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From Jelly Roll to TWICE, top acts hit 'Amazon Music Live' to spotlight their upcoming projects
In recent years, a novel form of criminality has rapidly expanded across Southeast Asia, leaving in its wake a trail of human exploitation, financial harm, and, in many parts of the region, a weakening of the rule of law. Cyber-scam centres, operated by sophisticated transnational organised criminal groups, have emerged as a serious threat to both national and human security across Southeast Asia. This trafficking serves as a stark reminder of the potential for emerging technologies to not only facilitate legitimate business and connect people but also to be abused in support of criminal endeavours. Moreover, these scam centres do not operate in isolation. They are part of a complex and growing criminal ecosystem intertwined with other illicit activities such as drug and wildlife trafficking, organ trafficking, money laundering, and corruption. This poly-criminality amplifies their impact and sees them becoming even more challenging to counter. As part of ongoing efforts to address this complex issue, a regional workshop hosted by the Ministry of Foreign Affairs of the Republic of Indonesia and the Regional Support Office of the Bali Process was held in November in Bali, Indonesia. A multi-stakeholder approach is essential in this effort, particularly in engaging the private sector. We must collaborate with social media platforms and job search websites to enhance content moderation efforts and prevent trafficking recruitment. By developing robust public-private partnerships, we can leverage technological expertise to identify and disrupt online trafficking recruitment efforts before they occur. This level of coordination between governments and private entities across borders is crucial to match the sophistication of these criminal networks and the scale of their recruitment efforts. Crucially, we must also follow the money and seize funds linked to scam centre operations, as profit is the primary driver for organised criminal groups. This requires partnerships with financial institutions of all sizes, from major banks to emerging FinTech companies across multiple jurisdictions. By enhancing our capabilities to trace and seize illicit financial flows, including those involving cryptocurrencies and other new forms of finance, we can strike at the heart of scam centre operations. As we look to address the root causes and systems facilitating cyber-scam centre operations, we must also not neglect the victims. Increased support for shelters and victim services is vital. Our response must include robust mechanisms for victim identification, protection, and reintegration, continuing to build and increase support for ongoing efforts in this space. This aspect of our response demands coordinated efforts across borders, as victims often need support in both destination and origin countries. A unified, multi-stakeholder approach to victim services -- involving governments, civil society, and international organisations -- will be essential to ensuring comprehensive care is provided to victims of trafficking to promote consistent identification followed by enhanced access to services, including during the return and reintegration process. International organisations and regional bodies have a crucial role to play in facilitating this unprecedented level of cooperation. Asean's Senior Officials Meeting on Transnational Crime (SOMTC), for instance, provides a platform for coordinating regional policy and law enforcement efforts against transnational crime, including those related to cyber-scam centres. The Bali Process, with its broad membership across the Asia-Pacific, is similarly well-positioned to foster dialogue and coordinate responses at the regional and inter-regional levels. These platforms can serve as key tools for the kind of multi-stakeholder cooperation that will be needed to combat the cyber-scam centre challenge effectively. Law enforcement agencies must be empowered with the mandate and means to conduct cross-border investigations and operations. The private sector, particularly technology companies and financial institutions, must be more proactive in preventing their platforms from being exploited by these organised criminal groups. This multi-stakeholder approach, combining government action, private sector engagement, and civil society support, is our best hope for effectively countering this complex transnational threat. The time for action is now. The security and prosperity of the Asia-Pacific, and indeed globally, depend on our collective resolve to address this challenge. Let us unite in action to protect our communities that we all value. Fuad Adriansyah is the co-manager (Indonesia) at the Regional Support Office of the Bali Process on People Smuggling, Trafficking in Persons and Related Transnational Crime. David Scott is the co-manager (Australia) at the Regional Support Office of the Bali Process on People Smuggling, Trafficking in Persons and Related Transnational Crime."We are not afraid of facing challenges, no matter how big they may seem," Lukman emphasized. "We are ready to give our all on the field and show the world what Atlanta is capable of."
Survey shows decline in resident satisfaction with Columbia’s services and safety
NEW ORLEANS (AP) — A scruffy little fugitive is on the lam again in New Orleans, gaining fame as he outwits a tenacious band of citizens armed with night-vision binoculars, nets and a tranquilizer rifle. Scrim, a 17-pound mutt that's mostly terrier, has become a folk hero, inspiring tattoos, T-shirts and even a ballad as he eludes capture from the posse of volunteers. And like any antihero, Scrim has a backstory: Rescued from semi-feral life at a trailer park and adopted from a shelter, the dog broke loose in April and scurried around the city until he was cornered in October and brought to a new home. Weeks later, he'd had enough. Scrim leaped out of a second-story window, a desperate act recorded in a now-viral video. Since then, despite a stream of daily sightings, he's roamed free. The dog’s fans include Myra and Steve Foster, who wrote “Ode to Scrim” to the tune of Ricky Nelson’s 1961 hit, “I’m a Travelin’ Man.” Leading the recapture effort is Michelle Cheramie, a 55-year-old former information technology professional. She lost everything — home, car, possessions — in Hurricane Katrina in 2005, and in the aftermath, found her calling rescuing pets. “I was like, ‘This is what I should be doing,’” Cheramie said. “I was born to rescue.” She launched Zeus’ Rescues, a nonprofit shelter that now averages 600 cat and dog adoptions a year and offers free pet food to anyone who needs it. She helped Scrim find the home he first escaped from. It was Cheramie's window Scrim leaped from in November. She's resumed her relentless mission since then, posting flyers on telephone poles and logging social media updates on his reported whereabouts. She's invested thousands of dollars on wildlife cameras, thermal sensors and other gear. She took a course offered by the San Diego Zoo on the finer points of tranquilizing animals. And she's developed a network of volunteers — the kind of neighbors who are willing to grid-search a city at 3 a.m. People like writer David W. Brown, who manages a crowd-sourced Google Map of all known Scrim sightings. He says the search has galvanized residents from all walks of life to come together. As they search for Scrim, they hand out supplies to people in need. “Being a member of the community is seeing problems and doing what you can to make life a little better for the people around here and the animals around you,” Brown said. And neighbors like Tammy Murray, who had to close her furniture store and lost her father to Parkinson's disease. This search, she says, got her mojo back. “Literally, for months, I’ve done nothing but hunt this dog,” said Murray, 53. “I feel like Wile E. Coyote on a daily basis with him.” Murray drives the Zeus' Rescues' van towards reported Scrim sightings. She also handles a tactical net launcher, which looks like an oversized flashlight and once misfired, shattering the van's window as Scrim sped away. After realizing Scrim had come to recognize