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‘Lupin’ star Omar Sy, ‘Fast X’ director Louis Leterrier and Producer Thomas Benski launch Carrousel Studios

“Lupin” star Omar Sy, “Fast X” director Louis Leterrier and “Gangs of London” producer Thomas Benski have launched Carrousel Studios, a European independent production company with offices in Paris, London, Los Angeles and Senegal.

 

The banner will finance and produce film and TV projects, with an emphasis on elevated action, thrillers, sci-fi, fantasy and comedy. The company will look to tap into tax credits, European incentives and brands to finance content. CAA Media Finance architected the financing for the venture.

 

Sy, Leterrier and Benski, who have worked together on several series and films, said the name of the company, Carrousel, reflects its inclusive DNA. “A carrousel’s sole purpose is to entertain, no matter where the riders come from, no matter their age or background,” explained the trio in a joint statement.

 

“Additionally, the word carrousel is understood around the globe and associated with magical moments. Our Carrousel will have that same feel, with a modern approach to making global content in an artists-first environment.”

 

They said this principle is the “driving force and the culture of our company.” We have a great deal of respect for our diverse backgrounds and varied experiences, and what they both bring to the company,” they added.

 

A BAFTA, Grammy and Emmy award-nominated producer, Benski co-founded and served as the CEO of Pulse Films before selling and ultimately leaving the company in 2022. His credits include Andrea Arnold’s Cannes Jury Prize winner “American Honey,” as well as the series “Gangs of London,” the AppleTV+ music documentary “Beastie Boys Story” and the BAFTA-nominated “Mogul Mowgli” starring Riz Ahmed.

 

Leterrier, meanwhile, recently directed “Fast X” and will next direct the final installment of the $7.5 billion “Fast and Furious” franchise.  His credits include the “Transporter” franchise, “The Incredible Hulk,” “Clash of Titans,” “Now You See Me” and “Lupin” starring Sy.

 

Sy recently resumed the lead role in the third season of “Lupin,” which debuted in 2021 and is ranked third in Netflix’s list of most-watched non-English series at almost 100 million views. His credits include “Intouchables,” “The Takedown,” Jeymes Samuel’s “The Book of Clarence” and “X-Men: Days of Future Past.” He’ll next be seen in John Woo’s remake of “The Killer.”

 

Sy, Benski and Leterrier are represented by CAA. Leterrier is also represented by Entertainment 360, LBI, Sloane, Offer, Weber and Dern and UBBA in France. Sy is also represented by Agence Adéquat in France.

 

 

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— Variety

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Culture Entertainment News Environment Government Lifestyle Perspectives Regulations & Security

CIA operatives dodge danger, confront terrorist attacks and face inside-corruption in action-packed spy series

GREENWICH, Conn. — In the real world, “espionage is not a tuxedo and a martini,” quipped prolific author Jeffrey S. Stephens, who has written extensively about missions involving CIA operatives and national security.

 

“They work in the shadows. They’re in danger,” he added. “There’s so much that goes on that we don’t know about — so many near misses that we can never hear about for obvious security reasons.”

 

In his two-book Nick Reagan Thriller Series, Stephens blurs the lines between fact and fiction with detailed descriptions of real places, looming threats from very real terrorist cells and a realistic portrayal of the networks of people required to pull off large acts of terrorism.

 

In The Handler, the first book in the series, Nick Reagan and his partner, Carol Gellos, are drawn into an international hunt to locate the anonymous terrorist determined to unleash a series of unholy attacks on America.

 

Readers first meet Reagan as he traces a trail of clues to China in search of the Ghost Chip — a new technology that turns cell phones into detonators and renders them untraceable. In the hands of terrorists, the Ghost Chip would be catastrophic.

 

An Authors.com reviewer called The Handler “a heart-pounding ride with great narratives … It’s got it all — spies, assassins, guns and terrorist cells … If you liked Vince Flynn novels, you would love Stephens’ super-cool CIA operative Nick Reagan.”

 

The second book in the series takes all that to another level. While the good actors are easily identified in The Handler, it is a bit more difficult to tell the heroes from the villains in Enemies Among Us. A thriller where some of the “bad guys” are U.S. government figures, including some in our own Central Intelligence Agency, the story is as current as today’s headlines. An award-winning author, Stephens says the saga intends to throw light on some real-life transgressions happening all around the globe, including in our own country.

