O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:129:"Kids round-up: Gaumont hires for animation & family; ‘Kid-E-Cats’ set for Spain; Cosmos-Maya animates Bollywood hit; and more";s:4:"link";s:167:"https://movienews.movs.world/movie-production-companies/kids-round-up-gaumont-hires-for-animation-kid-e-cats-set-for-spain-cosmos-maya-animates-bollywood-hit-and-more/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 22:46:12 +0000";s:8:"category";s:110:"Movie Production CompaniesanimatesAnimationBollywoodCosmosMayaFamilyGaumontHireshitKidECatskidsroundupsetSpain";s:4:"guid";s:37:"https://movienews.movs.world/?p=36166";s:11:"description";s:866:"Karen Vermeulen Gaumont makes family team leadership hires French studio Gaumont is bolstering its commitment to its global animation and family output with two new hires – Karen Vermeulen as SVP of global co-production financing and business development and Cyril Le Pesant as the new head of animation and family at Gaumont Animation. Vermeulen will ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10817:"
Karen Vermeulen
Gaumont makes family team leadership hires
French studio Gaumont is bolstering its commitment to its global animation and family output with two new hires – Karen Vermeulen as SVP of global co-production financing and business development and Cyril Le Pesant as the new head of animation and family at Gaumont Animation.
Vermeulen will join in August and be based in Gaumont’s London offices, where she will work closely with Terry Kalagian, SVP of creative development, animation and family, and her team to handle funding models and partners for the current development slate and serve to identify new co-pro projects and future opportunities.
Cyril Le Pesant
Le Pesant, meanwhile, joined the company this month. Based in Paris, he will will work with the animation and family teams in the US and UK across the sourcing of IP, co-productions, development and production with a primary focus on running the Paris-based studio which will report to him directly.
“I can’t begin to express how thrilled we are to have both Karen and Cyril join the Gaumont team,” said Nicolas Atlan, president of animation and family, to whom they will both report. “I’ve known Karen for many years and I’ve always wanted to work with her, and Cyril’s energy and passion makes him a perfect fit for our team. Together they bring a new level of creative expertise and technical skills which will further add to the momentum Gaumont continues to build across Europe and around the world.”
Kid-E-Cats
Kid-E-Cats picked up by Spain’s RTVE
Spain’s RTVE has picked up seasons one and two of CTC Media’s preschool animation Kid-E-Cats for its children’s TV channel Clan, following a deal with APC Kids, the kid’s entertainment division of co-pro and distribution company APC Studios.
Kid-E-Cats is owned and managed by CTC Media and produced by Studio Metrafilms. It follows the story of three kittens – Cookie, Pudding and Candy – as they get into adventures and learn life lessons.
The third season is completed and series one and two are currently available on Nick Jr internationally in more than 170 territories following a deal signed between APC Kids and Nickelodeon International in 2017.
Lionel Marty, MD of APC Kids, says: “We are excited Kid-E-Cats will soon be airing in Spain on RTVE’s Clan, one of the leading children’s channels in the region. The show is enjoying outstanding success globally and we’re looking forward to strengthening the presence of Kid-E-Cats in Spain.”
Dabangg
Cosmos-Maya gives ‘Dabangg’ animated remake
India and Singapore-based animation studio Cosmos-Maya is to adapt the Bollywood Dabangg franchise into an animated series following a deal with Arbaaz Khan Productions.
Cosmos-Maya will produce two 52 x 30-minute seasons, inspired by Chulbul Pandey, the police officer portrayed by actor Salman Khan in the action-comedy Dabangg films.
Season one will enter production this year, with the second to be worked on in 2021.
The series chronicles the day-to-day life of quippy cop Pandey as he fights to keep his city safe, while watching out for his younger brother Makkhi.
Arbaaz Khan, who produced the three original films, and directed one of them, said: “Chulbul’s persona is larger than life and in animation his adventures will be showcased as never seen before. We are very happy to be working with Cosmos-Maya on this glorious franchise which has won the heart of millions.”
Anish Mehta, CEO Cosmos-Maya added: “We are delighted to be partnering with Arbaaz Khan Productions in this historic merger of Bollywood and Animation. As a trendsetter in the industry, Cosmos-Maya is, for the first time ever, bringing a major Bollywood franchise to animation with the adult protagonist being portrayed as an adult.”
Dino Ranch
CBC picks up new titles from Boat Rocker
Canadian pubcaster CBC has acquired two new animated children’s series – Dino Ranch and Remy & Boo, as part of a multi-title agreement with Boat Rocker Studios, the content, distribution and brands arm of award-winning global entertainment company Boat Rocker Media.
Currently in production, the 52 x 11-minute Dino Ranch was created by Matt Fernandes of Industrial Brothers and produced by Industrial Brothers and Boat Rocker Studios in association with Disney, Radio-Canada, and CBC Kids. It follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical setting where dinosaurs still roam.
The series is set to launch on CBC and streaming service CBC Gem “soon” and is also due to launch in the US on Disney Junior in 2021.
Remy & Boo is also a 52 x 11-minute series, created by Matt Fernandes of Industrial Brothers, and produced by Industrial Brothers and Boat Rocker Studios, in association with Universal Kids, CBC Kids and Radio-Canada. It tells the story of the unique friendship between adventurous six-year-old girl Remy and a squishy pink robot called Boo. The series premiered on Universal Kids in the US earlier this month.
CBC has also acquired Boat Rocker’s in-house title Love Monster, along with Ludo Studio and Media World Pictures animated series The Strange Chores.
The deal follows CBC and Radio-Canada’s recent commission of the Industrial Brothers and Boat Rocker Studios animated series Kingdom Force, which launched on CBC and CBC Gem in December and will air in French on Radio-Canada beginning January 2021.
Jon Rutherford, MD of kids and family and president of rights at Boat Rocker Studios, said: “We are excited to continue to grow our partnership with CBC across these stellar shows, hot off the heels of the launch of The Next Step series seven on CBC Gem. We are sure they will follow the success of The Next Step and become firm favourites with kids and families across Canada.”
We want to thank the author of this article for this awesome content
";}s:7:"summary";s:866:"Karen Vermeulen Gaumont makes family team leadership hires French studio Gaumont is bolstering its commitment to its global animation and family output with two new hires – Karen Vermeulen as SVP of global co-production financing and business development and Cyril Le Pesant as the new head of animation and family at Gaumont Animation. Vermeulen will ... Read more";s:12:"atom_content";s:10817:"
Karen Vermeulen
Gaumont makes family team leadership hires
French studio Gaumont is bolstering its commitment to its global animation and family output with two new hires – Karen Vermeulen as SVP of global co-production financing and business development and Cyril Le Pesant as the new head of animation and family at Gaumont Animation.
Vermeulen will join in August and be based in Gaumont’s London offices, where she will work closely with Terry Kalagian, SVP of creative development, animation and family, and her team to handle funding models and partners for the current development slate and serve to identify new co-pro projects and future opportunities.
Cyril Le Pesant
Le Pesant, meanwhile, joined the company this month. Based in Paris, he will will work with the animation and family teams in the US and UK across the sourcing of IP, co-productions, development and production with a primary focus on running the Paris-based studio which will report to him directly.
“I can’t begin to express how thrilled we are to have both Karen and Cyril join the Gaumont team,” said Nicolas Atlan, president of animation and family, to whom they will both report. “I’ve known Karen for many years and I’ve always wanted to work with her, and Cyril’s energy and passion makes him a perfect fit for our team. Together they bring a new level of creative expertise and technical skills which will further add to the momentum Gaumont continues to build across Europe and around the world.”
Kid-E-Cats
Kid-E-Cats picked up by Spain’s RTVE
Spain’s RTVE has picked up seasons one and two of CTC Media’s preschool animation Kid-E-Cats for its children’s TV channel Clan, following a deal with APC Kids, the kid’s entertainment division of co-pro and distribution company APC Studios.
Kid-E-Cats is owned and managed by CTC Media and produced by Studio Metrafilms. It follows the story of three kittens – Cookie, Pudding and Candy – as they get into adventures and learn life lessons.
The third season is completed and series one and two are currently available on Nick Jr internationally in more than 170 territories following a deal signed between APC Kids and Nickelodeon International in 2017.
Lionel Marty, MD of APC Kids, says: “We are excited Kid-E-Cats will soon be airing in Spain on RTVE’s Clan, one of the leading children’s channels in the region. The show is enjoying outstanding success globally and we’re looking forward to strengthening the presence of Kid-E-Cats in Spain.”
Dabangg
Cosmos-Maya gives ‘Dabangg’ animated remake
India and Singapore-based animation studio Cosmos-Maya is to adapt the Bollywood Dabangg franchise into an animated series following a deal with Arbaaz Khan Productions.
Cosmos-Maya will produce two 52 x 30-minute seasons, inspired by Chulbul Pandey, the police officer portrayed by actor Salman Khan in the action-comedy Dabangg films.
Season one will enter production this year, with the second to be worked on in 2021.
The series chronicles the day-to-day life of quippy cop Pandey as he fights to keep his city safe, while watching out for his younger brother Makkhi.
Arbaaz Khan, who produced the three original films, and directed one of them, said: “Chulbul’s persona is larger than life and in animation his adventures will be showcased as never seen before. We are very happy to be working with Cosmos-Maya on this glorious franchise which has won the heart of millions.”
Anish Mehta, CEO Cosmos-Maya added: “We are delighted to be partnering with Arbaaz Khan Productions in this historic merger of Bollywood and Animation. As a trendsetter in the industry, Cosmos-Maya is, for the first time ever, bringing a major Bollywood franchise to animation with the adult protagonist being portrayed as an adult.”
Dino Ranch
CBC picks up new titles from Boat Rocker
Canadian pubcaster CBC has acquired two new animated children’s series – Dino Ranch and Remy & Boo, as part of a multi-title agreement with Boat Rocker Studios, the content, distribution and brands arm of award-winning global entertainment company Boat Rocker Media.
Currently in production, the 52 x 11-minute Dino Ranch was created by Matt Fernandes of Industrial Brothers and produced by Industrial Brothers and Boat Rocker Studios in association with Disney, Radio-Canada, and CBC Kids. It follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical setting where dinosaurs still roam.
The series is set to launch on CBC and streaming service CBC Gem “soon” and is also due to launch in the US on Disney Junior in 2021.
Remy & Boo is also a 52 x 11-minute series, created by Matt Fernandes of Industrial Brothers, and produced by Industrial Brothers and Boat Rocker Studios, in association with Universal Kids, CBC Kids and Radio-Canada. It tells the story of the unique friendship between adventurous six-year-old girl Remy and a squishy pink robot called Boo. The series premiered on Universal Kids in the US earlier this month.
CBC has also acquired Boat Rocker’s in-house title Love Monster, along with Ludo Studio and Media World Pictures animated series The Strange Chores.
The deal follows CBC and Radio-Canada’s recent commission of the Industrial Brothers and Boat Rocker Studios animated series Kingdom Force, which launched on CBC and CBC Gem in December and will air in French on Radio-Canada beginning January 2021.
Jon Rutherford, MD of kids and family and president of rights at Boat Rocker Studios, said: “We are excited to continue to grow our partnership with CBC across these stellar shows, hot off the heels of the launch of The Next Step series seven on CBC Gem. We are sure they will follow the success of The Next Step and become firm favourites with kids and families across Canada.”
We want to thank the author of this article for this awesome content
";s:14:"date_timestamp";i:1644446772;}i:1;a:11:{s:5:"title";s:68:"The Legend of Vox Machina season 2 already ordered by Amazon Studios";s:4:"link";s:125:"https://movienews.movs.world/movie-production-companies/the-legend-of-vox-machina-season-2-already-ordered-by-amazon-studios/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 20:34:55 +0000";s:8:"category";s:61:"Movie Production CompaniesAmazonLegendMachinaseasonStudiosVox";s:4:"guid";s:37:"https://movienews.movs.world/?p=36078";s:11:"description";s:677:"The Legend of Vox Machina has just premiered on Amazon Prime Video, but the new D&D series has already been renewed for season 2! Between the likes of Demon Slayer, Attack on Titan and the recently premiered The Legend of Vox Machina, animated content is dominating the global entertainment conversation. The latter series, The Legend ... Read more";s:7:"content";a:1:{s:7:"encoded";s:9520:"
The Legend of Vox Machina has just premiered on Amazon Prime Video, but the new D&D series has already been renewed for season 2!
Between the likes of Demon Slayer, Attack on Titan and the recently premiered The Legend of Vox Machina, animated content is dominating the global entertainment conversation.
The latter series, The Legend of Vox Machina, is a new Dungeons and Dragons-inspired show from the hugely popular Critical Role team.
Following a ground-breaking Kickstarter campaign, the series finally premiered around the world this week on Amazon Prime Video to a fabulous reception.
However, fans of The Legend of Vox Machina will be delighted to know that season 2 has already been confirmed!