the sound of the van's diesel engine, Murray switched to a Vespa scooter, for stealth. Near-misses have been tantalizing. The search party spotted Scrim napping beneath an elevated house, and wrapped construction netting around the perimeter, but an over-eager volunteer broke ranks and dashed forward, leaving an opening Scrim slipped through. Scrim's repeated escapades have prompted near-daily local media coverage and a devoted online following. Cheramie can relate. “We’re all running from something or to something. He's doing that too,” she said. Cheramie's team dreams of placing the pooch in a safe and loving environment. But a social media chorus growing under the hashtag #FreeScrim has other ideas — they say the runaway should be allowed a life of self-determination. The animal rescue volunteers consider that misguided. “The streets of New Orleans are not the place for a dog to be free,” Cheramie said. “It’s too dangerous.” Scrim was a mess when Cheramie briefly recaptured him in October, with matted fur, missing teeth and a tattered ear. His trembling body was scraped and bruised, and punctured by multiple projectiles. A vet removed one, but decided against operating to take out a possible bullet. The dog initially appeared content indoors, sitting in Cheramie's lap or napping beside her bed. Then while she was out one day, Scrim chewed through a mesh screen, dropped 13 feet to the ground and squeezed through a gap in the fence, trotting away. Murray said Cheramie's four cats probably spooked him. “I wholeheartedly believe the gangster-ass cats were messing with him,” Murray said. Cheramie thinks they may have gotten territorial. Devastated but undeterred, the pair is reassessing where Scrim might fit best — maybe a secure animal sanctuary with big outdoor spaces where other dogs can keep him company. Somewhere, Murray says, “where he can just breathe and be.” Brook is a corps member for The Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places journalists in local newsrooms to report on undercovered issues. Follow Brook on the social platform X: @jack_brook9649% Year-to-Date Revenue Growth and 71% Adjusted Gross Margin Drive OAM's Path to Profitability TORONTO , Nov. 27, 2024 /CNW/ - OverActive Media Corp. ("OverActive" or the "Company") OAM OAMCF , a global esports, and entertainment company for today's generation of fans , released its third-quarter results for the three and nine-month periods ended September 30, 2024 . Note to reader: A significant portion of the Company's revenue is derived from "League Revenues," which have historically varied in the quarter they were received, making period-over-period comparisons less meaningful. To address this, the Company has adopted a straight-line revenue recognition model, distributing revenue evenly over 12 months. This approach ensures more consistent quarter-to-quarter comparisons. The normalized financials in this press release reflect this change, providing clearer insights into the Company's performance. All amounts are presented in Canadian dollars ($). Below is a summary of the financial results for the three and nine months ended September 30, 2024 , compared to the three and nine months ended September 30, 2023 : $CAD (000's) Three months ended September 30, 2024 Three months ended September 31, 2023 Variance (%) Three months ended September 30, 2023 (Normalized) Variance (%) Normalized Nine months ended September 30, 2024 Nine months ended September 30, 2023 Variance (%) Nine months ended September 30, 2023 (Normalized) Variance (%) Normalized Revenue $6,881 $6,015 14 % $3,998 72 % $17,156 $11,492 49 % $10,819 59 % Adjusted Gross Profit i $5,071 $4,837 5 % $2,820 80 % $12,194 $7,717 58 % $7,044 73 % Adjusted Gross Margin i 74 % 80 % -8 % 71 % 4 % 71 % 67 % 6 % 65 % 9 % Operating Expenses $7,609 $5,374 42 % $5,374 42 % $22,416 $17,259 30 % $17,259 30 % Adjusted EBITDA i $4 $777 -99 % ($1,240) 100 % ($3,048) ($5,508) 45 % ($6,181) 51 % Net Income (Loss) ($1,790) ($1,993) 10 % ($4,010) 55 % $239 ($11,170) 102 % ($11,843) 102 % Net Working Capital $9,423 ($4,260) 321 % ($4,260) 321 % $9,423 ($4,260) 321 % ($4,260) 321 % Cash & Equivalents $8,861 $9,695 -9 % $9,695 -9 % $8,861 $9,695 -9 % $9,695 -9 % i Adjusted EBITDA and Adjusted Gross Margin/Profit are non-IFRS measures. Refer to "Non-IFRS Measures" at the end of this press release. "Our third-quarter results demonstrate OverActive Media's disciplined execution and growth. With year-to-date revenue up 49% to $17.1 million and positive net income of $239,000 , we are making significant progress," said Adam Adamou , CEO of OverActive Media. "This growth is driven by strategic changes, including renegotiated league agreements, increased digital revenue, and contributions from our KOI and Riders acquisitions, as well as our entry into the VALORANT EMEA ecosystem. We delivered positive Adjusted EBITDA this quarter and significantly reduced year-to-date Adjusted EBITDA losses by 45%, illustrating our strong path forward." Mr. Adamou continued, "Restructuring agreements with Activision earlier this year eliminated over $35 million in liabilities, strengthening our net working capital to $9.4 million . Additionally, post-quarter, we finalized a new Riot Games agreement that eliminated the remaining $2 million franchise fee for our LEC team, securing full ownership of our franchises without future obligations. These restructured agreements have enabled us to generate high-margin revenue streams, especially in digital merchandise and microtransactions. Mr. Adamou concluded, "Today, we are operating from a position of financial strength — debt-free, globally diversified, and supported by partnerships with iconic brands like Pepsi, AMD, Telefónica, and Bell. With a clear strategy, strong margins, and transformative agreements in place, we are focused on expanding our opportunities and driving sustainable, profitable growth in the near future." Q3 2024 Financial Highlights Revenue for the three months ended September 30, 2024 totaled $6.8 million , reflecting a 14% increase compared to $6.0 million in the same period of 2023. On a normalized basis—accounting for changes in revenue recognition—revenue increased by $2.8 million , or 72%. This growth was driven by several strategic initiatives, including the acquisition of Riders and KOI assets in the first quarter and our entry into the VALORANT EMEA ecosystem in February. Additionally, stronger performance across both our Team Operations and Business Operations segments, particularly from digital merchandise (MTX) sales, contributed significantly to this revenue expansion. Operating Costs for the three months ended September 30, 2024 totaled $7.6 million , compared to $5.4 million for the same period in 2023, reflecting a 42% increase. This rise in costs is primarily attributed to higher payroll expenses across both corporate and team operations, driven by the integration of the recently acquired Riders and the KOI assets. Additionally, one-time restructuring costs incurred as part of our strategic efforts to streamline operations and improve efficiency have also contributed to this increase. Adjusted Gross Profit i for the quarter (defined as revenue less direct costs) remained strong at $5.1 million , resulting in an Adjusted Gross Margin i of 74%, compared to $4.8 million and 80% for the same period in 2023. On a normalized basis, Adjusted Gross Profit improved from $2.8 million to $5.1 million for the quarter and Adjusted Gross Margin improved from 71% to 74%. The stability in Adjusted Gross Profit, despite the increase in operating costs, highlights the effectiveness of our revenue growth initiatives, particularly from digital merchandise sales and contributions from our expanded portfolio. These results underscore the scalability of our business model as we continue to execute on strategic opportunities to drive long-term profitability. Adjusted EBITDA i for the three months ended September 30, 2024 was essentially break-even, compared to an Adjusted EBITDA gain of $777,000 in the same period in 2023. This year-over-year decline is primarily due to changes in the timing of revenue recognition for certain league earnings and in-game microtransactions (MTX). On a normalized basis, Adjusted EBITDA showed a significant