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Barnes & Noble Education announces fiscal year 2024 3rd quarter earnings release date and conference call webcast

BASKING RIDGE, N.J. — (BUSINESS WIRE) — Barnes & Noble Education, Inc. (NYSE: BNED), a leading solutions provider for the education industry, on Friday announced that the Company expects to report fiscal year 2024 third quarter earnings results on Thursday, March 7, 2024, after market close.

 

The Company will host an investor conference call at 4:30 p.m. ET on Thursday, March 7, 2024, to review the Company’s financial results and operations.

 

This call is being webcast and can be accessed at Barnes & Noble Education’s corporate website at www.bned.com. The webcast of this call will be archived and available for three months on Barnes & Noble Education’s corporate website.

 

About Barnes & Noble Education, Inc.

Barnes & Noble Education, Inc. (NYSE: BNED) is a leading solutions provider for the education industry, driving affordability, access and achievement at hundreds of academic institutions nationwide and ensuring millions of students are equipped for success in the classroom and beyond. Through its family of brands, BNED offers campus retail services and academic solutions, a digital direct-to-student learning ecosystem, unparalleled best-in-class assortment of school apparel through a strategic alliance with Fanatics and Lids, wholesale capabilities and more. BNED is a company serving all who work to elevate their lives through education, supporting students, faculty and institutions as they make tomorrow a better, more inclusive and smarter world. For more information, visit www.bned.com.

 

Forward-Looking Statements

This press release contains certain “forward-looking statements” within the meaning of the Private Securities Litigation Reform Act of 1995 and information relating to us and our business that are based on the beliefs of our management as well as assumptions made by and information currently available to our management. When used in this communication, the words “anticipate,” “believe,” “estimate,” “expect,” “intend,” “plan,” “will,” “forecasts,” “projections,” and similar expressions, as they relate to us or our management, identify forward-looking statements. Moreover, we operate in a very competitive and rapidly changing environment. New risks emerge from time to time. It is not possible for our management to predict all risks, nor can we assess the impact of all factors on our business or the extent to which any factor, or combination of factors, may cause actual results to differ materially from those contained in any forward-looking statements we may make. In light of these risks, uncertainties and assumptions, the future events and trends discussed in this press release may not occur and actual results could differ materially and adversely from those anticipated or implied in the forward-looking statements. Such statements reflect our current views with respect to future events, the outcome of which is subject to certain risks, including, among others: the amount of our indebtedness and ability to comply with covenants applicable to current and /or any future debt financing; our ability to satisfy future capital and liquidity requirements; our ability to access the credit and capital markets at the times and in the amounts needed and on acceptable terms; our ability to maintain adequate liquidity levels to support ongoing inventory purchases and related vendor payments in a timely manner; our ability to attract and retain employees; the pace of equitable access adoption in the marketplace is slower than anticipated and our ability to successfully convert the majority of our institutions to our BNC First Day® equitable and inclusive access course material models or successfully compete with third parties that provide similar equitable and inclusive access solutions; the United States Department of Education has recently proposed regulatory changes that, if adopted as proposed, could impact equitable and inclusive access models across the higher education industry; the strategic objectives, successful integration, anticipated synergies, and/or other expected potential benefits of various strategic and restructuring initiatives, may not be fully realized or may take longer than expected; dependency on strategic partnerships, such as with VitalSource Technologies, Inc. and the Fanatics Retail Group Fulfillment, LLC, Inc. (“Fanatics”) and Fanatics Lids College, Inc. D/B/A “Lids” (“Lids”) (collectively referred to herein as the “F/L Relationship”), and the potential for adverse operational and financial changes to these partnerships, may adversely impact our business; non-renewal of managed bookstore, physical and/or online store contracts and higher-than-anticipated store closings; decisions by colleges and universities to outsource their physical and/or online bookstore operations or change the operation of their bookstores; general competitive conditions, including actions our competitors and content providers may take to grow their businesses; the risk of changes in price or in formats of course materials by publishers, which could negatively impact revenues and margin; changes to purchase or rental terms, payment terms, return policies, the discount or margin on products or other terms with our suppliers; product shortages, including decreases in the used textbook inventory supply associated with the implementation of publishers’ digital offerings and direct to student textbook consignment rental programs; work stoppages or increases in labor costs; possible increases in shipping rates or interruptions in shipping services; a decline in college enrollment or decreased funding available for students; decreased consumer demand for our products, low growth or declining sales; the general economic environment and consumer spending patterns; trends and challenges to our business and in the locations in which we have stores; risks associated with operation or performance of MBS Textbook Exchange, LLC’s point-of-sales systems that are sold to college bookstore customers; technological changes, including the adoption of artificial intelligence technologies for educational content; risks associated with counterfeit and piracy of digital and print materials; risks associated with data privacy, information security and intellectual property; disruptions to our information technology systems, infrastructure, data, supplier systems, and customer ordering and payment systems due to computer malware, viruses, hacking and phishing attacks, resulting in harm to our business and results of operations; disruption of or interference with third party web service providers and our own proprietary technology; risks associated with the impact that public health crises, epidemics, and pandemics, such as the COVID-19 pandemic, have on the overall demand for BNED products and services, our operations, the operations of our suppliers and other business partners, and the effectiveness of our response to these risks; lingering impacts that public health crises may have on the ability of our suppliers to manufacture or source products, particularly from outside of the United States; changes in domestic and international laws or regulations, including U.S. tax reform, changes in tax rates, laws and regulations, as well as related guidance; enactment of laws or changes in enforcement practices which may restrict or prohibit our use of texts, emails, interest based online advertising, or similar marketing and sales activities; adverse results from litigation, governmental investigations, tax-related proceedings, or audits; changes in accounting standards; and the other risks and uncertainties detailed in the section titled “Risk Factors” in Part I – Item 1A in our Form 10-K for the year-ended April 29, 2023. Should one or more of these risks or uncertainties materialize, or should underlying assumptions prove incorrect, actual results or outcomes may vary materially from those described as anticipated, believed, estimated, expected, intended or planned. Subsequent written and oral forward-looking statements attributable to us or persons acting on our behalf are expressly qualified in their entirety by the cautionary statements in this paragraph. We undertake no obligation to publicly update or revise any forward-looking statements, whether as a result of new information, future events or otherwise after the date of this press release.

