare leader Caocao Chuxing. Our new self-service [real estate] music selection filters offers rideshare passengers an easy to navigate music consumption, further extending our reach. Our trendsetting annual QQMUSIC DIANFENG AWARDS [Foreign Language] for the first time included online-merge-offline offerings. Participation in interactive online filters rewarded fans with tickets to artists meet and greets, artists merchandise, and more. Thanks to a lineup of popular artists and inspired performance. This event reinforced our appeal among our core young user base. In short, our rich content and unparalleled product offerings continue to fill users acquisition and engagement. With users' needs at the heart of everything we do, we remain committed to creating a music platform that users cherish. With that, I will turn the call over to Shirley, our CFO, for a deep dive into our financials.
Min Hu: Thank you, Ross, and greetings to everyone. I will now turn to our financial results. Our success in effective monetization for music services and operational efficiency management continued to need [indiscernible] strong financial results in the first quarter of 2024. IFRS net profit increased by 28% year-over-year to RMB1.5 billion and non-IFRS net profit rose by 24% to RMB1.8 billion. Our total revenues were RMB6.8 billion down by 3% year-over-year. Our online music services achieved significant revenue growth, which largely offset the decline in revenue from social entertainment and other services. In the first quarter of 2024, our online music revenues increased by 43% to RMB5 billion on a year-over-year basis. This surge was driven by the strong expansion of our music subscription and growth in advertising business, supplemented by an increase in revenues from offline performances. Music subscription revenues in the first quarter reached RMB3.6 billion, marking a 39% increase year-over-year and a 6% rise sequentially. Our refined operation and effective pricing strategy enabled us to achieve higher than expected growth in music subscribers while maintain a healthy monthly ARPPU. Monthly ARPPU was RMB10.6, up from RMB9.2 in the same period last year. Taking the difference in number of days into consideration, our monthly ARPPU would have remained relatively stable sequentially. The number of online music paying users were 113.5 million, representing a 20% increase year-over-year and a record-breaking quarterly net adds of 6.8 million users. Our enriched content offerings and enhanced member privileges such as Dolby Atmos upgrades have made our products more attractive and improved user stickiness. Advertising revenue also had a strong year-over-year growth, primarily due to the growth in ad-supported advertising. We upgraded our incentive ad experience and provide more attractive and active features to our users, which helped the improvement in entrance rate. We continue to innovate and diversify our product suite and advertising formats. Social entertainment services and other revenues were RMB1.8 billion, down by 15% year-over-year. This was mainly due to adjustments in certain live streaming interactive functions and more stringent compliance procedures as we implemented several service enhancement and risk control measures since the second quarter of 2023. As these adjustments and procedures are largely completed, we expect our social entertainment services to remain relatively stable. Our gross margin for Q1 reached 40.9%, marking an increase of 7.8 percentage points year-over-year due to a few factors. First, growth of revenues in online music subscription and advertising has generated the benefits of economies of scale. Over the years, we have made significant efforts and investments in the music industry and have built win-win relationships with labels and artists and now these efforts and investments started bearing fruits. Additionally, the ramping up of our own content continued to impact our margin favorably. Lastly, we have optimized revenue sharing ratio for live streaming and also improved monetization in raising membership and advertising, which also benefit our gross margin. All above factors have collectively enabled us to move to a healthier margin model. Moving on to operating expenses, in the first quarter of 2024, they amounted to RMB1.1 billion, representing 16.8% of our total revenues compared with 17.5% in the same period last year. Selling and marketing expenses were RMB187 million, down by 12% year-over-year. We will continue to spend in areas such as online music with long-term growth prospective as well as content promotions. General and administrative expenses were RMB949 million, down by 7% year-over-year, primarily driven by lower employee-related expenses. Our effective tax rate for Q1 was 19.9% compared to 12.2% in the same period of 2023. This increase was primarily attributable to the accrual of withholding tax of RMB107 million related to earnings to be remitted by our PRC subdirectories to offshore entities. Additionally, changes in preferential tax rates for certain entities also impacted our effective tax rate. For Q1 2024, our net profit and net profit attributable to equity holders of the company were RMB1.5 billion and RMB1.4 billion respectively. Non-IFRS net profit and non-IFRS net profit attributable to equity holders of the company were RMB1.8 billion and RMB1.7 billion respectively. Our diluted earnings per ADS reached a record high this quarter at RMB0.91, up 25% year-over-year. Non-IFRS diluted earnings per ADS increased to RMB1.1, up 23% year-over-year. These results underscored our robust financial performance, enhanced operating efficiency and the beneficial impact of our share repurchase program. As of March 31st of 2024, our combined balances of cash, cash equivalents and term deposits were RMB34.2 billion as compared with RMB32.2 billion as of December 31st of 2023. This combined balance was also affected by changes in the exchange rate of RMB to USD at different balance sheet dates. Under share repurchase program announced in March 2023, as of March 31st of 2024, we had repurchased 32.2 million ADS from the open market for a total cash consideration of US$235.5 million, of which approximately US$61 million were repurchased in the first quarter. Looking forward, we will continue to invest in high-quality contents and original content productions as well as new products and technologies such as AIGC. We remain confident in the prospects of music industry and our music subscription and advertising business. This concludes our prepared remarks. We are now open to taking your questions.
A - Millicent Tu: Thank you, Shirley. [Operator Instructions] For the benefit of all participants on today's call, please limit yourself to one question and if you have additional one please re-enter. If you ask your questions in Chinese please repeat in English. And the first question comes from the line of Alicia Yap from Citigroup. Alicia, please.
Alicia Yap: Hi. Thank you, management. Good evening, management. Thanks for taking my questions. Congratulation on solid result. I'm going to ask in Chinese first and I will translate myself. [Foreign Language] My question is for 2024 outlook. So after achieving strong set of results, especially with record high quarterly net add, what should we be expecting for the net add trend for the second quarter and also the ARPPU trend for the second quarter and also the rest of the year? And any comment on the overall growth rate expectation for the total online music's revenue? Thank you.
Cussion Kar Shun Pang: Okay. Thank you so much, Alicia, for your questions. And for the full year of 2024, our online music and subscription revenue are well on track and the profitability is also expected to be slightly better than the previously anticipated. So for the subscription side, I think that we are pleased to see that the Q1, the net adds is really quickly exceeding our expectation. So it really give us a really strong start for this year, and therefore, we are confident that the total net adds for the 2024 will exceed our initial projections and indicating to be a total greater than the year of 2022 and yet slightly slower than last year, which is 2023. But on the other hand, we remain really committed in a healthy long-term growth of our business. So on a full-year ARPPU side, we expect it to continue to expand year-over-year, although at the moment I think a more modest growth rate compared to 2023. And to recap, I think, the last year's rapid year-over-year growth was primarily due to the scale back of the discounts. So based on the last year healthy ARPPU level and benefits of some of the operational optimization to be introduced throughout this year. We expect a slightly ARPPU growth in the second half of this year when compared to the first half. However, we will remain unchanged and confident in long-term ARPPU expansion potential, supported by our experience in users education and also a variety of operational strategies. A couple of points that I would like to add should be, we have a better than expected Q1 net adds, which is primarily due to a couple of reasons. First of all, I think, Q1 is typically the peak season for the entire year, especially due to the Chinese New Year, so as users are more willing to pay for the entertainment. And secondly, we are also expanding the effective promotional activities, which attract more high potential users. So we pulled out multi-channel promotions across different areas and will significantly drive the good growth of our user base, but I think that as we've communicate and seen in the 2023 pattern, I think rolling off the strong seasonality, the net adds should return to more normalized and sustainable levels over the next few quarters. So besides the subscription business, I think that for the long subscription business, we also had a strong start in Q1 this year and we expect growth to be solid in the remainder of this year as we continue to innovate the advertising products and expand the merchandise sales with labels and others as well.
Millicent Tu: Thank you. The next question comes from the line of Alex Poon from Morgan Stanley.
Alex Poon: Congratulation management on very strong quarter. My question is related to gross margin. In Q1, while we have negative seasonality for both advertising and social entertainment. We still expanded gross margin significantly sequentially from 38% to almost 41%. Can management share how the revenue and cost structure has changed on sequential basis and how should we think about gross margin in rest of 2024? Thank you very much.
Millicent Tu: [Foreign Language]
Min Hu: Gross margin is 40.9% in Q1, increased by 7.8% year-over-year, an increase of 2.6% quarter-over-quarter. There are several reasons as follows. The first, music subscription revenues and advertising revenues have a significant growth. Second, we have made significant efforts and investments in the music industry and have built win-win relationships with labels and artists. Additionally, we focused on ROCE to manage content costs more efficiently. Our online music revenues growth ratio was higher than net growth ratio of content cost. And the third, we gradually ramp up our self-owned content, which is a positive impact on our gross margin. And fourth, even the live streaming revenue decreased, we optimized the live streaming revenue sharing strategy. The live streaming revenue sharing ratio decreased and the VIP revenue and advertisement revenue on WeSing platform increased. All above benefit our gross margin. Our gross margin has improved for eight consecutive quarters. Looking forward to Q2, we expect subscription revenue and advertisement revenue will continue to be healthy growth. On the costs side, we expect our in-house made content will have positive impact on gross margin continually and we will continue to increase our operational efficiency and monitor each cost items for our ROCE model. We expect our gross margin will be increased in Q2 continually and look forward in the second half of 2024, we think our -- we expect our gross margin will be -- also increase.
Millicent Tu: Thank you. And the next question comes from Goldman Sachs, Lincoln Kong. Lincoln, please.
Lincoln Kong: Thank you, management, for taking my questions and congrats on the very strong quarter. So my question is about the online music services, specifically advertising. So could management comment so what you have seen in terms of advertising trend in the first quarter and into the second quarter? And by the different formats, what are the sort of the new advertising format company are thinking to implement? And any of the trends of those sponsorship ads or premium member ads, if management can share. Thank you.
Millicent Tu: [Foreign Language]
Zhu Liang: [Foreign Language] Thank you very much. Thanks for your question. Indeed, for the advertisement service, in Q1, we have a very strong growth, and I think in Q2, we're going to maintain such a strong growth. [Foreign Language] You know that we are not expanding our subscriber base, but I think the key challenge for advertisement is how we're going to leverage the traffic of the non-subscribers. [Foreign Language] So you can say that we see the traffic from the non-subscribers continue to go down because we are now having more subscribers. That is the reason for us, we need to continue to optimize the solution we provided to the advertisers and making sure we can also provide a very attractive interest package to continue to operate and optimize the traffic operation. [Foreign Language] So you can say that start from the year of 2023, we already registered a very good performance regarding the advertisement business. Well, regarding what we're going to do for this year. I think for this year, we're also going to maintain a very stable growth for the advertisement business. At least from what I can see from Q1 of this year, we have a very strong growth. Especially, we have the key revenue contributor coming from the e-commerce, the gaming industry, the content information and the faster consumption industry. And especially due to the e-commerce, they are launching the large scale promotional activities during the New Chinese Year. So we are going to say that in Q1 of this year, we also have a very good growth coming from the e-commerce channel regarding the advertisement business. [Foreign Language] Well, talking about the Q2 of 2024, I think the key event we're going to have in Q2 would be the 618 shopping festival online. In that way, we're going to leverage this great occasion to serve our e-commerce advertisers because we hope that by serving them, we will be able to have a very good growth compared with last year, and we also prepared many of the good solutions in order to continue to serve the e-commerce advertisers. [Foreign Language] You know that besides that, we are also leveraging the very enriched and diversified music ecosystem of TME, continue to roll out more diversified formats of advertising and new advertising business models. [Foreign Language] For example, for the investment advertising, it could also be well combined with our offline performance and concepts. [Foreign Language] As I mentioned, in Q1 of this year, we also launched an incentive-based advertisement format that is based upon the coin. By launching this new model, we hope that we will be able to continue to improve the user retention, while at the same time to start a new stream of the revenue for the advertising business. [Foreign Language] So you can say that based upon the three business models regarding the price competition, the contracted advertising and investment advertising, we do have a full portfolio of advertisement solution. In that way, we will be able to leverage this full mix of the product to continue to grow our advertising business in healthy and sustainable approach. Okay.