improvement, moving from a loss of $1.2 million in Q3 2023 to a gain of $4,000 in Q3 2024. This improvement was driven by increased revenues from strategic acquisitions, and successful team performances in key tournaments. Net Loss for the three months ended September 30, 2024 was $1.8 million , representing a 10% improvement compared to a Net Loss of $2.0 million in the same period in 2023. This improvement was driven by strong revenue growth and disciplined cost management, even as the Company absorbed additional expenses related to acquisitions and integration. Net Working Capital (current assets less current liabilities) as of September 30, 2024 improved dramatically to $9.4 million , compared to negative working capital of $4.3 million in the same period in 2023 — a positive shift of $13.7 million . This significant change is primarily the result of the acquired businesses and the restructuring of our league partnerships, which resulted in the elimination of substantial league payables. Cash and Cash Equivalents as of September 30, 2024 totaled $8.9 million , compared to $9.7 million at the same time in 2023. This modest decrease reflects careful asset management, with planned investments directed toward operating activities and acquisition integration costs. The Company's approach underscores a commitment to balancing strategic growth with operational efficiency while maintaining a strong liquidity position. Nine Months 2024 Financial Highlights For the nine months ended September 30, 2024 Revenue totaled $17.2 million , a 49% increase compared to $11.5 million during the same period in 2023. After normalizing for changes in revenue recognition, Revenue grew by $6.3 million or 59%. This growth was driven by strategic acquisitions of Riders and KOI, stronger performance across Team Operations and Business Operations segments, and contributions from our marketing and influencer activities. Operating Costs for the nine months ended September 30, 2024 were $22.4 million , a 30% increase compared to $17.3 million in the same period in 2023. This increase reflects higher payroll expenses, costs associated with integrating acquired businesses, and one-time restructuring expenses. These costs align with the Company's strategic focus on streamlining operations and positioning for sustainable growth. Adjusted Gross Profit for the period stood at $12.2 million , with an Adjusted Gross Margin of 71%, compared to $7.7 million and 67% for the same period in 2023. On a normalized basis, year-to-date Adjusted Gross Profit significantly improved from $7.0 million to $12.2 million and Adjusted Gross Margin improved from 65% to 71%. The growth in Adjusted Gross Profit underscores the scalability of our revenue model, particularly from digital merchandise and expanded team contributions. Adjusted EBITDA loss for the nine months ended September 30, 2024 was $3.0 million , a 45% improvement from the $5.5 million loss reported for the same period in 2023. This improvement reflects robust revenue growth from acquisitions and changes in revenue recognition, offset by integration and restructuring costs. Net Income for the nine months ended September 30, 2024 was a gain of $239,000 , compared to a Net Loss of $11.2 million in the same period in 2023. The shift to profitability was driven by strong revenue performance, disciplined cost management, and a gain from the termination of the Call of Duty League franchise obligation. Selected Q3 2024 Achievements OverActive Media's teams, competing as Toronto Ultra at the 2024 Esports World Cup (EWC) in Saudi Arabia , delivered a strong international performance, earning valuable Club Championship Points in Overwatch 2, Teamfight Tactics, and Call of Duty to secure an 11th place global finish. This achievement underscores OverActive Media's growing influence in the global esports ecosystem and highlights its role as an Official Esports World Cup Partner. OverActive Media secured new high-profile partnerships with global brands, including Pepsi, and renewed previous announced partnerships with AMD, SCUF and Bell. These partnerships continue to enhance the Company's market presence and brand portfolio, particularly in the esports and gaming sectors. Toronto Ultra finished in third place at the CDL World Championships in Texas , capping off a successful year that included winning Major 1 in the first quarter and leading all CDL teams in team branded digital merchandise sales globally. Significant Announcements Subsequent to Quarter End OverActive Media's esports team, Movistar KOI, partnered with Ecoembes, a leader in circular economy and packaging recycling, to drive sustainability within the esports community. This strategic sponsorship positions Movistar KOI as an advocate for environmental responsibility in European esports, focusing on recycling awareness, packaging recovery, and carbon neutrality. The partnership also includes Movistar KOI's commitment to the United Nations Sports for Climate Action Framework, reinforcing OverActive Media's dedication to sustainable growth. OverActive Media's League of Legends team MAD Lions KOI qualified for the World Championship tournament for the sixth consecutive time, drawing peak viewership of almost 2.5M concurrent viewers. OverActive Media has secured a new long-term partnership with Riot Games for the League of Legends EMEA Championship (LEC), reinforcing its presence in one of the world's premier esports leagues. The agreement eliminates all future franchise obligations from OAM's balance sheet, significantly improving future cash flows and ensuring full ownership of its franchises with no remaining liabilities. This milestone positions the company for enhanced revenue opportunities and long-term growth in the global esports ecosystem. The Company's consolidated unaudited financial statements, notes to financial statements, and Management's Discussion and Analysis for the three and nine-month periods ended September 31, 2024 , are available on the Company's website at www.overactivemedia.com and under the Company's profile on SEDAR at www.sedarplus.ca . Conference Call The Company will conduct a conference call on Thursday, November 28, 2024 , at 9:00 a.m. (Eastern Time) to review the third-quarter results, as well as provide an overview of the Company's recent milestones and growth strategy. To access the conference call without operator assistance, please register and enter your phone number at https://emportal.ink/3O6qT40 to receive an instant automated callback. To dial directly to be entered into the call by an operator, please dial 1-888-699-1199 or, for international callers, 416-945-7677 . A replay will be available shortly after the call and can be accessed by dialing 1-888-660-6345 or, for international callers, 289-819-1450 . The entry code for the replay is 27822# . The replay will expire on Thursday, December 5, 2024 . A live conference call webcast can be accessed on OverActive's website at https://app.webinar.net/ZXxR8X7pPLM . An online webcast archive will be available via the same link for three months following the call. ABOUT OVERACTIVE MEDIA OverActive Media Corp. OAM OAMCF is headquartered in Toronto, Ontario , with operations in Madrid, Spain and Berlin, Germany , is a premier global esports and entertainment company for today's generation of fan. OverActive owns team franchises in professional esports leagues, including the Call of Duty League, operating as the Toronto Ultra, the League of Legends EMEA Championship (LEC), operating as MAD Lions KOI, the VALORANT Champions League (VCT) EMEA, operating as Movistar KOI and other professional esports leagues and competitions. CAUTIONARY NOTE REGARDING FORWARD-LOOKING INFORMATION This press release contains statements which constitute "forward-looking statements" and "forward-looking information" within the meaning of applicable securities laws (collectively, "forward-looking statements"), including statements regarding the plans, intentions, beliefs and current expectations of OverActive with respect to future business activities and operating performance. Forward-looking statements are often identified by the words "may", "would", "could", "should", "will", "intend", "plan", "anticipate", "believe", "estimate", "expect" or similar expressions and