 

“The highest praise I can offer,” said Chris Beakey, author of the Amazon bestseller Fatal Option, “is that I devoured the entire novel in two sittings and continue to be fascinated by its large, suspenseful spell.”

 

Throughout the Nick Reagan Thriller Series, the author toggles between perspectives, giving readers a chilling look inside the minds of Islamic terrorists hellbent on carrying out heinous acts, while simultaneously, CIA operatives risk their lives to thwart the awful carnage.

 

“Many may have thought the continuing threat from terrorists was over,” Stephens said, “but as we have recently seen, it remains incredibly current and violent … while few would believe that corruption within our own intelligence services and the highest levels of corporate power are something we are dealing with in real time.”

 

About the Author

A native of New York City, Jeffrey S. Stephens is a successful attorney in private practice, admitted in both New York and Connecticut. Stephens has lived for more than 30 years in Greenwich, which is where he and his wife, Nancy, raised their two sons, Graham and Trevor. Stephens is the author of the Jordan Sandor thrillers, Targets Of Deception, Targets Of Opportunity, Targets Of Revenge and Rogue Mission, as well as the Anthony Walker murder mystery Crimes And Passion and the Pencraft First Place Award-winning novel, Fool’s Errand.

 

For more information, please visit www.jeffreystephens.com, or follow the author on Facebook (Author Jeffrey Stephens), Instagram (jss50) and Twitter (@j_stephensbooks).

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Business Culture Economics Education Lifestyle Local News Programs & Events

The AACCNJ announces US Rep. Donald Payne, Jr., as the Keynote Speaker for the State of Black NJ 2024 Economic Summit

TRENTON, N.J. —  The African American Chamber of Commerce of New Jersey (AACCNJ) announces U.S. Representative Donald Payne, Jr., as the Keynote Speaker for the State of Black NJ 2024 Economic Summit which will be held on April 17 from 8:30 a.m. – 3 p.m., at the Crowne Plaza Princeton-Conference Center, Plainsboro, N.J.

 

The Honorable Donald Payne Jr., will present keynote remarks, at the annual AACCNJ Summit, which serves as a platform for dialogue on public policies and the economic impact on Black New Jerseyans, and Black Businesses in New Jersey as it relates to education, health, workforce readiness and attaining an equitable share of economic opportunities within the public and private sectors of the state.

 

“Please join us for a day of thoughtful discussion and the recognition of a select group of distinguished corporate leaders that have kept their word, coalesced strategies, and advanced resources to perpetuate the success of AACCNJ,” said John E. Harmon, Sr., IOM, Founder, President & CEO, AACCNJ. “The State of Black New Jersey Conference serves as a best practice of how to build bridges towards mutual success with an overarching goal of improving the competitiveness of our state.”

 

“I am honored to be this year’s Keynote Speaker for the African American Chamber of Commerce of New Jersey’s State of Black NJ 2024 Economic Summit,” said Rep. Donald M. Payne, Jr. “The Summit is an opportunity to highlight the many successful African American business owners and connect African American entrepreneurs with the mentors and resources to help them launch and grow their businesses. In addition, it fosters conversations about how to improve economic equity in New Jersey and create more opportunities for African Americans statewide. I am proud to be a part of such a valuable event and I thank the AACCNJ for inviting me to be the Keynote Speaker.” The Silver Sponsor for the 2024 Summit is Horizon Blue Cross Blue Shield of NJ.

 

You can register through the following link: https://mms.aaccnj.com/members/evr/reg_event.phpevid=81404431&orgcode=AANJ

 

The 2024 Economic Summit is themed “Accountability, & Reciprocity”, and will feature two panels, moderated by John E. Harmon, Sr., IOM, Founder, President & CEO, AACCNJ, and Faye Coleman, CEO, Pure Genesis LLC.