Contacts

Investor Contact:
Hunter Blankenbaker

Vice President

Corporate Communications and Investor Relations

Barnes & Noble Education, Inc.

(908) 991-2776

hblankenbaker@bned.com

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Art & Life Lifestyle Perspectives

‘Elsbeth’ star Carrie Preston speaks on inspiration from ‘Columbo,’ that ‘Good Wife’ reference, and her center stage appearance

SPOILER ALERT: This story includes major plot developments on the first episode of “Elsbeth,” airing on CBS and streaming on Paramount+. 

 

 

— On “Elsbeth,” Carrie Preston reprises her Emmy winning role as the eccentrically shrewd attorney Elsbeth Tascioni, a fan favorite character from the CBS drama “The Good Wife” and its Paramount+ spin-off “The Good Fight.”

— Courtesy of Elizabeth Fisher/CBS

On those shows, Elsbeth’s scatterbrained behavior disarmed her courtroom adversaries — and, just as often, her own clients — only for her to upend everyone’s expectations with some ingenious legal sleight of hand.

 

Robert and Michelle King created all three shows, but rather than another serialized legal series, “Elsbeth” is a crime procedural, relocating its title character from Chicago to New York City as part of a government consent decree requiring the NYPD to allow a lawyer to observe their activities. The conceit places Elsbeth on the other side of the legal equation in the vein of the classic series “Columbo:” The audience knows from the start who did it — in the case of the pilot, a well-respected theater director (Stephen Moyer) who kills a student to cover up their affair — and then watches Preston’s Tascioni try to solve it.

 

Preston talked with Variety about how Peter Falk’s iconic TV detective was an inspiration for Elsbeth from the very beginning, how she approaches performing her character’s daffy intelligence and why fans of “The Good Wife” and “The Good Fight” shouldn’t hold out for cameos any time soon.

— Courtesy of Elizabeth Fisher/CBS

 

How was Elsbeth first described to you for “The Good Wife”?

It’s funny that you asked that, because the first thing that Robert King said to me 14 years ago when they offered me this role was, “We’re looking at her as like a female Colombo.” And here we are 14 years later, basically borrowing the structure of “Colombo” to make the show. She is an unconventional character in the same way that he was, somebody that people don’t see coming.

 

Did you rewatch Elsbeth’s first episode?

I went back recently, because I hadn’t looked at it in 14 years. It was fascinating. They say your cells change every seven years, so I’ve gotten two new complete cycles of cells since I played this part to begin with. But you can see that I was finding my way as we were all figuring out who this person is. I was there as a guest to serve the bigger story, so I didn’t know how far I was being encouraged to go. A couple of seasons later, when they bring me back, I think that was when we all found the flow with the character. The alchemy between the writing and the actor started to gel.

 

Elsbeth makes these hairpin turns of thought from something that seems frivolous to life-or-death serious. How do you find your way into that?

In the very first couple of scripts, they just wrote the word “pause” in parentheses, and I became more interested in what the pause was than what the words were. I started thinking, what is happening in that pause? What if there’s something that’s firing in her brain that nobody else knows? What if they were completely opposite from what I’m about to say?

 

Then they stopped writing the pauses, but I started figuring out where the twists and turns are. I started thinking of it almost like creating a map that I would follow: What am I thinking? What is my body doing? And what am I saying? If all three of those things are at odds, it makes her fun to play, and hopefully surprising to watch.

 

 

Read More

 

 

— Variety

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Best’s Review’s most popular stories: Top Audit and Actuarial Firms and more

OLDWICK, N.J. — (BUSINESS WIRE) — In the last 90 days, Best’s Review readers have been most interested in the following stories:

 

 

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AM Best is a global credit rating agency, news publisher and data analytics provider specializing in the insurance industry. Headquartered in the United States, the company does business in over 100 countries with regional offices in London, Amsterdam, Dubai, Hong Kong, Singapore and Mexico City. For more information, visit www.ambest.com.

 

Copyright © 2024 by A.M. Best Company, Inc. and/or its affiliates. ALL RIGHTS RESERVED.

Contacts

Patricia Vowinkel
Executive Editor, Best’s Review®
+1 908 882 1771
patricia.vowinkel@ambest.com

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Art & Life Business Culture Economics Foodies/Tastylicious Lifestyle

B&G Foods reports financial results for fourth quarter and full year 2023

— Net Cash Provided by Operating Activities Increased by $241.8 Million for Full Year 2023 —

— Principal Amount of Long-Term Debt Decreased by $340.1 Million During Full Year 2023 —

 

 

PARSIPPANY, N.J. — (BUSINESS WIRE) — B&G Foods, Inc. (NYSE: BGS) today announced financial results for the fourth quarter and full year 2023.

 

Financial results for the fourth quarter and full year 2023 reflect the impact of the Back to Nature divestiture on the first day of fiscal 2023 and the Green Giant U.S. shelf‑stable divestiture during the fourth quarter of 2023.

 

Summary

Fourth Quarter of 2023

Fiscal Year 2023

(In millions, except per share data)

Change vs.

Change vs.

Amount

Q4 2022

Amount

FY 2022

Net Sales

$

578.1

(7.2

)

%

$

2,062.3

(4.7

)

%

Base Business Net Sales (1)

$

562.3

(2.3

)

%

$

1,997.2

(1.5

)

%

Diluted EPS

$

0.03

(91.2

)

%

$

(0.89

)

nm

%

Adj. Diluted EPS (1)

$

0.30

(25.0

)

%

$

0.99

(8.3

)

%

Net Income (Loss)

$

2.6

(89.4

)

%

$

(66.2

)

nm

%

Adj. Net Income (1)

$

23.5

(18.7

)

%

$

73.9

(3.1

)

%

Adj. EBITDA (1)

$

86.8

(7.3

)

%

$

318.0

5.7

%

 

 

Guidance for Full Year Fiscal 2024

  • Net sales range of $1.975 billion to $2.020 billion.
  • Adjusted EBITDA range of $305 million to $325 million.
  • Adjusted diluted earnings per share range of $0.80 to $1.00.

 

 

Commenting on the results, Casey Keller, President and Chief Executive Officer of B&G Foods, stated, “B&G Foods’ fourth quarter and fiscal 2023 results demonstrated strong progress, with improved margins, stabilizing volumes, stronger cash flows, and a reduction in leverage. We further completed the divestiture of Green Giant U.S. canned vegetables to focus and strengthen the future portfolio.”