Millicent Tu: Thank you. And the next question from Zhang Lei, Bank of America Merrill Lynch (NYSE:BAC). Zhang Lei, please.
Zhang Lei: Hi. [Foreign Language] Thank you management for taking my question. My question is mainly regarding the margin trend, especially the sales and marketing trend. Consider we have a Q-on-Q control on the sales and marketing expense to maintain the MAU sequentially largely stable. So how should we look at the driver and the overall sales and marketing and the margin trend in the following quarters? Thank you.
Min Hu: [Foreign Language] Thank you very much. Thanks for your question. Just now, in our previous answer, we also mentioned about the GP margin. Actually, for our GP margin, we registered a significant growth, no matter on Y-o-Y or M-o-M basis. That should be a very solid baseline for our performance. I do believe in the near future, we're going to continue to grow this number. And in Q1 of this year, talking about the marketing expenses, it was ever going down on Y-o-Y and M-o-M basis. [Foreign Language] We're talking about the seasonalities of the marketing expenses. Q1 of each year are traditionally been considered as a low season of the marketing events because the majority of the brand promotions and the promotion activities being conducted in Q4 of each year. So in other words, in Q1, we launched less marketing events. [Foreign Language] But I can say that our platform or should I say the monetization of our music platform continue to be improved. And also with the well-established ROI management method in place, we do expect we're going to spend more marketing expenses in order to regain the traffic for our channels. [Foreign Language] Well, at the same time, we're also going to reduce the marketing expenses in the channel of live streaming. [Foreign Language] Well, my second point is regarding the content, especially the self-commissioned or self-developed content. This is going to serve as a key driver for our future business. So we're going to make good investment for the content promotion. [Foreign Language] So we foresee in Q2 of this year, the marketing expenses will rise. But overall speaking, the marketing expenses for 2024 full year, would be in line with what we saw last year in 2023. [Foreign Language] So coming next, let me comment on G&A expenses and especially the investment we made on the team. And actually for the past one year, we have already adopted the cost initiative and continue to downsize the team. [Foreign Language] Well, at the same time, we're also going to continue the investment in new technologies and in new products for example like AIGC. [Foreign Language] So, generally speaking, regarding G&A, we do believe that the total G&A expenses in 2024 would be in line with 2023. [Foreign Language] So, overall speaking, as you can see, we continue to grow the GP margin. And also, we foresee the revenue in H2 of this year will certainly go up where at the same time, we also stabilize the promotion expenses and the G&A expenses. So, I do believe that for the full year, the net profit rate and the net profit will be improved. [Foreign Language] Well, coming next, please allow me to talk about ERT, the effective tax rate. [Foreign Language] Regarding the effective tax rate, in Q1 of this year, it has been risen to 90.9%. The key reason is because the dividend payout need to be made from the onshore company to the offshore company. So we're going to pay for the withholding tax. So, that's the reason in 2024, the effective tax rate in Q1 will be upward. [Foreign Language] But generally speaking, the sum is quite small, and it's not going to impact the net profit and the net profit rate that much. So, overall speaking, I do foresee for net profit and the net profit in 2024, it's going to keep arriving on that time.
Millicent Tu: Thank you. And the next question from Macquarie, Ellie Jiang.
Ellie Jiang: Thank you so much, management, for taking my question and congrats on the great results. It's been very great to see the improvements in our music paying conversion. So, if you compare the existing users versus the newly acquired users. I just wonder if can management shed some light on the average pricing gaps between these two cohorts. Also, during the opening remark, management shared some very exciting AI-empowered initiatives that have been driving better user engagement. Just wondering anything you can share on the recent trends for the next month retention and whether there could be more operating leverage for higher customer lifetime value down the road. Thank you.
Millicent Tu: [Foreign Language]
Zhu Liang: [Foreign Language] Thank you very much. Thanks for the question. Regarding the existing customer, yes, indeed, for the existing customer or the user, we do have a very high retention rate and because many of them are our long-term user. And if we're going to convert them, that means they just continue to renew our service. So originally speaking, the conversion rate of our existing user would be very high. Well, for the newly acquired users, as we mentioned just now, in order to engage those user, we provide some discount and some of the promotional activities. Even if we're already scaling back discounts, but actually the conversion rate of the new users will go in line with our promotional activities and sometimes is subject to the change of the promotional activity timeline. [Foreign Language] The second part of the question is regarding how AI can empower the user retention. I have to say that the AI large model indeed helped to grow the retention. But let's be clear first, for the music platform, the recommendation system was based upon the newer network model. And it is different from the large-language model we're talking about today. But generally speaking, I do believe that as we're having those great models, and by introducing a large set of the parameters into our existing platform, we will be able to continue to improve the recommendation capacity and search capacity. And you can see it from our actual operational that can help us to continue to grow and optimize the user retention. So, indeed, by leveraging those cutting-edge technologies, our overall retention rate is being improved. [Foreign Language] Actually, when we talk about large-language model and generative technology, in Q1 of this year, we also launched an open-source, self-developed, [indiscernible] video model drive, which has already received very positive feedback from the open-source community. [Foreign Language] And something that we're truly proud of is that we also newly introduced a large model, we call it audio model. This audio model can help to distinguish the correlations between two nodes and the songs based on the characteristics of the audio. And this is also a very good result that has been harvested from the cutting-edge technology. [Foreign Language] Well, regarding the content creation, we have already received a very good result from Artificial Intelligence generated vocals. No matter from the user scale or from the revenue of the users, we are all seeing very good progress being made. In that way, it can actually facilitate the users of identifying new lyrics and new songs in a new content. [Foreign Language] And another milestone I'd like to mention in Q1 of this year was we are working with Tencent AI Lab and introduced the first music generation model for the folk music. And it is through this model we are working with Shanghai National Orchestra to organize the ever-first AI-empowered concert in China. [Foreign Language] And besides that, we are also keeping an eye on the 3D models in the industry. One is Sonar and another one is UBiO. And we are exploring those new models to see how they can fit into our platform.
Millicent Tu: Thank you. And the next question comes from Fang Wei from Mizuho. Fang Wei, please. Are you with us, Fang Wei? Okay.
Fang Wei: Hello?
Millicent Tu: Yes, Fang, we can hear you. Go ahead, please.
Fang Wei: Okay, thank you. Sorry about that. Yeah, thank you for taking the question. So I want to double-click on the offline concerts, right? So we see pretty good coming back last year and so far this year. Just wondering if management can help remind us your position and your strategy for this segment. And also what's the business models there other than sponsored advertising? Thank you.
Cussion Kar Shun Pang: Okay, thank you so much for your questions. [Foreign Language] Thank you so much for your questions. And basically, I think 2023 is a big year for the live performance businesses. And we are also seeing that it will continue to trend in this year. But definitely it's going to be normalized and will not have such a big growth when compared to last year's performances. I think from TME point of view, we have different pillars of strategy in order to support our overall strategies. First of all, we are committed to build our own IP. For example like the TMEA Music Festivals and also the award ceremony. This year is going to be the fifth year of us. And we have already received a lot of very good results and from our partnerships as well. And we are focusing on not just bringing the local artists, but also the international artists to our stage as well. Besides our own IP music festival and awards, we also team up, and also helped to organize and produce top-tier artists' live tours as well in China and also in Southeast Asia that we have successfully launched out in year 2023. And we are continuing to doing that. And the last one, which is, we will continue, besides the top-tier artists, we will be focusing on building some of the smaller stages. For example, like the live host events for the Tencent musicians, which will help us to incubate a lot of younger generation of musicians in order to continue to improve through the live performance events. Besides the strategies that we are -- the different types of concerts that we are organizing, we will have different business model as well. First of all, we have the ticketing, we can also have the advertising sponsorship model. And as what we have mentioned before, we are also working on the fans-based economy like the merchandise and all these kinds of things that we are working on. We will also continue to collaborate our live event, not just offline, but together with online with different privileges, with our super VIP panel as well. So we have an exciting journey that we are looking forward and we will continue to pull in more resources in order to grow the live performance business in TME.
Millicent Tu: Okay. In the interest of time, we'll take the last question from Thomas Chong, Jefferies, please. Thomas?
Thomas Chong: Hi. Good evening. Thanks management for taking my question. My question is about our new initiative, such as long-form audio, IoT. Can management comment about thoughts about the outlook in these areas? And my second question is about our long-term target. Given we have talked about our 2024 outlook on the topline and the bottom line? Can management comment how we should envision TME in three to five years' time down the road? Thank you.
Zhu Liang: [Foreign Language] Thank you very much. Thanks for your question. Regarding the long-form audio, from the business strategy perspective, it is going to complement to our existing online music service. It will help us cater the needs of the diversified customer base, especially including the users from different age groups. So that's the reason we are now continuing to introduce the top content and the new content in the market. Essentially, we do see some very good performance in the children-related music market. [Foreign Language] And the second point to that, we are going to keep a very close collaboration with Tencent Group especially with [indiscernible]. And I do believe in Q2 of this year a key event we are going to see is a rollout or release of [indiscernible] second phase. If that is successfully rolled out, I do believe and it's also going to help us to continue to improve the user retention for the long form audio.
Cussion Kar Shun Pang: I think for the entire, overall strategy of an entire company, I think that we are right now on a really good pace in driving the online music services in a really good form. So we will do it, going to be one by one, for example, to continue to improve our overall subscribers and also our ARPPU as well, but at the same time, this is the core -- the moat of our company. I think it's very, very important is we have to continue to build our content ecosystem, which ensuring that we will have a good coverage of all of the music libraries that we should have, and also we will continue to pull in more resources in doing content co-productions. Besiding that, we will also extend our footprint not just locally, but we also can doing some of the international development for example according to not just the business side, the platform side, but also the content side as well. So I think there is definitely going to be a lot of interesting and exciting projects ahead. I think from our company point of view, I think we definitely is not just doing a 100 meter sprint. We are doing a marathon. So I think that we should strike the balance. At the same time, we continue to have a quarter-by-quarter growth, but at the end of the day, we will be focusing on a long-term sustainable development of the entire group and we are ensuring that we are going to have to ensure to drive good investors returns to all our investors as well. So we would like to share our success not just doing the business well, but also ensuring that we have a good dividend policy and also somehow continue to have our share buyback program at the right moment. Okay. I think that's it for today.
Millicent Tu: Thank you. Thank you everyone for joining us today. If you have any further questions, please feel free to contact our IR team. And this concludes today's call and thank you so much again and look forward to speaking to you next quarter.
Cussion Kar Shun Pang: Okay. Thank you very much. Thank you.
Min Hu: Thank you.
Millicent Tu: Bye.
Min Hu: Bye.
This article was generated with the support of AI and reviewed by an editor. For more information see our T&C. | en | https://www.investing.com/news/stock-market-news/earnings-call-tencent-music-posts-a-43-yearoveryear-increase-in-revenues-93CH-3438458 |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173863933 |
It’s a true privilege to be asked to lead the new Studio Business Group for Sony Interactive. I’m excited to continue working with incredibly talented teams and studios to deliver unforgettable game and entertainment experiences. #sony #playstation #playstationstudios | en | https://variety.com/2024/gaming/news/playstation-ceo-hideaki-nishino-hermen-hulst-1236001731/ |
Catch up on stories from the past week (and beyond) at the Slashdot story archive
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173863927 |
The trial of Archegos founder Bill Hwang for alleged securities fraud and market manipulation opened in New York on Monday, and focused on the fund's spectacular 2021 implosion that cost large banks billions of dollars.
