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Rosen Law Firm Encourages Quanterix Corporation Investors to Inquire About Securities Class Action Investigation - QTRX

Boston, MA, Dec. 18, 2024 (GLOBE NEWSWIRE) -- MiniLuxe Holding Corp. (the "Company") (TSXV: MNLX) today announces that as part of its standard disclosures, the Company has granted 1,103,269 options (against ~145M fully diluted shares) to certain leadership team members of the Company as part of its ongoing incentive program to award equity of options in lieu of cash compensation. The average strike price for these options is .36 CDN reflecting the price of MNLX at the time cash compensation was forgone by employees. In certain cases of senior leadership, equity-based options make up to 30 to 100 percent of an executive’s base salary compensation. Any new option awards continue to draw from the existing employee incentive pool with no net new incremental dilution to shareholders. There was delay in the formal announcement and grant of the options given that the Company was waiting for options to be returned to the pool to avoid any shareholder dilution that might come from an expansion of the pool. The options are subject to a 1-year cliff vesting schedule and are exercisable for subordinate voting shares of the Company for a period of 10 years following the date of grant. About MiniLuxe MiniLuxe , a Delaware corporation based in Boston, Massachusetts. MiniLuxe is a lifestyle brand and talent empowerment platform servicing the beauty and self-care industry. The Company focuses on delivering high-quality nail care and esthetic services and offers a suite of trusted proprietary products that are used in the Company’s owned-and-operated studio services. For over a decade, MiniLuxe has been elevating industry standards through healthier, ultra-hygienic services, a modern design esthetic, socially responsible labor practices, and better-for-you, cleaner products. MiniLuxe aims to radically transform a highly fragmented and under-regulated self-care and nail care industry through its brand, standards, and technology platform that collectively enable better talent and client experiences. In addition to creating long-term durable economic returns for stakeholders, MiniLuxe is expanding its reach through franchising, offering entrepreneurs the opportunity to partner with a brand recognized as the best nail salon franchise . MiniLuxe seeks to empower one of the most diverse and largest hourly worker segments through professional development, economic mobility, and ownership opportunities. For its clients, MiniLuxe offers best-in-class self-care services and better-for-you products, and for nail care and beauty professionals, MiniLuxe seeks to become the employer of choice. Since its inception, MiniLuxe has performed over 4 million services. For further information Christine Mastrangelo ‎Investor Relations, MiniLuxe Holding Corp. ‎ cmastrangelo@MiniLuxe.com ‎MiniLuxe.comPyxis Oncology ( NASDAQ:PYXS – Get Free Report ) was downgraded by equities research analysts at William Blair from an “outperform” rating to a “market perform” rating in a research note issued on Thursday, MarketBeat reports. Several other equities analysts have also recently issued reports on the company. HC Wainwright reiterated a “buy” rating and issued a $7.00 price target on shares of Pyxis Oncology in a report on Friday, August 16th. Royal Bank of Canada reaffirmed an “outperform” rating and issued a $7.00 target price on shares of Pyxis Oncology in a research note on Thursday, September 19th. Stephens initiated coverage on shares of Pyxis Oncology in a research note on Friday, November 8th. They set an “overweight” rating and a $13.00 price target for the company. Finally, Stifel Nicolaus initiated coverage on shares of Pyxis Oncology in a research note on Thursday, August 8th. They issued a “buy” rating and a $10.00 price objective on the stock. One analyst has rated the stock with a hold rating and eight have issued a buy rating to the stock. According to data from MarketBeat.com, the stock presently has a consensus rating of “Moderate Buy” and a consensus target price of $10.00. Get Our Latest Stock Report on Pyxis Oncology Pyxis Oncology Stock Performance Institutional Investors Weigh In On Pyxis Oncology Hedge funds have recently bought and sold shares of the company. Ikarian Capital LLC bought a new stake in shares of Pyxis Oncology in the 1st quarter valued at $7,082,000. Blue Owl Capital Holdings LP acquired a new position in Pyxis Oncology in the second quarter valued at about $3,462,000. Millennium Management LLC increased its holdings in shares of Pyxis Oncology by 125.3% in the second quarter. Millennium Management LLC now owns 1,336,908 shares of the company’s stock worth $4,425,000 after acquiring an additional 743,499 shares in the last quarter. Jacobs Levy Equity Management Inc. acquired a new stake in shares of Pyxis Oncology during the third quarter worth about $1,405,000. Finally, State Street Corp lifted its holdings in shares of Pyxis Oncology by 28.0% during the 3rd quarter. State Street Corp now owns 951,251 shares of the company’s stock valued at $3,491,000 after purchasing an additional 208,344 shares in the last quarter. 