includes information regarding the anticipated financial and operating results of OverActive in the future. Investors are cautioned that forward-looking statements are not based on historical facts but instead OverActive management's expectations, estimates or projections concerning future results or events based on the opinions, assumptions and estimates of management considered reasonable at the date the statements are made. Although OverActive believes that the expectations reflected in such forward-looking statements are reasonable, such statements involve risks and uncertainties, and undue reliance should not be placed thereon, as unknown or unpredictable factors could have material adverse effects on future results, performance or achievements of the OverActive. Among the key factors that could cause actual results to differ materially from those projected in the forward-looking statements include the following: the potential impact of OverActive's qualifying transaction on relationships, including with regulatory bodies, employees, suppliers, customers and competitors; changes in general economic, business and political conditions, including changes in the financial markets; changes in applicable laws and regulations both locally and in foreign jurisdictions; compliance with extensive government regulation; the risks and uncertainties associated with foreign markets; the ability of the Company to continue to execute on its existing partnerships and business strategy; the ability of the MAD Lions and Call of Duty Leagues to maintain viewership; the successful completion of the Company's new venue; and other risk factors set out in OverActive's most recent annual information form and its other filings with Canadian securities regulators, copies of which may be found under OverActive's profile at www.sedarplus.ca . These forward-looking statements may be affected by risks and uncertainties in the business of OverActive and general market conditions, 9. Should one or more of these risks or uncertainties materialize, or should assumptions underlying the forward-looking statements prove incorrect, actual results may vary materially from those described herein as intended, planned, anticipated, believed, estimated or expected. Although OverActive has attempted to identify important risks, uncertainties and factors which could cause actual results to differ materially, there may be others that cause results not to be as anticipated, estimated or intended and such changes could be material. OverActive does not intend and do not assume any obligation, to update the forward-looking statements except as otherwise required by applicable law. NON-IFRS MEASURES This press release includes references to Adjusted EBITDA, Adjusted Gross Profit and Adjusted Gross Margin. These non-IFRS financial measures are not earnings or cash flow measures recognized by IFRS and do not have standardized meanings prescribed by IFRS. Our method of calculating these financial measures may differ from the methods used by other issuers and, accordingly, our definition of these non-IFRS financial measures may not be comparable to similar measures presented by other issuers. Investors are cautioned that non-IFRS financial measures should not be construed as an alternative to net income determined in accordance with IFRS as indicators of our performance or to cash flows from operating activities as measures of liquidity and cash flows. Adjusted EBITDA is defined by the Company net income or loss before income taxes, finance costs, finance income, depreciation and amortization, decrease in net present value of franchise obligations, foreign exchange gains / loss, assistance payments from Franchise League and government assistance, restructuring and business development costs, impairment charges, and share-based compensation. We believe that Adjusted EBITDA is a useful measure of financial performance because it provides an indication of the Company's ability to capitalize on growth opportunities in a cost-effective manner, finance its ongoing operations and service its financial obligations. A reconciliation of Adjusted EBITDA to net income/loss may be found in the Company's Management's Discussion and Analysis for the three and nine-month periods ended September 30, 2024 . Adjusted Gross Profit is defined by the Company as revenue less the direct operating costs incurred by the Company in generating revenue. Direct operating costs include merchandise, sponsorship and agency expenses, live event expenses and the portion of team prize money revenue paid to team members but do not include other team operation expenses or other indirect operating costs. Adjusted Gross Profit Margin is the percentage that Adjusted Gross Profit represents of total revenue. We believe that Adjusted Gross Profit and Adjusted Gross Profit Margin are important measures of financial performance because they focus on the profitability of our core revenue-generating activities by excluding indirect operating costs. These metrics provide investors with a clearer view of the Company's ability to deliver value to fans, sponsors, advertisers, and league partners, while maintaining sustainable margins in our primary operations. This distinction helps investors evaluate the underlying performance and efficiency of our revenue streams before considering broader expenses. A reconciliation of revenue to Adjusted Gross Profit and Adjusted Gross Profit Margin for the periods indicated is as follows: Three months ended September 30, Nine months ended September 30, 2024 2023 2024 2023 $ $ $ $ Revenue for the period 6,881 6,015 17,156 11,492 Normalized revenue for the period 6,881 3,998 17,156 10,819 Less: Merchandise, sponsorship and agency expenses (1) 625 126 1,542 595 Live event expenses 510 888 2,157 1,999 Team prize money expense (2) 674 163 1,263 1,181 Total Direct Costs 1,810 1.178 4,962 3,775 Adjusted Gross Profit 5,071 4,837 12,194 7,717 Normalized Adjusted Gross Profit 5,071 2,820 12,194 7,044 Adjusted Gross Profit Margin 74 % 80 % 71 % 67 % Normalized Adjusted Gross Profit Margin 74 % 71 % 71 % 65 % Notes: (1) These are selling, general and administrative operating costs that the Company treats as direct costs. (2) Represents the portion of team operations constituting prize money the portion of team prize money revenue paid to team members. The following tables presents a reconciliation of net loss to adjusted EBITDA for the three and nine months ended September 30, 2024 and 2023: Three months ended September 30, Nine months ended September 30, 2024 2023 2024 2023 $ $ $ $ Net income (loss) for the period (1,790) (1,993) 239 (11,170) Income tax expense (recovery) 176 152 (334) 148 Depreciation 546 435 1,688 1,313 Amortization 318 51 744 159 Decrease in net present value of franchise obligations - - (9,838) - Finance income (64) (44) (222) (182) Finance costs 150 1,332 1,603 3,843 Foreign exchange (gain) loss (70) 610 903 119 Share-based compensation 254 122 368 (55) Restructuring and development costs 484 112 1,801 317 Adjusted EBITDA 4 777 (3,048) (5,508) Neither the TSXV nor its Regulation Services Provider (as that term is defined in the policies of the TSXV) accepts responsibility for the adequacy or accuracy of this release. SOURCE Overactive Media Corp. View original content: http://www.newswire.ca/en/releases/archive/November2024/27/c7616.html © 2024 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.Furthermore, Zhang Xin shocked her fans and followers by announcing the disbandment of her fan group, a move that surprised many but also garnered praise for her commitment to principles and values. By distancing herself from toxic fan culture and taking a stand against online toxicity, Zhang Xin demonstrated her courage and integrity as a respected figure in the film industry.
Diet and lifestyle choices also play a crucial role in the onset of stomach cancer. A diet high in salty, smoked, or pickled foods is associated with an increased risk of stomach cancer development. Additionally, obesity, smoking, and excessive alcohol consumption are known risk factors for the disease. The prevalence of unhealthy dietary habits and sedentary lifestyles among younger individuals may explain the rising incidence of stomach cancer in this demographic.