 

Financial Results for the Fourth Quarter of 2023

Net sales for the fourth quarter of 2023 decreased $45.1 million, or 7.2%, to $578.1 million from $623.2 million for the fourth quarter of 2022. The decrease was primarily attributable to a decrease in unit volume due to the divestitures of the Green Giant U.S. shelf-stable product line and Back to Nature, a decrease in net pricing and the negative impact of foreign currency. Net sales of Back to Nature, which the Company divested on January 3, 2023, and therefore not part of the Company’s fiscal 2023 results, were $11.9 million during the fourth quarter of 2022(2). Net sales of the Green Giant U.S. shelf-stable product line, which the Company divested on November 8, 2023, were $19.9 million lower in the fourth quarter of 2023 compared to the fourth quarter of 2022, primarily as a result of the divestiture.

 

Base business net sales for the fourth quarter of 2023 decreased $13.3 million, or 2.3%, to $562.3 million from $575.6 million for the fourth quarter of 2022. The decrease in base business net sales was driven by a decrease in net pricing and the impact of product mix of $15.9 million, or 2.8% of base business net sales (largely driven by a decrease in the Company’s Crisco pricing consistent with the Company’s Crisco pricing model as the Company’s costs for oil declined), and the negative impact of foreign currency of $0.3 million, partially offset by an increase in unit volume of $2.9 million.

 

Net sales of Clabber Girl increased $8.2 million, or 26.3%; net sales of Maple Grove Farms increased $0.7 million, or 3.4%; and net sales of the Company’s spices & seasonings(3) increased $0.7 million, or 0.8%. Net sales of Crisco decreased $10.6 million, or 8.7%; net sales of Green Giant (including Le Sueur but excluding net sales of the Green Giant U.S. shelf-stable product line) decreased $5.2 million, or 4.4%; net sales of Cream of Wheat decreased $2.2 million, or 9.0%; and net sales of Ortega decreased $0.3 million, or 1.0%, for the fourth quarter of 2023, as compared to the fourth quarter of 2022. Base business net sales of all other brands in the aggregate decreased $4.6 million, or 3.5%, for the fourth quarter of 2023, as compared to the fourth quarter of 2022.

 

Gross profit was $125.2 million for the fourth quarter of 2023, or 21.7% of net sales. Adjusted gross profit(1), which excludes the negative impact of $1.6 million of acquisition/divestiture-related expenses and non-recurring expenses included in cost of goods sold during the fourth quarter of 2023, was $126.8 million, or 21.9% of net sales. Gross profit was $126.1 million for the fourth quarter of 2022, or 20.2% of net sales. Adjusted gross profit, which excludes the negative impact of $2.5 million of acquisition/divestiture-related expenses and non-recurring expenses included in cost of goods sold during the fourth quarter of 2022, was $128.6 million, or 20.6% of net sales.

 

The improvement in gross profit as a percentage of net sales was driven by an increase in net pricing relative to input costs as compared to the fourth quarter of 2022, the moderation of input cost inflation, lower transportation and warehousing costs, and lower depreciation expense. Beginning in the fourth quarter of 2022, the Company has realized the benefits of previously announced list price increases, which, together with additional list price increases in 2023, partially offset by certain list price decreases, contributed to the Company’s recovery in gross profit as a percentage of net sales during the fourth quarter of 2023.

 

Selling, general and administrative expenses increased $1.3 million, or 2.7%, to $53.2 million for the fourth quarter of 2023 from $51.9 million for the fourth quarter of 2022. The increase was composed of increases in general and administrative expenses of $5.8 million and consumer marketing expenses of $0.9 million, partially offset by decreases in warehousing expenses of $2.6 million, selling expenses of $2.3 million and acquisition/divestiture-related and non-recurring expenses of $0.5 million. Expressed as a percentage of net sales, selling, general and administrative expenses increased by 0.9 percentage points to 9.2% for the fourth quarter of 2023, as compared to 8.3% for the fourth quarter of 2022.

 

In connection with the Company’s sale of assets relating to the Green Giant U.S. shelf-stable product line, which was completed during the fourth quarter of 2023, the Company recorded a loss on sale of assets of $137.7 million during fiscal 2023, of which $132.9 million was recorded during the third quarter and $4.8 million was recorded during the fourth quarter of 2023.

 

During the fourth quarter of 2023, the Company recorded pre-tax, non-cash impairment charges of $20.5 million related to intangible trademark assets for the Baker’s Joy, Molly McButter, Sugar Twin, and New York Flatbreads brands. The Company partially impaired the Baker’s Joy and Sugar Twin brands, and the Company fully impaired the Molly McButter and New York Flatbreads brands.

 

Net interest expense increased $3.9 million, or 10.8%, to $40.2 million for the fourth quarter of 2023 from $36.3 million for the fourth quarter of 2022. The increase was primarily attributable to higher interest rates on the Company’s long-term debt and a $0.5 million loss on extinguishment of debt, partially offset by a reduction in average long‑term debt outstanding as compared to the fourth quarter of 2022.

 

The Company’s net income was $2.6 million, or $0.03 per diluted share, for the fourth quarter of 2023, compared to net income of $24.3 million, or $0.34 per diluted share, for the fourth quarter of 2022. The decrease in net income and diluted earnings per share were primarily attributable to the Green Giant U.S. shelf-stable and Back to Nature divestitures, pre-tax, non-cash impairment charges of $20.5 million related to intangible trademark assets and an increase in interest expense. Diluted earnings per share was also negatively impacted by an increase in diluted weighted average shares outstanding. The Company’s adjusted net income for the fourth quarter of 2023 was $23.5 million, or $0.30 per adjusted diluted share, compared to adjusted net income of $28.9 million, or $0.40 per adjusted diluted share, for the fourth quarter of 2022. The decrease in adjusted net income and adjusted diluted earnings per share were primarily attributable to the Green Giant U.S. shelf-stable and Back to Nature divestitures and an increase in interest expense. Adjusted diluted earnings per share was also negatively impacted by an increase in diluted weighted average shares outstanding.