39.09% of the stock is currently owned by institutional investors and hedge funds. About Pyxis Oncology ( Get Free Report ) Pyxis Oncology, Inc, a clinical stage company, engages in the development of therapeutics to treat cancers. Its lead antibody-drug conjugates (ADC) product candidate is PYX-201, an investigational novel ADC consisting of human immunoglobulin G1 (IgG1), which is in Phase 1 clinical trial to treat patients with relapsed or refractory solid tumors; and lead immuno-oncology (IO) product candidate is PYX-106, an investigational fully human IgG1 Siglec-15-targeting antibody that is in Phase 1 clinical trial to treat patients with advanced solid tumors. Read More Receive News & Ratings for Pyxis Oncology Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for Pyxis Oncology and related companies with MarketBeat.com's FREE daily email newsletter .MIND TECHNOLOGY, INC. REPORTS FISCAL 2025 THIRD QUARTER RESULTS

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There are more than 200,000 Aboriginal and Torres Strait Islanders in Australia who lack a birth certificate. Without this vital document means accessing essential services such as employment, healthcare and education is nearly impossible. But a new technology platform that was guided in its creation by an Indigenous member is intent on providing access to services through digital identity. WUNA was developed in collaboration with to support Aboriginal and Torres Strait Islander peoples. “For Aboriginal and Torres Strait Islander peoples, identity is deeply connected to culture, heritage, and community,” says Jason-Urranndulla Davis, founder and CEO of WUNA. “On Human Rights Day, we’re calling for systems that respect and honor this connection.” In Australia, some 15 to 18 percent of births to Indigenous mothers go unregistered in some regions, while mobility and homelessness affect around 20 percent of Indigenous Australians, which further hinder access to legal identity. On World Human Rights Day, ConnectID and WUNA released their whitepaper “Identity in Crisis: Addressing the Gaps for Aboriginal and Torres Strait Peoples.” The whitepaper calls for a reimagining of identity systems to honor cultural heritage, foster inclusion and uphold human rights. The Universal Declaration of Human Rights asserts that everyone has the right to recognition before the law. The Aboriginal-led digital identity platform WUNA is unique in that it integrates cultural practices like Traditional Owner Membership and Native Title ID, which aim to reduce administrative burdens and provide identity pathways rooted in community. The whitepaper introduces WUNA, a digital wallet that stores a person’s identity documentation, but cleverly relates it to the traditional Aboriginal cultural practice of the “message stick” — a communication tool carried by messengers to deliver news or help recount oral histories between Aboriginal peoples. “WUNA represents a modern adaptation of this trusted system,” the paper explains. ConnectID meanwhile acts as an identity exchange as the organization onboards government social services, financial services, housing and rental services to its exchange, it is working with WUNA to ensure its digital wallet and community-based verifications can be reused to access these critical services. WUNA currently has 17 partner organizations and a pilot extending to 1,000 users. More about WUNA can be learned via its official website . | | | | | |AP Trending SummaryBrief at 4:49 p.m. ESTAmaravati: Andhra Pradesh Chief Minister N Chandrababu Naidu on Saturday congratulated the BJP-led Mahayuti Alliance on securing a historic mandate in Maharashtra. In a post on X, Naidu said the imminent victory reflects people’s continued trust in the leadership of Prime Minister Narendra Modi whose strategic vision, and policies are paving the way for a “Viksit Bharat” to emerge. “Congratulations to the Mahayuti Alliance on securing a historic mandate in Maharashtra. This victory reflects people’s continued trust in the leadership of the Hon’ble Prime Minister Shri @narendramodi Ji, whose strategic vision, transformative policies and devotion to the people are paving the way for a Viksit Bharat to emerge,” Naidu said. Congratulations to the Mahayuti Alliance on securing a historic mandate in Maharashtra. This victory reflects people's continued trust in the leadership of the Hon'ble Prime Minister Shri @narendramodi Ji, whose strategic vision, transformative policies and devotion to the people... pic.twitter.com/u40WTplSyh Meanwhile, AP BJP chief D Purandeswari in a post greeted all the party karyakartas, leaders, and people of Maharashtra over the victory. “The people of Maharashtra have sent a clear message against the divisive politics of Congress,” the BJP leader said. The poll outcome reflects a rejection of the INDI Alliance’s mindset, and shows that the BJP’s vision, as articulated by PM Modi, resonates with the people. “Together, we are paving the way for Maharashtra’s development,” she added. As per the latest counting trends, Mahayuti Alliance is heading towards a landslide victory in Maharashtra.