The family-owned hedge fund run by Hwang had taken huge bets on a few stocks with money borrowed from banks, and when several of those bets turned sour, the fund was unable to meet "margin calls" to cover the losses.
The 2021 collapse of the fund sent shock waves through financial markets and caused $10 billion in losses for Credit Suisse, Nomura, Morgan Stanley and other leading financial institutions.
Hwang and Patrick Halligan, chief financial officer of Archegos, were both arrested by the FBI in April 2022.
"Their alleged crimes jeopardized not only their own company but also innocent investors and financial institutions around the world," Deputy Attorney General Lisa Monaco told reporters at the time.
The two men, who deny the charges, went on trial in Manhattan federal court.
"Bill Hwang was a billionaire, and yet he risked nearly everything because he wanted more: more money, more success, more power," prosecutor Alexandra Rothman told the jury.
Archegos was a "house of cards built on manipulation and lies," she was quoted as saying by The Wall Street Journal.
'Deceptive conduct'
Hwang and Halligan used the firm "as an instrument of market manipulation and fraud, with far-reaching consequences for other participants in the United States securities markets," according to the indictment.
Hwang and other conspirators, including head trader William Tomita, sought to defraud investors by convincing them that shares in the fund's portfolio were on the rise when in fact the stock price increases "were the artificial product of Hwang's manipulative trading and deceptive conduct that caused others to trade," the indictment said.
They also repeatedly made "false and misleading statements" to convince others to trade with and extend credit to the firm, it said.
The fund used derivatives to take large stakes in top Chinese companies such as Baidu, Tencent Music Entertainment Group and Vipshop Holdings, plus U.S. giants such as ViacomCBS and Discovery.
The plan initially worked, and the fund tripled in size in just a year, while Hwang's personal fortune soared to $35 billion from $1.5 billion, turning him and the firm into "significant economic forces in the United States securities markets," the filing said.
The move to inflate share prices caused the firm to expand rapidly, "increasing in value from approximately $1.5 billion with $10 billion in exposure in March 2020 to a value of more than $36 billion with $160 billion in exposure at its peak in March 2021," said the U.S. Securities and Exchange Commission, the market regulator.
Hwang studied in the United States and went to work for Tiger Management, rising to form his own Tiger Asia Management. In 2012, Hwang paid $44 million to settle with the SEC over an insider trading case and shuttered the firm. | en | https://www.voanews.com/a/archegos-founder-goes-on-trial-for-fraud-market-manipulation/7609724.html |
This year is expected to be one of the busiest travel years in nearly two decades, with about 43.8 million people expected to travel at least 50 miles, according to AAA.
Joy Noelle Balanag booked her vacation months ago, hoping to beat the potentially record-breaking summer rush.
"I definitely am excited for this travel season. 2024 feels just like almost a breath of fresh air," she told CBS News. "I do plan on traveling on airplanes. I do plan on taking my car. Just, like, seeing where this summer season takes me."
Balanag won't be alone. This Memorial Day weekend, AAA is expecting a nearly 5% bump in airline travel over last year and United Airlines alone is planning to fly more than half a million people a day from May 23 through May 28, which would be the airline's busiest Memorial Day weekend ever. Delta is expecting 3 million passengers total over that same stretch, a 5% increase for the airline from 2023. American Airlines said it's preparing for 3.9 million customers over the long Memorial Day weekend.
Most travelers will drive that weekend, however, with AAA predicting a record 38.4 million people will hit the road. That's a 4% increase from last year. Gas prices are similar to where they were last year, up about 8 cents a gallon nationally compared to last Memorial Day weekend.
"It goes back to that bucket list, YOLO, you only live once mentality, Aixa Diaz of AAA told CBS News. "A lot of people are now going, 'You know what? Let's not take those trips we always take with our families. Let's get a little bit more adventurous.'"
One of the fastest-growing travel options since the COVID-19 pandemic is cruising.
The industry is expecting a new record high of nearly 35 million passengers this year, according to the Cruise Lines International Association. For the thousands on board the Carnival Firezne cruise ship's inaugural sold-out sailing, which began in late April, vacation season started early.
Passenger Jeanine Stage of Arizona told CBS News what she likes best about cruising is, "That you get to go to multiple destinations and you unpack your suitcase once."
"You got food, entertainment, even the casino, if you're into that, there's shows," she said.
All told, AAA is predicting 2024 will finish just narrowly behind 2005 as the busiest Memorial Day travel weekend since it began keeping track in 2000.
AAA expects the busiest time on the roads will be from noon to 7 p.m. on the Thursday and Friday before Memorial Day. United Airlines said that Thursday will be its busiest of the holiday weekend.
Among the top destinations this year: Florida, Las Vegas, Los Angeles and Denver. | en | https://www.cbsnews.com/news/memorial-day-2024-travel-records/ |
Following the departure of former Sony Interactive Entertainment CEO Jim Ryan, the company announced that Hideaki Nishino will be appointed CEO of the Sony Interactive Entertainment’s Platform Business Group, and Hermen Hulst will be appointed to CEO of Sony Interactive Entertainment’s Studio Business Group, effective June 1, 2024. Hiroki Totoki, who is currently serving as interim CEO of Sony Interactive Entertainment, will serve as chairman of Sony Interactive Entertainment in addition to his role as president, chief operating officer, and chief financial officer of Sony Group Corporation. Nishino and Hulst will report to Totoki, and intend to collaborate closely to strengthen each core business while maximizing synergies at Sony Interactive Entertainment.
“Sony Interactive Entertainment is a dynamic and growing business that delivers incredible entertainment experiences through the connection of content and technology,” said Sony Interactive Entertainment interim CEO and Sony Group Corporation president, chief operating officer, and chief financial officer Hiroki Totoki in a press release. “These two leaders will have clear responsibilities and will manage strategic direction to ensure the focus remains on deepening engagement with existing PlayStation users and expanding experiences to new audiences.”
Read more about each executive below.
Hidaeki Nishino
Nishino is currently senior vice president, Platform Experience Group, and leads the team responsible for developing the experiences and technology within PlayStation products and services. The Platform Experience Group pushes the boundaries of play in many ways, including the innovations in PlayStation 5, the immersiveness of PlayStation VR2, and connecting millions of people on PlayStation Network. In his new capacity as CEO of the Platform Business Group, Nishino will continue to be responsible for technology, products, services, and platform experience. He will also oversee third-party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
“We will continue to connect players and creators through world-class products, services, and technology,” said Sony Interactive Entertainment senior vice president, Platform Experience Group, Hideaki Nishino. “We always strive to grow our community even bigger with innovation in every area at Sony Interactive Entertainment. I am honored to be appointed such an important role alongside Hermen. By working more closely together, we will be positioned to build incredible experiences for an ever-expanding audience now and in the future.”
Hermen Hulst
Hulst is currently serving as senior vice president and head of PlayStation Studios, and responsible for developing content across many devices including PlayStation consoles and PCs and bringing video game intellectual property to new mediums such as film and television through PlayStation Productions. The PlayStation Productions team is working on several game adaptations and developed the Emmy award winning television series, The Last of Us, an adaptation from an award winning game. In his new role as CEO of the Studio Business Group, Hulst will be responsible for the development, publishing, and business operations of Sony Interactive Entertainment’s first party-content.
“I am thrilled to lead the studio business group and continue to build on our success with PlayStation 5, while preparing for the future,” said PlayStation Studios senior vice president and head Hermen Hulst. “The video game industry is one of the largest entertainment industries in the world and has been built on the marriage of content and technology, and I look forward to continuing to push the boundaries of play and entertainment.”
And here is a message from Hiroki Totoki sent to Sony Interactive Entertainment employees today:
A Message from Hiroki Totoki: A New Era at Sony Interactive Entertainment
It brings me great pleasure to announce that I have decided on the succession strategy for the role of CEO at Sony Interactive Entertainment. Over the last decade, Sony Interactive Entertainment has grown tremendously, building upon our continuous successes in hardware, software and services through a sharper focus on player engagement.
To continue this growth and momentum, we are moving forward with a new management structure for Sony Interactive Entertainment. Effective June 1, Hideaki Nishino will be appointed CEO of Sony Interactive Entertainment’s Platform Business Group, and Hermen Hulst will be appointed CEO of Sony Interactive Entertainment’s Studio Business Group. Effective the same date, I will step down from my current role as interim CEO and become Chairman of Sony Interactive Entertainment, in addition to my roles at Sony Group Corporation. Both Hermen and Nishino-san will report to me as Sony Interactive Entertainment Chairman.
Nishino-san will continue his role leading the Platform Experience Group, overseeing technology, products, services, and platform experience. He will also oversee third party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
Hermen will continue to lead the Sony Interactive Entertainment Studios business, including PlayStation Studios, Bungie, and PlayStation Productions. He will be responsible for the development, publishing, and business operations of Sony Interactive Entertainment’s first party content as well as intellectual property expansion opportunities through PlayStation Productions.
Later this month you will learn more about the long-term vision for Sony Group and the essential role Sony Interactive Entertainment plays in that vision. As I mentioned previously, fiscal year 24 marks the start of the Mid-Range Plan period for Sony Group in which we will set the course for sustainable growth.
The future is incredibly bright for Sony Interactive Entertainment and that is thanks to all of you. Since I became Chairman in October 2023, I have been inspired by your enthusiasm, innovative approaches, and teamwork. These values will serve us well as we embark on the exciting future for Sony Interactive Entertainment.
Please join me in congratulating Nishino-san and Hermen on their new roles.
© Copyright Gematsu 2008 to 2023. All rights reserved.
Reproduction in whole or in part in any form or medium without acknowledgment of Gematsu is prohibited. Use of this site is governed by all applicable laws.
Website by 44 Bytes | en | https://www.gematsu.com/2024/05/sony-interactive-entertainment-appoints-new-ceos-hideaki-nishino-and-hermen-hulst |
Sony Interactive Entertainment is replacing outgoing CEO Jim Ryan with two new co-CEOs: previous head of PlayStation Studios Hermen Hulst and SIE exec Hideaki Nishino.
Hulst was previously co-founder and managing director at Horizon Zero Dawn studio Guerrilla Games until he left to head up PlayStation Studios in November 2019. Nishino, meanwhile, has been at SIE as SVP of global product strategy and management since April 2016. Hurst will be appointed CEO of SIE's studio business group, while Nishino will be CEO of the company's platform business group.
"I am thrilled to lead the studio business group and continue to build on our success with PlayStation 5, while preparing for the future," Hulst said in a statement. "The video game industry is one of the largest entertainment industries in the world and has been built on the marriage of content and technology, and I look forward to continuing to push the boundaries of play and entertainment."
Ryan announced his departure from SIE in September, and he officially retired at the end of March, with Sony Group Corporation president, COO, and CFO Hiroki Totoki stepping in as interim CEO starting April 1. Hulst and Nishino will start as co-CEOs starting June 1 and will then report to Totoki.
"We will continue to connect players and creators through world-class products, services, and technology. We always strive to grow our community even bigger with innovation in every area at Sony Interactive Entertainment," said Nishino. "I am honored to be appointed such an important role alongside Hermen. By working more closely together, we will be positioned to build incredible experiences for an ever-expanding audience now and in the future."
Here are the best PS5 games to play today.
After scoring a degree in English from ASU, I worked as a copy editor while freelancing for places like SFX Magazine, Screen Rant, Game Revolution, and MMORPG on the side. Now, as GamesRadar's west coast Staff Writer, I'm responsible for managing the site's western regional executive branch, AKA my apartment, and writing about whatever horror game I'm too afraid to finish.