 

For the fourth quarter of 2023, adjusted EBITDA was $86.8 million, a decrease of $6.8 million, or 7.3%, compared to $93.6 million for the fourth quarter of 2022. The decrease in adjusted EBITDA was primarily attributable to the Green Giant U.S. shelf-stable and Back to Nature divestitures. Adjusted EBITDA as a percentage of net sales was 15.0% for the fourth quarter of 2023, compared to 15.0% for the fourth quarter of 2022.

 

Financial Results for Full Year Fiscal 2023

Net sales for fiscal 2023 decreased $100.7 million, or 4.7%, to $2,062.3 million from $2,163.0 million for fiscal 2022. The decrease was primarily attributable to the Back to Nature divestiture, the Green Giant U.S. shelf‑stable divestiture, and a decrease in unit volume and the negative impact of foreign currency, which were partially offset by an increase in net pricing and the impact of product mix. Net sales of Back to Nature, which the Company divested on January 3, 2023, and therefore not part of the Company’s fiscal 2023 results, were $46.3 million during fiscal 2022(2). Net sales of the Green Giant U.S. shelf-stable product line, which the Company divested on November 8, 2023, were $24.6 million lower in fiscal 2023 compared to fiscal 2022, primarily due to the divestiture.

 

Base business net sales for fiscal 2023 decreased $30.0 million, or 1.5%, to $1,997.2 million from $2,027.2 million for fiscal 2022. The decrease in base business net sales was driven by a decrease in unit volume of $118.2 million and the negative impact of foreign currency of $5.1 million, partially offset by an increase in net pricing and the impact of product mix of $93.3 million, or 4.6% of base business net sales.

 

Net sales of Clabber Girl increased $31.1 million, or 32.1%; net sales of the Company’s spices & seasonings(3) increased $8.1 million, or 2.2%; and net sales of Maple Grove Farms increased $2.4 million, or 2.9%, in fiscal 2023 as compared to fiscal 2022. Net sales of Crisco decreased $38.2 million, or 10.3%; net sales of Green Giant (including Le Sueur and excluding net sales of the Green Giant U.S. shelf-stable product line) decreased $28.7 million, or 6.6%; net sales of Ortega decreased $6.4 million, or 4.1%; and net sales of Cream of Wheat decreased $2.9 million, or 3.6%, in fiscal 2023, as compared to fiscal 2022. Base business net sales of all other brands in the aggregate increased $4.6 million, or 1.0%, for fiscal 2023, as compared to fiscal 2022.

 

Gross profit was $455.5 million for fiscal 2023, or 22.1% of net sales. Adjusted gross profit(1), which excludes the negative impact of $2.9 million of acquisition/divestiture-related expenses and non-recurring expenses included in cost of goods sold during fiscal 2023, was $458.4 million, or 22.2% of net sales. Gross profit was $409.6 million for fiscal 2022, or 18.9% of net sales. Adjusted gross profit, which excludes the negative impact of $9.1 million of acquisition/divestiture-related expenses and non-recurring expenses included in cost of goods sold during fiscal 2022, was $418.7 million, or 19.4% of net sales.

 

The improvements in gross profit and gross profit as a percentage of net sales were driven by an increase in net pricing relative to input costs as compared to fiscal 2022, the moderation of input cost inflation, lower transportation and warehousing costs, and lower depreciation expense. Beginning in the fourth quarter of 2022, the Company has realized the benefits of previously announced list price increases, which, together with additional list price increases in 2023, partially offset by certain list price decreases, contributed to the Company’s recovery in gross profit and gross profit as a percentage of net sales during fiscal 2023.

 

Selling, general and administrative expenses increased $5.6 million, or 3.0%, to $196.0 million for fiscal 2023 from $190.4 million for fiscal 2022. The increase was composed of increases in general and administrative expenses of $14.1 million and consumer marketing expenses of $3.1 million, partially offset by decreases in warehousing expenses of $5.3 million, selling expenses of $3.2 million and acquisition/divestiture-related and non-recurring expenses of $3.1 million. Expressed as a percentage of net sales, selling, general and administrative expenses increased by 0.7 percentage points to 9.5% for fiscal 2023, as compared to 8.8% for fiscal 2022.

 

In connection with the Company’s sale of assets relating to the Green Giant U.S. shelf-stable product line, which was completed during the fourth quarter of 2023, the Company recorded a loss on sale of assets of $137.7 million during fiscal 2023, of which $132.9 million was recorded during the third quarter and $4.8 million was recorded during the fourth quarter of 2023.

 

During the fourth quarter of 2023, the Company recorded pre-tax, non-cash impairment charges of $20.5 million related to intangible trademark assets for the Baker’s Joy, Molly McButter, Sugar Twin, and New York Flatbreads brands. The Company partially impaired the Baker’s Joy and Sugar Twin brands, and the Company fully impaired the Molly McButter and New York Flatbreads brands.

 

Net interest expense increased $26.4 million, or 21.1%, to $151.3 million for fiscal 2023 from $124.9 million for fiscal 2022. The increase was primarily attributable to higher interest rates on the Company’s long-term debt, the accelerated amortization of deferred debt financing costs relating to long-term debt prepayments and a $0.5 million loss on extinguishment of debt during the fourth quarter of 2023, partially offset by a reduction in average long-term debt outstanding, a $0.8 million gain on extinguishment of debt during the second quarter of 2023 and a $0.6 million gain on extinguishment of debt during the third quarter of 2023.

 

The Company had a net loss of $66.2 million, or $0.89 per diluted share, for fiscal 2023, compared to a net loss of $11.4 million, or $0.16 per diluted share, for fiscal 2022. The Company’s net loss for fiscal 2023 was primarily attributable to the pre-tax, non-cash impairment charges during the third quarter of 2023, the loss on sale during the fourth quarter of 2023 in connection with the sale of assets relating to the Company’s Green Giant U.S. shelf-stable product line, the pre-tax, non-cash impairment charges recorded during the fourth quarter of 2023 related to intangible trademark assets, and the net negative impact on income taxes resulting from the Back to Nature divestiture. The Company’s net loss for fiscal 2022 was primarily attributable to non‑cash charges for the impairment of assets held for sale in connection with the Back to Nature divestiture. The Company’s adjusted net income for fiscal 2023 was $73.9 million, or $0.99 per adjusted diluted share, compared to adjusted net income of $76.2 million, or $1.08 per adjusted diluted share, for fiscal 2022.