The Legend of Vox Machina | Trailer | Prime Video
BridTV
7769
The Legend of Vox Machina | Trailer | Prime Video
https://i.ytimg.com/vi/JvwxQSc-3os/hqdefault.jpg
940087
940087
center
26546
The Legend of Vox Machina season 2…
It’s good news for fans of The Legend of Vox Machina, the series will return for a second television season on Amazon Prime Video.
When Amazon Studios first announced the acquisition of the international streaming rights for the new D&D series, they revealed that a two-season order was placed.
Two-season orders are quite rare within the modern entertainment industry, with series only receiving them when the parent company sees the potential for future content.
In a statement reported by Variety, the head of Amazon Studios Jennifer Salke said that the platform was “thrilled to work with the whole team to bring ‘The Legend of Vox Machina,’ and new Critical Role series, to our Prime Video customers.”
“Teaming with Prime Video to deliver the series to fans across the globe is exciting and surreal — and we’re psyched to be able to tell even more stories with not just one, but two 12-episode seasons!” – Sam Riegel and Travis Willingham, via Variety.
At the time of writing, a release date for The Legend of Vox Machina season 2 has not been shared by either Amazon Studios or Critical Role. However, it has been reported that production on the second season has already started.
Legend of Vox Machina Season 1 hasn’t even properly come out yet and I already can’t wait for Season 2 😃😃
The main villain for season 2 might have been teased…
The first season of The Legend of Vox Machina may have only just premiere, with only three episodes being currently available to stream, but there are already hints being made for the season 2 villain.
In the opening episodes, our heroes discover a wall with four magical stones embedded within it. These stones represent the Chroma Conclave, a group of dragons who are hell-bent on taking over the world.
The group includes Brimscythe, but also includes Thordak the Cinder King (the red dragon), Raishan the Diseased Deceiver (the green dragon), Umbrasyl the Hope Devourer (the black dragon), and Vorugal the Frigid Doom (the white dragon).
Depictions of the Chroma Conclave can also be seen in Krieg’s hidden office where five dragon head symbols can be spotted.
Fans of Critical Role will be well-aware of the Conclave, with the group likely being teased this early as a hint at the main villain in season 2.
PSA y’all, for whatever reason the first three eps of Legend of Vox Machina are already up on Amazon Prime. Good pre-set up for the Conclave and I CANT WAIT for briarwoods arc to begin fully next week. Ep3 was exactly what my mind pictured while watching the stream 😍 pic.twitter.com/oraR1NZWAY
Fans of Critical Role, as well as the wider Dungeons and Dragons community, knew that The Legend of Vox Machina would become a global sensation as soon as the series was announced.
However, even the most optimistic fans will have been taken aback by the popularity and hype that the new show is experiencing with fans around the world, not just in North America.
At the time of writing, The Legend of Vox Machina is scoring an 81% on MetaCritic, 9.2/10 on IMDB, with an average audience rating of 96% on Rotten Tomatoes – although the ‘Tomatometer’ score is incredibly sitting at a perfect 100%.
Have something to tell us about this article?
We wish to give thanks to the author of this short article for this outstanding content
";}s:7:"summary";s:677:"The Legend of Vox Machina has just premiered on Amazon Prime Video, but the new D&D series has already been renewed for season 2! Between the likes of Demon Slayer, Attack on Titan and the recently premiered The Legend of Vox Machina, animated content is dominating the global entertainment conversation. The latter series, The Legend ... Read more";s:12:"atom_content";s:9520:"
The Legend of Vox Machina has just premiered on Amazon Prime Video, but the new D&D series has already been renewed for season 2!
Between the likes of Demon Slayer, Attack on Titan and the recently premiered The Legend of Vox Machina, animated content is dominating the global entertainment conversation.
The latter series, The Legend of Vox Machina, is a new Dungeons and Dragons-inspired show from the hugely popular Critical Role team.
Following a ground-breaking Kickstarter campaign, the series finally premiered around the world this week on Amazon Prime Video to a fabulous reception.
However, fans of The Legend of Vox Machina will be delighted to know that season 2 has already been confirmed!
The Legend of Vox Machina | Trailer | Prime Video
BridTV
7769
The Legend of Vox Machina | Trailer | Prime Video
https://i.ytimg.com/vi/JvwxQSc-3os/hqdefault.jpg
940087
940087
center
26546
The Legend of Vox Machina season 2…
It’s good news for fans of The Legend of Vox Machina, the series will return for a second television season on Amazon Prime Video.
When Amazon Studios first announced the acquisition of the international streaming rights for the new D&D series, they revealed that a two-season order was placed.
Two-season orders are quite rare within the modern entertainment industry, with series only receiving them when the parent company sees the potential for future content.
In a statement reported by Variety, the head of Amazon Studios Jennifer Salke said that the platform was “thrilled to work with the whole team to bring ‘The Legend of Vox Machina,’ and new Critical Role series, to our Prime Video customers.”
“Teaming with Prime Video to deliver the series to fans across the globe is exciting and surreal — and we’re psyched to be able to tell even more stories with not just one, but two 12-episode seasons!” – Sam Riegel and Travis Willingham, via Variety.
At the time of writing, a release date for The Legend of Vox Machina season 2 has not been shared by either Amazon Studios or Critical Role. However, it has been reported that production on the second season has already started.
Legend of Vox Machina Season 1 hasn’t even properly come out yet and I already can’t wait for Season 2 😃😃
The main villain for season 2 might have been teased…
The first season of The Legend of Vox Machina may have only just premiere, with only three episodes being currently available to stream, but there are already hints being made for the season 2 villain.
In the opening episodes, our heroes discover a wall with four magical stones embedded within it. These stones represent the Chroma Conclave, a group of dragons who are hell-bent on taking over the world.
The group includes Brimscythe, but also includes Thordak the Cinder King (the red dragon), Raishan the Diseased Deceiver (the green dragon), Umbrasyl the Hope Devourer (the black dragon), and Vorugal the Frigid Doom (the white dragon).
Depictions of the Chroma Conclave can also be seen in Krieg’s hidden office where five dragon head symbols can be spotted.
Fans of Critical Role will be well-aware of the Conclave, with the group likely being teased this early as a hint at the main villain in season 2.
PSA y’all, for whatever reason the first three eps of Legend of Vox Machina are already up on Amazon Prime. Good pre-set up for the Conclave and I CANT WAIT for briarwoods arc to begin fully next week. Ep3 was exactly what my mind pictured while watching the stream 😍 pic.twitter.com/oraR1NZWAY
Fans of Critical Role, as well as the wider Dungeons and Dragons community, knew that The Legend of Vox Machina would become a global sensation as soon as the series was announced.
However, even the most optimistic fans will have been taken aback by the popularity and hype that the new show is experiencing with fans around the world, not just in North America.
At the time of writing, The Legend of Vox Machina is scoring an 81% on MetaCritic, 9.2/10 on IMDB, with an average audience rating of 96% on Rotten Tomatoes – although the ‘Tomatometer’ score is incredibly sitting at a perfect 100%.
Have something to tell us about this article?
We wish to give thanks to the author of this short article for this outstanding content
";s:14:"date_timestamp";i:1644438895;}i:2;a:11:{s:5:"title";s:68:"EM 2021: ZDF actively promotes sexual rebellion against commentators";s:4:"link";s:124:"https://movienews.movs.world/movie-production-companies/em-2021-zdf-actively-promotes-sexual-rebellion-against-commentators/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 16:43:30 +0000";s:8:"category";s:72:"Movie Production CompaniesactivelycommentatorsPromotesrebellionSexualZDF";s:4:"guid";s:37:"https://movienews.movs.world/?p=35931";s:11:"description";s:663:"ofMelanie Godzczak Close Claudia Newman and Ariane Hingst comment on the rivalry between Belgium and Russia in EM 2021. Some viewers don’t like it. Frankfurt – EM 2021 is only a few days old, so the network has almost everything in principle: when player Christian Eriksen fainted on Saturday (June 12, 2021) in the match ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6990:"
ofMelanie Godzczak
Close
Claudia Newman and Ariane Hingst comment on the rivalry between Belgium and Russia in EM 2021. Some viewers don’t like it.
Frankfurt – EM 2021 is only a few days old, so the network has almost everything in principle: when player Christian Eriksen fainted on Saturday (June 12, 2021) in the match between Denmark and Finland, then a storm against ZDF because of the match between Belgium and Russia by two women Commented. So it takes crazy speed.
Because after learning that Christian Eriksen was stable and could be brought to a hospital in Copenhagen, the anger of some fans over the commentary team Claudia Newman and Ariane Hingst erupted on Twitter over the match between Belgium and Russia. The somewhat sexual revolt against the two women went unnoticed because the ZDF showed a direct reaction to the comments.
Sexual comments against ZDF commentators on EM 2021
“Why doesn’t this pain stop? Now two women are already commenting. It’s really unbearable and there is no country in the world where two women can comment on the European Championship game. No one frees us from that? ”Wrote a user on Twitter. The ZDF responded immediately: “According to statistics, 50 percent of the world’s population are women. It should come as no surprise to people with basic math skills that two of them comment on a game of football together.”
Another user wrote on Twitter: “Why do two women comment? Why? ”ZDF asks the exact opposite question:“ Why not? Claudia Newman is the only female commentator in the world: Football World Champion Ariane Hingst will be her co – commentator for the 2021 European Championships. Even this user on Twitter did not like the fact that two women were “texting” him: “Generations of men are looking forward to football because they were not texted by a woman. But allocation is very important, ”he writes. ZDF shows a reaction here too: “So this sexuality on the internet is always cautious,” it says under the post.
ZDF responds to rebellion against commentators on EM 2021
There are tons of comments on Twitter like the ones listed above. Creative criticism? In many cases there is no evidence. So Belgium and Russia fought on the pitch for their first success in the social media field of EM 2021 and ZDF, against hateful and misconceptions on the web.
Name
Claudia Newman
To change
57 years
Sender
ZDF
Condition
Sports reporter and football commentator
ZDF has a good answer for the user who questions the professionalism of Claudia Newman. Users bring their own logic into play: “What qualifies a female professional for a job? He had never played men’s football before. So what makes her an expert in men’s football? And then I practically qualified just like them. I have never played men’s football, ”the user writes. ZDF provides a logical answer as to why Claudia Newman is best suited for the job at EM 2021: “Claudia Newman learned from the television press below and reports on football in the current sports studio and in the Champions League. Many years – broadcasting. In addition to his professional skills, he has a considerable amount of experience. ”
Stay updated with our EM newsletter!
In short, relying on football text is ZDF’s best attacking performance in the social media industry. In the end, the public broadcaster wins the game against hateful and misguided commentators on the web. (msb)
We would love to give thanks to the author of this short article for this remarkable web content
";}s:7:"summary";s:663:"ofMelanie Godzczak Close Claudia Newman and Ariane Hingst comment on the rivalry between Belgium and Russia in EM 2021. Some viewers don’t like it. Frankfurt – EM 2021 is only a few days old, so the network has almost everything in principle: when player Christian Eriksen fainted on Saturday (June 12, 2021) in the match ... Read more";s:12:"atom_content";s:6990:"
ofMelanie Godzczak
Close
Claudia Newman and Ariane Hingst comment on the rivalry between Belgium and Russia in EM 2021. Some viewers don’t like it.
Frankfurt – EM 2021 is only a few days old, so the network has almost everything in principle: when player Christian Eriksen fainted on Saturday (June 12, 2021) in the match between Denmark and Finland, then a storm against ZDF because of the match between Belgium and Russia by two women Commented. So it takes crazy speed.
Because after learning that Christian Eriksen was stable and could be brought to a hospital in Copenhagen, the anger of some fans over the commentary team Claudia Newman and Ariane Hingst erupted on Twitter over the match between Belgium and Russia. The somewhat sexual revolt against the two women went unnoticed because the ZDF showed a direct reaction to the comments.
Sexual comments against ZDF commentators on EM 2021
“Why doesn’t this pain stop? Now two women are already commenting. It’s really unbearable and there is no country in the world where two women can comment on the European Championship game. No one frees us from that? ”Wrote a user on Twitter. The ZDF responded immediately: “According to statistics, 50 percent of the world’s population are women. It should come as no surprise to people with basic math skills that two of them comment on a game of football together.”
Another user wrote on Twitter: “Why do two women comment? Why? ”ZDF asks the exact opposite question:“ Why not? Claudia Newman is the only female commentator in the world: Football World Champion Ariane Hingst will be her co – commentator for the 2021 European Championships. Even this user on Twitter did not like the fact that two women were “texting” him: “Generations of men are looking forward to football because they were not texted by a woman. But allocation is very important, ”he writes. ZDF shows a reaction here too: “So this sexuality on the internet is always cautious,” it says under the post.
ZDF responds to rebellion against commentators on EM 2021
There are tons of comments on Twitter like the ones listed above. Creative criticism? In many cases there is no evidence. So Belgium and Russia fought on the pitch for their first success in the social media field of EM 2021 and ZDF, against hateful and misconceptions on the web.