DRINK and drug drivers are being targeted with a pioneering AI camera. The mobile tech can detect driving behaviour consistent with those who may be under the influence at the wheel. Police further up the road can then stop the vehicle, talk to the driver and do a roadside test for alcohol and narcotics. A trial is under way in Devon and Cornwall. The Heads Up system was developed by Australian firm Acusensus, whose devices have previously been used to help police catch drivers using mobile phones at the wheel or not wearing seatbelts. The firm’s UK boss Geoff Collins said: “We are delighted to be conducting the world’s first trials of this technology. "We are all safer if we can detect impairment before it causes an incident that could ruin lives.” Supt Simon Jenkinson's team polices around 14,000 miles of roads in Devon and Cornwall. He said: “Our officers cannot be everywhere. “We’re committed to doing everything we can to reduce the number of people killed and seriously injured on our roads. "Embracing emerging technology such as these cameras is vital in that quest.”Oregon already secured its spot in the Big Ten championship game, but the top-ranked Ducks have plenty to play for in their regular-season finale. Revenge may be on Oregon's mind when the Ducks host longtime rival Washington on Saturday in Eugene, Ore. Oregon (11-0, 8-0 Big Ten) would perhaps be closing in on its second straight College Football Playoff appearance had the Huskies (6-5, 4-4) not dealt the Ducks their only two losses last season. Washington edged Oregon 36-33 in Seattle last October, then slipped past the Ducks 34-31 in the Pac-12 title game to secure a playoff spot for the second time in school history. Both teams joined the Big Ten in August. Third-year Oregon head coach Dan Lanning is 33-5 leading the Ducks. But he remains winless against the Huskies (0-3). Oregon plots to sprint out of its late-season bye after using time to heal injuries, but Lanning doesn't believe the break should stall the flow of an undefeated season. "It's always about what we're able to do on the field. Motivation is overrated," Lanning said. "Our guys have to want to go out there and execute at a really high level. Since the beginning of the season we've talked about playing our best football at the end of November. We're there. This is our opportunity to go play our best football against a good team." The Ducks could have star wide receiver Tez Johnson back from a shoulder injury this week. Johnson has missed the past two games. That would be good news for quarterback Dillon Gabriel, who would regain the team's leader in receptions (64), receiving yards (649) and receiving touchdowns (eight). Washington, under first-year head coach Jedd Fisch, is 63-48-5 all-time against Oregon but is just 1-12-1 when facing the No. 1-ranked team in the country. The Huskies are led on offense by running back Jonah Coleman, who has racked up 1,008 yards and nine scores on the ground this season. Coleman averages 5.8 yards per carry and has 36 runs of at least 10 yards. In the passing game, wide receiver Denzel Boston is tied for the Big Ten lead with nine in touchdown catches and ranks sixth in the conference with 764 receiving yards. Whom Boston will be catching passes from is not yet known, however. Washington has not revealed whether Will Rogers or Demond Williams Jr. will start at quarterback. Rogers has started every game for the Huskies but was benched in favor of Williams two weeks ago after throwing a pair of interceptions in a 31-19 win over UCLA. Fisch said he has a "good idea" of how he will use his quarterbacks on Saturday, and while he wouldn't go as far as to name a starter, he did say Rogers responded well in practices last week. "On the same token, Demond's energy and Demond's confidence showed up. His ability to jump right in and feel really good about leading the group whenever it was his turn... he did a really nice job there as well," Fisch told Seattle Sports. "I think both guys responded well to the week of practice, and now, really, it's important for us that the guy we believe will start the game gets a significant amount of reps in practice week. But as you know, we're not afraid to play two quarterbacks." --Field Level Media
FARMVILLE, Va. (AP) — Keishon Porter had 20 points in North Carolina Central's 77-70 win against Longwood on Saturday. Porter also contributed three steals for the Eagles (5-8). Po'Boigh King scored 16 points while shooting 6 for 10, including 3 for 6 from beyond the arc. Kelechi Okworogwo finished 4 of 4 from the floor for eight points. Colby Garland led the Lancers (9-3) with 15 points, six assists and four steals. Michael Christmas added 14 points and six rebounds. Elijah Tucker scored 13. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .
One of the key priorities for 2025 is to enhance the support and intervention efforts in the real estate market. The Central Government recognizes the challenges and risks facing the property market, including speculative buying, over-investment in certain regions, and potential bubbles. Therefore, there will be a stronger emphasis on regulating the market through various means, such as controlling property prices, limiting excessive borrowing for real estate investment, and cracking down on illegal activities in the sector.
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MONACO — Canadians Alex Tessier, Sophie de Goede and Laetitia Royer have been named to World Rugby’s Women’s 15s Dream Team of the Year. Canada sevens captain Olivia Apps, meanwhile, was selected to World Rugby’s Women’s Sevens Dream Team. The women’s 15s world all-star squad also featured six players from top-ranked England and three from No. 2 New Zealand. The other three came from the U.S., Ireland and France. Tessier was also a finalist for the World Rugby Women’s 15s Player of the Year award won by England fullback Ellie Kildunne. France’s Pauline Bourdon Sansus and England’s Alex Matthews were the other finalists. Tessier won her 50th cap in 2024 and, playing at inside centre alongside fly half Claire Gallagher, led the Canada women to a historic first-ever victory over New Zealand to win the 2024 Pacific Four Series in May. The 22-19 comeback victory lifted Canada into second place in the women’s world rankings, its highest position since November 2016. Tessier’s strong kicking game was also key for Canada. The 31-year-old from Sainte-Clotilde-de-Horton, Que., scored 27 points in starting all six matches for Canada in 2024 to up her career total to 48 points (including five tries) in 54 appearances. Tessier plays professionally in England for the Exeter Chiefs. De Goede made the all-star team despite tearing her anterior cruciate ligament in training in June. A finalist for the Women’s Player of the Year award in 2022, the Victoria back-rower plays in England for Saracens. Royer, from Loretteville, Que., is a second-row forward who plays in France for ASM Romagnat. Top-ranked South Africa dominated the men’s 15s all-star squad with seven players represented. Ireland had four players with New Zealand three and Argentina one. — World Rugby’s 15s Dream Teams of the Year Women 1. Hope Rogers (U.S.); 2. Georgia Ponsonby (New Zealand); 3. Maud Muir (England); 4. Zoe Aldcroft (England); 5. Laetitia Royer (Canada) ; 6. Aoife Wafer (Ireland)’ 7. Sophie de Goede (Canada) ; 8. Alex Matthews (England); 9. Pauline Bourdon Sansus (France); 10. Holly Aitchison (England); 11. Katelyn Vahaakolo (New Zealand); 12. Alex Tessier (Canada) ; 13. Sylvia Brunt (New Zealand); 14. Abby Dow (England); 15. Ellie Kildunne (England). Men 1. Ox Nche (South Africa); 2. Malcolm Marx (South Africa); 3. Tyrel Lomax (New Zealand); 4. Eben Etzebeth (South Africa); 5. Tadhg Beirne (Ireland); 6. Pablo Matera (Argentina); 7. Pieter-Steph du Toit (South Africa); 8. Caelan Doris (Ireland); 9. Jamison Gibson-Park (Ireland); 10. Damian McKenzie (New Zealand); 11. James Lowe (Ireland); 12. Damian de Allende (South Africa); 13. Jesse Kriel (South Africa); 14. Cheslin Kolbe (South Africa); 15. Will Jordan (New Zealand). World Rugby Sevens Dreams Team of the Year Women Olivia Apps (Canada) , Michaela Blyde (New