 

For fiscal 2023, adjusted EBITDA was $318.0 million, an increase of $17.0 million, or 5.7%, compared to $301.0 million for fiscal 2022. The increase in adjusted EBITDA was primarily attributable to the improvement in gross profit described above, partially offset by the impact of the Green Giant U.S. shelf-stable and Back to Nature divestitures. Adjusted EBITDA as a percentage of net sales was 15.4% for fiscal 2023, compared to 13.9% for fiscal 2022.

 

Full Year Fiscal 2024 Guidance

For fiscal 2024, net sales are expected to be $1.975 billion to $2.020 billion, adjusted EBITDA is expected to be $305 million to $325 million, and adjusted diluted earnings per share are expected to be $0.80 to $1.00.

 

B&G Foods provides earnings guidance only on a non-GAAP basis and does not provide a reconciliation of the Company’s forward-looking adjusted EBITDA and adjusted diluted earnings per share guidance to the most directly comparable GAAP financial measures because of the inherent difficulty in forecasting and quantifying certain amounts that are necessary for such reconciliations, including adjustments that could be made for deferred taxes; acquisition/divestiture-related expenses, gains and losses (which may include third-party fees and expenses, integration, restructuring and consolidation expenses, amortization of acquired inventory fair value step-up and gains and losses on the sale of certain assets); gains and losses on extinguishment of debt; impairment of assets held for sale; impairment of intangible assets; non-recurring expenses, gains and losses; and other charges reflected in the Company’s reconciliation of historic non-GAAP financial measures, the amounts of which, based on past experience, could be material. For additional information regarding B&G Foods’ non-GAAP financial measures, see “About Non-GAAP Financial Measures and Items Affecting Comparability” below.

 

Conference Call

B&G Foods will hold a conference call at 4:30 p.m. ET today, February 27, 2024 to discuss fourth quarter and full year 2023 financial results. The live audio webcast of the conference call can be accessed at www.bgfoods.com/investor-relations. A replay of the webcast will be available following the conference call through the same link.

 

About Non-GAAP Financial Measures and Items Affecting Comparability

“Adjusted net income” (net income (loss) adjusted for certain items that affect comparability), “adjusted diluted earnings per share” (diluted earnings (loss) per share adjusted for certain items that affect comparability), “base business net sales” (net sales without the impact of acquisitions until the acquisitions are included in both comparable periods and without the impact of discontinued or divested brands), “EBITDA” (net income (loss) before net interest expense, income taxes, and depreciation and amortization), “adjusted EBITDA” (EBITDA as adjusted for cash and non-cash acquisition/divestiture-related expenses, gains and losses (which may include third-party fees and expenses, integration, restructuring and consolidation expenses, amortization of acquired inventory fair value step-up and gains and losses on the sale of certain assets), gains and losses on extinguishment of debt, impairment of assets held for sale, and non-recurring expenses, gains and losses), “adjusted gross profit” (gross profit adjusted for acquisition/divestiture-related expenses and non-recurring expenses included in cost of goods sold) and “adjusted gross profit percentage” (gross profit as a percentage of net sales adjusted for acquisition/divestiture-related expenses and non-recurring expenses included in cost of goods sold) are “non-GAAP financial measures.” A non-GAAP financial measure is a numerical measure of financial performance that excludes or includes amounts so as to be different than the most directly comparable measure calculated and presented in accordance with generally accepted accounting principles in the United States (GAAP) in B&G Foods’ consolidated balance sheets and related consolidated statements of operations, comprehensive (loss) income, changes in stockholders’ equity and cash flows. Non-GAAP financial measures should not be considered in isolation or as a substitute for the most directly comparable GAAP measures. The Company’s non-GAAP financial measures may be different from non-GAAP financial measures used by other companies.

 

The Company uses non-GAAP financial measures to adjust for certain items that affect comparability. This information is provided in order to allow investors to make meaningful comparisons of the Company’s operating performance between periods and to view the Company’s business from the same perspective as the Company’s management. Because the Company cannot predict the timing and amount of these items that affect comparability, management does not consider these items when evaluating the Company’s performance or when making decisions regarding allocation of resources.

 

Additional information regarding EBITDA and adjusted EBITDA and a reconciliation of EBITDA and adjusted EBITDA to net income (loss) and to net cash provided by operating activities, is included below for the fourth quarter and full year 2023 and 2022, along with the components of EBITDA and adjusted EBITDA. Also included below are reconciliations of the non-GAAP terms adjusted net income, adjusted diluted earnings per share and base business net sales to the most directly comparable measure calculated and presented in accordance with GAAP in the Company’s consolidated balance sheets and related consolidated statements of operations, comprehensive (loss) income, changes in stockholders’ equity and cash flows.

 

End Notes

(1)

Please see “About Non-GAAP Financial Measures and Items Affecting Comparability” below for the definition of the non-GAAP financial measures “base business net sales,” “adjusted diluted earnings per share,” “adjusted net income ,” “EBITDA,” “adjusted EBITDA,” “adjusted gross profit” and “adjusted gross profit percentage,” as well as information concerning certain items affecting comparability and reconciliations of the non-GAAP terms to the most comparable GAAP financial measures.

(2)

Excludes net sales of certain Back to Nature products not part of the divestiture that the Company will soon transition to another brand name.

(3)

Includes the spices & seasoning brands acquired in the fourth quarter of 2016, as well as the Company’s legacy spices & seasonings brands, such as Dash and Ac’cent, and spices & seasonings products launched by the Company and sold under license.

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Not meaningful.

 

About B&G Foods, Inc.

Based in Parsippany, New Jersey, B&G Foods and its subsidiaries manufacture, sell and distribute high-quality, branded shelf-stable and frozen foods across the United States, Canada and Puerto Rico. With B&G Foods’ diverse portfolio of more than 50 brands you know and love, including B&G, B&M, Bear Creek, Cream of Wheat, Crisco, Dash, Green Giant, Las Palmas, Le Sueur, Mama Mary’s, Maple Grove Farms, New York Style, Ortega, Polaner, Spice Islands and Victoria, there’s a little something for everyone. For more information about B&G Foods and its brands, please visit www.bgfoods.com.