Name
Claudia Newman
To change
57 years
Sender
ZDF
Condition
Sports reporter and football commentator
ZDF has a good answer for the user who questions the professionalism of Claudia Newman. Users bring their own logic into play: “What qualifies a female professional for a job? He had never played men’s football before. So what makes her an expert in men’s football? And then I practically qualified just like them. I have never played men’s football, ”the user writes. ZDF provides a logical answer as to why Claudia Newman is best suited for the job at EM 2021: “Claudia Newman learned from the television press below and reports on football in the current sports studio and in the Champions League. Many years – broadcasting. In addition to his professional skills, he has a considerable amount of experience. ”
Stay updated with our EM newsletter!
In short, relying on football text is ZDF’s best attacking performance in the social media industry. In the end, the public broadcaster wins the game against hateful and misguided commentators on the web. (msb)
We would love to give thanks to the author of this short article for this remarkable web content
";s:14:"date_timestamp";i:1644425010;}i:3;a:11:{s:5:"title";s:242:"Die Glass Mold Market 2022 Competitive Landscape Forecast to 2028 | Reduction Engineering Scheer , Sterlco , Automatik Pelletizing Systems , Adler S.r.l. , HMG Extrusions , ips Intelligent Pelletizing Solutions , etc. – The Grundy Register";s:4:"link";s:244:"https://movienews.movs.world/movie-production-companies/die-glass-mold-market-2022-competitive-landscape-forecast-to-2028-reduction-engineering-scheer-sterlco-automatik-pelletizing-systems-adler-s-r-l-hmg-extrusions-ips-intelligent-pelletizing/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 15:41:28 +0000";s:8:"category";s:190:"Movie Production CompaniesAdlerAutomatikCompetitivedieEngineeringExtrusionsForecastglassGrundyHMGIntelligentIPSLandscapemarketMoldPelletizingReductionRegisterScheerSolutionsSrlSterlcoSystems";s:4:"guid";s:37:"https://movienews.movs.world/?p=35878";s:11:"description";s:1235:"Get Sample Report Buy Complete Report Esticast Research has published global Die Cutting Machines Market research report. This report presents an in-depth analysis of the ;Die Cutting Machines Market size, share, SWOT Analysis, future progress expansion, industry growth, key development strategies and Tinplate Packaging market trend dynamics which includes drivers, restraints, opportunities prevailing in the ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11184:"
Esticast Research has published global Die Cutting Machines Market research report. This report presents an in-depth analysis of the ;Die Cutting Machines Market size, share, SWOT Analysis, future progress expansion, industry growth, key development strategies and Tinplate Packaging market trend dynamics which includes drivers, restraints, opportunities prevailing in the industry by product type, application, key manufacturers and key regions & countries.
Die Cutting Machines Market analysis report is the representation of strategic research methodologies and market tactics. In order to fuel the business growth, knowing future scenario of the market and product sale is important and market research is the best way of obtaining forecasting of entire market scenario. Marketing strategy is also covered here to divide the market into different segments and target customers. Customers’ demands are also depicted in this Die Cutting Machines Market report to aware industries and increase the productivity rate of products and services. It segments the market into different categories such as behavioral segmentations and demographic segmentation for the key regions such as North America, Europe, Middle East, Africa, Asia Pacific and Latin America..
The research report includes specific segments by region (country), by manufacturers, by Type and by Application. Each type provides information about the production during the forecast period of 2022 to 2028. by Application segment also provides consumption during the forecast period of 2022 to 2028. Understanding the segments helps in identifying the importance of different factors that aid the market growth.
Major trends and growth projections by region and country
Key winning strategies followed by the competitors
Who are the key competitors in this industry?
What shall be the potential of this industry over the forecast tenure?
What are the factors propelling the demand for the ;Die Cutting Machines Market ?
What are the opportunities that shall aid in significant proliferation of the market growth?
What are the regional and country wise regulations that shall either hamper or boost the demand for Die Cutting Machines Market?
How has the covid-19 impacted the growth of the market?
Has the supply chain disruption caused changes in the entire value chain?
Key Questioned Answered in the Report:
What is the market size and forecast of the ;Die Cutting Machines Market?
Which are the products/segments/applications/areas to invest in over the forecast period in the Die Cutting Machines Market?
What are major growth drivers and market trends that impacting on the global Die Cutting Machines Market?
What is the competitive strategic window for opportunities in the Die Cutting Machines Market?
What the market size both in terms of value and volume for global Die Cutting Machines Market?
Who are leading market players and who are the new market players that operate in the global Die Cutting Machines Market with an estimated market share?
What are the future investment and opportunity in the global Die Cutting Machines Market?
Impact of COVID-19 on global Die Cutting Machines Market
Esticast Research ;is a research firm providing research reports on various industries with a unique combination of authenticity, extensive research, and infallibility. We provide syndicated market research reports, customization services, and consulting services to help businesses across the world in achieving their goals and overcoming complex challenges. We specialize in providing 360-degree view of the markets to assist clients in determining new opportunities and develop business strategies for the future with data and statistics on changing market dynamics. Esticast Research & Consulting has expert analysts and consultants with an ability to work in collaboration with clients to meet their business needs and give opportunities to thrive in a competitive world. A comprehensive analysis of industries ranging from healthcare to consumer goods and ICT to BFSI is provided by covering hundreds of industry segments. The research reports offering market forecasts, market entry strategies, and customer intelligence will help clients across the world in harnessing maximum value on their investment and realize their optimum potential.
";}s:7:"summary";s:1235:"Get Sample Report Buy Complete Report Esticast Research has published global Die Cutting Machines Market research report. This report presents an in-depth analysis of the ;Die Cutting Machines Market size, share, SWOT Analysis, future progress expansion, industry growth, key development strategies and Tinplate Packaging market trend dynamics which includes drivers, restraints, opportunities prevailing in the ... Read more";s:12:"atom_content";s:11184:"
Esticast Research has published global Die Cutting Machines Market research report. This report presents an in-depth analysis of the ;Die Cutting Machines Market size, share, SWOT Analysis, future progress expansion, industry growth, key development strategies and Tinplate Packaging market trend dynamics which includes drivers, restraints, opportunities prevailing in the industry by product type, application, key manufacturers and key regions & countries.
Die Cutting Machines Market analysis report is the representation of strategic research methodologies and market tactics. In order to fuel the business growth, knowing future scenario of the market and product sale is important and market research is the best way of obtaining forecasting of entire market scenario. Marketing strategy is also covered here to divide the market into different segments and target customers. Customers’ demands are also depicted in this Die Cutting Machines Market report to aware industries and increase the productivity rate of products and services. It segments the market into different categories such as behavioral segmentations and demographic segmentation for the key regions such as North America, Europe, Middle East, Africa, Asia Pacific and Latin America..
The research report includes specific segments by region (country), by manufacturers, by Type and by Application. Each type provides information about the production during the forecast period of 2022 to 2028. by Application segment also provides consumption during the forecast period of 2022 to 2028. Understanding the segments helps in identifying the importance of different factors that aid the market growth.
Major trends and growth projections by region and country
Key winning strategies followed by the competitors
Who are the key competitors in this industry?
What shall be the potential of this industry over the forecast tenure?
What are the factors propelling the demand for the ;Die Cutting Machines Market ?
What are the opportunities that shall aid in significant proliferation of the market growth?
What are the regional and country wise regulations that shall either hamper or boost the demand for Die Cutting Machines Market?
How has the covid-19 impacted the growth of the market?
Has the supply chain disruption caused changes in the entire value chain?
Key Questioned Answered in the Report:
What is the market size and forecast of the ;Die Cutting Machines Market?
Which are the products/segments/applications/areas to invest in over the forecast period in the Die Cutting Machines Market?
What are major growth drivers and market trends that impacting on the global Die Cutting Machines Market?
What is the competitive strategic window for opportunities in the Die Cutting Machines Market?
What the market size both in terms of value and volume for global Die Cutting Machines Market?
Who are leading market players and who are the new market players that operate in the global Die Cutting Machines Market with an estimated market share?
What are the future investment and opportunity in the global Die Cutting Machines Market?
Impact of COVID-19 on global Die Cutting Machines Market
Esticast Research ;is a research firm providing research reports on various industries with a unique combination of authenticity, extensive research, and infallibility. We provide syndicated market research reports, customization services, and consulting services to help businesses across the world in achieving their goals and overcoming complex challenges. We specialize in providing 360-degree view of the markets to assist clients in determining new opportunities and develop business strategies for the future with data and statistics on changing market dynamics. Esticast Research & Consulting has expert analysts and consultants with an ability to work in collaboration with clients to meet their business needs and give opportunities to thrive in a competitive world. A comprehensive analysis of industries ranging from healthcare to consumer goods and ICT to BFSI is provided by covering hundreds of industry segments. The research reports offering market forecasts, market entry strategies, and customer intelligence will help clients across the world in harnessing maximum value on their investment and realize their optimum potential.
";s:14:"date_timestamp";i:1644421288;}i:4;a:11:{s:5:"title";s:67:"Anatomy of a lowrider: New Mexico Lowrider Arte and Culture Exhibit";s:4:"link";s:123:"https://movienews.movs.world/movie-production-companies/anatomy-of-a-lowrider-new-mexico-lowrider-arte-and-culture-exhibit/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 12:15:56 +0000";s:8:"category";s:65:"Movie Production CompaniesAnatomyArtecultureexhibitlowriderMexico";s:4:"guid";s:37:"https://movienews.movs.world/?p=35741";s:11:"description";s:654:"The mayor of Santa Fe proclaimed May 22, 2016, to be Lowrider Day. The occasion was a New Mexico History Museum exhibit celebrating lowriders and lowrider culture in Northern New Mexico. Lowriders from miles around cruised to the Plaza to show off their cars. In the years since then, a group called New Mexico Lowrider ... Read more";s:7:"content";a:1:{s:7:"encoded";s:28299:"
The mayor of Santa Fe proclaimed May 22, 2016, to be Lowrider Day. The occasion was a New Mexico History Museum exhibit celebrating lowriders and lowrider culture in Northern New Mexico. Lowriders from miles around cruised to the Plaza to show off their cars. In the years since then, a group called New Mexico Lowrider Arte and Culture has honored the day each May by holding a lowrider show downtown. Last year, the event was canceled. This year, they’re moving and expanding the event.
The New Mexico Lowrider Arte and Culture Exhibit opens at Santa Fe Place Mall from noon to 4 p.m. on Saturday, May 1, with a public car show, lowrider exhibition, and art show. The event also features food, musical entertainment, and a lowrider hopping contest.
“The car show is outside. Anyone with a nice car who wants to participate can come,” says Sin Vargas, co-founder of New Mexico Lowrider Arte and Culture. “Lowriders, classic cars, European cars, motorcycles — anyone who wants to show up and show off that day.”
Inside the mall is an exhibition of lowriders and lowrider-related art that is on display inside the mall through June 30. The cars and art are displayed in empty retail spaces near the food court. The art show includes car pinstriping and designs, tattoo art, painting, photography, wood burning, and model cars, as well as lowrider bicycles and motorcycles.
“This is the first time we’re doing an art exhibit,” Vargas says. The DJ and professional fundraiser found his way to lowrider culture through work, and says he plans to get his first lowrider soon. “We wanted to try something different, because of COVID.”
The indoor lowrider exhibition features 13 tricked-out cars and trucks, many of which are well-known at lowrider car shows and in the lowrider community. Among them is Mike Roybal’s “Going to Xtreemz New Mexico,” a gold 1978 Cutlass Supreme emblazoned by a candy-apple red “505.”
A newcomer to the scene is Mi Carruca, a Candy Magenta 1978 Pontiac Grand Prix that’s making its official debut at Santa Fe Place. It was built by Fernando Ortega, 39, of Albuquerque. With his purple 1981 Chevy El Camino, he’s known as the five-time hopping champion of the annual Albuquerque Super Show, but Mi Carruca belongs to his wife, Francine Ortega, 36. (The name is a tongue-in-cheek combination of Spanish slang — ruca, meaning “girlfriend” and carucha, meaning “car.”)
“We haven’t even driven it since it was finished,” Fernando Ortega says. “We have it in a storage facility, but we’re excited to bring it up to Santa Fe. That’s where I’m from originally.”
A gem in the weeds: In 2005, Fernando Ortega saw a 1978 Grand Prix parked in a yard between Albuquerque and Bernalillo, just a rusting yellow bucket filled with weeds and trees. He approached the owner and asked to buy it, but he was told that it had too much sentimental value. (The man had bought the car new, for his wife, who died of cancer a few years later.) Over several months, Ortega showed him pictures of other cars he’d built, and eventually convinced him to sell him the car for $1,300. Ortega cleared out the brush, put in a new battery and a little gas, “And that puppy started right up.” Later, the owner returned the money. He said he didn’t want it; he just wanted to see the car rebuilt. But the Ortegas haven’t been able to locate him to show him the finished car.