 

Panel I Topic: Economic Development – Panelists:

Samantha DeAlmeida Roman, President, Associated Builders & Contractors

A. Bruce Crawley, President & Principal Owner, Millennium 3 Mgt, Inc. (M3M)

Monique L. Nelson, Executive Chair, UniWorld Group Inc. (UWG)

Keith D. Wright, Business Diversity Operations, Office of Diversity, Equity & Inclusion,

Port Authority of NJ & NJ

Panel II Topic: Honoring Equity Partners

James V. Fakult, President, Jersey Central Power & Light

Ralph LaRossa, Chair, President and Chief Executive Officer,

Public Service Enterprise Group

Mike Reagan, Senior Vice President, CGI

 

 

About the African American Chamber of Commerce of New Jersey

The African American Chamber of Commerce of New Jersey (AACCNJ) performs an essential role in the economic viability of New Jersey. While providing a platform for New Jersey’s African American business leaders, to speak with a collective voice, the AACCNJ advocates and promotes economic diversity fostering a climate of business growth through major initiatives centering on education and public policy. The Chamber serves as a proactive advocacy group with a 501(c) 3 tax exemption, which is shared by the National Black Chamber of Commerce.

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Art & Life Business Culture Digital - AI & Apps Lifestyle

Will Keenan, former digital exec at Endemol Shine, joins talent-focused startup Coy Creator as chief revenue officer

Will Keenan has returned to the entertainment industry, joining Coy Creator, a startup touting a full-service “business-in-a-box” platform for digital creators, as chief revenue officer.

 

Keenan had joined Endemol Shine North America in 2013, where he launched the company’s Endemol Beyond division. While there, Keenan cultivated a talent and creator roster that included global music star Pitbull, online lifestyle guru Michelle Phan, musician and comedian Andy Milonakis, viral sensation Brittany Furlan and rock icon Courtney Love.

 

Keenan exited Endemol Shine in 2015 and took a sabbatical from the industry to start a not-for-profit in New Jersey, private religious facility St. Babs Grande Retreat, and raise his first child. Prior to joining Endemol in November 2013, Keenan was VP of vertical development and programming at Maker Studios (which was acquired by Disney), where he signed, launched and developed YouTube channels for the likes of Margaret Cho, James Gunn and Adrian Grenier.

 

Matt Silk, COY Creator’s CEO, said Keenan will lead the company’s overall business, strategic partnerships and talent relations efforts. According to Silk, COY Creator is officially launching its new platform this month with Keenan’s arrival and after a beta-development phase. The company says the platform allows talent to host exclusive content experience on their own URL with “no brand competition, 100% data ownership and complete control of their fan engagement.” (“COY” stands for “Capitalize on You.”)

 

“I can’t wait to work side-by-side with Will as we help launch the businesses of some of the top creators and talent in the world,” Silk said in a statement. “I don’t think we could write a job requirements list as good as his background is for our company. Our mission is to help creators set themselves up for long-term success and now we have the right person to help us accomplish just that.”

 

To date, Keenan and Silk have signed actor Caylee Cowan (“Divinity,” “Willy’s Wonderland”), Bollywood singer-actor Shweta Pandit, and YouTube prankster Ed Bassmaster. Keenan is currently in final negotiations with actor-comedian King Bach (who has more than 100 million social followers) and for COY Creator to power Ultrafree, a clothing brand started by Drea de Matteo (“The Sopranos”) and her partner, musician-artist Robby Staebler (UVWAYS).

 

Keenan commented, “COY Creator is the perfect place at the perfect time for me to make a return to the entertainment industry. For a while now, I’ve been perplexed at why no person, company or startup had established itself to be creator-first, to provide the obvious features and services that talent has been telling me for years they want the most. What Matt and his team have developed at COY Creator is exactly what is missing from this space or as our colleague Drea de Matteo recently said, ‘COY Creator’s business model is the future of Hollywood.’”

 

Added Keenan, “COY Creator is focused exclusively on ‘B2B2C’ (business-to-business-to-creator) rather than the company focusing on building out its own brand. We are truly going to give star talent the power to engage their fans like never before possible.”

 

Keenan started his career starring in and producing indie films including “Tromeo & Juliet” (co-written by James Gunn, now co-head of DC Studios); “Terror Firmer”; and “Good Machine’s Love God” (the producing debut of Anthony Bregman). He produced Bollywood films in the late 2000s and segued into the digital space as an executive in 2011. A documentary focused on Keenan’s life and career, “Do You Know Who I Think I Am?”, has been in production over the past year and will be released by Red Cup Films with director Brian Wild and producer Scott Boyle.