Assassin's Creed Shadows release date seemingly leaked by Ubisoft in its own trailer placeholder
Many Helldivers 2 devs lost a week of work due to Sony's "PSN-gate," and they were already struggling with "massive pressure" from the shooter's explosive launch
Shaun of the Dead's Edgar Wright reportedly in talks to direct Sydney Sweeney-starring Barbarella remake
GamesRadar+ is part of Future US Inc, an international media group and leading digital publisher. Visit our corporate site.
©
Future US, Inc. Full 7th Floor, 130 West 42nd Street,
New York,
NY 10036. | en | https://www.gamesradar.com/games/playstation-replaces-outgoing-ceo-jim-ryan-with-two-new-bosses-as-co-ceos-hermen-hulst-and-hideaki-nishino/ |
Three years after releasing her second studio album, Happier Than Ever, Billie Eilish is preparing to follow up with Hit Me Hard And Soft. Slated for release on May 17, the album won’t be accompanied by any singles, as Billie wants fans to experience it all at once. After the tracklist was prematurely shared by Rolling Stone, Billie shared it herself. During her surprise appearance at Coachella, she previewed one song, “Lunch,” which turned out to be one of her raciest yet — which aligned with her assessment‘ that, “I feel like every time you put anything out, it feels like your nudes leaked a little bit, and I think this one, specifically, is like that.”
Here’s everything to know about Billie Eilish’s new album, Hit Me Hard And Soft.
A post shared by BILLIE EILISH (@billieeilish)
Hit Me Hard And Soft is out 5/17 via Darkroom/Interscope Records. Find more information here.
A post shared by BILLIE EILISH (@billieeilish)
1. “Skinny”
2. “Lunch”
3. “Chihiro
4. “Birds Of A Feather”
5. “Wildflower”
6. “The Greatest”
7. “L’Amour De Ma Vie”
8. “The Diner”
9. “Bittersuite”
10. “Blue”
There are no singles for Hit Me Hard And Soft
Like her previous albums, Billie’s upcoming project won’t have any features.
A post shared by BILLIE EILISH (@billieeilish)
A post shared by BILLIE EILISH (@billieeilish)
See the tour dates below.
09/29/2024 — Québec, QC @ Centre Videotron
10/01/2024 — Toronto, ON @ Scotiabank Arena
10/02/2024 — Toronto, ON @ Scotiabank Arena
10/04/2024 — Baltimore, MD @ CFG Bank Arena
10/05/2024 — Philadelphia, PA @ Wells Fargo Center
10/07/2024 — Detroit, MI @ Little Caesars Arena
10/09/2024 — Newark, NJ @ Prudential Center
10/11/2024 — Boston, MA @ TD Garden
10/13/2024 — Pittsburgh, PA @ PPG Paints Arena
10/16/2024 — New York, NY @ Madison Square Garden
10/17/2024 — New York, NY @ Madison Square Garden
10/18/2024 — New York, NY @ Madison Square Garden
11/02/2024 — Atlanta, GA @ State Farm Arena
11/03/2024 — Atlanta, GA @ State Farm Arena
11/06/2024 — Nashville, TN @ Bridgestone Arena
11/08/2024 — Cincinnati, OH @ Heritage Bank Center
11/10/2024 — Saint Paul, MN @ Xcel Energy Center
11/01/2024 — Saint Paul, MN @ Xcel Energy Center
11/13/2024 — Chicago, IL @ United Center
11/14/2024 — Chicago, IL @ United Center
11/16/2024 — Kansas City, MO @ T-Mobile Center
11/17/2024 — Omaha, NE @ CHI Health Center Omaha
11/19/2024 — Denver, CO @ Ball Arena
11/20/2024 — Denver, CO @ Ball Arena
12/03/2024 — Vancouver, BC @ Rogers Arena
12/05/2024 — Seattle, WA @ Climate Pledge Arena
12/06/2024 — Seattle, WA @ Climate Pledge Arena
12/08/2024 — Portland, OR @ Moda Center
12/10/2024 — San Jose, CA @ SAP Center at San Jose
12/11/2024 — San Jose, CA @ SAP Center at San Jose
12/13/2024 — Glendale, AZ @ Desert Diamond Arena
12/15/2024 — Inglewood, CA @ Kia Forum
12/16/2024 — Inglewood, CA @ Kia Forum
12/17/2024 — Inglewood, CA @ Kia Forum
02/18/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/19/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/21/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/22/2025 — Brisbane, Australia @ Brisbane Entertainment Centre
02/24/2025 — Sydney, Australia @ Qudos Bank Arena
02/25/2025 — Sydney, Australia @ Qudos Bank Arena
02/27/2025 — Sydney, Australia @ Qudos Bank Arena
02/28/2025 — Sydney, Australia @ Qudos Bank Arena
03/04/2025 — Melbourne, Australia @ Rod Laver Arena
03/05/2025 — Melbourne, Australia @ Rod Laver Arena
03/07/2025 — Melbourne, Australia @ Rod Laver Arena
03/08/2025 — Melbourne, Australia @ Rod Laver Arena
04/23/2025 — Stockholm, Sweden @ Avicii Arena
04/24/2025 — Stockholm, Sweden @ Avicii Arena
04/26/2025 — Oslo, Norway @ Telenor Arena
04/28/2025 — Copenhagen, Denmark @ Royal Arena
04/29/2025 — Copenhagen, Denmark @ Royal Arena
05/02/2025 — Hannover, Germany @ ZAG Arena
05/04/2025 — Amsterdam, Netherlands @ Ziggo Dome
05/05/2025 — Amsterdam, Netherlands @ Ziggo Dome
05/07/2025 — Amsterdam, Netherlands @ Ziggo Dome
05/09/2025 — Berlin, Germany @ Uber Arena
05/29/2025 — Cologne, Germany @ Lanxess Arena
05/30/2025 — Cologne, Germany @ Lanxess Arena
06/01/2025 — Prague, Czech Republic @ O2 Arena
06/03/2025 — Kraków, Poland @ Tauron Arena
06/04/2025 — Kraków, Poland @ Tauron Arena
06/06/2025 — Vienna, Austria @ Stadthalle
06/08/2025 — Bologna, Italy @ Unipol Arena
06/10/2025 — Paris, France @ Accor Arena
06/11/2025 — Paris, France @ Accor Arena
06/14/2025 — Barcelona, Spain @ Palau Sant Jordi
06/15/2025 — Barcelona, Spain @ Palau Sant Jordi
07/07/2025 — Glasgow, UK @ OVO Hydro
07/08/2025 — Glasgow, UK @ OVO Hydro
07/10/2025 — London, UK @ The O2
07/11/2025 — London, UK @ The O2
07/13/2025 — London, UK @ The O2
07/14/2025 — London, UK @ The O2
07/16/2025 — London, UK @ The O2
07/17/2025 — London, UK @ The O2
07/19/2025 — Manchester, UK @ Co-op Live
07/20/2025 — Manchester, UK @ Co-op Live
07/22/2025 — Manchester, UK @ Co-op Live
07/23/2025 — Manchester, UK @ Co-op Live
07/26/2025 — Dublin, Ireland @ 3Arena
07/27/2025 — Dublin, Ireland @ 3Arena | en | https://uproxx.com/pop/billie-eilish-hit-me-hard-and-soft-album-release-info/ |
Sorry but something about this request looked a bit suspicious, and we block suspicious stuff. | en | https://www.ign.com/articles/playstation-names-hideaki-nishino-and-hermen-hulst-as-new-ceos-succeeding-jim-ryan |
MANILA, Philippines — Kapamilya star Coco Martin dedicated his "Batang Quiapo" award to the late actress Jaclyn Jose and Dreamscape head Deo Endrinal.
"Batang Quiapo" won “Popular TV Program-Primetime Drama" at the recent Box Office Entertainment Awards presented by the Guillermo Mendoza Memorial Scholarship Foundation (GMMSF), Inc.
“Inaalay namin 'to kay Mommy Jane, Sir Deo. Para sa 'yo 'to, Mommy Jane,” Coco said.
“Sa lahat ng bosses ng ABS-CBN na patuloy naniniwala at sumusuporta sa amin para magkatrabaho kasamahan natin sa industries, para sa inyo ito. Nandito kami para maghanapbuhay, para lahat mabigyan ng opportunity,” he added.
A post shared by ABS-CBN PR (@abscbnpr)
Coco said that the achievement is a team effort.
“Sobrang sarap sa pakiramdam kasi pinaghihirapan namin buoin lahat ang 'BQ.' Salamat sa buong team, creatives, directors, staff and crew, and lahat ng tumatangkilik at sumusubaybay gabi-gabi,” he said.
“Napaka-important nito. Ito ang paraan magtulong-tulong ang industriya para masabi natin buhay ang pelikula at telebisyon sa Pilipinas."
RELATED: Coco Martin shares final moments with Jaclyn Jose
Philstar.com is one of the most vibrant, opinionated, discerning communities of readers on cyberspace. With your meaningful insights, help shape the stories that can shape the country. Sign up now!
Signup for the News Round now | en | https://www.philstar.com/entertainment/2024/05/14/2354808/coco-martin-dedicates-popular-tv-program-award-jaclyn-jose-deo-endrinal |
May
2024
Little Kitty, Big City is a third-person platformer for the Nintendo Switch. It serves as the debut game for indie developer studio Double Dagger, taking a cute cat and dropping it into a big city ripe for exploration. I had to continually drag myself away from the game to write this review, so it’s safe to assume this is a fun time.
The plot is simple; our feline protagonist has fallen from the lofty heights of a high-rise apartment window. The aim is to find your way home. Simple enough, right? Unfortunately our pampered pet lacks the energy for such a climb, leading to an adventure full of surprises as you work your way through the city in search of energy-giving food.
Little Kitty, Big City emulates the movements of a cat very well. As I explored, I felt like I was, in fact, controlling a cat. The way you walk on all fours, bat at things with your paws, and jump all feel authentic and easy to do. There are other kitty moves to discover as well, such as stretching, meowing, sleeping, licking, and more. If you’re a cat person, you’ll adore trying each of these.
Moves are not the only collectible. In fact, there’s a ton of items to find and collect in Little Kitty, Big City. A handy to-do list shows your main objectives for the story while a cat-chievements list provides 39 optional achievements. These are often humorous, like dumpster diving or sitting in a certain number of boxes (as cats do). You can also recycle cans, give bones to dogs, snap pics of yourself with a phone, and much more.
These details are what make the game enjoyable. There’s an innocence to running through the streets and climbing buildings as a cat, and a feeling of exhilaration when you find something in the most obscure of places. It reminds me a little of my time with LEGO City Undercover in terms of seeking out hidden items in every nook and cranny. If you enjoy exploration, you’ll be similarly entertained.
My favorite collectibles are the 40 different hats. Of course, we all know dressing kitties in real life is, well, painful (surely, I’m not the only kid who forced clothes on their cat). But in Little Kitty, Big City, our little black cat loves wearing hats. And they’re adorable. I won’t spoil what they are because half the fun is finding each and every one. I also love the pun-tastic descriptions that accompany their discovery.
Another enjoyable component are the NPCs you meet along the way. These take the form of other animals, from birds and dogs to lizards and bugs. Each has a story to tell (the ducks are particularly interesting) and usually provide Kitty with a mission of some sort. I also commend the developers on the writing. I appreciate dialogue that serves as entertainment rather than being superfluous and easily skippable. I genuinely wanted to see what each character had to say, with some clever quips that made me chuckle.
The jazzy soundtrack is also worth mentioning. Little Kitty, Big City is a relaxing adventure; there are no life meters, deaths, or boss fights. In fact, there are no fights of any kind. Although you can catch birds, this is a playful maneuver after which the birds fly away unharmed, leaving you with a collectible feather. The goal is simply to explore and have fun, and the music suits this mood perfectly. The twinkling upbeat tunes settle neatly into the background, providing the perfect backdrop for your cat-based adventure.