#1 – photo Corey Ringo
#1 – Modifications: Mi Carruca has a brand-new, 350-horsepower engine. The seats were pulled out of a 2007 Mitsubishi Eclipse and converted for the Grand Prix. (Fernando chose them because they were the same size as the Grand Prix seats but could recline. “Cars that old don’t recline. They just push forwards and backwards.”) Every bit of the car has been rebuilt, chromed, and has hand-engraved scrollwork, including the engine. “The bumpers, the grills, the light bezels — everything was plastic. We manufactured a replica of the grill in metal, then plated it with nickel, copper, and then chrome. The engraving is thousands of hours — on the bumper, fender, wheel wells, door handles, rear axle, the A-frames, window trim,” Fernando Ortega says. “But the most radical modification is the hydraulic system. No one has this in the state of New Mexico.” The hubcaps are Zenith, “One of the most popular rims out. They were about six grand. All hand-engraved.”
#2 – photo Gabriela Campos/The New Mexican
#2 – It’s Francine’s car: The first time the Ortegas rebuilt the car, Fernando paid for everything. He has built more than 20 cars, many of which he sells to collectors outside of the United States. (“That’s where the big money’s at.”) The car’s first build had a basic pink paint job, a white interior, and hydraulics. People thought it was cute that her husband built her a car, which Francine didn’t appreciate. She insisted they rebuild it, and this time, “He put it together, because I don’t know how to do any of that stuff, but I paid for everything my own self. It was lots of hard work. I’ve been a Zumba instructor for 10 years. I’m an Herbalife distributor. I sell Paparazzi jewelry online. There’s a lot of sweat in that car.”
PRETTY IN PINK: Fernando executed Francine’s vision for a classic lowrider, advising her on designs and color schemes. The rebuild took about four years. Because he leads Taking Over Car Club, and owns King of the Streets Hydraulics and Accessories, labor was free, while paint, engraving, and other modifications were done at cost by friends and family. He estimates that rebuilding the car a second time should’ve cost about $100,000, but they did it for $35,000.
A Grand Prix family: Francine Ortega’s parents got into lowriding when they were teenagers, and she grew up in the culture. Her parents had a ’76 Grand Prix, and she always thought she’d get something similar. Fernando Ortega’s first car was a ’77 Grand Prix. His father initially built it for his older brother, then repainted it and fixed it up for Fernando when he was a teenager.
“Most teens want to hang out, smoke pot, have drinks. They gave me that car for me to keep my mind on the right path. When you have a car to build, they cost money. So, instead of buying a six-pack of beer, you spend that money on a part of the car. That’s been the model for years. Now I have a three-year-old son, and I’m going to teach him the passion so he can do the same thing.”
Their other car is a Ford Expedition: Fernando Ortega is the five-year reigning hopping champion of the Albuquerque Super Show with his Candy Purple 1981 Chevy El Camino. In 2019, the last time the show was held, he took the Lowkey Belt by hitting 130 inches to stand the car on its back bumper. But for everyday driving, the Ortegas have a 2012 Ford Expedition. “A lowrider is a Sunday cruiser, go cruising on the weekend. The Expedition is practical for every day,” he says.
#3 – Gabriela Campos/The New Mexican
#3 – photo Gabriela Campos/The New Mexican
#3 – Fernando Ortega on what makes a lowrider: “Rims, hydraulics, candy-colored paint, new interior, and a chromed-out engine. You also need the passion in your heart. You have to be a lowrider to build a lowrider car.” Above, the hydraulic switch panel.
Barbie’s Dream Lowrider? “Honestly, I would be more of a Bratz doll,” says Francine Ortega.
Living the dream: Fernando Ortega’s dream car is a 1963 Chevy Impala convertible, and he’s currently rebuilding one. He’s three years into the project, and about 50 percent finished. It’s painted Voodoo Violet, and he has yet to give the car a name. “Every nut and bolt on that car is two-tone chrome and gold-engraved,” he says.
Always in progress: “There’s so much to add that you can never finish a car. Fran’s car, I said it was finished, but I find so many things that I still need to do. We do upgrades,” Fernando Ortega says.
The hardest part of redoing any car: “Waiting for the painters. They take so long. It takes patience. By the time you finish a car, you’ve beat up your painter, your upholstery man. You’re dealing with a bunch of talented people. I just got into an argument with a guy working on my Impala. Time is precious, but it always comes out good.”
#4 – courtesy of the Pontiac-Oakland Museum & Resource Center
#4 – Classy Muscle Car: “The Grand Prix started in 1962. It was a personal luxury car, almost in competition with the [Ford] Thunderbird. It wouldn’t have been for a young person,” says Tim Dye, executive director of the Pontiac-Oakland Museum in Pontiac, Illinois, the world’s only museum dedicated to Pontiac cars. “It would’ve been more for a middle-aged person that wanted a little class. It was a classy muscle car.”
SOME STATS: The top-of-the-line Grand Prix was the LJ, which cost $5,815 in 1978. It weighed 3,216 pounds. “That year, they made 65,122 LJs. The SJ, which was the sporty version, they made 36,069. And the base Grand Prix, they made 127,253,” says Dye, who is in the process of expanding his museum to a location in Pontiac, Michigan, where Pontiac was headquartered. The brand went out of business in 2009. The last Pontiac Grand Prix was made in 2008.
FITS THE BILL: Today, Grand Prix are more affordable as a collectible than some other Pontiac models, such as GTOs. “It’s nothing to pay $50,000 or $60,000 for a ’66 or ’67 GTO, whereas you can buy a Grand Prix from $5,000 to $15,000 — though there may be exceptions to that on the earlier ones,” Dye says. “For a ’78, you could buy a pretty darn nice one for $5,000 to $10,000. Of course, a lowrider would spend a lot more money to customize it.” ◀
Photo credits (top to bottom): Corey Ringo; Joey Sanchez; Mike Roybal
Edmundo Carrillo, 57, Pecos, NM
Car make and model: 1952 Chevy Custom Cab, also known as a 5-window pickup
Car name: “That’s All”
“I grew up in San Diego. My dad had the truck in the 1970s, and I learned how to drive on it. He sold it to my uncle. In 1990, he passed away. We moved over here to New Mexico in 1992, and, in May of that year, I towed it from San Diego to Pecos. It ran, but it was in pretty rough shape.”
Carlos Munoz, 43, Rio Rancho, NM
Car make and model: 1955 Chevrolet Bel Air
Color: Cisco’s Sunburst (“It’s champagne rose gold, but it’s a custom color named for my brother, who is the main painter of the car.”)
“It was a full restoration. We found it on the ditch, off Agua Fría [Street] in Santa Fe. We had to put a new floor, a new trunk pan. They were rotted out. We body-worked the whole car, and we saved the rest of the panels of the car. We restored all the parts. It has every nut and bolt brand new.”
Mike Roybal, 53, Las Vegas, NM
Car make and model: 1978 Cutlass Supreme
Car name: “Going to Xtreemz New Mexico”
Car color: Candy Apple Red and Candy Gold
“I would say my favorite part’s the suicide doors that are cut in a strip. They open up reverse and the doors are split on the bottom, so the lower half of the door is molded to the car. I haven’t worked on that car for about 20 years, but I’m getting into redoing it totally again in a few years. I’m going to add neon lights to the interior.”
We want to give thanks to the writer of this post for this amazing content
";}s:7:"summary";s:654:"The mayor of Santa Fe proclaimed May 22, 2016, to be Lowrider Day. The occasion was a New Mexico History Museum exhibit celebrating lowriders and lowrider culture in Northern New Mexico. Lowriders from miles around cruised to the Plaza to show off their cars. In the years since then, a group called New Mexico Lowrider ... Read more";s:12:"atom_content";s:28299:"
The mayor of Santa Fe proclaimed May 22, 2016, to be Lowrider Day. The occasion was a New Mexico History Museum exhibit celebrating lowriders and lowrider culture in Northern New Mexico. Lowriders from miles around cruised to the Plaza to show off their cars. In the years since then, a group called New Mexico Lowrider Arte and Culture has honored the day each May by holding a lowrider show downtown. Last year, the event was canceled. This year, they’re moving and expanding the event.
The New Mexico Lowrider Arte and Culture Exhibit opens at Santa Fe Place Mall from noon to 4 p.m. on Saturday, May 1, with a public car show, lowrider exhibition, and art show. The event also features food, musical entertainment, and a lowrider hopping contest.
“The car show is outside. Anyone with a nice car who wants to participate can come,” says Sin Vargas, co-founder of New Mexico Lowrider Arte and Culture. “Lowriders, classic cars, European cars, motorcycles — anyone who wants to show up and show off that day.”
Inside the mall is an exhibition of lowriders and lowrider-related art that is on display inside the mall through June 30. The cars and art are displayed in empty retail spaces near the food court. The art show includes car pinstriping and designs, tattoo art, painting, photography, wood burning, and model cars, as well as lowrider bicycles and motorcycles.
“This is the first time we’re doing an art exhibit,” Vargas says. The DJ and professional fundraiser found his way to lowrider culture through work, and says he plans to get his first lowrider soon. “We wanted to try something different, because of COVID.”
The indoor lowrider exhibition features 13 tricked-out cars and trucks, many of which are well-known at lowrider car shows and in the lowrider community. Among them is Mike Roybal’s “Going to Xtreemz New Mexico,” a gold 1978 Cutlass Supreme emblazoned by a candy-apple red “505.”
A newcomer to the scene is Mi Carruca, a Candy Magenta 1978 Pontiac Grand Prix that’s making its official debut at Santa Fe Place. It was built by Fernando Ortega, 39, of Albuquerque. With his purple 1981 Chevy El Camino, he’s known as the five-time hopping champion of the annual Albuquerque Super Show, but Mi Carruca belongs to his wife, Francine Ortega, 36. (The name is a tongue-in-cheek combination of Spanish slang — ruca, meaning “girlfriend” and carucha, meaning “car.”)
“We haven’t even driven it since it was finished,” Fernando Ortega says. “We have it in a storage facility, but we’re excited to bring it up to Santa Fe. That’s where I’m from originally.”
A gem in the weeds: In 2005, Fernando Ortega saw a 1978 Grand Prix parked in a yard between Albuquerque and Bernalillo, just a rusting yellow bucket filled with weeds and trees. He approached the owner and asked to buy it, but he was told that it had too much sentimental value. (The man had bought the car new, for his wife, who died of cancer a few years later.) Over several months, Ortega showed him pictures of other cars he’d built, and eventually convinced him to sell him the car for $1,300. Ortega cleared out the brush, put in a new battery and a little gas, “And that puppy started right up.” Later, the owner returned the money. He said he didn’t want it; he just wanted to see the car rebuilt. But the Ortegas haven’t been able to locate him to show him the finished car.
#1 – photo Corey Ringo
#1 – Modifications: Mi Carruca has a brand-new, 350-horsepower engine. The seats were pulled out of a 2007 Mitsubishi Eclipse and converted for the Grand Prix. (Fernando chose them because they were the same size as the Grand Prix seats but could recline. “Cars that old don’t recline. They just push forwards and backwards.”) Every bit of the car has been rebuilt, chromed, and has hand-engraved scrollwork, including the engine. “The bumpers, the grills, the light bezels — everything was plastic. We manufactured a replica of the grill in metal, then plated it with nickel, copper, and then chrome. The engraving is thousands of hours — on the bumper, fender, wheel wells, door handles, rear axle, the A-frames, window trim,” Fernando Ortega says. “But the most radical modification is the hydraulic system. No one has this in the state of New Mexico.” The hubcaps are Zenith, “One of the most popular rims out. They were about six grand. All hand-engraved.”
#2 – photo Gabriela Campos/The New Mexican
#2 – It’s Francine’s car: The first time the Ortegas rebuilt the car, Fernando paid for everything. He has built more than 20 cars, many of which he sells to collectors outside of the United States. (“That’s where the big money’s at.”) The car’s first build had a basic pink paint job, a white interior, and hydraulics. People thought it was cute that her husband built her a car, which Francine didn’t appreciate. She insisted they rebuild it, and this time, “He put it together, because I don’t know how to do any of that stuff, but I paid for everything my own self. It was lots of hard work. I’ve been a Zumba instructor for 10 years. I’m an Herbalife distributor. I sell Paparazzi jewelry online. There’s a lot of sweat in that car.”
PRETTY IN PINK: Fernando executed Francine’s vision for a classic lowrider, advising her on designs and color schemes. The rebuild took about four years. Because he leads Taking Over Car Club, and owns King of the Streets Hydraulics and Accessories, labor was free, while paint, engraving, and other modifications were done at cost by friends and family. He estimates that rebuilding the car a second time should’ve cost about $100,000, but they did it for $35,000.
A Grand Prix family: Francine Ortega’s parents got into lowriding when they were teenagers, and she grew up in the culture. Her parents had a ’76 Grand Prix, and she always thought she’d get something similar. Fernando Ortega’s first car was a ’77 Grand Prix. His father initially built it for his older brother, then repainted it and fixed it up for Fernando when he was a teenager.