 

 

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— Variety

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Art & Life Culture Education Energy Environment Healthcare Lifestyle Perspectives Science Weather & Environment

‘Nocturnes’ review: A hypnotic documentary about moths unfolds to also reveal climate change concerns

Co-directors Anirban Dutta and Anupama Srinivasan craft an observational Indian nature doc that makes its case poetically and powerfully.

 

 

The nature documentary is inherently preservationist, but Anirban Dutta and Anupama Srinivasan’s “Nocturnes” offers environmental persuasions not through verbal arguments, or even an aesthetic appreciation.

 

Rather, its meditative, hyper-fixated approach to process — as seen through the eyes of seasoned lepidopterists — proves so hypnotic that any appeals or augments the movie makes are deeply felt before they’re intellectually understood. The pieces snap into place eventually (which is to say, the “why” of studying moths and their patterns), but the “how” is foregrounded so forcefully and poetically throughout that viewers will likely come to care about these creatures, and this field of study, well before they understand the very real and pressing reasons they should.

 

In northeastern India, bordering Bhutan, scientist Mansi and her indigenous assistant Bicki (belonging to the local Bugun tribe) partake in the nightly ritual of suspending a cloth sheet and illuminating it with bright lights in the middle of the forest. Slowly, but surely, hundreds of moths flock to this makeshift station, resting along the sheet’s checkered grid pattern so Mansi can observe, photograph, and eventually measure them.

 

Between her frequent voiceover and her instructions to Bicki, the audience learns a great deal about Mansi’s practice. We even meet an elderly man who appears to be her mentor, hinting at the depth of this scientific tradition, though there’s something intentionally stilted about her delivery. Mansi is not an actor, after all, but she’s given the role of one, both in her narrations, as well as in some of these interpersonal conversations. These appear to be staged for the camera, but contain thoughtful discussions and nuggets of truth, despite this docu-fictional appearance, and with the help of Nainita Desai’s heavy, wistful score, they become, in their own way, melodic.

 

However, more than via any of Mansi’s words, the movie’s arguments are made through images, silences and the sounds of nature. Fluttering wings and the echoes of trilling insects make up much of the serene soundscape, whether during close-ups of the moths — their texture, their patterns, their vibrating movements when they sit still are all intriguing to observe — or during wide shots of the scientists’ setup glowing in the darkened forest, drawing us toward it, not unlike the moths themselves.

 

These nighttime scenes are provided with ingenious contrast during intervening mornings, made up largely of establishing shots of green mountainsides and nearby communities, captured from afar. Cinematographer Satya Rai Nagpaul films these clarifying scenes through morning fog, giving them an ethereal quality as morning prayers ring out like harmonized insect hums, but the camera rarely approaches human beings or settlements.

 

Instead, it observes from a distance, as though it were performing an anthropological study too, and in the process, it creates intrinsic aesthetic connections between the lives of people and the lives of moths, hidden away from us, in ways we need to lean forward to observe and understand. Long before Mansi delivers a lecture on the specifics of her studies and their overlap with global climate change, the moths feel monumentally important, and deeply connected to us.

 

Dutta and Srinivasan have effectively reverse-engineered an aesthetic approach from the basic concept at the heart of these entomologic studies, with sheets painted in light as the central object of allure for the moths, and for the audience. Humans have been around a mere fraction of the time that moths have — despite their individual life spans of less than a week — and for an even smaller portion of our existence, light projected onto fabric at 24 frames per second has monopolized our collective attention. “Nocturnes” takes full advantage of this for an altruistic cause, resulting in a documentary that is immediately, powerfully, and above all cinematically convincing.