 

Forward-Looking Statements

Statements in this press release that are not statements of historical or current fact constitute “forward-looking statements.” The forward-looking statements contained in this press release include, without limitation, statements related to B&G Foods’ expectations regarding net sales, adjusted EBITDA and adjusted diluted earnings per share, and the Company’s overall expectations for fiscal 2024 and beyond. Such forward-looking statements involve known and unknown risks, uncertainties and other unknown factors that could cause the actual results of B&G Foods to be materially different from the historical results or from any future results expressed or implied by such forward-looking statements. In addition to statements that explicitly describe such risks and uncertainties, readers are urged to consider statements labeled with the terms “believes,” “belief,” “expects,” “projects,” “intends,” “anticipates,” “assumes,” “could,” “should,” “estimates,” “potential,” “seek,” “predict,” “may,” “will” or “plans” and similar references to future periods to be uncertain and forward-looking.

Contacts

Investor Relations:

ICR, Inc.

Dara Dierks

866.211.8151

Media Relations:

ICR, Inc.

Matt Lindberg

203.682.8214

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Art & Life Lifestyle Regulations & Security

How Sam Waterston’s Jack McCoy exited ‘Law & Order’

Jack McCoy is officially done in the courtroom. Sam Waterston appeared in his final episode of “Law & Order” on Thursday, Feb. 22.

 

Following a conviction and going against the mayor’s wishes to not question his son, he revealed to ADA Nolan (Hugh Dancy) that he was resigning.

 

“I’ve been thinking about this for a while. It’s time. It just is,” Jack said, revealing that since he went against the mayor’s wishes, the leader will do everything in his power to make sure Jack loses the election — and it will work.

 

“He’s going to bury everyone who wronged him, including you — especially you,” he continued. “If I step aside now, the governor will be able to appoint someone — someone with integrity.”

 

Jack then raised his glass for a cheers, stating, “It’s been a hell of a ride.” The hour ended with him outside, looking up at the courthouse.

 

Waterston, 83, joined the mothership series in 1994, starring in a leading role through the series’ original end in 2010. He returned in 2022 when the show was revived for its 21st season. He’s also played Jack McCoy on spinoffs “Law & Order: SVU” and “Law & Order: Trial by Jury” and the movie, “Exited: A Law & Order Movie.”

 

Earlier this month, Waterston released a statement about his exit. “Greetings, you wonderful people,” he began. “It’s a pleasure to talk directly like this to the backbone of Law & Order’s absolutely amazing audience. The time has come for me to move on and take Jack McCoy with me. There’s sadness in leaving, but I’m just too curious about what’s next. An actor doesn’t want to let himself get too comfortable. I’m more grateful to you than I can say. L&O’s continuing and amazing long run, along with its astounding come-back, is all thanks to you and to Dick Wolf, but for whose vision, patience, perseverance, and unique combination of creative and business talents, none of this would have happened. I feel very blessed. I hope to see you all on the flip side.”

 

Tony Goldwyn will be replacing McCoy as the new district attorney. Ahead of his debut, he shared photos from the set on Instagram, captioning the stills, “Some very large shoes to fill! First episode finished as DA Nicholas Baxter. Thanks to the L&O fam for being so welcoming!” He will be introduced during the March 14 episode.

 

 

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— Variety

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Art & Life Business Culture Foodies/Tastylicious Lifestyle Perks

Campbell names Anthony Kyles Chief Customer Officer of Meals & Beverages

CAMDEN, N.J. — (BUSINESS WIRE) — Campbell Soup Company (NYSE: CPB) today announced the appointment of Anthony Kyles as Chief Customer Officer, Meals & Beverages, effective March 4, 2024.

 

Kyles will lead the U.S. retail sales team for Campbell’s soups, meals, sauces and beverages, driving growth across the Meals & Beverages division with the company’s retail customers. He will be responsible for profitably growing an iconic portfolio of brands, including Campbell’s, Chunky, Pacific Foods, V8, Prego, Pace, Swanson and SpaghettiOs. He will join the Campbell Leadership Team and will report to Mick Beekhuizen, Campbell’s Executive Vice President and President, Meals & Beverages.

 

“The Meals & Beverages division is focused on driving growth with our retail customers and transforming our categories through our portfolio of iconic and distinctive brands, while providing value for our consumers,” said Beekhuizen. “Anthony is a results-oriented leader, and I’m confident his extensive industry experience will help us set the standard for accelerating profitable growth.”

 

Kyles joins Campbell from PepsiCo, where he most recently served as the Vice President of National Accounts for Frito-Lay. Since joining PepsiCo in 2007, Kyles has held multiple roles with increasing leadership responsibilities overseeing category growth strategies across various channels. These experiences enabled him to build cross-functional and divisional experiences in operations, marketing, sales, shopper insights and manufacturing. Previously, he worked at IBM as a systems engineer for several years, before transitioning to sales as a senior executive and leading sales and engineering teams in the banking and automotive industry. He earned his B.A. degree in Industrial Marketing and Finance from Western Michigan University.

 

About Campbell

For more than 150 years, Campbell (NYSE:CPB) has been connecting people through food they love. Generations of consumers have trusted us to provide delicious and affordable food and beverages. Headquartered in Camden, N.J. since 1869, the company generated fiscal 2023 net sales of $9.4 billion. Our portfolio includes iconic brands such as Campbell’s, Cape Cod, Goldfish, Kettle Brand, Lance, Late July, Milano, Pace, Pacific Foods, Pepperidge Farm, Prego, Snyder’s of Hanover, Swanson and V8. Campbell has a heritage of giving back and acting as a good steward of the environment. The company is a member of the Standard & Poor’s 500 as well as the FTSE4Good and Bloomberg Gender-Equality Indices. For more information, visit www.campbellsoupcompany.com.

Contacts

Investor Contact:
Rebecca Gardy

(856) 342-6081

Rebecca_Gardy@campbells.com

Media Contact:
Dervela Paul

(856) 536-0523

Dervela_Paul@campbells.com

Categories
Art & Life Culture International & World Lifestyle Regulations & Security

How film about ‘A Family’ depicts relatives’ reactions to disclosure that father repeatedly rapes child

In Christine Angot’s documentary “A Family,” which premiered Sunday in the Encounters section of the Berlin Film Festival, the French novelist explores how various members of her family reacted to the revelation that she was repeatedly raped by her father from the age of 13.