There’s a map available for finding your way around town. If I could make any suggestions for improvement, it would be to the map. There’s technically nothing wrong with it; it provides a simple way to navigate the streets. However, it only shows a few icons, which disappear once you’ve found the item in question. There’s no text nor any way to interact with the map. I’d love to see the option to pin a location I’d like to revisit, or zoom in and out, or add a navigation point to direct me somewhere. This isn’t a sprawling world à la Tears of the Kingdom, but I still feel like some small enhancements could improve the experience.
The other thing I need to mention is the price. At US$24.99, this adventure seems a little too expensive for me. It’s a shame, because I think if it was just $5 cheaper, it would be a more reasonable outlay. I adore this game, but it does have a short runtime of under 10 hours. While there’s plenty to do and it’s a blast to play, I wonder if it would find more success with a slightly cheaper price tag. Perhaps future DLC will help cover this cost; I would certainly welcome any reason to revisit this delightful city and its cute inhabitants.
Overall, Little Kitty, Big City is an enjoyable platformer that successfully emulates playing the role of a cat. This sweet and relaxing game provides plenty to do in an easy-to-navigate environment that’s ripe for exploring. I appreciate the work the developers have put into this, and I hope they get a chance to create similar titles in the future.
Review: Little Kitty, Big City (Nintendo Switch)
Little Kitty, Big City is a joyful experience that successfully emulates playing the role of a cat. This sweet and relaxing game provides plenty to do in an easy-to-navigate environment that’s ripe for exploring. I appreciate the work the developers have put into this, and I hope they get a chance to create similar titles in the future.
The Author
Your source for the most up-to-date Nintendo news covering the Nintendo Switch.
Metacritic
OpenCritic
Privacy Policy
Manage Cookie Settings
© Pure Media LLC | en | https://purenintendo.com/review-little-kitty-big-city-nintendo-switch/ |
JAKARTA, Indonesia —
Fans of Korean pop bands around the world are increasingly channeling their millions-strong online community into climate and environmental activism, protesting business deals linked to coal power, urging K-pop entertainers to cut waste and raising awareness about climate-related issues.
Other climate activist groups have begun joining forces with Kpop4Climate, an environmental group founded in 2021 by K-pop fans Nurul Sarifah and Dayeon Lee. After Kpop4Climate petitioned South Korean automaker Hyundai Motor Co., it recently scrapped a deal linked to coal power plants in Indonesia.
The ability to quickly organize a large, dedicated group has made K-pop fans an increasingly influential lobby online as they participate in protests and promote causes that have included the Black Lives Matter movement. Politicians also have tried to tap into that power.
''I spotted how K-pop fans can be seen as a potential power,'' said Sarifah. ''We think we can harness that power for climate change action.''
In 2021, Korea Beyond Coal— a coalition of civic groups calling for South Korea to stop using coal power — teamed up with Kpop4Climate in 2021 to raise awareness about plans for a coal-burning power plant.
The plant site near Maengbang Beach, the photo shoot location for album artwork for one of K-pop band BTS's hit songs, is a popular destination for the band's fans and a joint petition created by Kpop4Planet and Korea Beyond Coal got thousands of signatures.
''We realized Kpop4Climate has the experience of mobilizing and connecting people and sharing information using social media ... which is very helpful when it comes to climate campaigning,'' said Euijin Kim, a communications officer for Solutions for Our Climate, which is part of Korea Beyond Coal.
The power plant is still going ahead, but the groups were able to raise awareness about the environmental issues caused by coal power, Lee said.
''We want to show the power and influence that the K-pop fans can have ... we believe that if we gather all together, we can make better social impacts and maybe change our society in more sustainable ways,'' said Lee. ''And, of course, love K-pop together.''
Korean pop culture fan clubs' activism and philanthropy began in the 1960s, said Stephanie Choi, a postdoctoral associate at the University of Buffalo studying K-pop culture. Now, K-pop fans regularly organize thousands of people on social media platforms to buy gifts for wildly popular K-pop singers and bands, or promote other causes.
Sarifah and Lee have aligned Kpop4Climate's activities with various causes, beginning with urging entertainment companies to cut back on waste related to the K-pop fan culture of collecting photo cards of band members, which are included in albums and sold as merchandise. K-pop labels often release multiple versions of albums with dozens of different photo cards, encouraging fans to bulk-buy albums to participate in lucky draws for meet-and-greet events with K-pop stars.
''The problem is that this creates a lot of waste,'' Lee said in an interview. ''We wanted to tackle that issue first, because it was the most well-known issue among K-pop fans.''
Entertainment companies haven't directly responded to Kpop4Climate's petitions and other approaches, but Lee still views the campaign as a success.
''There were changes after our campaigning: major entertainment companies published environmental, social and governance reports and published eco-friendly albums, including some releasing records using QR codes to minimize waste," she said.
Kpop4Climate's petition against Hyundai protested an agreement the company signed to buy aluminum from projects linked to coal power in Indonesia.
The memorandum of understanding signed in 2022 with a unit of one of Indonesia's largest coal miners, Adaro Energy Indonesia, gave Hyundai the right to purchase low-carbon aluminum from an industrial park Indonesian officials portray as ''green".
However, the smelter used to make the aluminum initially will be powered by newly built coal-fired plants. Hydroelectric and solar power will power the industrial park at a later date.
Given K-pop group BTS's collaboration with Hyundai, Kpop4Climate saw a chance to put their influence to work. In March 2023, Kpop4Climate launched a petition asking Hyundai to withdraw from the project until it phases out coal, and to disclose details of the energy used to make the aluminum. The petition got over 10,000 signatures in two months, and Kpop4Climate sent their pleas to Hyundai Motor's headquarters. In March, Hyundai Motor said it had ended its agreement with Adaro.
''Following the expiry of the MOU at the end of 2023, both companies have decided not to renew it and to explore other opportunities independently,'' a spokesperson for Hyundai Motor wrote in an email to The Associated Press.
Adaro did not respond to a request for comment sent by AP.
''This a victory of thousands of people, friends who took actions and also show that they genuinely care about the climate crisis and local communities," said Sarifah.
___ Asia entertainment editor Juwon Park in Seoul contributed to this report.
___
Associated Press climate and environmental coverage receives support from several private foundations. See more about AP's climate initiative here. The AP is solely responsible for all content. | en | https://www.startribune.com/k-pop-fans-around-globe-rally-for-climate-and-environment-goals/600365715/ |
With the continuous popularity of tvN‘s Lovely Runner, the fictional band Eclipse is also hitting an all-time career high with their songs!
According to the Melon chart, the song, “Sudden Shower” peaked at number eight on the Top 100 chart. Another one of their songs, “Run Run” was also seen at number 76.
Netizens felt that with records like this, they needed to go on a music show!
Even actor Byun Woo Seok’s agency was shocked at the news, they even posted it on its official Instagram stories.
Netizens could understand the agency’s surprise as it’s rare to see an actor enter the top ten on a music chart!
Recently, it was reported that tvN is in discussion for holding some sort of event to thank the fans for the support of the drama. No other details have been released yet.
Popular “K-Pop” Group Enters The Top 100 On Music Charts With Just One Performance
View Dark Theme | en | https://www.koreaboo.com/news/lovely-runner-ost-rises-number-eight-melon-top-100-chart-byun-woo-seok/ |
Please create an account to participate in the Slashdot moderation system
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173865277 |
Initially, the press conference followed a standard trajectory, with Paul and Tyson articulating their motivations for the upcoming bout and their strategies for victory. However, the atmosphere shifted gears dramatically when a young boxing enthusiast grabbed the spotlight with a question that veered far from the conventional script.
Introduced by mediator Ariel Helwani as a "young boy," the fan quickly showcased a penchant for unconventional inquiries. Amidst cheers and laughter from the audience, the fan's inquiry took an unexpected turn, prompting Tyson to quip, "Where is your mother at?" The remark set the tone for a comedic exchange that would steal the show.
Despite the fan's question about "body count," aimed at gauging the fighters' ability beyond the ring, Jake Paul found himself momentarily stunned into silence, a rarity for the typically outspoken personality. Tyson's repeated inquiry about the fan's parental supervision added another layer of amusement to the exchange, leaving the audience in stitches.
The viral clip of the exchange swiftly permeated social media platforms, shedding light on the young fan's knack for commanding attention. In a press conference marked by memorable moments, this interaction between the fan, Tyson, and Paul stood out as a testament to the unpredictability and entertainment value of the boxing world.
As the press conference tour continues, fans eagerly anticipate more moments like this at Thursday's edition from Arlington, Texas.
© Unidad Editorial Información Deportiva, S.L.U. All rights reserved.
Follow us | en | https://www.marca.com/en/boxing/2024/05/14/6642b9be268e3e92268b45a6.html |
Organizations continue to run insecure protocols across their wide access networks (WAN), making it easier for cybercriminals to move across networks, according to a Cato Networks survey.
The Cato CTRL SASE Threat Report Q1 2024 provides insight into the security threats and their identifying network characteristics for all aggregate traffic—regardless of whether they emanate from or are destined for the internet or the WAN—and for all endpoints across sites, remote users, and cloud resources.
“As threat actors constantly introduce new tools, techniques, and procedures targeting organizations across all industries, cyber threat intelligence remains fragmented and isolated to point solutions,” said Etay Maor, Chief Security Strategist at Cato Networks.
Once threat actors penetrate a network, they usually have less of a problem snooping critical data in transit across the network. All enterprises continue to run insecure protocols across their WAN, with 62% of all web application traffic being HTTP, 54% of all traffic being telnet, and 46% of all traffic being SMB v1 or v2 instead of SMBv3.
Lateral movement (where attackers will move across networks) was identified most frequently in the agriculture, real estate, and travel and tourism industries.
The most common AI tools used among enterprises during the first three months of 2024 were Microsoft Copilot, OpenAI ChatGPT, and Emol, an application that records emotions and talks with AI robots.
The strongest adoption of these tools was seen in the travel and tourism industry (used by 79% of organizations), and the lowest adoption among entertainment organizations (44%).
Newly discovered vulnerabilities do not necessarily mean that the threats exploiting them are the most common. While zero-day threats earn much attention in the industry, threat actors often eschew the use of the latest vulnerabilities and instead exploit unpatched systems.
When evaluating the top ten inbound common vulnerabilities and exposures (CVEs), the seven-year-old attack targeting the PHPUnit testing framework (CVE-2017-9841) was the most common found and it was found across 33% of the inbound CVE exploitations observed.
Furthermore, three years after its discovery, Log4Shell (CVE-2021-44228) remains one of the most used exploits and it was found across 30% of the outbound CVE exploitations observed.
Of the observed media and entertainment organizations, 48% did not use one of 200+ applications identified by Cato CTRL as information security tools. The top three industries targeted with T1499 Endpoint Denial of Service techniques are entertainment, telecommunication, and mining & metals.
In the services and hospitality sectors, threat actors utilize the T1212 Exploitation for Credential Access three times or more often than in other sectors. | en | https://www.helpnetsecurity.com/2024/05/14/log4j-wan-insecure-protocols/ |
Please create an account to participate in the Slashdot moderation system
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864891 |
The Cannes Film Festival Premiere for Furiosa: A Mad Max Saga is right around the corner, and Anya Taylor-Joy has already been spotted around town, reminding everyone that her stylist is absolutely killing it, and we should all be grateful for the experience. The social embargo for the film has already come down, but the review embargo will likely be dropping just after or right around that Cannes premiere, so we're going to get some more information from the (fortunate) people who have already seen the film about what we're in store for. Warner Bros. is also doing a pretty good job of showing us what we're in for with marketing that is balancing releasing new footage so people know what to expect if they are buying a ticket and plenty of behind-the-scenes stuff so we can see how this buckwild production came to be. We got some more of the latter today, this time spotlighting Taylor-Joy's performance as Furiosa. We already know that she doesn't have a lot of lines in this film, so hearing Taylor-Joy say that she put everything into this is probably truer than we even realize. She has to convey so much more without words, and hearing so many people say how impressed they were with her only adds to the hype.