Zealand), Kristi Kirshe (U.S.), Maddison Levi (Australia), Ilona Maher (U.S.), Jorja Miller (New Zealand), Séraphine Okemba (France). Men Selvyn Davids (South Africa), Antoine Dupont (France), Aaron Grandidier Nkanang (France), Terry Kennedy (Ireland), Nathan Lawson (Australia), Ponipate Loganimasi (Fiji), Matías Osadczuk (Argentina). This report by The Canadian Press was first published Nov. 27, 2024. The Canadian PressNot every year brings a new holiday classic, but this Friday, David Gordon Green slips one under the tree. Snapped up by Hulu following its premiere at TIFF, the film is Nutcrackers , a little dramedy Green shot out on a small-town Ohio farm late last year, with an interim agreement in hand. Ben Stiller stars as Mike, a workaholic who heads out to the Buckeye State to look after his recently orphaned nephews, developing a closer bond with the rowdy bunch than he had anticipated. Green’s way into the project was unconventional — engineering a film around the charismatic young sons of a close film school friend. After years steeping himself in horror, between an Exorcist film and a Halloween trilogy, the project marked a return to his humanist roots, as well as his first feature comedy in almost a decade. But while pivoting creatively, as he’s known to do, after repeat collaborations with Blumhouse , Green walked away thinking about that company’s financial savvy, and how their success in empire building might be applied to the genre of comedy. As the industry continues to rebuild following Covid and last year’s double strike, Green is optimistic about the future, seeing the potential for a “renaissance” for feature comedies, and film, in general. But it’s an outcome that will only come with some serious soul searching amongst filmmakers and execs — an interest in real innovation that would involve taking a close look at everything from star salaries to ticket prices and movie theater seating. Below, Green gives his take on the way forward, also dishing on his feelings regarding the first big streaming deal of his career, his work as director and EP of Amazon’s forthcoming series Kay Scarpetta , and more. DEADLINE: I’ll start with a softball question, David. What are your favorite holiday movies? DAVID GORDON GREEN : The one that immediately hops to mind is Elf . Right now, Elf and Christmas Story are the ones that I always have in rotation. Of course, I’m always trying to squeeze in a Die Hard or a Home Alone , but I think Elf is the one that the more I watch it, the more I find these funny details and textures that’s not necessarily the obvious. And when you start to personalize a movie and make it your own is when you know you’ve got a classic. DEADLINE: You had an unusual way into Nutcrackers . Has any other project of yours come together in such an out-of-the-box way? GREEN : I think the closest thing to this was my second film, All the Real Girls , which was college friends, very closely connected stories. Paul Schneider, the lead actor of that movie, was an editor at my film school, not a trained actor, so we built that narrative around him and some of our personal stories, and filmed in a place that was very personal to us. In fact, the mother of these boys [in Nutcrackers ] is an actress in that film. So, it’s self-indulgent to the degree that just makes me honored to be among the social and creative inner circle that I work within. And it’s the inspiration of people that help you to safely go to some pretty strange places. DEADLINE: Your stars, the Janson brothers — Homer, Ulysses, Atlas, and Arlo — are magnetic on screen. But what assured you that they could lead a movie? How did you harness the unique energies they bring to the table in service of a fictional narrative? GREEN : I’ve done a lot of work with untrained actors and non-actors. I’ve done a lot of street casting. So I have a lot of experience with the warning signs that you’re walking down a dark path, or the signals of confidence and comedy and craziness, charisma that say when we turn a camera on, we’re going to get gold. All four of these kids had those kind of inspirational signals, so I just knew that if we put a camera in the right place and created a safe environment, these kids were going to bring authenticity. And I’m not asking them to do Shakespeare; I’m not asking them to memorize long monologues. I’m saying, “We’re going to film it at your house, with your animals. This is your movie, so you be you.” When we were developing the project, I bought them a video camera and had them start to film each other and put on scenarios, and get comfortable with expressing themselves and playing into characters a little bit. Then, we brought an acting coach down from New York to workshop scenes with them, but always being very cautious of the fact that we don’t want to burden them with technique and logistics. As Emily [McDonnell], our acting coach, would say, we just want to bring who they are forward. So that’s kind of what we worked to do. We were very fortunate to partner with Ben Stiller on this, so that you have an actor that gets the game and enjoys that playground of uncertainty and improvisation and authenticity. DEADLINE: How did you initially connect with your writer, Leland Douglas? GREEN : My first meeting with Leland was, when I first got out of film school, I went to work at a market research group that used to do test screenings of movies in Los Angeles. I was the guy that would tape people’s names on the backs of seats, or rope off rows for the VIPs, or collect the comment cards, and Leland was my supervisor. [ Laughs ] So during the 11th screening of Edtv or whatever movie we were testing, he and I would sit in the lobby of the movie theater and talk about Robert Altman movies, or Michael Ritchie movies, or Stanley Kubrick movies. He’s the only guy that’s read every script for every movie I’ve made, and we just really bonded in our affinity mostly for ’70s films. So when it came time to write this movie, I was immediately triggered by movies like Bad News Bears , and some of the style of Robert Altman and Hal Ashby movies, and the balance of tones that they had from comedic to dramatic. So I called Leland and said, “Hey, I’ve got these kids. I’m out on this farm in Ohio. I need you to come out here and meet them so we can design the greatest ’80s movie that was never made.” So he came out, and then we just started talking about it. Is this a save-the-farm movie like Kidco ? Is it an orphans-looking-for-a-home movie like Six Pack ? What are our inspirations? What are the tropes we want to either invite or avoid? A big influence of ours was Overboard , which is a movie I just always loved — that Goldie Hawn, Kurt Russell film — and then I think Bad News Bears and Bless the Beasts and Children were our role models for how to bring these kids forward, and capture who they are, in their rough-around-the-edges authenticity. DEADLINE: You’ve said one of the big appeals of this movie was the fact that you got to work totally off the grid, as far as Hollywood was concerned. What awareness was there of the project in the local Ohio community? I imagine there was a level of excitement, when you’re filming right out in the town square. GREEN : Yeah, it’s amazing. I do a lot of production in Los Angeles and New York, cities that are numb, if not annoyed every time a camera truck pulls up down the street. But here, it was so welcoming, so inviting. It was just a beautiful experience to take an art project like this and start showing a community that doesn’t get burdened with this, but gets to feel the beauty of it. Last weekend, I went back to Wilmington, Ohio and we showed the movie at the Murphy Theatre, where we filmed some of the sequences, and it was really fun being able to show people full circle. I’m not even sure some of them knew what we were making was a movie. I think they just thought we were doing some performance art in the street. So to be able to invite the whole town, the community that was so supportive of us in those days, to come and share in the experience of the final product was really special. DEADLINE: You’ve also said that it’s a joy for you to work within