“Most teens want to hang out, smoke pot, have drinks. They gave me that car for me to keep my mind on the right path. When you have a car to build, they cost money. So, instead of buying a six-pack of beer, you spend that money on a part of the car. That’s been the model for years. Now I have a three-year-old son, and I’m going to teach him the passion so he can do the same thing.”
Their other car is a Ford Expedition: Fernando Ortega is the five-year reigning hopping champion of the Albuquerque Super Show with his Candy Purple 1981 Chevy El Camino. In 2019, the last time the show was held, he took the Lowkey Belt by hitting 130 inches to stand the car on its back bumper. But for everyday driving, the Ortegas have a 2012 Ford Expedition. “A lowrider is a Sunday cruiser, go cruising on the weekend. The Expedition is practical for every day,” he says.
#3 – Gabriela Campos/The New Mexican
#3 – photo Gabriela Campos/The New Mexican
#3 – Fernando Ortega on what makes a lowrider: “Rims, hydraulics, candy-colored paint, new interior, and a chromed-out engine. You also need the passion in your heart. You have to be a lowrider to build a lowrider car.” Above, the hydraulic switch panel.
Barbie’s Dream Lowrider? “Honestly, I would be more of a Bratz doll,” says Francine Ortega.
Living the dream: Fernando Ortega’s dream car is a 1963 Chevy Impala convertible, and he’s currently rebuilding one. He’s three years into the project, and about 50 percent finished. It’s painted Voodoo Violet, and he has yet to give the car a name. “Every nut and bolt on that car is two-tone chrome and gold-engraved,” he says.
Always in progress: “There’s so much to add that you can never finish a car. Fran’s car, I said it was finished, but I find so many things that I still need to do. We do upgrades,” Fernando Ortega says.
The hardest part of redoing any car: “Waiting for the painters. They take so long. It takes patience. By the time you finish a car, you’ve beat up your painter, your upholstery man. You’re dealing with a bunch of talented people. I just got into an argument with a guy working on my Impala. Time is precious, but it always comes out good.”
#4 – courtesy of the Pontiac-Oakland Museum & Resource Center
#4 – Classy Muscle Car: “The Grand Prix started in 1962. It was a personal luxury car, almost in competition with the [Ford] Thunderbird. It wouldn’t have been for a young person,” says Tim Dye, executive director of the Pontiac-Oakland Museum in Pontiac, Illinois, the world’s only museum dedicated to Pontiac cars. “It would’ve been more for a middle-aged person that wanted a little class. It was a classy muscle car.”
SOME STATS: The top-of-the-line Grand Prix was the LJ, which cost $5,815 in 1978. It weighed 3,216 pounds. “That year, they made 65,122 LJs. The SJ, which was the sporty version, they made 36,069. And the base Grand Prix, they made 127,253,” says Dye, who is in the process of expanding his museum to a location in Pontiac, Michigan, where Pontiac was headquartered. The brand went out of business in 2009. The last Pontiac Grand Prix was made in 2008.
FITS THE BILL: Today, Grand Prix are more affordable as a collectible than some other Pontiac models, such as GTOs. “It’s nothing to pay $50,000 or $60,000 for a ’66 or ’67 GTO, whereas you can buy a Grand Prix from $5,000 to $15,000 — though there may be exceptions to that on the earlier ones,” Dye says. “For a ’78, you could buy a pretty darn nice one for $5,000 to $10,000. Of course, a lowrider would spend a lot more money to customize it.” ◀
Photo credits (top to bottom): Corey Ringo; Joey Sanchez; Mike Roybal
Edmundo Carrillo, 57, Pecos, NM
Car make and model: 1952 Chevy Custom Cab, also known as a 5-window pickup
Car name: “That’s All”
“I grew up in San Diego. My dad had the truck in the 1970s, and I learned how to drive on it. He sold it to my uncle. In 1990, he passed away. We moved over here to New Mexico in 1992, and, in May of that year, I towed it from San Diego to Pecos. It ran, but it was in pretty rough shape.”
Carlos Munoz, 43, Rio Rancho, NM
Car make and model: 1955 Chevrolet Bel Air
Color: Cisco’s Sunburst (“It’s champagne rose gold, but it’s a custom color named for my brother, who is the main painter of the car.”)
“It was a full restoration. We found it on the ditch, off Agua Fría [Street] in Santa Fe. We had to put a new floor, a new trunk pan. They were rotted out. We body-worked the whole car, and we saved the rest of the panels of the car. We restored all the parts. It has every nut and bolt brand new.”
Mike Roybal, 53, Las Vegas, NM
Car make and model: 1978 Cutlass Supreme
Car name: “Going to Xtreemz New Mexico”
Car color: Candy Apple Red and Candy Gold
“I would say my favorite part’s the suicide doors that are cut in a strip. They open up reverse and the doors are split on the bottom, so the lower half of the door is molded to the car. I haven’t worked on that car for about 20 years, but I’m getting into redoing it totally again in a few years. I’m going to add neon lights to the interior.”
We want to give thanks to the writer of this post for this amazing content
";s:14:"date_timestamp";i:1644408956;}i:5;a:11:{s:5:"title";s:105:"‘Triplets of Belleville’ Producer Links with Gaumont on ‘The Nazis, My Father and Me’ (EXCLUSIVE)";s:4:"link";s:147:"https://movienews.movs.world/movie-production-companies/triplets-of-belleville-producer-links-with-gaumont-on-the-nazis-my-father-and-me-exclusive/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 10:42:42 +0000";s:8:"category";s:84:"Movie Production CompaniesBellevilleEXCLUSIVEFatherGaumontlinksNazisProducerTriplets";s:4:"guid";s:37:"https://movienews.movs.world/?p=35680";s:11:"description";s:779:"With “The Summit of the Gods” shaping up as one of the major draws of this year’s online Annecy Work in Progress section, Didier and Damien Brunner’s Paris-based Folivari is teaming with France’s Gaumont on a second signature animated feature, “The Nazis, My Father and Me.” Putting its large weight behind the title, Gaumont will ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6731:"
With “The Summit of the Gods” shaping up as one of the major draws of this year’s online Annecy Work in Progress section, Didier and Damien Brunner’s Paris-based Folivari is teaming with France’s Gaumont on a second signature animated feature, “The Nazis, My Father and Me.”
Putting its large weight behind the title, Gaumont will co-produce, distribute in France and handle world sales on the coming of age action-thriller set in October 1941 New York City, just weeks before the U.S. finally entered WWII.
News of the Gaumont deal comes as Folvari has moved into production on animated feature “Ernest and Celestine: A Journey in Charabia,” the sequel to the Oscar-nominated original.
For French animation, such moves are signs of the times. With Gaumont on board for “The Nazis, My Father and Me,” Folivari is now working with some of the highest-profile and weightiest film-TV companies in France. Wild Bunch is selling “The Summit of the Gods”; Studiocanal is co-producing and handling French distribution and international sales on Folivari’s “Ernest and Celestine: A Journey in Charabia.”
That’s hardly surprising. Didier Brunner has produced or co-produced four films that have scored five Academy Award nominations: 1997’s “The Old Lady and the Pigeons,” 2003’s The Triplets of Belleville,” 2009’s “The Secret of Kells” and 2012’s “Ernest and Celestine.” That’s catnip for platforms seeking to establish their brand as premium entertainment purveyors.
Folivari’s Inca empire-set “Pachamana” was already acquired by Netflix for the world outside French-speaking territories.
Animated features remain one of the most resilient of film types in terms of cinema theater performance. When released with sufficient P & A muscle, Brunner’s movies can perform well in France, the original “Ernest and Celestine” selling 1.14 million tickets in France in 2012, the equivalent of an around $8 million theatrical gross.
“The Nazis, My Father and Me” also marks a move by Folivari towards larger audience entertainment of substance. In it, Stevie, a highly intelligent 12-year-old, sees his father disappear right before his eyes, and sets out to track him down, menaced by Nazi thugs, uncertain as to whether his father could really be a Nazi spy, and aided by Miriam, a refugee Jewish classmate.
Folivari has attached Peter de Sève, renown for his The New Yorker cover designs, for the film’s character designs. De Seve’s animation work takes in characters from “A Bug’s Life,” “Finding Nemo,” “Robots,” “The Little Prince,” and the “Ice Age” films.
“We aim to draw and paint New York as a character,” said Damien Brunner.
“What comes across in ‘The Nazis, My Father and Me’ is the story of two children lost in New York, Brooklyn and Queens, hunted by the German secret police,” he added.
He continued: “We wanted to find a story that takes place in New York. It’s a very graphic city that is fascinating and attractive for animation, he added, saying that whenever he visits New York it’s a “coup de coeur” – love at first sight. “We want to make a film which drives straight to the heart of the spirit of New York,” and De Sève helps that.”
“The Nazis, My Father and Me” is directed by Remy Schaepman, a La Poudrière alum who co-directed “Dodudindon, the opening short at the 2009 Annecy Festival, and also carried out the 2D animation sequences on 2019 live action “My Family and the Wolf.” He will make his debut feature with “The Nazis, My Father an Me.”
Stéphan Roelants’ Luxembourg-based Melusine Productions has signed on to co-produce “The Nazis, My Father and Me,” also produced by Tchack, which has handled graphic research.
“The Nazis” will be shot in traditional 2D and CGI for backgrounds, though the proportions have yet to be determined, said Didier Brunner.
“Ernest and Celestine: A Journey in Charabia” is directed by Julien Chheng and Jean-Christophe Roger. It’s an excellent tandem between two great directors, one who started out as a talented animator and the other a seasoned TV director,” said Didier Brunner.
Stephane Roélant’s Studio 352/Melusine Productions has boarded as one of its lead producers, with Folivari. Fost, Folivari’s animation studio, is supplying animation on the Apple TV Plus title “Wolfwalkers,” directed by Tomm Moore and Ross Stewart and produced by Cartoon Saloon, for which Didier Brunner co-produced “Secret of Kells.”
“We are building links with companies that have the same priorities in Europe as us, such as Panique!, Studio 352/Mélusine Productions, Cartoon Saloon and Doghouse Films and trying to develop synergies between these different European partners,” said Didier Brunner.
Courtesy of Indie Sales
optional screen reader
We want to give thanks to the author of this write-up for this amazing material
";}s:7:"summary";s:779:"With “The Summit of the Gods” shaping up as one of the major draws of this year’s online Annecy Work in Progress section, Didier and Damien Brunner’s Paris-based Folivari is teaming with France’s Gaumont on a second signature animated feature, “The Nazis, My Father and Me.” Putting its large weight behind the title, Gaumont will ... Read more";s:12:"atom_content";s:6731:"
With “The Summit of the Gods” shaping up as one of the major draws of this year’s online Annecy Work in Progress section, Didier and Damien Brunner’s Paris-based Folivari is teaming with France’s Gaumont on a second signature animated feature, “The Nazis, My Father and Me.”
Putting its large weight behind the title, Gaumont will co-produce, distribute in France and handle world sales on the coming of age action-thriller set in October 1941 New York City, just weeks before the U.S. finally entered WWII.
News of the Gaumont deal comes as Folvari has moved into production on animated feature “Ernest and Celestine: A Journey in Charabia,” the sequel to the Oscar-nominated original.
For French animation, such moves are signs of the times. With Gaumont on board for “The Nazis, My Father and Me,” Folivari is now working with some of the highest-profile and weightiest film-TV companies in France. Wild Bunch is selling “The Summit of the Gods”; Studiocanal is co-producing and handling French distribution and international sales on Folivari’s “Ernest and Celestine: A Journey in Charabia.”
That’s hardly surprising. Didier Brunner has produced or co-produced four films that have scored five Academy Award nominations: 1997’s “The Old Lady and the Pigeons,” 2003’s The Triplets of Belleville,” 2009’s “The Secret of Kells” and 2012’s “Ernest and Celestine.” That’s catnip for platforms seeking to establish their brand as premium entertainment purveyors.
Folivari’s Inca empire-set “Pachamana” was already acquired by Netflix for the world outside French-speaking territories.
Animated features remain one of the most resilient of film types in terms of cinema theater performance. When released with sufficient P & A muscle, Brunner’s movies can perform well in France, the original “Ernest and Celestine” selling 1.14 million tickets in France in 2012, the equivalent of an around $8 million theatrical gross.
“The Nazis, My Father and Me” also marks a move by Folivari towards larger audience entertainment of substance. In it, Stevie, a highly intelligent 12-year-old, sees his father disappear right before his eyes, and sets out to track him down, menaced by Nazi thugs, uncertain as to whether his father could really be a Nazi spy, and aided by Miriam, a refugee Jewish classmate.
Folivari has attached Peter de Sève, renown for his The New Yorker cover designs, for the film’s character designs. De Seve’s animation work takes in characters from “A Bug’s Life,” “Finding Nemo,” “Robots,” “The Little Prince,” and the “Ice Age” films.
“We aim to draw and paint New York as a character,” said Damien Brunner.
“What comes across in ‘The Nazis, My Father and Me’ is the story of two children lost in New York, Brooklyn and Queens, hunted by the German secret police,” he added.