Anya Taylor-Joy and Chris Hemsworth star in Academy Award-winning mastermind George Miller's Furiosa: A Mad Max Saga, the much-anticipated return to the iconic dystopian world he created more than 30 years ago with the seminal "Mad Max" films. Miller now turns the page again with an all-new original, standalone action adventure that will reveal the origins of the powerhouse character from the multiple Oscar-winning global smash Mad Max: Fury Road. The new feature from Warner Bros. Pictures and Village Roadshow Pictures is produced by Miller and his longtime partner, Oscar-nominated producer Doug Mitchell (Mad Max: Fury Road, Babe), under their Australian-based Kennedy Miller Mitchell banner.
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home. Taylor-Joy stars in the title role, and along with Hemsworth, the film also stars Alyla Browne and Tom Burke.
Warner Bros. Pictures Presents, in Association with Village Roadshow Pictures, A Kennedy Miller Mitchell Production, A George Miller Film, Furiosa: A Mad Max Saga. The film will be distributed worldwide by Warner Bros. Pictures, in theaters only nationwide on May 24, 2024, and internationally beginning on 22 May, 2024.
Enjoyed this? Please share on social media! | en | https://bleedingcool.com/movies/furiosa-new-bts-featurette-spotlights-anya-taylor-joys-performance/ |
The teenage son of beloved entertainment reporter Sam Rubin delivered an emotional, on-air tribute to his late father from his dad’s seat at the KTLA anchor desk just three days after the TV journalist unexpectedly died.
Colby Rubin, 16, delivered the heart-wrenching letter addressed to his dad during a Monday broadcast on KTLA, where the his dad worked worked for more than three decades.
“Hi Dad, I wrote this under the desk in your cubicle where you used to catch me sleeping — only you weren’t there to wake me up this time,” Colby read, looking directly at the camera.
“Dad, I can’t believe you’re gone.”
“You’ll never pick me up from school again. We’ll never get to go biking. We’ll never argue about food. You won’t be at my wedding. I can’t believe you are gone,” he said, choking up at times. “I love you so much. On the day you died, I hope you heard me say that.”
Colby shared how his dad, who died of a heart attack on Friday, was his biggest supporter and was always there whether to take him to Boy Scouts, Disney trips, physical therapy appointments, or even a 3 a.m. pickup from a sleepover.
“You were an incredible father and friend. On our car rides, you taught me so much about life — about your work, about how you got to get up every day and do what you love,” he continued.
“I idolized you and you are and will always be my hero. And I never got to tell you that and I’m so sorry, Dad.”
The teen said his dad always encouraged him and shared texts between them showing his father’s enduring support and advice.
“You encouraged me and loved me every day and built me up. I am completely who I am because of you,” Colby read.
“Dad, I am so proud to be your son. I had more of a father in 16 years than some people get their entire lives and I am so grateful. You are a beautiful human and you will never be forgotten,” he said, thanking everyone who has reached out in support of the family.
The letter left his father’s KTLA colleagues teary-eyed as they remembered their coworker and his deep love for his family while sitting next to his son.
Rubin had worked for the Los Angeles station since 1991 and became a staple on the red carpet, interviewing stars and receiving numerous awards throughout his career.
“He’s never gone,” Colby said. “He has this online footprint of over 30 years, so I always have somewhere to turn to.”
Colby said his family has received an outpouring of support and words of comfort since his dad’s death — even from people overseas.
In addition to his son Colby, Rubin is survived by his wife, Leslie, and their three other children, Rory, Perry, and Darcy. | en | https://nypost.com/2024/05/13/media/son-of-late-ktla-reporter-sam-rubin-shares-heart-wrenching-tribute-on-air/ |
Actress and musician Jillian Shea Spaeder chatted about her new short “The Noise.”
By
Published
Actress and musician Jillian Shea Spaeder (“Godmothered” on Disney+) chatted about her new short “The Noise.”
She wrote and produced this short (on the topic of an eating disorder), and it was directed by Bryce Gheisar.
On the idea for “The Noise,” she said, “I wrote ‘The Noise’ when I was struggling with my mental health. I wanted to personify the voices in my head on film.”
Regarding her daily motivations as an actress and musician, she said, “I just love creating! It is my favorite thing to do. I also look up to creators like Holly Humberstone and Jennifer Lawrence.”
She is hoping to raise awareness on mental health with this short. “I hope viewers take away the need to check in with themselves and others more,” she said. “Some of the happiest-seeming people can still be struggling. Talking to friends and family is the first step to improving mental health.”
On being an entertainer in the digital age, she said, “I love it! We live in a world where we can create and put things out without needing to be a part of a giant company.”
Regarding his future plans, she shared, “I hope to continue writing, acting, producing, and making music my whole life. I can’t see myself doing anything else.”
For hopefuls that wish to go into the entertainment business, she said, “My best advice for young and aspiring artists would be to do what you like.”
“It’s easy to fall into the trap of trying to create things that other people will like… but this takes away creative freedom and makes it a less fun process,” she added.
On her definition of the word success, she said, “Success to me means creating things I love and finishing things I start. I try not to define success by views, or streams. My definition of success is only based on things I can control!”
To learn more about Jillian Shea Spaeder, follow her on Instagram and visit her website.
Markos Papadatos is Digital Journal's Editor-at-Large for Music News.
Papadatos is a Greek-American journalist and educator that has authored over 21,000 original articles over the past 18 years. He has interviewed some of the biggest names in music, entertainment, lifestyle, magic, and sports. He is a 16-time "Best of Long Island" winner, where for three consecutive years (2020, 2021, and 2022), he was honored as the "Best Long Island Personality" in Arts & Entertainment, an honor that has gone to Billy Joel six times.
COPYRIGHT © 1998 - 2024 DIGITAL JOURNAL INC. Sitemaps: XML / News .
Digital Journal is not responsible for the content of external sites. Read more about our external linking. | en | https://www.digitaljournal.com/entertainment/jillian-shea-spaeder-talks-about-her-short-the-noise/article |
Download The Economic Times News App to get Daily Market Updates & Live Business News.
Subscribe to The Economic Times Prime and read the Economic Times ePaper Online.and Sensex Today.
Top Trending Stocks: SBI Share Price, Axis Bank Share Price, HDFC Bank Share Price, Infosys Share Price, Wipro Share Price, NTPC Share Price
Download The Economic Times News App to get Daily Market Updates & Live Business News.
Subscribe to The Economic Times Prime and read the Economic Times ePaper Online.and Sensex Today.
Top Trending Stocks: SBI Share Price, Axis Bank Share Price, HDFC Bank Share Price, Infosys Share Price, Wipro Share Price, NTPC Share Price
Trending Now
Hot on Web
In Case you missed it
Top Calculators
Top Searched Companies
Top Prime Articles
Top Performing MF
Top Definitions
Top Videos
Top Commodities
Top Slideshow
Top Story Listing
Follow us on:
Your Reason has been Reported to the admin.
Will be displayed
Will not be displayed
Will be displayed | en | https://economictimes.indiatimes.com/markets/stocks/news/gamestop-shares-surge-after-roaring-kitty-reemerges/articleshow/110099815.cms |
TORONTO, May 13, 2024 (GLOBE NEWSWIRE) -- Kilmer Sports Ventures, a part of Kilmer Group, announced today it has entered into exclusive negotiations with shareholders to acquire AS Saint-Étienne, one of France's most decorated and beloved football clubs.
Founded in 1933, AS Saint-Étienne’s 90-year legacy includes ten Ligue 1 championships, the top tier of French football, a deep commitment to community and an unrivalled fan base that extends well beyond the city to the whole region. After twenty years, current shareholders Bernard Caïazzo and Roland Romeyer are looking for new owners that will build on their vision for the club and, with the right resources and expertise, return Saint-Étienne to its elite position in the league.
If successful, the exclusive negotiations will transfer ownership of the club to Kilmer Sports Ventures, leveraging the unparalleled expertise of two leaders in the world of sports – Larry Tanenbaum, a 30-year veteran and one of the most well respected and trusted team owners in North America, and Ivan Gazidis, a legend in European football excellence with a demonstrated track record in building championship clubs.
“AS Saint-Étienne is more than just a football club, it’s a community,” said Larry Tanenbaum, Chairman and CEO of Kilmer Group. “It’s the beating heart of the city and the region, and has been for nearly 90 years. That’s something, as new owners, we would respect, preserve, and promote. I’m optimistic for what lies ahead.”
"It's an honour to engage with a club as prestigious as AS Saint-Étienne,” said Ivan Gazidis, President of Kilmer Sports Ventures. “Our aim is, step-by-step, to engage with the club’s fans and to bring Saint-Étienne back to the highest level of French football, where it can compete with pride in accordance with the club’s historic values."
For media inquiries:
Courtney Glen, Kilmer Group, [email protected]
About Kilmer Sports Ventures:
Kilmer Sports Ventures is a division of Kilmer Group and focuses on investment opportunities in the world of sport and entertainment. Kilmer Group is a multi-generational platform with a long history in business development and investment focused on three verticals: Infrastructure & Real Estate, Sports & Media, and Private Equity, which includes a majority ownership in Coca-Cola Canada Bottling Limited. | en | https://www.globenewswire.com/news-release/2024/05/14/2881002/0/en/Kilmer-Sports-Ventures-Enters-into-Exclusive-Negotiations-to-Acquire-French-Professional-Football-Club-AS-Saint-%C3%89tienne.html |
As global markets show signs of resilience, with indices like the S&P 500 approaching record highs, Sweden's recent economic adjustments, including a key interest rate cut by the Riksbank, paint a promising backdrop for investors looking at dividend stocks. In such an environment, understanding what constitutes a robust dividend stock is crucial; factors like stable earnings, consistent payout histories, and strong market positions become particularly valuable.
Name
Dividend Yield
Dividend Rating
Betsson (OM:BETS B)
5.97%
★★★★★☆
Zinzino (OM:ZZ B)
3.59%
★★★★★☆
Loomis (OM:LOOMIS)
4.55%
★★★★★☆
HEXPOL (OM:HPOL B)
3.09%
★★★★★☆
Duni (OM:DUNI)
4.55%
★★★★★☆
Skandinaviska Enskilda Banken (OM:SEB A)
5.54%
★★★★★☆
Avanza Bank Holding (OM:AZA)
4.54%
★★★★★☆
Nordea Bank Abp (OM:NDA SE)
8.04%
★★★★★☆
Bilia (OM:BILI A)
4.55%
★★★★☆☆
Husqvarna (OM:HUSQ B)
3.44%
★★★★☆☆
Click here to see the full list of 24 stocks from our Top Dividend Stocks screener.
Here's a peek at a few of the choices from the screener.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: Bahnhof AB (publ) operates in the Internet and telecommunications sector primarily in Sweden and across Europe, with a market capitalization of approximately SEK 5.54 billion.
Operations: Bahnhof AB generates its revenue primarily from the internet and telecommunications services within Sweden and other parts of Europe.
Dividend Yield: 3.9%
Bahnhof AB's recent earnings report showed a revenue increase to SEK 491.38 million and net income growth to SEK 56.17 million, indicating financial health. However, its dividend sustainability is questionable with a high payout ratio of 97.7%, implying dividends are not well-covered by earnings despite a stable dividend history over the past decade. The stock trades below estimated fair value by 24.3%, offering potential undervaluation but its low yield of 3.88% trails behind top Swedish dividend payers.