environments that feel alive, rather than on a soundstage. You certainly got your fair share of that energy on this one... GREEN : It’s funny you say that because right now, I’m outside of a sound stage. I’m on my final day of production on this pilot, and I was saying the exact same thing yesterday. It was our second day on a stage, and for the most part, we’ve been out in these real locations. And when we get to the stage, I just start falling asleep because I love the elements. I love being out in it and I love the uncertainty of it, where in here, we have control of the lighting grids, and the comfort of heat and air conditioning. We filmed Nutcrackers , it was 10 degrees on this farm — howling winds and animals everywhere. They’re not hitting a mark; you just have to let them be. And these kids that, again, they’re not trained to memorize long monologues or have emotional arcs in the traditional sense. But we let them be our guides, and let it just unfold. What I get so excited about is capturing the authenticity. DEADLINE: What will your response be if one of these kids ends up pursuing a show biz career? GREEN : “Be careful.” [ Laughs ] A lot of the kids I’ve worked with have gone on to do great things, so I’m actually really proud of them. Mostly, that comes with great parental support and guidance of influences, and it’s been really fun for me to see. I was actually texting yesterday with one of the actors from George Washington , my first film. He’s getting his master’s degree in social work right now. Or an actor like Tye Sheridan that I worked with when he was a kid, or Jamie Bell. You see them go on to do really amazing and ambitious things, so I’m always intrigued, and I don’t have any of the horror stories on my resume. But you always want them to have people looking out for them because it can be a really vulnerable time of discovering that ability or that interest — the access to emotions, the access to so much of the world is right there when you want it, and you hope you have the right navigators in the chaos. DEADLINE: While promoting Nutcrackers on the festival circuit, you expressed the hope that the film would secure a deal for theatrical distribution. It ultimately sold to Hulu for eight figures and should rack up plenty of views over the holidays. But are you ambivalent about your outcome? GREEN : That’s a great question, probably complicated. I haven’t fully processed it because this is the first film I’ve taken that step with, but all I can say is so far, they’ve said the right things. They’ve created the right marketing materials. I’ve really enjoyed the collaboration with Hulu, and I’m excited to see them get this film out in a way that I’m enthusiastic about. So we’ll see. There’s a bit of a romantic notion I have for the cinematic experience, and guess what? They gave it to me at the Murphy Theatre. So having those experiences and screenings I’ve had, in the Toronto Film Festival and others, I get my fix of sharing this movie with an audience. My parents saw it last night at an Alamo Drafthouse in Dallas, so that’s fun, that they got to bring their friends and see it with a crowd. We shot the movie on 35mm, so I want it to be seen and appreciated in all of its beauty, [but] more than anything, you want eyeballs and hearts to enjoy the film you made. DEADLINE: How do you view the future of comedy where filmmaking is concerned? What do you think has caused it to wane in the theatrical space, and do you think it can make a comeback? GREEN : In most of the topics that we could talk about in life, I believe in the pendulum swinging, and so we’re here, we’re there. There’s a couple things I would note on that. One is, I think comedy, like horror, doesn’t need big movie stars; it needs funny people. I don’t think it needs big action set pieces; it needs funny concepts and funny set pieces. So the backlash comes, in a lot of ways, from a cultural standpoint, but also comes in an economic standpoint of these very expensive movies that cost too much money and then they don’t make it back. That seems absurd for something like comedy. I can understand it for a big event or action movie, but for these types of things, I think it should be responsibly made. I think all films need to look at their economics a little bit more responsibly. There’s a couple other things that I think are really fascinating that I’ve been observing, because I go to movies all the time. One is, the chairs are too comfortable and removed from the rest of the audience. People don’t see the backs of heads when they’re bouncing with laughter or jumping in fear, so I think these big armchair theaters are doing a disservice to the crowd that’s actually there to entertain. On top of that, if a movie does come out, they’re putting it in like five or six auditoriums so that audience is spread really thin. Rather than back in the day, where we’d have a sold-out crowd with an anticipation of the popcorn in their hands as they’re going into a movie and trying to find the best seat. Now, it’s become so comfortable and easy to get your ticket and find your spacing and fall asleep in the movie: That doesn’t serve a comedy in its best capacity, in my opinion. On top of that, the ticket prices have gotten so expensive that you’re thinking, well, I can just sit down with my family or friends and watch something streaming. Maybe that works to the advantage of a movie like Nutcrackers , in some capacity. But it’s really frustrating when I see and hear about audiences saying, “Well, I’ll go see the big action movie in the theater because I need that sound system. But for a comedy, I can check in at home.” I just think we’re trying to serve the interest of an audience, and instead, we’re scaring them away. It’s the comfortable chairs that I have the biggest problem with. When I test screen movies, I like to go to the theaters that are not stadium seating, the ones that remain that aren’t the most comfortable seats. It keeps you awake. DEADLINE: As someone who has collaborated repeatedly with Blumhouse, you’ve talked about the potential for applying their economic model for horror to a genre like comedy. Do you think there’s the potential for a company as prolific as Blumhouse that can succeed with lower-budget feature, less star-driven comedies in a way we haven’t yet seen? GREEN : Absolutely. And who does it first, to light the fire to [bring about] all the copycats? We’ve seen it in horror, and we will see that. I’m not worried about that happening. It’s just like, as an entrepreneur, as an innovator, you want to get there first and create that entity and make that signature move for your company. You know, Danny [McBride] and Jody [Hill] and I have Rough House Pictures, where we’re making a lot of TV shows. We did Nutcrackers , and we’re cranking out some films, and we look at that as a real north star of, how can we curate the voices of great comic writers, great comic performers, and put them in a package that audiences want to buy a ticket to? I feel like we’re on the cusp of a renaissance that happened, I’ll say in the late ’60s in American filmmaking, where everything got so manufactured within the studio vernacular that it was a time for the Easy Riders and Raging Bulls to come and disrupt the institution. And that’s going to come through the content, through the exhibition, through the mindset of where money goes in your production. I think all that needs to be reevaluated, from the cost of a star salary, to the practical below-the-line expenses of a movie, to the ticket prices that we’re selling at the theater. So I think with the right entrepreneurial mindset, we can find a great disruptor that’s going to then lead us back to what ultimately my vision of a theatrical audience experience would be. DEADLINE: You’ve been really successful on the TV side with projects like It’s Florida, Man , Tires , and The Righteous Gemstones, which prove that viewers still have a big appetite for comedy. What will it take for you to get more titles like these into theaters? GREEN : What I think we need is that partnership in a distribution company. Because you don’t necessarily hit the ball out of the park with