He continued: “We wanted to find a story that takes place in New York. It’s a very graphic city that is fascinating and attractive for animation, he added, saying that whenever he visits New York it’s a “coup de coeur” – love at first sight. “We want to make a film which drives straight to the heart of the spirit of New York,” and De Sève helps that.”
“The Nazis, My Father and Me” is directed by Remy Schaepman, a La Poudrière alum who co-directed “Dodudindon, the opening short at the 2009 Annecy Festival, and also carried out the 2D animation sequences on 2019 live action “My Family and the Wolf.” He will make his debut feature with “The Nazis, My Father an Me.”
Stéphan Roelants’ Luxembourg-based Melusine Productions has signed on to co-produce “The Nazis, My Father and Me,” also produced by Tchack, which has handled graphic research.
“The Nazis” will be shot in traditional 2D and CGI for backgrounds, though the proportions have yet to be determined, said Didier Brunner.
“Ernest and Celestine: A Journey in Charabia” is directed by Julien Chheng and Jean-Christophe Roger. It’s an excellent tandem between two great directors, one who started out as a talented animator and the other a seasoned TV director,” said Didier Brunner.
Stephane Roélant’s Studio 352/Melusine Productions has boarded as one of its lead producers, with Folivari. Fost, Folivari’s animation studio, is supplying animation on the Apple TV Plus title “Wolfwalkers,” directed by Tomm Moore and Ross Stewart and produced by Cartoon Saloon, for which Didier Brunner co-produced “Secret of Kells.”
“We are building links with companies that have the same priorities in Europe as us, such as Panique!, Studio 352/Mélusine Productions, Cartoon Saloon and Doghouse Films and trying to develop synergies between these different European partners,” said Didier Brunner.
Courtesy of Indie Sales
optional screen reader
We want to give thanks to the author of this write-up for this amazing material
";s:14:"date_timestamp";i:1644403362;}i:6;a:11:{s:5:"title";s:80:"Marvel Studios’ Next Spider-Man Spin-off Might’ve Been Accidentally Revealed";s:4:"link";s:131:"https://movienews.movs.world/movie-production-companies/marvel-studios-next-spider-man-spin-off-mightve-been-accidentally-revealed/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 09:31:57 +0000";s:8:"category";s:82:"Movie Production CompaniesAccidentallyMarvelMightveRevealedSpiderManSpinoffStudios";s:4:"guid";s:37:"https://movienews.movs.world/?p=35598";s:11:"description";s:730:"In 2018, Spider-Man: Into the Spider-Verse not only broke the mold in terms of animation and comic book films but also in terms of the Multiverse. Fast-forward to 2021, Sony and Marvel Studios’ Spider-Man: No Way Home united cinema’s three live-action Spideys in a single film, shattering box office records and leading to fan demand ... Read more";s:7:"content";a:1:{s:7:"encoded";s:5887:"
In 2018, Spider-Man: Into the Spider-Verse not only broke the mold in terms of animation and comic book films but also in terms of the Multiverse. Fast-forward to 2021, Sony and Marvel Studios’ Spider-Man: No Way Home united cinema’s three live-action Spideys in a single film, shattering box office records and leading to fan demand for the continuation of both Tobey Maguire and Andrew Garfield’s sagas.
With Spider-Man: Across the Spider-Verse – Part 1 coming to theaters later this year, coupled with the acclaim for all three Spider-Men in No Way Home, the answer to how Sony can connect their multiple web-slinging projects appears to be Madame Web.
ADVERTISEMENT
With S.J. Clarkson set to direct, and Dakota Johnson recently confirmed as the film’s leading choice, it would seem that the Multiversal, telepathic comic book character’s Web of Life and Destiny may be the canon explanation for all of cinema’s Spideys and their potential respective films.
However, thanks to Madame Web’s potential star, Dakota Johnson, it looks like this upcoming film won’t be Sony’s alone.
Is Madame Web Marvel Studios’ Next Spin-off?
To celebrate having been tapped to portray Madame Web, Dakota Johnson posted an image of the Deadline piece confirming the news on Instagram. However, who she tagged in her post may be just as newsworthy.
ADVERTISEMENT
In addition to tagging Sony Pictures, Johnson also tagged Marvel Studios in her social media post, implying that the comic book studio will also be involved in the film, just as they were in Tom Holland’s Spider-Man trilogy.
Instagram
Even though Spider-Man is one of Marvel’s most popular characters, he’s also one of the most difficult when it comes to producing a film.
This is due to the fact that Sony Pictures owns the film rights for Spider-Man; it’s also why both studios have worked together on Tom Holland’s Spider-Man films, even though his trilogy is set within the MCU.
ADVERTISEMENT
The fact that Marvel Studios may be involved with Madame Web is surprising since Sony has seemingly been building their own cinematic Spider-Man Universe – separate from the MCU – through films like Venom and Morbius.
However, Marvel Studios’ potential involvement implies the working relationship between the two studios is strong and that Madame Web may be the MCU’s next Spider-Man spin-off.
Madame Web Will Be an MCU Character?
Since Madame Web is a Marvel character but not owned by Marvel Studios, it’s possible that Dakota Johnson’s tag was a mistake and that his new project is Sony’s alone.
ADVERTISEMENT
On the other hand, if both studios are working together on the film, it’s safe to say that Sony is interested in keeping their characters – both old and new – connected to the MCU. Plus, Madame Web’s ability to transport Spideys across the Multiverse and the Web of Life and Destiny would allow these multi-studio crossovers to make sense from a story perspective.
At the same time, Marvel Studios’ involvement with Madame Web would likely allow Johnson’s character to cameo in MCU films, similar to how Doctor Strange appeared in Sony’s No Way Home.
Due to No Way Home-mania and its impressive box office receipts, fans shouldn’t have to wait too long to find out, as new Spider-Man-related projects are sure to be greenlit.
ADVERTISEMENT
In the meantime, Across the Spider-Verse may be evidence of Sony and Marvel’s continued relationship, especially since Spider-Verse duo Chris Miller and Phil Lord have teased their animated universe’s ties to the live-action MCU.
FOLLOW MCU DIRECT
We want to give thanks to the author of this post for this awesome material
";}s:7:"summary";s:730:"In 2018, Spider-Man: Into the Spider-Verse not only broke the mold in terms of animation and comic book films but also in terms of the Multiverse. Fast-forward to 2021, Sony and Marvel Studios’ Spider-Man: No Way Home united cinema’s three live-action Spideys in a single film, shattering box office records and leading to fan demand ... Read more";s:12:"atom_content";s:5887:"
In 2018, Spider-Man: Into the Spider-Verse not only broke the mold in terms of animation and comic book films but also in terms of the Multiverse. Fast-forward to 2021, Sony and Marvel Studios’ Spider-Man: No Way Home united cinema’s three live-action Spideys in a single film, shattering box office records and leading to fan demand for the continuation of both Tobey Maguire and Andrew Garfield’s sagas.
With Spider-Man: Across the Spider-Verse – Part 1 coming to theaters later this year, coupled with the acclaim for all three Spider-Men in No Way Home, the answer to how Sony can connect their multiple web-slinging projects appears to be Madame Web.
ADVERTISEMENT
With S.J. Clarkson set to direct, and Dakota Johnson recently confirmed as the film’s leading choice, it would seem that the Multiversal, telepathic comic book character’s Web of Life and Destiny may be the canon explanation for all of cinema’s Spideys and their potential respective films.
However, thanks to Madame Web’s potential star, Dakota Johnson, it looks like this upcoming film won’t be Sony’s alone.
Is Madame Web Marvel Studios’ Next Spin-off?
To celebrate having been tapped to portray Madame Web, Dakota Johnson posted an image of the Deadline piece confirming the news on Instagram. However, who she tagged in her post may be just as newsworthy.
ADVERTISEMENT
In addition to tagging Sony Pictures, Johnson also tagged Marvel Studios in her social media post, implying that the comic book studio will also be involved in the film, just as they were in Tom Holland’s Spider-Man trilogy.
Instagram
Even though Spider-Man is one of Marvel’s most popular characters, he’s also one of the most difficult when it comes to producing a film.
This is due to the fact that Sony Pictures owns the film rights for Spider-Man; it’s also why both studios have worked together on Tom Holland’s Spider-Man films, even though his trilogy is set within the MCU.
ADVERTISEMENT
The fact that Marvel Studios may be involved with Madame Web is surprising since Sony has seemingly been building their own cinematic Spider-Man Universe – separate from the MCU – through films like Venom and Morbius.
However, Marvel Studios’ potential involvement implies the working relationship between the two studios is strong and that Madame Web may be the MCU’s next Spider-Man spin-off.
Madame Web Will Be an MCU Character?
Since Madame Web is a Marvel character but not owned by Marvel Studios, it’s possible that Dakota Johnson’s tag was a mistake and that his new project is Sony’s alone.
ADVERTISEMENT
On the other hand, if both studios are working together on the film, it’s safe to say that Sony is interested in keeping their characters – both old and new – connected to the MCU. Plus, Madame Web’s ability to transport Spideys across the Multiverse and the Web of Life and Destiny would allow these multi-studio crossovers to make sense from a story perspective.
At the same time, Marvel Studios’ involvement with Madame Web would likely allow Johnson’s character to cameo in MCU films, similar to how Doctor Strange appeared in Sony’s No Way Home.
Due to No Way Home-mania and its impressive box office receipts, fans shouldn’t have to wait too long to find out, as new Spider-Man-related projects are sure to be greenlit.
ADVERTISEMENT
In the meantime, Across the Spider-Verse may be evidence of Sony and Marvel’s continued relationship, especially since Spider-Verse duo Chris Miller and Phil Lord have teased their animated universe’s ties to the live-action MCU.
FOLLOW MCU DIRECT
We want to give thanks to the author of this post for this awesome material
";s:14:"date_timestamp";i:1644399117;}i:7;a:11:{s:5:"title";s:127:"Desktop CNC Machines Market Size, Value, CAGR, Analysis | Inventables, Carbide3D, Stoney CNC, VELOX CNC – The Grundy Register";s:4:"link";s:172:"https://movienews.movs.world/movie-production-companies/desktop-cnc-machines-market-size-value-cagr-analysis-inventables-carbide3d-stoney-cnc-velox-cnc-the-grundy-register/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 07:41:08 +0000";s:8:"category";s:111:"Movie Production CompaniesAnalysisCAGRCarbide3DCNCDesktopGrundyInventablesMachinesmarketRegisterSizeStoneyVELOX";s:4:"guid";s:37:"https://movienews.movs.world/?p=35581";s:11:"description";s:895:"New Jersey, United States,- Desktop CNC Machines Market Research offers you all the data related to your industry size, general operating models and growth potential. It talks about the characteristics of customers in a specific industry. It also shows how the COVID-19 pandemic is having serious economic consequences around the world. This market research report further ... Read more";s:7:"content";a:1:{s:7:"encoded";s:16692:"
New Jersey, United States,- Desktop CNC Machines Market Research offers you all the data related to your industry size, general operating models and growth potential. It talks about the characteristics of customers in a specific industry. It also shows how the COVID-19 pandemic is having serious economic consequences around the world. This market research report further reveals how to mitigate these severe impacts on society.
This in-depth market research provides an overview of key industries contributing to market growth. It also shows mergers and acquisitions between startups, as well as the strategies, product launches and affiliations of major competitors. Market companies are increasingly making efforts to adopt new technologies to gain a competitive advantage in the face of fierce market competition. Most companies are constantly looking for new advances, acquisitions, long-term agreements and technological developments to maintain their position in the market. This in-depth Desktop CNC Machines market report will greatly assist the industry in identifying major threats and potentials. It also includes a detailed SWOT analysis and cost structure view. It also covers important facts about various technologies as well as product improvements in the market.
This Desktop CNC Machines Market Analysis acts as an ingenious medium to provide businesses with crucial data on crucial advances and market strategies. Making the right investments is also easy with this easy to understand market research report. Big companies will greatly benefit from such informative market analysis to survive in the market and secure their place in the market. The effective business strategies provided here help business players leverage their market presence. It also includes the forecast competitive assessment for the period 2022-2029.
Key Players Mentioned in the Desktop CNC Machines Market Research Report:
Revenue Forecast, Company Ranking, Competitive Landscape, Growth Factors, and Trends
BY REGION
North America, Europe, Asia Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE
Free report customization (equivalent up to 4 analysts working days) with purchase. Addition or alteration to country, regional & segment scope.
Geographic Segment Covered in the Report:
The Desktop CNC Machines report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country and sub-region during the estimated period.