Click here and access our complete dividend analysis report to understand the dynamics of Bahnhof.
Our comprehensive valuation report raises the possibility that Bahnhof is priced higher than what may be justified by its financials.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: BioGaia AB (publ) is a healthcare company that specializes in probiotic products with a global reach, boasting a market capitalization of approximately SEK 13.03 billion.
Operations: BioGaia AB generates its revenue primarily from the sale of probiotic products across various global markets.
Dividend Yield: 5.3%
BioGaia's dividend yield of 5.35% ranks well in Sweden, but its sustainability is questionable with a high cash payout ratio of 215.5%, indicating dividends are not adequately covered by free cash flow. Although the company's P/E ratio at 35.1x is favorable compared to the industry, inconsistent dividend payments over the past decade and coverage issues raise concerns about reliability and growth prospects, despite a recent earnings uptick to SEK 121.85 million in Q1 2024 from SEK 115.95 million last year.
Click here to discover the nuances of BioGaia with our detailed analytical dividend report.
The valuation report we've compiled suggests that BioGaia's current price could be inflated.
Simply Wall St Dividend Rating: ★★★★☆☆
Overview: G5 Entertainment AB (publ), based in Sweden, specializes in developing and publishing free-to-play games for smartphones, tablets, and personal computers, with a market capitalization of SEK 1.12 billion.
Operations: G5 Entertainment AB generates its revenue primarily from the development and publication of free-to-play games for various digital platforms.
Dividend Yield: 5.8%
G5 Entertainment offers a dividend yield of 5.77%, ranking in the top quartile within the Swedish market, supported by a stable yet short history of dividend payments over seven years. Despite recent earnings declines to SEK 37.48 million from SEK 47.76 million, dividends remain well-covered with an earnings payout ratio of 54.4% and cash payout ratio of 36.8%. The company's upcoming board reshuffle could influence future financial strategies, maintaining investor interest in its governance dynamics.
Get an in-depth perspective on G5 Entertainment's performance by reading our dividend report here.
Our valuation report unveils the possibility G5 Entertainment's shares may be trading at a discount.
Discover the full array of 24 Top Dividend Stocks right here.
Have you diversified into these companies? Leverage the power of Simply Wall St's portfolio to keep a close eye on market movements affecting your investments.
Discover a world of investment opportunities with Simply Wall St's free app and access unparalleled stock analysis across all markets.
Explore high-performing small cap companies that haven't yet garnered significant analyst attention.
Fuel your portfolio with companies showing strong growth potential, backed by optimistic outlooks both from analysts and management.
Find companies with promising cash flow potential yet trading below their fair value.
This article by Simply Wall St is general in nature. We provide commentary based on historical data and analyst forecasts only using an unbiased methodology and our articles are not intended to be financial advice. It does not constitute a recommendation to buy or sell any stock, and does not take account of your objectives, or your financial situation. We aim to bring you long-term focused analysis driven by fundamental data. Note that our analysis may not factor in the latest price-sensitive company announcements or qualitative material. Simply Wall St has no position in any stocks mentioned.
Companies discussed in this article include OM:BAHN B OM:BIOG B and OM:G5EN.
Have feedback on this article? Concerned about the content? Get in touch with us directly. Alternatively, email [email protected] | en | https://finance.yahoo.com/news/three-swedish-dividend-stocks-offering-020622086.html |
Here's a fresh new logo we baked just for you. 😘 pic.twitter.com/m54aX7N5dB
The IndieWire website posted two more new images from the project on Monday.
This year's Annecy will take place from June 9 to June 15 in the French town of the same name. Established in 1960, Annecy is the world's oldest and largest animation film festival.
While the film was also previewed last year at Annecy, the screening showed unfinished footage.
The film was previously slated to open on April 12, 2024, but was delayed to December 13, 2024.
The Lord of the Rings: The War of the Rohirrim is set in the world of J.R.R. Tolkien's Middle-Earth. New Line Cinema is producing the film in partnership with Warner Bros. Animation. Sola Entertainment is responsible for the animation studios for the film, and Warner Bros. Pictures will distribute the film.
Brian Cox plays Helm Hammerhand, the King of Rohan and protagonist. Gaia Wise plays Helm's daughter Hera. Luke Pasqualino plays Wulf, a Dunlending lord. Miranda Otto reprises her role from the original films as Éowyn, Shieldmaiden of Rohan, and she is also the narrator.
The cast also includes Lorraine Ashbourne, Yazdan Qafouri, Benjamin Wainwright, Laurence Ubong Williams, Shaun Dooley, Michael Wildman, Jude Akuwudike, Bilal Hasna, and Janine Duvitski.
The film is described as an original anime feature, depicting "a legendary battle that helped shape Middle-earth and set the stage" for Tolkien's The Lord of the Rings. It "explores and expands the untold story behind the fortress of Helm's Deep, delving into the life and bloodsoaked times of one of Middle-earth's most legendary figures; the mighty King of Rohan - Helm Hammerhand."
Joseph Chou (Blade Runner: Black Lotus TV series) is producing, and Jeffrey Addiss and Will Matthews (The Dark Crystal: Age of Resistance) are writing the screenplay. The Oscar-winner Philippa Boyens, who was part of the screenwriting team on the live-action The Lord of the Rings and The Hobbit film trilogies, is a consultant on the project.
Jason DeMarco — Adult Swim's senior vice president and head of anime and action series as well as senior vice president in the anime and action series/longform department at Warner Bros. Animation and Cartoon Network Studios — is a producer on the film, and he confirmed that the film is in 2D.
Sources: Variety (Jamie Lang), Jason DeMarco's Twitter account
News homepage / archives | en | https://www.animenewsnetwork.com/news/2024-05-13/annecy-screens-the-lord-of-the-rings-the-war-of-the-rohirrim-footage-in-june/.210784 |
Over the weekend, it was announced that actor James Laurenson had passed away in April at the age of 84. Rest in peace.
Born in New Zealand in 1940, Laurenson moved to the U.K. in the ’60s where he began acting professionally, working on both stage and screen. Over the decades, his notable credits include The Crown, Coronation Street, Australian detective series Boney, and, in his final film role, Matilda: The Musical.
And though he wasn’t gay himself, Laurenson is fondly remembered as being part of a very important moment in LGBTQ+ pop culture history: He was one half of the first-ever gay kiss on British television!
And the other half? None other than Sir Ian McKellen.
Back in 1970, the actors starred in a production of Christopher Marlowe’s classic Renaissance play Edward II at the Picadilly Theatre in London. McKellen played the titular character in one of his first breakthrough roles, with Laurenson as Piers Gaveston, the king’s “favorite,” a.k.a. a polite, old world way of saying the two were lovers.
(Needless to say, the play has long been a controversial one thanks to its homo-romantic themes.)
The production was such a sensation, breaking theatrical box office records for the Picadilly, that the BBC eventually decided to record and broadcast the play on air, which meant a rather passionate—and historic!—kiss between McKellen and Laurenson was beamed into homes across the U.K.
Nope, this wasn’t some chaste peck on the lips, or a fake smooch while the actors had their backs turned to the camera—it was an honest-to-goodness kiss, a fiery, emotion-filled one that goes on for a number of seconds unbroken.
For the curious, the full broadcast of Edward II is currently on YouTube, with the big moment occurring right around the 17:20 mark.
Again, not only was this a first for the BBC, but it’s considered by some to be the first man-on-man kiss to air on television ever. That’s all the more impactful when you consider that homosexuality was decriminalized in the U.K. just three years earlier, in 1967.
But it’s not like anyone was necessarily setting out to make history with the kiss. A few years back, McKellen was featured in an interview special with BBC Two’s Amol Rajan, reflecting that the network “wasn’t out to shock people or educate people, it was just doing a play that had a big success at the Edinburgh Festival and two seasons in London.”
McKellen, who was still closeted at the time Edward II aired, added: “I didn’t do that play because I was on a mission to tell people about homosexuality and certainly not my own.”
Of course, the actor did eventually come out publicly—in a 1988 radio interview for (where else?) The BBC—and years later is able to appreciate the impact the kiss has had on audiences.
“I’ve heard from people I shall never meet saying I’m so grateful to you for that kiss which I was watching in Indiana with my parents and we had a good conversation about it afterwards and I’m now a happily married gay man… So it was wonderful,” he shared.
As for Laurenson, McKellen said he’s “always grateful” for the kiss they shared. Or kisses rather. Edward II ran for nearly a year prior to its BBC broadcast, which meant the pair had to lock lips night after night after night.
“I still recall the first softness of James Laurenson’s lips,” McKellen once wrote, “which was a bonus throughout the run.”
The late Laurenson’s legacy—and lips—live on through his impressive body of work, and we’ll be forever grateful to both actors for moving the needle forward for LGBTQ+ representation in media.
We can't rely on mainstream media to tell our stories. That's why we don't lock Queerty articles behind a paywall. Will you support our mission with a contribution today? | en | https://www.queerty.com/that-time-ian-mckellen-james-laurenson-gave-us-one-of-the-first-and-fieriest-gay-kisses-on-tv-20240513 |
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.Save this picture!© Peter BennettsSave this picture!Plan - SiteSave this picture!© Peter BennettsBell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.Save this picture!© Peter BennettsSave this picture!© Peter BennettsPreston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.Save this picture!© Peter BennettsSave this picture!Plan - Ground Floor Bell StationSave this picture!© Peter BennettsThroughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.Save this picture!© Peter BennettsSave this picture!© Peter BennettsThe project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.Save this picture!© Peter BennettsSave this picture!© Peter BennettsThe plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.Save this picture!© Peter Bennetts
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.
Text description provided by the architects. Bell and Preston Stations have been developed as part of Victoria’s Level Crossing Removal Project. These stations form two critical parts of the greater rail redevelopment along the Mernda Line, removing 4 level crossings and providing 3 MCG’s worth of recreational community space. Developed in collaboration with Tract Consultants, this green space created beneath the elevated rail is activated with improved amenities and connections, including landscaping, gathering spaces, and shared user paths.
Bell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.
Bell Station’s façade references the heritage-listed housing stock surrounding the site. The City of Darebin’s roofscape was abstracted into a three-dimensional pattern that forms the concrete façade. The angled patterns animate the façade, which includes multi-colored glass windows that filter colored light into the double-height concourse space. These colors are drawn from hues that illuminate the neighboring Darebin Arts & Entertainment Centre and reduce the need for artificial light in the concourse. Bell Station’s development includes the design of a public amphitheater doubling as a flood basin. The dual-purpose space adjacent to the Darebin Arts & Entertainment Centre allows the existing community asset to extend into the station development.
Preston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.
Preston Station’s design reflects the influence of the neighboring Preston Market. The façade was designed as an array of black vertical folds, resembling a barcode used by market vendors. These folds were filled with vivid colors drawn from the produce at Preston Market to extend the vibrancy of the market into the station. This vibrancy was then extended into the station’s interior; the cladding continues into the concourse, and the windows filter colored light into this space. Additionally, Preston Station has been designed to be adapted to the future development of Preston Market.
Throughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.
Throughout the project, color and form are used as tools for placemaking. The Mernda Line is attributed to a lilac identity. As such, pink and lilac piers and feature lighting perform as civic markers. As colors that do not naturally occur in the built environment, these identifiers enhance the stations’ prominence. The patterning, colored cladding elements, and lighting of both stations’ façades enable the buildings to perform as placemaking mechanisms and celebrate rail as a piece of public architecture. Both station designs champion environmental consciousness seen in the station’s sustainability credentials, including meeting the highest ISC for rail projects and 6-star Greenstar requirements.