 

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— Variety

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Business Culture Economics Education Lifestyle

Barnes & Noble Education reports 3rd quarter fiscal year 2024 financial results

Retail Segment Gross Comparable Store Sales Increased 8.8%

First Day® Complete Revenue Increased to $110 Million from $67 Million

Consolidated GAAP Net Loss from Continuing Operations Improved to $(9.9) Million from $(22.1) Million

Consolidated Adjusted EBITDA (Non-GAAP) from Continuing Operations Increased to $20.3 Million from $5.2 Million

Executes Bank Amendment and Continues Discussions to Strengthen Liquidity and Financial Position

 

 

BASKING RIDGE, N.J. — (BUSINESS WIRE) — Barnes & Noble Education, Inc. (NYSE: BNED), a leading solutions provider for the education industry, on Tuesday reported sales and earnings for the third quarter ended on Jan. 27, 2024.

Financial Results for the Third Quarter Fiscal Year 2024:

  • Consolidated third quarter GAAP sales of $456.7 million increased by $18.6 million, compared to $438.1 million in the prior year period. The third quarter sales increase is due to higher course material sales, primarily through the Company’s BNC First Day programs.
  • Consolidated third quarter GAAP gross profit of $100.0 million increased by $3.0 million, compared to $97.0 million in the prior year period.
  • Consolidated third quarter selling and administrative expenses of $79.8 million decreased by $12.1 million, compared to the prior year period.
  • Consolidated third quarter GAAP net loss from continuing operations of $(9.9) million improved by $12.2 million, compared to a net loss from continuing operations of $(22.1) million in the prior year period. The decrease in third quarter GAAP net loss from continuing operations was due to a $3.0 million increase in gross profit and a $12.1 million decrease in selling and administrative expenses, partially offset by a $3.7 million increase in interest expense.
  • Consolidated third quarter non-GAAP Adjusted Earnings from Continuing Operations of $(0.7) million increased by $11.3 million, compared to $(12.0) million in the prior year period.
  • Consolidated third quarter non-GAAP Adjusted EBITDA from Continuing Operations of $20.3 million increased by $15.1 million, compared to $5.2 million in the prior year period.

 

 

Operational Highlights for the Third Quarter Fiscal Year 2024:

  • BNC First Day total revenue increased by $63 million to $184 million, compared to $121 million during the prior year period.
  • First Day® Complete revenue grew by $43 million to $110 million, compared to $67 million in the prior year period.
  • 160 campus stores are utilizing First Day® Complete in the Spring of 2024 representing enrollment of approximately 805,000 undergraduate and post graduate students*, an increase of approximately 39% compared to Spring of 2023.
  • Total Retail segment gross comparable store sales increased by $38.1 million, or 8.8%, comprised of a 14.1% increase in course material gross comparable store sales, offset by a 4.6% decrease in general merchandise gross comparable store sales. For comparable store sales reporting purposes, logo general merchandise sales fulfilled by Lids and Fanatics are included on a gross basis.
  • Ended the quarter with 1,272 physical and virtual stores, a net decrease of 116 stores, as compared to the prior year period, as the Company continues its focus on winding down under-performing, less profitable stores and satellite locations.

*As reported by National Center for Education Statistics (NCES)

 

 

Third Quarter 2024 and Year to Date Results

The Company has two reportable segments: Retail and Wholesale. Additionally, unallocated shared-service costs, which include various corporate level expenses and other governance functions, are not allocated to a specific reporting segment and are presented as “Corporate Services.” All material intercompany accounts and transactions have been eliminated in consolidation.

 

Our business is highly seasonal. For example, our retail business is seasonal, particularly with respect to textbook sales and rentals, with the major portion of sales and operating profit realized during the second and third fiscal quarters when college students generally purchase and rent textbooks for the upcoming semesters and lowest in the first and fourth fiscal quarters. Our quarterly results also may fluctuate depending on the timing of the start of the various schools’ semesters, the revenue impact of accounting principles with respect to the recognition of revenue associated with our equitable and inclusive access programs, the ability to secure inventory on a timely basis, as well as shifts in our fiscal calendar dates. These shifts in timing may affect the comparability of our results across periods. Additionally, as the concentration of digital product sales increases, revenue will be recognized earlier during the academic term as digital textbook revenue is recognized when the customer accesses the digital content compared to: (i) the rental of physical textbook where revenue is recognized over the rental period, and (ii) a la carte courseware sales where revenue is recognized when the customer takes physical possession of our products, which occurs either at the point of sale for products purchased at physical locations or upon receipt of our products by our customers for products ordered through our websites and virtual bookstores.