• North America (USA and Canada) • Europe (UK, Germany, France and the rest of Europe) • Asia Pacific (China, Japan, India, and the rest of the Asia Pacific region) • Latin America (Brazil, Mexico, and the rest of Latin America) • Middle East and Africa (GCC and rest of the Middle East and Africa)
Key questions answered in the report:
1. Which are the five top players of the Desktop CNC Machines market?
2. How will the Desktop CNC Machines market change in the next five years?
3. Which product and application will take a lion’s share of the Desktop CNC Machines market?
4. What are the drivers and restraints of the Desktop CNC Machines market?
5. Which regional market will show the highest growth?
6. What will be the CAGR and size of the Desktop CNC Machines market throughout the forecast period?
Visualize Desktop CNC Machines Market using Verified Market Intelligence:-
Verified Market Intelligence is our BI-enabled platform for narrative storytelling of this market. VMI offers in-depth forecasted trends and accurate Insights on over 20,000+ emerging & niche markets, helping you make critical revenue-impacting decisions for a brilliant future.
VMI provides a holistic overview and global competitive landscape with respect to Region, Country, and Segment, and Key players of your market. Present your Market Report & findings with an inbuilt presentation feature saving over 70% of your time and resources for Investor, Sales & Marketing, R&D, and Product Development pitches. VMI enables data delivery In Excel and Interactive PDF formats with over 15+ Key Market Indicators for your market.
Verified Market Reports is a leading Global Research and Consulting firm servicing over 5000+ global clients. We provide advanced analytical research solutions while offering information-enriched research studies.
We also offer insights into strategic and growth analyses and data necessary to achieve corporate goals and critical revenue decisions.
Our 250 Analysts and SME’s offer a high level of expertise in data collection and governance using industrial techniques to collect and analyze data on more than 25,000 high-impact and niche markets. Our analysts are trained to combine modern data collection techniques, superior research methodology, expertise, and years of collective experience to produce informative and accurate research.
Our research spans over a multitude of industries including Energy, Technology, Manufacturing and Construction, Chemicals and Materials, Food and Beverages etc. Having serviced many Fortune 2000 organizations, we bring a rich and reliable experience that covers all kinds of research needs.
";}s:7:"summary";s:895:"New Jersey, United States,- Desktop CNC Machines Market Research offers you all the data related to your industry size, general operating models and growth potential. It talks about the characteristics of customers in a specific industry. It also shows how the COVID-19 pandemic is having serious economic consequences around the world. This market research report further ... Read more";s:12:"atom_content";s:16692:"
New Jersey, United States,- Desktop CNC Machines Market Research offers you all the data related to your industry size, general operating models and growth potential. It talks about the characteristics of customers in a specific industry. It also shows how the COVID-19 pandemic is having serious economic consequences around the world. This market research report further reveals how to mitigate these severe impacts on society.
This in-depth market research provides an overview of key industries contributing to market growth. It also shows mergers and acquisitions between startups, as well as the strategies, product launches and affiliations of major competitors. Market companies are increasingly making efforts to adopt new technologies to gain a competitive advantage in the face of fierce market competition. Most companies are constantly looking for new advances, acquisitions, long-term agreements and technological developments to maintain their position in the market. This in-depth Desktop CNC Machines market report will greatly assist the industry in identifying major threats and potentials. It also includes a detailed SWOT analysis and cost structure view. It also covers important facts about various technologies as well as product improvements in the market.
This Desktop CNC Machines Market Analysis acts as an ingenious medium to provide businesses with crucial data on crucial advances and market strategies. Making the right investments is also easy with this easy to understand market research report. Big companies will greatly benefit from such informative market analysis to survive in the market and secure their place in the market. The effective business strategies provided here help business players leverage their market presence. It also includes the forecast competitive assessment for the period 2022-2029.
Key Players Mentioned in the Desktop CNC Machines Market Research Report:
Revenue Forecast, Company Ranking, Competitive Landscape, Growth Factors, and Trends
BY REGION
North America, Europe, Asia Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE
Free report customization (equivalent up to 4 analysts working days) with purchase. Addition or alteration to country, regional & segment scope.
Geographic Segment Covered in the Report:
The Desktop CNC Machines report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country and sub-region during the estimated period.
• North America (USA and Canada) • Europe (UK, Germany, France and the rest of Europe) • Asia Pacific (China, Japan, India, and the rest of the Asia Pacific region) • Latin America (Brazil, Mexico, and the rest of Latin America) • Middle East and Africa (GCC and rest of the Middle East and Africa)
Key questions answered in the report:
1. Which are the five top players of the Desktop CNC Machines market?
2. How will the Desktop CNC Machines market change in the next five years?
3. Which product and application will take a lion’s share of the Desktop CNC Machines market?
4. What are the drivers and restraints of the Desktop CNC Machines market?
5. Which regional market will show the highest growth?
6. What will be the CAGR and size of the Desktop CNC Machines market throughout the forecast period?
Visualize Desktop CNC Machines Market using Verified Market Intelligence:-
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";s:14:"date_timestamp";i:1644392468;}i:8;a:11:{s:5:"title";s:81:"Screen Scotland’s Isabel Davis calls for UK to rejoin Eurimages as Brexit looms";s:4:"link";s:135:"https://movienews.movs.world/movie-production-companies/screen-scotlands-isabel-davis-calls-for-uk-to-rejoin-eurimages-as-brexit-looms/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 04:39:45 +0000";s:8:"category";s:83:"Movie Production CompaniesBrexitcallsDavisEurimagesIsabelloomsrejoinScotlandsscreen";s:4:"guid";s:37:"https://movienews.movs.world/?p=35454";s:11:"description";s:736:"Isabel Davis, executive director of Screen Scotland, has called for the UK to re-join Eurimages, the Council of Europe’s cultural support fund as the UK prepares to leave the European Union. “Rejoining Eurimages would certainly benefit Scotland,” Davis suggested. “While the UK is enjoying a production boom 95% driven by US finance, those more national ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6268:"
Isabel Davis, executive director of Screen Scotland, has called for the UK to re-join Eurimages, the Council of Europe’s cultural support fund as the UK prepares to leave the European Union.
“Rejoining Eurimages would certainly benefit Scotland,” Davis suggested. “While the UK is enjoying a production boom 95% driven by US finance, those more national scale economies such as Northern Ireland, Scotland and Wales attract a very different scale of production.
“That’s to do with our facilities, the level of crew, the local creative talent. We might rather disproportionately benefit from a more propitious environment for European and international co-productions.”
Davis was speaking on the eve of the UK’s official withdrawal from the EU at the International Film Festival Rotterdam (IFFR) this week where several emerging Scotland-based writersand directors have been attending Rotterdam’s CineMart.
They are in town for the Bellrock programme run by Olivia Stewart’s Three Rivers Film, which works with filmmakers and writers to develop original screenplays. The final part of the programme is hosted byCineMart.
The filmmakers taking part are: John Barrington, whose script Silent Roar is about two high school leavers on the Isle of Lewis; Scotland-based Portuguese writer-director Laura Carreira, who is working a project called Downtrodden, about a Portuguese migrant worker in a Scottish warehouse; Alicja Jankowska, who has a script called Whoa Nelly!, about “post-graduation purgatory”; Edinburgh-based Palestinian writer-director Razan Madhoon, who is developing The Good Spirit, inspired by her childhood experiences in the Gaza Strip; writer Jim McRoberts, who is working on The Cold Spell After Sheep Shearing; and writer Silas Parry, who has a script called This is Home, which begins in a heroin-sodden Scottish council estate, and ends with the discovery of alien life deep off the coast of Spain.
“What’s interesting to me about the writers we have [at IFFR] is that they’re all Scottish based but they have all sorts of cultural ties to other countries,” said Davis. “That is quite reflective of Scotland today. [Scotland] has made a real virtue of openness to incomers and it is lovely to see that reflected in the talent we have here.”
In her previous role of head of international at the British Film Institute Davis oversaw the minority co-production fund which supported films such as Dutch director Sacha Polak’s Dirty God (which opened IFFR in 2019), Yorgos Lanthimos’s Lobster (which Davis first came across at project-stage in Cinemart). Claire Denis’ High Life and Pawel Pawlikowski’s Polish-language award-winner Cold War.
“I felt the first step had to be to have a more dedicated amount of money within the UK simply because, structurally speaking, it is all very well joining Eurimages but you need to be bringing match funding to the table in order to take advantage of it,” she explained.
Welcome to Scotland
Signalling Scotland’s determination to maintain good relations with European film partners post-Brexit, Screen Scotland is hosting the ACE Annual Reunion this year, the first time it will be held in the UK. Between 80 and 90 independent European producers are expected to attend the reunion at the beginning of April which marks the end of ACE’s year-long training programme for 18 producers.
“That is about our commitment to strengthen our ties with Europe and to show Europe that we are very much committed to working with them regardless of what happens with Brexit and regardless of our lack of membership of Eurimages at this time,” Davis emphasised.
One of Screen Scotland’s priorities for 2020 is to ensure those living and working outside the Glasgow and Edinburgh ‘central belt’ have access to funding and opportunity. The agency has been supporting events such as XpoNorth in Inverness and backing production companies including Inverness-based Happy Tramp North, which produced the crime drama series Guilt for the BBC.
Davis is heading to Los Angeles next week to meet the US studios and streaming platforms and “to tell them where Scotland is at.
“We know that the holy grail for sustainability in Scotland is going to be those large-scale return series, not necessarily scripted – we are also in the market for unscripted too,” Davis explained.
Alongside Starz’ long-running Outlander series which has been shooting for several years in Ward Park in Cumbernauld, reportedly doubling the crew base in the country, recent film and high-end TV dramas to have shot in Scotland include Sam Mendes’ 1917, Kudos’ Deadwater Fell. Synchronicity Films’ The Cry and Fast & Furious 9.
The operator for the long-awaited new Scottish studio at the old Pelamis building in Port of Leith will be announced shortly. “We are nearly there,” Davis said.
Screen Scotland itself is expanding and Davis is in the process of recruiting a head of audience development and a head of business and market development
“We need to bring in more specialism and expertise to help us achieve our goals in those two priority areas,” Davis said. “Growing an industry is not an overnight task. It has many moving parts to it.”
We would like to say thanks to the writer of this post for this incredible material
";}s:7:"summary";s:736:"Isabel Davis, executive director of Screen Scotland, has called for the UK to re-join Eurimages, the Council of Europe’s cultural support fund as the UK prepares to leave the European Union. “Rejoining Eurimages would certainly benefit Scotland,” Davis suggested. “While the UK is enjoying a production boom 95% driven by US finance, those more national ... Read more";s:12:"atom_content";s:6268:"
Isabel Davis, executive director of Screen Scotland, has called for the UK to re-join Eurimages, the Council of Europe’s cultural support fund as the UK prepares to leave the European Union.
“Rejoining Eurimages would certainly benefit Scotland,” Davis suggested. “While the UK is enjoying a production boom 95% driven by US finance, those more national scale economies such as Northern Ireland, Scotland and Wales attract a very different scale of production.
“That’s to do with our facilities, the level of crew, the local creative talent. We might rather disproportionately benefit from a more propitious environment for European and international co-productions.”
Davis was speaking on the eve of the UK’s official withdrawal from the EU at the International Film Festival Rotterdam (IFFR) this week where several emerging Scotland-based writersand directors have been attending Rotterdam’s CineMart.
They are in town for the Bellrock programme run by Olivia Stewart’s Three Rivers Film, which works with filmmakers and writers to develop original screenplays. The final part of the programme is hosted byCineMart.
The filmmakers taking part are: John Barrington, whose script Silent Roar is about two high school leavers on the Isle of Lewis; Scotland-based Portuguese writer-director Laura Carreira, who is working a project called Downtrodden, about a Portuguese migrant worker in a Scottish warehouse; Alicja Jankowska, who has a script called Whoa Nelly!, about “post-graduation purgatory”; Edinburgh-based Palestinian writer-director Razan Madhoon, who is developing The Good Spirit, inspired by her childhood experiences in the Gaza Strip; writer Jim McRoberts, who is working on The Cold Spell After Sheep Shearing; and writer Silas Parry, who has a script called This is Home, which begins in a heroin-sodden Scottish council estate, and ends with the discovery of alien life deep off the coast of Spain.
“What’s interesting to me about the writers we have [at IFFR] is that they’re all Scottish based but they have all sorts of cultural ties to other countries,” said Davis. “That is quite reflective of Scotland today. [Scotland] has made a real virtue of openness to incomers and it is lovely to see that reflected in the talent we have here.”
In her previous role of head of international at the British Film Institute Davis oversaw the minority co-production fund which supported films such as Dutch director Sacha Polak’s Dirty God (which opened IFFR in 2019), Yorgos Lanthimos’s Lobster (which Davis first came across at project-stage in Cinemart). Claire Denis’ High Life and Pawel Pawlikowski’s Polish-language award-winner Cold War.
“I felt the first step had to be to have a more dedicated amount of money within the UK simply because, structurally speaking, it is all very well joining Eurimages but you need to be bringing match funding to the table in order to take advantage of it,” she explained.
Welcome to Scotland
Signalling Scotland’s determination to maintain good relations with European film partners post-Brexit, Screen Scotland is hosting the ACE Annual Reunion this year, the first time it will be held in the UK. Between 80 and 90 independent European producers are expected to attend the reunion at the beginning of April which marks the end of ACE’s year-long training programme for 18 producers.