every swing, but I think if you could put together that slate and keep the business model and the monetization responsible, there’s a strong likelihood that it could be extremely profitable and then point toward that radical renaissance that I think we’re all looking for. [At Blumhouse], something that I got firsthand experience in is, keep the costs low, keep the salaries responsible, and if you win, you win on the backend. I think those types of incentives don’t necessarily appeal to everybody, but for the hungry and the confident, it’s a great way to bet on yourself. There’s no more beautiful thing than keeping the economic pressure off your shoulders so that you don’t have a lot of corporate influence on your artistic creation. And then when you win, you are alongside all the players saying, “We did this together.” DEADLINE: You’ve said in the past that there are still a lot of genres you want to tackle as a filmmaker. Is one in particular on your mind right now? GREEN : It depends on the day. Today, I woke up and started working on a comedic script that I’ve been working on. Last week, I put the polish on an action movie that I’ve been writing. I’m trying to put together a documentary. So it’s always a buffet, and then you look at both the reality of your resources and the cultural enthusiasm from a financial institution and say, I’ve got to make things real. My goal is to be in production as many days of the year as I can because that’s where I thrive, in those chaotic environments of uncertainty. It’s just kind of how I like to live and breathe, maximizing shooting days. So I have to pivot with the pendulum and balance what my personal priorities are among the spinning plates that I have. DEADLINE: As we speak, you’re about to wrap on the pilot for Kay Scarpetta , Prime Video’s adaptation of the bestselling book series, starring Nicole Kidman and Jamie Lee Curtis. What’s been most gratifying about your work on the show? GREEN : For me, it’s just discovering a new ensemble of incredible actors. It’s a vast cast, covering multiple timelines, and it’s really complicated and ambitious in what we’re trying to do. But the fact that you go to work every day with people that can memorize six pages of dialogue flawlessly on the first take, that’s when you step back and really admire the craftsmanship of some of these iconic actors. In a lot of ways, it’s the perfect juxtaposition to Nutcrackers , where we have this incredible actor in Ben keeping the ship afloat with these non-actor kids, and it’s all about improvisation and letting loose. Here, I can design a very complicated shot, they hit their marks every time, every line is wonderful and insightful, and then we can give it little switches and nuances with subtleties of direction. So I bring a different toolkit to this type of project, but it’s equally as inspiring.
PAY ATTENTION: Follow our WhatsApp channel to never miss out on the news that matters to you! Outgoing US President Joe Biden on Tuesday branded his successor Donald Trump's economic plans a "disaster," in a speech hailing his own legacy. Biden said Trump's threats to slap huge tariffs on imports were a "major mistake" and challenged Trump to build on what he said were the successes of his own administration. The lame-duck president's speech comes after Trump won a second term largely on the back of US voters' anger at high costs of living under Democrats. "I pray to God the president-elect throws away Project 2025. I think it'd be an economic disaster for us and the region," Biden said at the Brookings Institution in Washington, referring to a conservative blueprint for a second Trump administration. Coughing frequently because of a cold, Biden said US consumers would pay the price for the tariffs that Trump has vowed to slap on US neighbors Mexico and Canada and on Asia-Pacific rival China. Read also Most markets down as traders assess crises in S.Korea, France Together they are the three biggest US trading partners. PAY ATTENTION: Follow us on Instagram - get the most important news directly in your favourite app! "I believe this approach is a major mistake," Biden added. At a separate event Tuesday, Treasury Secretary Janet Yellen said Trump's tariffs could "derail the progress that we've made on inflation, and have adverse consequences on growth." She warned at the Wall Street Journal's CEO Council Summit that sweeping tariffs could raise prices significantly for US consumers and pile pressure on companies which rely on imports. Shadow president The White House touted Biden's speech as a "major address on his economic legacy" as the 82-year-old looks to the history books with fewer than six weeks left in office. Biden dropped out of the 2024 presidential race against Trump in July due to concerns about his age and passed the torch to Vice President Kamala Harris, whom Trump comfortably defeated at the November polls. Trump's inauguration is not until January 20, but he has already become something of a shadow president, making pronouncements on the economy and foreign policy and being feted by world leaders. Read also South Korea stocks drop, won stable as Asian markets fluctuate Biden has kept a relatively low profile, but he came out swinging in defense of his own record before an audience of economists. He contrasted his "middle-out, bottom-up economic playbook" with what he called Trump's failed promise of "trickle-down economics" in which tax cuts for the wealthy are supposed to boost incomes. Biden also touted achievements including the US economy's recovery from the Covid pandemic and his huge investments in green technology and industry. "President-elect Trump is receiving the strongest economy in modern history," said Biden. But the departing president said he regretted not signing his name to Covid stimulus checks sent out to Americans, like Trump had done. Biden ended his speech with a broader plea for US leadership in a troubled world, even as Trump has repeatedly signaled his intention to take a more isolationist stance. "If we do not lead the world, what nation leads the world?" he said. PAY ATTENTION: Сheck out news that is picked exactly for YOU ➡️ find the “Recommended for you” block on the home page and enjoy! Source: AFPAs Emily embarks on this new chapter of her life, we celebrate her courage, strength, and unwavering determination to find her way back home. May her story serve as a beacon of light for others who are still searching for their own paths back to the arms of their loved ones.
The Atlanta Braves may end up losing one star this winter and add others in free agency. The Braves' starting rotation could take a hit with Max Fried being one of the top free agents available. He's projected to land a deal that will clear $100 million easily and may end up being out of Atlanta's price range. If the Braves do end up losing Fried, they should turn their attention to adding more offense. It may make sense to add more offense to the outfield, especially with Ronald Acuña Jr.'s return timeline unclear at this point. Because of this, The Athletic's Tim Britton, Aaron Gleeman, and Chad Jennings listed Atlanta among the "best fits" for Los Angeles Dodgers slugger Teoscar Hernández on a projected $69 million deal. "Unsatisfied with the lukewarm multi-year deals he was offered last winter, Hernández signed a one-year pact with the Dodgers and delivered one of the best seasons of his career," Britton, Gleeman, and Jennings said. "He won the Home Run Derby, came through with a couple clutch postseason knocks, came within an RBI of a 30/100 season, cut down his strikeouts and upped his walks and thus his on-base percentage. "Hernández is never going to be confused with a contact hitter or an above-average defender in the corner outfield...Britton's projection: three years, $69 million. Best fits: (Atlanta Braves), (Los Angeles Dodgers), (New York Mets)." Hernández launched 33 home runs in 2024 while earning his second All-Star nod. A $69 million deal for that type of production certainly seems worth it. This would be a great move. More MLB: Braves urged to sign two-time All-Star in line for $49 million dealCelebs Attending 'The Root 100' Awards Show