 

The film starts with a startling confrontation between Angot and her stepmother in Strasbourg, with Angot pushing her way into her stepmother’s apartment with a camera-person and proceeding to question the woman about Angot’s late father’s crimes and the wife’s view on that.

 

Angot says that this incident was not planned at all. In fact, the documentary itself was not planned. It started when Angot went to Strasbourg as part of a book signing tour to support the publication of “Le Voyage dans l’Est,” which focuses on those in her inner circle who knew of the abuse and failed to intervene. She decided to invite her friend Caroline Champetier, a cinematographer, to accompany her, but without a clear idea of what would be achieved.

 

Angot had written about the repeated rapes committed by her father before. Her novel “Incest” was considered to be a piece of autofiction, and the novel “An Impossible Love” also dealt with an incestuous relationship, and was adapted as a film by Catherine Corsini.

 

However, having Champetier film the confrontation with her stepmother made a “big difference,” Angot tells Variety. For her to have that camera show exactly what was said meant that Angot did not feel alone, she says, and the camera became a kind of witness. In the film, the stepmother says the book was Angot’s “version” of events, but no one can dispute what we hear of their conversation.

 

“There’s no other version,” Angot says. “There can be a judgment. People can say: ‘Oh, she shouldn’t do that. How can she?’ Because they attend the scenes. So, they can have an opinion. But they see what they see. They hear what they hear. I don’t have to explain anything. I just have to be there.”

 

As Angot proceeded to talk to others – including her mother, her former husband and her daughter – about her experience of having been raped by her father, she is “questioning” the status of a family in society, she says. Her intention was to say to her stepmother: “Let’s just talk together. One day we will all be dead. If there is something to say – and there is – it is now. You are the mother of my brother and sister. This problem of incest is not my problem, it is a problem you have too. That your son and daughter also have. It is not a problem for one person, it is a social problem.”

 

There is also an examination of the role of a father in the film. At one point someone comments that Angot was raped by a man, and she corrects them to say, “Not a man, my father.” It is not just that a father should be someone who protects the child and who should be trusted, she says. “If the person who rapes you is your father, it means that he doesn’t recognize you as his daughter, someone who should benefit from the taboo, from the interdiction that incest is forbidden. It is a protection for children that it is forbidden. He doesn’t respect this prohibition. So, it is a denial of his paternity to you. So, it is not only: ‘Oh I am being raped.’ It is that, but not only. It is: ‘I am not recognized as a human and social being in a society.’”

 

She says the reason her stepmother does not want to acknowledge what has happened, and “renounce” her husband is because she would jeopardize her respectability, and her standing in society. “What is the most important thing is not truth, what happened, a crime. The most important thing is keeping the respectability which they inherited from the strong member of the family, which was that man, her husband.”

 

Even though there were others who did not step forward to protect Angot, she acknowledges that each was held back in some way. “Everyone has their own story,” she says.

 

Angot does not agree with her stepmother’s view that she had exhibited aggressiveness when seeking to push her way into the apartment. “It is just a door which has always been closed, which began to open and which will be closed again for dozens of years, until we are all dead,” Angot says.

 

“What is this door? It is the door of the apartment – the place where talking is possible for just a few minutes. A door behind which the rapes, the incest has been committed. How can I let this door be closed again? It is too important.”

 

 

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— Variety

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Art & Life Culture Education Environment Government International & World Lifestyle Perspectives Politics

Why ‘From Hilde, With Love’ director made Nazi-era Berlin seem almost ‘Normal:’ ‘I wanted to bring it closer to our reality’

When Laila Stieler’s script for “From Hilde, With Love,” which world premiered Saturday in competition at the Berlinale, first came to director Andreas Dresen he was a little reluctant to take the project on.

 

The issue was not the script but the subject-matter: set in Nazi-era Berlin, “From Hilde, With Love” is a love story about two real life members of the pro-Communist, German resistance movement known as the Red Orchestra, Hilde and Hans Coppi.

 

More than 50 members of the group were guillotined in Berlin’s Plötzensee Prison between 1942 and 1943, including the Coppis. Hilde gave birth to her son in prison. He is alive today and was consulted about the production.

 

“I was a little bit afraid of doing these films about Nazi times, because it’s always in sepia colors, you know, very historical, very artificial always, and this is not the style of cinema I like,” he tells Variety.

 

“But when I read [the script], with that wonderful character [Hilde], I immediately fell in love with that woman because she’s so humble, so shy, and she would never have called herself a resistance fighter. It just would not have been possible for her. She just followed her heart, and that’s what I really liked about [the story].”

 

The film, which is being sold by Beta Cinema and is produced by Claudia Steffen and Christoph Friedel for Pandora Film, stars “Babylon Berlin” breakout Liv Lisa Fries and Johannes Hegemann.

 

One aspect of the production is the absence of the usual cliches of the Nazi period: There are no swastikas, the Gestapo officers wear suits, not black leather coats, and nobody has a dueling scar.

 

All of this was intentional. “I was bit afraid of these iconic statements about those times. The intention was to not give that story a kind of historical ambience. I wanted to free it from history and to bring it closer to our reality,” Dresen says.

 

The intention, he says, was to make everything seem almost “normal.” Before they are caught, life for Hans, Hilde and their friends seems light-hearted and almost fun: they drink, they picnic, they dance, they swim and make love.

 

One reason for this was that Dresen grew up in Communist East Germany where the Coppis and other members of the resistance were depicted as larger-than-life heroes. “They were so brave, everything they did was so fine, and so I found myself feeling so small in front of them, and I always thought: ‘Oh, I could never be so brave as they were and I’m such a small person,’ and I think behind that is a kind of political intention. And that was that if you don’t compare yourself to people like that, then you don’t allow yourself to step into any kind of resistance. And in East Germany, of course, it was the intention to prevent us from doing anything against the system.”

 

“And, so, my intention when we started production was to bring these people as close as possible to us, so we could feel that they could be our partners, they could be our friends. These are young people: they fall in love; they go swimming; they have sad times. Sometimes it looks like they are on their holidays. These are not 24/7 resistance fighters. Most of them are young people who have their own dreams. They want to have families. Hilda becomes a mother. That was important for me: to show these people as normal as possible.”