“That is about our commitment to strengthen our ties with Europe and to show Europe that we are very much committed to working with them regardless of what happens with Brexit and regardless of our lack of membership of Eurimages at this time,” Davis emphasised.
One of Screen Scotland’s priorities for 2020 is to ensure those living and working outside the Glasgow and Edinburgh ‘central belt’ have access to funding and opportunity. The agency has been supporting events such as XpoNorth in Inverness and backing production companies including Inverness-based Happy Tramp North, which produced the crime drama series Guilt for the BBC.
Davis is heading to Los Angeles next week to meet the US studios and streaming platforms and “to tell them where Scotland is at.
“We know that the holy grail for sustainability in Scotland is going to be those large-scale return series, not necessarily scripted – we are also in the market for unscripted too,” Davis explained.
Alongside Starz’ long-running Outlander series which has been shooting for several years in Ward Park in Cumbernauld, reportedly doubling the crew base in the country, recent film and high-end TV dramas to have shot in Scotland include Sam Mendes’ 1917, Kudos’ Deadwater Fell. Synchronicity Films’ The Cry and Fast & Furious 9.
The operator for the long-awaited new Scottish studio at the old Pelamis building in Port of Leith will be announced shortly. “We are nearly there,” Davis said.
Screen Scotland itself is expanding and Davis is in the process of recruiting a head of audience development and a head of business and market development
“We need to bring in more specialism and expertise to help us achieve our goals in those two priority areas,” Davis said. “Growing an industry is not an overnight task. It has many moving parts to it.”
We would like to say thanks to the writer of this post for this incredible material
";s:14:"date_timestamp";i:1644381585;}i:9;a:11:{s:5:"title";s:57:"Centene (CNC) Q4 Earnings Beat on Solid Membership Growth";s:4:"link";s:112:"https://movienews.movs.world/movie-production-companies/centene-cnc-q4-earnings-beat-on-solid-membership-growth/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 23:39:09 +0000";s:8:"category";s:69:"Movie Production CompaniesbeatCenteneCNCEarningsGrowthMembershipsolid";s:4:"guid";s:37:"https://movienews.movs.world/?p=35273";s:11:"description";s:689:"Centene Corporation CNC reported fourth-quarter 2021 adjusted earnings per share of $1.01, which outpaced the Zacks Consensus Estimate by 3.1%. The bottom line more than doubled year over year. The strong quarterly performance reflects revenue growth supported by 15% growth in premium and service revenues. Overall membership growth contributed to the upside. However, the improvement ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11921:"
Centene Corporation CNC reported fourth-quarter 2021 adjusted earnings per share of $1.01, which outpaced the Zacks Consensus Estimate by 3.1%. The bottom line more than doubled year over year.
The strong quarterly performance reflects revenue growth supported by 15% growth in premium and service revenues. Overall membership growth contributed to the upside. However, the improvement was partly offset by elevated operating expenses.
Centene Corporation Price, Consensus and EPS Surprise
Centene’s total revenues amounted to $32.6 billion in the fourth quarter, which rose 15% year over year. The growth was driven by increased Medicare and Medicaid membership, initiation of contracts in North Carolina, and the acquisitions of PANTHERx and Circle Health. The top line missed the consensus mark by a whisker.
As of Dec 31, 2021, managed care membership rose 4% year over year to 26.6 million.
In the quarter under review, Health Benefits Ratio (HBR) came in at 87.9%, which improved 50 basis points (bps) year over year. The metric gained on the back of reduced testing and treatment costs linked with COVID-19 pandemic across the Health Insurance Marketplace business.
Total operating expenses of $32 billion escalated 13.1% year over year. Selling, general and administrative (SG&A) expenses increased 4.4% year over year to $2.8 billion.
Meanwhile, adjusted SG&A expense ratio improved 50 bps year over year to 9.2% in the fourth quarter. The metric’s performance was driven by membership growth and the PANTHERx buyout leading to leveraging of expenses over increased revenues. Reduced acquisition related costs accounted for better performance of the metric.
Financial Update (as of Dec 31, 2021)
Centene exited the fourth quarter with cash and cash equivalents of $13.1 billion, which climbed 21.5% from the 2020-end level.
Total assets increased 14.1% from the figure at 2020 end to $78.4 billion.
CNC’s long-term debt amounted to $18.6 billion, up 11.3% from the level as of Dec 31, 2020.
Total stockholders’ equity of $26.8 billion increased 4% from the 2020-end figure.
Full-Year Update
For 2021, total revenues climbed 13% year over year to $126 billion but missed the Zacks Consensus Estimate of $126.2 billion.
Adjusted EPS of Centene stood at $5.15 per share beat the Zacks Consensus Estimate of $5.12. The bottom line advanced 3% year over year.
HBR for the full year came in at 87.8%, which deteriorated 160 bps year over year.
Adjusted SG&A expense ratio of 8.4% improved 50 bps year over year.
In 2021, net cash provided by operating activities totaled $4.2 billion, which plunged 23.6% from the 2020-end figure.
2022 Guidance
Earlier, Centene had disclosed its outlook for 2022 at December 2021 Investor Day. CNC maintains its view for 2022 with respect to most of the metrics.
Management projects revenues to lie within $135.9-$137.9 billion, which suggests an increase from the 2021 level of $126 billion.
Adjusted EPS is anticipated to be $5.30-$5.50, which indicates an improvement from $5.15 reported in 2021.
This year, HBR is estimated between 87.6% and 88.2%.
Adjusted SG&A expense ratio is expected to lie within 7.8-8.3%.
Among other players from the Medical space that have reported fourth-quarter results so far, the bottom-line results of UnitedHealth Group Incorporated UNH, Cigna Corporation CI and Anthem, Inc. ANTM beat the respective Zacks Consensus Estimate.
UnitedHealth Group reported fourth-quarter 2021 earnings of $4.48 per share, which outpaced the Zacks Consensus Estimate by 4.2% and increased 77.8% year over year on revenue growth. UNH’s revenues of $73.7 billion climbed 12.6% year over year and beat the consensus mark by 1%. Medical care ratio of UnitedHealth Group for the fourth quarter was 83.7%.
Cigna reported fourth-quarter 2021 earnings of $4.77 per share, which beat the Zacks Consensus Estimate by 1.9%. The bottom line improved 36% year over year. Adjusted revenues of CI totaled $45.7 billion, which rose 10% year over year in the quarter under review. The top line outpaced the consensus mark by 3.7%. Cigna witnessed an uptick of 431,000 customers on a year-over-year basis to 17.1 million in its medical enrollment in the fourth quarter.
Anthem delivered fourth-quarter 2021 earnings of $5.14 per share, which beat the Zacks Consensus Estimate by 0.6% owing to better revenues. The bottom line soared 102.4% year over year. Operating revenues of ANTM for the quarter grew 14.2% year over year. Anthem’s benefit expense ratio of 89.5% expanded 60 bps from the prior-year quarter’s figure.
Zacks Names “Single Best Pick to Double”
From thousands of stocks, 5 Zacks experts each have chosen their favorite to skyrocket +100% or more in months to come. From those 5, Director of Research Sheraz Mian hand-picks one to have the most explosive upside of all.
It’s a little-known chemical company that’s up 65% over last year, yet still dirt cheap. With unrelenting demand, soaring 2022 earnings estimates, and $1.5 billion for repurchasing shares, retail investors could jump in at any time.
This company could rival or surpass other recent Zacks’ Stocks Set to Double like Boston Beer Company which shot up +143.0% in little more than 9 months and NVIDIA which boomed +175.9% in one year.
";}s:7:"summary";s:689:"Centene Corporation CNC reported fourth-quarter 2021 adjusted earnings per share of $1.01, which outpaced the Zacks Consensus Estimate by 3.1%. The bottom line more than doubled year over year. The strong quarterly performance reflects revenue growth supported by 15% growth in premium and service revenues. Overall membership growth contributed to the upside. However, the improvement ... Read more";s:12:"atom_content";s:11921:"
Centene Corporation CNC reported fourth-quarter 2021 adjusted earnings per share of $1.01, which outpaced the Zacks Consensus Estimate by 3.1%. The bottom line more than doubled year over year.
The strong quarterly performance reflects revenue growth supported by 15% growth in premium and service revenues. Overall membership growth contributed to the upside. However, the improvement was partly offset by elevated operating expenses.
Centene Corporation Price, Consensus and EPS Surprise
Centene’s total revenues amounted to $32.6 billion in the fourth quarter, which rose 15% year over year. The growth was driven by increased Medicare and Medicaid membership, initiation of contracts in North Carolina, and the acquisitions of PANTHERx and Circle Health. The top line missed the consensus mark by a whisker.
As of Dec 31, 2021, managed care membership rose 4% year over year to 26.6 million.
In the quarter under review, Health Benefits Ratio (HBR) came in at 87.9%, which improved 50 basis points (bps) year over year. The metric gained on the back of reduced testing and treatment costs linked with COVID-19 pandemic across the Health Insurance Marketplace business.
Total operating expenses of $32 billion escalated 13.1% year over year. Selling, general and administrative (SG&A) expenses increased 4.4% year over year to $2.8 billion.
Meanwhile, adjusted SG&A expense ratio improved 50 bps year over year to 9.2% in the fourth quarter. The metric’s performance was driven by membership growth and the PANTHERx buyout leading to leveraging of expenses over increased revenues. Reduced acquisition related costs accounted for better performance of the metric.
Financial Update (as of Dec 31, 2021)
Centene exited the fourth quarter with cash and cash equivalents of $13.1 billion, which climbed 21.5% from the 2020-end level.
Total assets increased 14.1% from the figure at 2020 end to $78.4 billion.
CNC’s long-term debt amounted to $18.6 billion, up 11.3% from the level as of Dec 31, 2020.
Total stockholders’ equity of $26.8 billion increased 4% from the 2020-end figure.
Full-Year Update
For 2021, total revenues climbed 13% year over year to $126 billion but missed the Zacks Consensus Estimate of $126.2 billion.
Adjusted EPS of Centene stood at $5.15 per share beat the Zacks Consensus Estimate of $5.12. The bottom line advanced 3% year over year.
HBR for the full year came in at 87.8%, which deteriorated 160 bps year over year.
Adjusted SG&A expense ratio of 8.4% improved 50 bps year over year.
In 2021, net cash provided by operating activities totaled $4.2 billion, which plunged 23.6% from the 2020-end figure.
2022 Guidance
Earlier, Centene had disclosed its outlook for 2022 at December 2021 Investor Day. CNC maintains its view for 2022 with respect to most of the metrics.
Management projects revenues to lie within $135.9-$137.9 billion, which suggests an increase from the 2021 level of $126 billion.
Adjusted EPS is anticipated to be $5.30-$5.50, which indicates an improvement from $5.15 reported in 2021.
This year, HBR is estimated between 87.6% and 88.2%.
Adjusted SG&A expense ratio is expected to lie within 7.8-8.3%.
Among other players from the Medical space that have reported fourth-quarter results so far, the bottom-line results of UnitedHealth Group Incorporated UNH, Cigna Corporation CI and Anthem, Inc. ANTM beat the respective Zacks Consensus Estimate.
UnitedHealth Group reported fourth-quarter 2021 earnings of $4.48 per share, which outpaced the Zacks Consensus Estimate by 4.2% and increased 77.8% year over year on revenue growth. UNH’s revenues of $73.7 billion climbed 12.6% year over year and beat the consensus mark by 1%. Medical care ratio of UnitedHealth Group for the fourth quarter was 83.7%.
Cigna reported fourth-quarter 2021 earnings of $4.77 per share, which beat the Zacks Consensus Estimate by 1.9%. The bottom line improved 36% year over year. Adjusted revenues of CI totaled $45.7 billion, which rose 10% year over year in the quarter under review. The top line outpaced the consensus mark by 3.7%. Cigna witnessed an uptick of 431,000 customers on a year-over-year basis to 17.1 million in its medical enrollment in the fourth quarter.
Anthem delivered fourth-quarter 2021 earnings of $5.14 per share, which beat the Zacks Consensus Estimate by 0.6% owing to better revenues. The bottom line soared 102.4% year over year. Operating revenues of ANTM for the quarter grew 14.2% year over year. Anthem’s benefit expense ratio of 89.5% expanded 60 bps from the prior-year quarter’s figure.
Zacks Names “Single Best Pick to Double”
From thousands of stocks, 5 Zacks experts each have chosen their favorite to skyrocket +100% or more in months to come. From those 5, Director of Research Sheraz Mian hand-picks one to have the most explosive upside of all.
It’s a little-known chemical company that’s up 65% over last year, yet still dirt cheap. With unrelenting demand, soaring 2022 earnings estimates, and $1.5 billion for repurchasing shares, retail investors could jump in at any time.
This company could rival or surpass other recent Zacks’ Stocks Set to Double like Boston Beer Company which shot up +143.0% in little more than 9 months and NVIDIA which boomed +175.9% in one year.