The project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.
The project features urban design and civic zones, including green spaces and native planting grounds, in order to promote and act as an ecological network. The increase in amenities around and within the stations increases user activity and activation. This activation promotes safety by increasing passive surveillance around the network. These spaces used for public amenities also provide better access to streets previously blocked by the rail corridor. Both Bell and Preston Stations incorporated Indigenous design initiatives to create meaningful and inclusive spaces. The outcomes of this include a range of landscape and urban design elements. These include space for yarning circles in the surrounding landscaping and Indigenous design elements such as the viaduct screen pattern and the lift pattern at both stations. The project fosters opportunities for cultural learning and serves as a functional community space.
The plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.
The plans for both stations carefully considered program so that they could function effectively. For example, Bell Station was planned with programs inhabiting the four corners of the building, so that the generous concourse remains unconditioned. Additionally, the staircases in Preston Station allow the platform to load from either end, evenly distributing passengers along the platform and the train. As civic places of arrival and departure, the project links the local community to greater Melbourne. In doing so, it provides safe and equitable access. The project exemplifies how transportation infrastructure can be reimagined to revitalise the precinct.
You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users. | en | https://www.archdaily.com/1016542/preston-level-crossing-removal-project-wood-marsh |
Quinton “Rampage” Jackson’s boxing debut is going to have to wait.
MMA Mania has confirmed with sources that the scheduled boxing match on June 8, 2024, at Rumble of Titans: Duel In the Desert in Qatar between Jackson and former Heavyweight champion, Shannon Briggs, is now off. The bout’s cancelation comes as a result of fraud concerns from the fighters regarding the event’s promoter, Quantum Sports & Media (QSM) World. It’s unknown whether or not the promoters will still try and hold an event on the discussed date.
QSM’s Founders, Hossama Dawood Khan and Suleyman Dawood Khan, along with other family members, were alleged of defrauding concerts of artists, Drake and Travis Scott, per a lawsuit by Jazba Entertainment (h/t Global Village Space) in July 2023. The allegations stated that Jazba Entertainment was persuaded by the family to invest in a Dubai concert featuring the above acts on May 28, 2021. The event was pitched with the name “Rhythm” at Dubai’s Coca-Cola Arena. Jazba’s Pervaiz Akhtar with the aid of Kenyan promoter, Rani Jamal, transferred $250,000 to QSM World’s Qatar account for the event. QSM World ignored Akhtar and failed to deliver the promised concert materials once the transfer was made. The Khans were also alleged to have advertised a boxing event in 2022 that never happened after acquiring support from investors.
“Hossama Dawood Khan alleged that the $3 million investment made by Akhtar was forfeited by Drake and Travis Scott’s management when the concert was canceled,” Global Village Space’s report read. “However, representatives of the artists denied these claims, expressing surprise and disappointment that their names were misused in fraudulent activities.”
MMA Mania has since received a brief letter of legal action sent to QSM World in July 2023 along with proof of text messages that were unresponded to by Hossama Khan, countering his claim below that no legal action is being taken. It’s believed that all has just been ignored. A report was made to the Qatar embassy in London, England but a response has yet to be received by Jazba Entertainment as of March 2024. Jazba Entertainment plans to take action with Qatar’s capital, Doha.
“Both news articles are with the intention of defamation,” Khan said in a statement to MMA Mania this past March. “Also, if we have done something wrong, why have they not gone down a legal avenue as they have said in the article? To date, no legal action has been taken against us because legally they have done a breach of contract. Anyhow, we have moved on with our legal options to take down the news articles and our team is already working on it. As said before they’re just trying to defame our name.
“When you read both news articles they don’t match up,” he concluded. “One article says one thing and the other says another thing.”
QSM World requested The News International take down or at the very least edit out the QSM name from its story on the Khans on Feb. 22, 2024. Legal action was specified as not threatened but details for the request were not specified. Sources close to the situation alleged that QSM World is not registered in Qatar and currently uses a headquarters location in Doha Tower that does not exist.
As the boxing event got closer, a pre-fight press conference in Qatar was scheduled for March 28, 2024. The press conference didn’t happen and Khan’s reasoning for why was as follows.
“Regarding the press conference, it’s rescheduled as in Ramadan we can’t have musical performance in Ramadan,” Khan told MMA Mania.
Aside from the well-documented eating and drinking limitations of Ramadan, which ended on March 29, there don’t appear to be any rules in Qatar regarding musical events or performances. Nonetheless, the press conference was not rescheduled.
Check your inbox for a welcome email.
Oops. Something went wrong. Please enter a valid email and try again. | en | https://www.mmamania.com/2024/5/13/24156014/rampage-jackson-vs-shannon-briggs-boxing-match-falls-apart-amid-promoter-fraud-concerns-mma |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864585 |
In September 2023, Jim Ryan announced he would be retiring from Sony and leaving his role as president and CEO of Sony Interactive Entertainment at the end of March 2024. Today, Sony announced that it has named two people for separate CEO roles at SIE, which includes the PlayStation division. Both will officially begin working in their new gigs on June 1.
In a press release, Sony announced that one of the new CEOs will be Hideaki Nishino, He will be in charge of SIE's Platform Business Group. He currently serves as the senior vice president for the Platform Experience Group. Sony stated:
In his new capacity as CEO of the Platform Business Group, Nishino will continue to be responsible for technology, products, services, and platform experience. He will also oversee third party publisher and developer relations and commercial operations, including sales and marketing of hardware, services, and peripherals.
The other new SIE CEO will be Hermen Hulst, who will be running the company's Studio Business Group. Hulst currently works as the senior vice president and head of the PlayStation Studios division. He previously was the co-founder of Guerrilla Games. Sony said in his new CEO role, Hulst will be "responsible for the development, publishing, and business operations of SIE's first-party content."
In a post on his X (formerly Twitter) account, Hulst stated:
It’s a true privilege to be asked to lead the new Studio Business Group for Sony Interactive. I’m excited to continue working with incredibly talented teams and studios to deliver unforgettable game and entertainment experiences.
Both of the new PlayStation CEOs will have their own set of challenges after taking over from Jim Ryan. The division announced it was cutting 900 team members back in February, which included shutting down its London studio. The company also offered a warning in February that it had cut back its projections for PS5 sales for its current fiscal year and there will not be a major first-party PlayStation game released until sometime in 2025.
Login or Sign Up to read and post a comment.
Please enter your reason for reporting this comment. | en | https://www.neowin.net/news/sony-names-two-people-as-the-new-ceos-for-its-playstation-business/ |
The entertainment industry has been mourning the loss of journalist Sam Rubin. The longtime entertainment reporter for KTLA Morning News died on May 10 at age 64 and many celebrities in Hollywood have been paying tribute to him. NCIS vet Pauley Perrette is among those sharing memories of the beloved journalist and even shared a clip from one of their most recent interviews.
Perrette took to Instagram after news broke about Rubin’s passing to pay tribute to him, noting that he “was a friend and an excellent human.” She also shared that while doing interviews was “not a pleasant part” of her job, she was always excited to be interviewed by him and see him on the red carpet “because he was real, he was fun and he was a friend.” Alongside her heartfelt message, the former actress also shared a short clip of the two of them on KTLA, where they kissed each other on the cheek:
A post shared by Pauley Perrette (@thepauleyp)
A photo posted by on
The clip in question seems to be from an interview Perrette did in December, as she shared another clip where she’s wearing the same outfit. It was in promotion of her new documentary Red Ribbons of Love and just from the look of it, she was happy to be with Rubin and the rest of the KTLA team.
She also spoke with Rubin for certain milestones in her career, such as her final episode of NCIS. Unfortunately, Perrette was just on the phone, but she certainly sounded happy to be on the line with Rubin and the team. All in all, I'm glad that this clip was available for viewing, even years after the interview took place:
When one door on CBS closes, another one opens, as did for Perrette. She also spoke to Rubin during the initial COVID lockdown about her short-lived sitcom Broke, which was unfortunately canceled after one season. Since she retired from acting following the sitcom, it had likely been a long time since the two of them had spoken to each other or, at the very least, done an interview together. It's possible that their interview last December might have been their first conversation in a long time, making it all the more bittersweet that Perrette used a clip from it for her tribute.
Many other celebrities have been paying tribute to Sam Rubin, including Ben Stiller, Octavia Spencer, Jerry O’Connell, Ryan Reynolds, Jamie Lee Curtis, Tom Hanks, Kiefer Sutherland, and many, many more. Based on these reactions from some of the biggest names in Hollywood, he had a strong impact on the industry and a legacy that will continue.
Passionate writer. Obsessed with anything and everything entertainment, specifically movies and television. Can get easily attached to fictional characters.
NCIS’ Pauley Perrette Marks 1-Year Anniversary Of Her Stroke With Candid Post: ‘I’m Still Here'
Oh No! NCIS Vet Pauley Perrette Is Apparently Retired Now After Latest CBS Show Was Cancelled
After ABC Announced Fall TV Schedule, Here's Why I'm Worried About The Rookie And Will Trent Season Finales
Cinemablend is part of Future US Inc, an international media group and leading digital publisher. Visit our corporate site.
©
Future US, Inc. Full 7th Floor, 130 West 42nd Street,
New York,
NY 10036. | en | https://www.cinemablend.com/television/ncis-vet-pauley-perrette-tribute-tv-journalist-sam-rubin |
Monica Schipper/Getty
Jean Catuffe/Getty
Monica Schipper/Getty | en | https://people.com/olympic-champion-nathan-chen-graduates-from-yale-8647948 |
'I IDOLIZED YOU. YOU ARE AND WILL ALWAYS BE MY HERO'Sam Rubin's son, Colby, joined KTLA 5 Morning News on Monday to reflect on his father's passing and share a message to him. pic.twitter.com/NYFXYVqmtT
Gone, but never forgotten. Sam Rubin's son is honoring the beloved late KTLA reporter after his shocking and sudden death. pic.twitter.com/JEvFQqOePu
I would not be able to do that, especially so soon after his passing. What a brave thing to do. | en | https://ohnotheydidnt.livejournal.com/128394166.html |
https://toynewsi.com/436-52734
Researchers worldwide are analyzing and debating the feasibility of a scenario where an individual clad in leather and equipped with various heavy gear, executes a backflip while evading three rockets and gunfire, without retaliating with his Uzi or knife.
The wolf is about to do the same with, only carrying the full clip the ninja forgot back in the NinjaVan.
https://toynewsi.com/436-52734
Researchers worldwide are analyzing and debating the feasibility of a scenario where an individual clad in leather and equipped with various heavy gear, executes a backflip while evading three rockets and gunfire, without retaliating with his Uzi or knife.
Entertainment News International (ENI) is the #1 popular culture network for adult fans all around the world.
Get the scoop on all the popular comics, games, movies, toys, and more every day!
Advertising |
Submit News |
Contact ENI |
Privacy Policy
©Entertainment News International - All images, trademarks, logos, video, brands and images used on this website are registered trademarks of their respective companies and owners. All Rights Reserved. Data has been shared for news reporting purposes only. All content sourced by fans, online websites, and or other fan community sources. Entertainment News International is not responsible for reporting errors, inaccuracies, omissions, and or other liablities related to news shared here. We do our best to keep tabs on infringements. If some of your content was shared by accident. Contact us about any infringements right away - CLICK HERE | en | https://toynewsi.com/news.php?itemid=52734 |
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
Nickname:
Password:
Nickname:
Password:
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
There may be more comments in this discussion. Without JavaScript enabled, you might want to turn on Classic Discussion System in your preferences instead.
I am a computer. I am dumber than any human and smarter than any administrator. | en | https://slashdot.org/firehose.pl?op=view&id=173864197 |
Subsets and Splits