NEW YORK (AP) — U.S. stock indexes drifted lower Tuesday in the runup to the highlight of the week for the market, the latest update on inflation that’s coming on Wednesday. The S&P 500 dipped 0.3%, a day after pulling back from its latest all-time high . They’re the first back-to-back losses for the index in nearly a month, as momentum slows following a big rally that has it on track for one of its best years of the millennium . Javascript is required for you to be able to read premium content. Please enable it in your browser settings.

NEW YORK — Remember what you searched for in 2024? Google does. Google released its annual “Year in Search” on Tuesday, rounding up the top trending queries entered into its namesake search engine in 2024. The results show terms that saw the highest spike in traffic compared to last year — ranging from key news events, notably global elections, to the most popular songs, athletes and unforgettable pop-culture moments that people looked up worldwide. Related Story: Sports — particularly soccer and cricket — dominated Google’s overall trending searches in 2024. Copa América topped those search trends globally, followed by the UEFA European Championship and ICC Men’s T20 World Cup. Meanwhile, the U.S. election led news-specific searches worldwide. Queries about excessive heat and this year’s Olympic Games followed. U.S. President-elect Donald Trump topped searches in Google’s people category this year — followed by Catherine, Princess of Wales, U.S. Vice President Kamala Harris and Algerian boxer Imane Khelif, who also led athlete-specific searches. Meanwhile, the late Liam Payne, Toby Keith and O.J. Simpson led search trends among notable individuals who died in 2024. Related Story: In the world of entertainment, Disney and Pixar’s “Inside Out 2” was the top trending movie of the year, while Netflix’s “Baby Reindeer” led TV show trends. And Kendrick Lamar’s “Not Like Us” dominated song trends. That’s just the tip of the iceberg. Queries for the Olympic village’s chocolate muffin, made famous by Norwegian swimmer Henrik Christiansen over the summer games, led Google’s global recipe trends this year. The New York Times’ “Connections” puzzle topped game searches. And in the U.S., country-specific data shows, many people asked Google about online trends like the word “demure” and “ mob wife aesthetic.” Related Story: You can find more country-specific lists, and trends from years past, through Google’s “Year in Search” data published online. The California company said it collected 2024 search results from Jan. 1 through Nov. 23 of this year. Google isn’t the only one to publish an annual recap or top trends as 2024 draws to a close. Spotify Wrapped, for example, as well as Collins Dictionary and Merriam-Webster’s words of the year, have offered additional reflections for 2024.EXCLUSIVE : Though hardly a song-and-dance guy, French filmmaker Jacques Audiard has made the most compellingly original musical in years in Emilia Pérez , and it has become one of Netflix ‘s most celebrated awards-bait film in years. It got 10 Golden Globe noms , a record for the musical/comedy category; five European Film Award wins including Best Film and Best Director; 10 Critics Choice nominations ; and numerous other accolades. The three actresses atop the call sheet — Karla Sofía Gascón , Selena Gomez , and Zoe Saldaña — are all up for Globes, and the film is well positioned for the upcoming Oscar nominations . The versatile Audiard found his audaciously original inspiration while thumbing through Boris Razon’s 2018 novel Écoute , where he got the idea for a cartel boss determined to kill his past and transform into the woman he always wanted to be. Here, he explains how he did it, in a moment where Netflix has licensed for its service The Sisters Brothers, Dheepan , A Prophet and Rust and Bone , the latter two of which will be available on the streamer in January. DEADLINE: Describe the eureka moment when you are reading this novel and come across this character who inspired your heroine? JACQUES AUDIARD: In the novel, the character was not a small-time dealer. He was a full-fledged cartel boss. But what really struck me is that the author of the novel, in the subsequent chapters, did not develop this character at all. And that’s what really intrigued me, and that’s where my imagination started to go into action. DEADLINE: You added a daring storyline, with singing and dancing. You’ve described it as having the structure of an opera, a libretto. Might you stage it as an opera one day? AUDIARD: Speaking for myself personally, no, I won’t stage it. I thought about it early on when we started with this work, but four years later, I can tell you that my desire has severely flagged. DEADLINE: Carrying a project that long must be wearing. How did having three major female characters impact the dynamic and the possibilities of what you were writing? AUDIARD: I see what you’re getting at. I am trying to think of a good answer. DEADLINE: Consequences, virtues... AUDIARD: I don’t know exactly how this came to be, but I think I had the idea for a character — in this case, a female character whose life experience would influence the lives of the other people in the story. And for this, I had a model, which