 

The legal process is depicted as being almost as you’d see in a democratic state. There is almost no violence shown during the interrogation, the prison guard and nurses are depicted as being as humane as they could be in the circumstances, there is little histrionics at the trial, evidence is presented calmly, a defense attorney is present, and the judge gives Hilde an opportunity to exonerate herself by accusing others, but when asked why she conspired against the state, she simply replies: “Because I loved my husband.”

 

“Even the Nazi part in the film, they are in a way normal people. They don’t shout, they don’t hit, except one moment. We don’t have these marching soldiers. I think the system could look friendly, but at the end it’s as dangerous as it was, even if the people are friendly, because they are opportunists. It’s not necessary to be very loud. ‘We are following the rules of the system. We do everything we can to be friendly.’ But at the end is the guillotine.”

 

“And, so, I wanted to show this part of history as close as possible to our reality and that we can compare ourselves to people like Hilde and Hans, on the one side, and on the other side, to the Nazis. So you can choose: On which side would I have been if I had lived there? And I think maybe even in our times, it is important to decide.”

 

 

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— Variety

Categories
Art & Life Culture International & World Lifestyle Perspectives Science

Levan Akin discusses Panorama opener ‘Crossing,’ connecting with audiences, loving Anne Rice

Georgian-Swedish director Levan Akin is again winning over audiences with his latest film, “Crossing,” which opened the Berlin Film Festival’s Panorama section.

 

The touching drama is about retired teacher Lia (Mzia Arabuli), who sets off with a young companion, Achi (Lucas Kankava), on a journey from the Georgian city of Batumi to Turkey, where she hopes to find her long lost niece in Istanbul. Pic follows Akin’s acclaimed 2019 film “And Then We Danced.”

Credit: Haydar Tastan

 

Levan Akin Sulejmen Peljto

It was while researching that film in Georgia that he heard a story about a grandfather who was very supportive of his trans grandchild. “I just thought that was sweet, you know? Especially with all the debate that was going on around and around ‘And Then We Danced’ in Georgia specifically. I’ve always craved to see representation from that region, and stories I wish I would have seen when I was young.

 

“Films have a power, images have power. And if you show people other ways, other images of the things that they are used to, maybe it will make people think twice. I think that’s what made me want to make this film and tell this story.

 

“It’s also a story about regrets and atonement, and having that conversation with someone that I think we’ve all wanted to have, or say things that you know you can’t say anymore. I think that’s universal. From the reactions we’re getting here, it’s a film that connects with everyone in that way.”

 

The idea was to do “something intergenerational, a story about youthfulness, age, life and years, just time, and the choices we make and the choice we don’t make, the regrets we have. Those were the things I was thinking about.”

 

While Georgia and Turkey are familiar ground for Akin, the director was eager to share with audiences his fascination of the cultures and geography of the regions. “Georgia and the Caucuses as a whole are particularly fascinating because all of the cultures are so different from each other but they are so close.”

 

The very different people that populate these areas very much appeal to Akin. “That’s what I experience when I’m there — going into all of these rooms and spaces and meeting these people. I want to share them with an audience because they are so exciting and interesting.”

 

In making “Crossing,” Akin also sought a lighter, freer approach. “‘And Then We Danced’ has a very classic narrative structure. Here I wanted to do something that was more free, open-minded, maybe a little more novel.”

 

That stylistic choice is evident in the documentary feel of the story, which follows the unlikely companions on their journey of discovery, capturing the charming details of distant societies.

 

“It’s like cinéma vérité in a way. It’s things I see when I do research and reenact them; I want to share them because I think they’re fascinating.”

 

He recalls a scene on a ferry, in which the camera wanders around. “This boat is incredible. They take it every day and they drink tea on the boat — somebody walks around and hands out these little teas. That’s so nice. I want the world to see that.

 

“Also, I love films that feel like they caught a time. ‘And Then We Danced’ has that feel too. You’re like a fly on the wall catching these little scenes… I think this film has that feel of catching a very specific time.”

 

Indeed, it was also an opportunity to capture the grand city of Istanbul. “It always changes; it’s never the same. It’s totally different there now than it was when I filmed.”

 

Casting the film was very difficult, Akin says. He finally found his lead in Arabuli, a renowned actress in Georgia and ensemble member at the Tumanishvili Theater in Tbilisi. “Mzia Arabuli is like a force of nature,” the director adds.

 

The film boasts two other leads, including Kankava and Deniz Dumanlı, who plays Evrim, an Istanbul lawyer and activist.

 

Instead of having “one lead who has to be amazing, here we had three and they all had to be equally interesting. They all had to be able to carry the film alone essentially. That was a challenge.”

 

In addition to his feature films, Akin has worked on a number of series, including directing a number of episodes of AMC’s “Interview With the Vampire,” which just wrapped Season 2. The show is particularly close to his heart.

 

“I loved the book when I grew up and I love Anne Rice.  The first time I was in New Orleans 12 years ago I did an Anne Rice tour. I’m a super fan — those books changed my life. They opened up the world to me.”
When he heard that the show was being made, he contacted his agents and a meeting with showrunner Rolin Jones followed.

 

“He like ‘And Then We Danced’ and he saw my passion for Anne Rice. And then I got to do it.”

 

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— Variety

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Art & Life Culture Digital - AI & Apps Education Lifestyle Perspectives Politics Programs & Events

Lesniak recently joins Julie Briggs on WTMR 1250-am Radio show 

UNION, N.J. — Former Sen. Raymond J. Lesniak  joined Julie Briggs on Sunday, February 11, 2024 at 11 a.m. for an insightful panel on several hot topics.

 

 

Alongside Senator Lesniak (D) fellow panelists included Congressman Leonard Lance (R); Larry Casha (R) Republican state committeeman; Deborah Cornavaca (D) Director of government relations for NJEA; and John Van Fleet (I). The panel discussed the following topics:

 

  • Congress in gridlock – the border deal is dead, foreign aid is stalled, and Secretary Mayorkas has not been impeached.
  • President Biden not charged in classified documents case
  • Supreme Court hearing Trump ballot case
  • Tucker Carlson in Moscow & Situations in Ukraine and Gaza
  • Texas Border standoff
  • Nikki Haley lost Nevada election to none of these candidates
  • An informant in the Menendez bribery case handed recorded conversations to federal investigators

 

Lesniak has joined Briggs on past shows discussing engaging topics like the war in Ukraine and Middle East and congressional elections. The show on 1250-am WTMR Radio was  for a thought-provoking conversation.