was Pasolini film Teorema , in which the arrival of this character transforms the life of an entire family. I wanted Emilia’s transition to not be without consequence on the lives of those who surrounded her, and I wanted that these consequences should be beneficial, virtuous. DEADLINE: At what point in your writing did the musical and dancing elements come into it? Was there a cinematic inspiration for that addition? AUDIARD: The initial text that I wrote when I was adapting this strangely resembled a libretto. They were divided in acts, they were tableaus. And I think that came from the fact that I was in lockdown and I wanted to write fast. I didn’t want to dwell on intermediary stuff. And so once you’re writing a libretto, that of course is asking for music. So I always saw this as a project with music in it, and I think that’s due to the subject, the change of voice, the destiny of this character. I think that was of an operatic tragic nature. DEADLINE: You needed a trans actress for the title role. What about Karla Sofía Gascón and her own life made her right. She wasn’t that well known, but if you watch the film, you couldn’t imagine anybody else playing this role. AUDIARD: Well, first of all, if I hadn’t met Karla Sofía, I’m not sure what this film would’ve been or where we would even be with it today. As far as I see it, she’s truly a great actress, and I’ve worked with a lot of actresses. She really is someone that I found remarkable. And if you’re asking what exactly is her quality, her character as an actress, I think after all this time, what I would say — and maybe it seems a little naive — is that her talent is due to her life, to the specific drama of her life. The specificity of her talent comes from that. RELATED: Karla Sofía Gascón Lands Historic Golden Globe Nomination As First Out Trans Performer In Film Category DEADLINE: Zoe Salda ñ a and Selena Gomez are two of the busiest actresses in Hollywood. How did you sell them on this film? AUDIARD: See, they wanted to do it. I didn’t have to sell it to them. DEADLINE: When you make a movie as audaciously original as Emilia Pérez , studios often choke on the risk, because there’s nothing really to compare it with. You cannot logline this in a single sentence. How receptive were buyers, and what was the big challenge in getting the film financed? AUDIARD: If we’re going to talk about commerce or business, it’s a little bit trivial, but let’s talk about it. I think that this movie demanded names, and Zoe and Selena delivered that for this movie to exist in the eyes of people who were going to invest money. We did need that. Now, I don’t know if I really pitched this film. People read the screenplay . I don’t think I had to serve as its sales representative. It wasn’t like that. I’m sorry if it’s pretentious to say this, but people do know me a little bit. DEADLINE: True, but we haven’t often seen a trans actress leading a production like this. And there’s a lot of daring and provocative things that happen here. As much as they might want to work with you, I wonder if you got some interesting reactions from financiers about taking this creative risk with you? RELATED: Oscar Shortlists In 10 Categories Announced: ‘Emilia Pérez’ & ‘Wicked’ Lead The Field AUDIARD: There was no reticence at all in terms of subject matter that we struggled with. I think what made all the difference is from the moment that I decided to shoot in a studio. We realized that we would have to keep the budget within a certain range. And given those conditions, that allowed the people who were going to accompany us financially to be able to join up. It made it relatively easy to finance the film. I say relatively because we did have a gap for a time, but it was relatively easy to finance the film because we kept it within a certain budget range. DEADLINE: The movie feels like it takes place in Mexico, but you shot in France... AUDIARD: I went two to four times to Mexico, to do casting and for location scouting. And it was when we were coming to the end of these location-scouting sessions that I realized that Mexican reality, or it could have been another reality, was weighing the film down. It was preventing the film from taking off. And I was not finding myself able to create the images that more and more were coming to me in prep, in that reality. And that’s how we decided that we were going to make it on a sound stage. And there’s really nothing closer to an opera stage than a sound stage. This was a film that needed an important degree of stylization. And by coming back to France, we would benefit from all the French regional funding and all the institutional funding that we have there. DEADLINE: Karla Sofía turns in a wonderful performance, as she dangerously re-enters the world she ran. She gets to see how destructive it was when she was leading a cartel and rekindles the relationship with her children. She has become the first trans actress to be nominated for a Golden Globe . And it’s very possible that an Oscar nomination awaits her. How important to you is that distinction? You never want to marginalize somebody who turns in a great performance, no matter how they identify. But this is all unprecedented. What does that all mean to you, Jacques? AUDIARD: It’s strange. I don’t think that I’m analyzing things on that level. Now, of course, I can’t put my head in the sand and say that Karla is not a trans actress. But first and foremost, she is, for me, an actress. And I’m proud that I wasn’t wrong about her. As for the rest, I don’t really think about it. I would’ve been upset, offended if she hadn’t been noted as an actress. DEADLINE: What did Zoe and Selena bring to their roles that most surprised you? AUDIARD: Originally in the screenplay, the characters ages were completely different. The character of Rita, Zoe, was 25. The character of Manitas, or Emilia, was 30. Epifania [Gomez] was 17. And what happened is that after a very, very long fruitless casting process, I was introduced to Zoe and Karla Sofía in the same range of time. I don’t remember who I saw first, but the moment I saw one of them, there was really a shock. I realized the second I saw them that I had written the wrong age for these women. That they were actually women of 40 with the experience of 40-year-old women. So that’s what I saw. Then there was a very strong inflection with the character of Zoe’s Rita character, something that I really hadn’t thought of, which is not only that she was 45 but that she was mixed race. That was a shock to me as well. And then Zoe and I started working together. We rehearsed, and the job was done. She was incredible. The thing about Zoe is that she comes from dance. She can act, she can sing, she can dance. RELATED: The State Of The Race – Pete Hammond’s Latest Oscar Predictions As for Selena, it may seem curious to you, but I only knew her through Harmony Korine’s film Spring Breakers , and a Woody Allen film. I didn’t know what a huge media presence she had or how public her life was. I met her one morning in a bar in New York City, and we talked for maybe 10 minutes and she just had everything I wanted for the character. It’s actually hard to explain, but very quickly I said to her, “If you want it, I want you to do this part.” And in fact, it went so quickly that I don’t think she really believed me at first. Because when we called her back later, I think it was her agent who said she thought you’d forgotten about her. I find that extraordinary, which means that when you want to declare your love to someone, you shouldn’t go too quickly. DEADLINE: You move deftly from one genre to another. In your formative years, what artists and films most inspired the direction that you’ve taken in your career? AUDIARD: I need to kind of distinguish two things to start with. I didn’t come to cinema that quickly. I started being an editor around that the age of 24. I think what was really important was what came before that: my years as a cinephile. As a Frenchman, as a young Parisian in the years 1968 to 1975 to 1981, I could basically see everything that had been done and that was being done. I was very impressed with the Italian cinema of the ’60s and ’70s, the Swedish cinema that included Bergman. I also had the tremendously good fortune to see in real time the appearance of the young German cinema and also what would later come to be known as the New Hollywood. I really adored cinema. It’s difficult for me to pick specific names. This has changed now with the advent of digital, but there was a time when one could have the feeling that one had seen everything basically, and that even those films you hadn’t seen, you could guess through the films that you had seen. And that has really changed nowadays. DEADLINE: In what way has it changed? How has it hurt up-and-coming artists who maybe don’t prize the theatrical experience as much as you did as when you were forming? AUDIARD: I think if I answer that question, I would very quickly be putting myself in a reactionary position, which would be to say it was better before. What I can say from my personal position is, yes, it was better before, but I’m not going to make that into a religion. It’s simply my personal experience. So what happened in the 1980s, digital came along and from that point on, it was impossible to see everything. The digital flow crushed everything. And what do we keep from that? I’m not sure, but I remain convinced that in some places around the world, there are young people who are going to create new stories with new images, with new technologies. But I’m not sure that we should call that cinema. Maybe they need to get to work thinking of a new name for this. Initially, cinema was analog. It was intimately connected with the real. If you had a certain amount of light and a duration, you could record reality. The tears on the cheek of an actress, even if it was water that was placed there were real, they existed. Now that pact with reality has been broken. The machine can now create these things and the reality will now be a false reality. DEADLINE: Have you got a next film you’ll jump into? AUDIARD: Generally when I would start shooting a film, I had my next project, either in the form of a treatment or a book to adapt. But what happened in this case is that Emilia Pérez took so long, a little over four years, that the project I had ahead of me, which eventually became Paris 13th District, got done ahead of Amelia. So now I’m not sure what I’m going to do next. My pockets are empty.