 

Results for the 13 and 39 weeks of fiscal 2024 and fiscal 2023 are as follows:

$ in millions

Selected Data (unaudited)

13 Weeks

Q3 2024

13 Weeks

Q3 2023

39 Weeks

Fiscal 2024

39 Weeks

Fiscal 2023

Total Sales

$

456.7

$

438.1

$

1,331.2

$

1,301.4

Net Loss

$

(9.9)

$

(22.1)

$

(35.0)

$

(48.3)

Non-GAAP-Continuing Operations (1)

Adjusted EBITDA

$

20.3

$

5.2

$

43.7

$

10.0

Adjusted Earnings

$

(0.7)

$

(12.0)

$

(16.9)

$

(37.5)

Additional Information

Retail Gross Comparable Store Sales Variances (2)

$

38.1

$

23.9

$

76.3

$

45.5

(1) These non-GAAP financial measures have been reconciled in the attached schedules to the most directly comparable GAAP measure as required under SEC rules regarding the use of non-GAAP financial measures.

(2) Retail Gross Comparable Store Sales includes sales from physical and virtual stores that have been open for an entire fiscal year period and does not include sales from permanently closed stores for all periods presented. For Retail Gross Comparable Store Sales, sales for logo general merchandise fulfilled by Lids, Fanatics and digital agency sales are included on a gross basis in Retail Gross Comparable Store Sales compared to a net basis as commission revenue in our condensed consolidated financial statements.

 

Retail Segment Results

Third quarter Retail sales increased by $18.2 million to $439.4 million, compared to $421.2 million in the prior year period. Retail Gross Comparable Store Sales increased 8.8% for the quarter. Gross comparable course material sales increased 14.1% and gross comparable general merchandise decreased 4.6%. The increase in gross comparable course material product sales was due to growth from the Company’s BNC First Day models, which increased by $63 million to $184 million, compared to $121 million in the prior year period.

Third quarter Retail gross profit increased by $0.3 million to $89.2 million, compared to $88.9 million in the prior year period. Retail gross margin as a percentage of sales was 20.3% compared to 21.1% in the prior year period.

Retail Product and other gross margin as a percentage of sales was flat primarily from increased sales of $63.3 million from First Day Complete course material sales, and lower contract costs as a percentage of sales related to our college and university contracts as a result of the shift to digital and First Day modelsand lower performing school contracts not renewed, were partially offset by lower margin rates for course materials due to higher markdowns, including markdowns related to closed stores, and lower general merchandise sales, primarily from closed stores, a lower average commission rate and an unfavorable sales mix due to the shift to digital course materials.

Retail Rental gross margin as a percentage of sales decreased to 42.1% from 47.6% in the prior year period driven primarily by lower rental margin rates, higher markdowns and unfavorable rental mix, partially offset by lower contract costs as a percentage of sales related to our college and university contracts as a result of the shift to digital and First Day models and lower performing school contracts not renewed.

Third quarter Retail selling and administrative expenses decreased by $11.4 million to $71.4 million from $82.8 million in the prior year period. This decrease was primarily due to cost savings initiatives comprised of a $7.9 million decrease in comparable store payroll expense, new/closed store payroll expense and related operating costs, and a $3.4 million decrease in corporate payroll expense, infrastructure and product development costs.

Third quarter Retail non-GAAP Adjusted EBITDA was $17.9 million, compared to $6.2 million in the prior year period. Non-GAAP Adjusted EBITDA increased by $11.7 million primarily due to lower selling and administrative expenses.

Wholesale Segment Results (Before Intercompany Eliminations)

Wholesale third quarter sales decreased by $1.8 million to $37.2 million from $39.0 million in the prior year period. The decrease is primarily due to lower gross sales of $4.5 million, partially offset by lower returns and allowances of $2.7 million compared to the prior year period.

Wholesale third quarter gross profit was $8.0 million, or 21.5% of sales, compared to $6.7 million, or 17.1% of sales, in the third quarter of 2023. The gross margin rate increased in the third quarter of 2024 primarily due to lower returns and allowances and lower warehouse costs, partially offset by higher markdowns.

Third quarter Wholesale selling and administrative expenses decreased by $0.3 million to $3.3 million, compared to $3.6 million in the prior year period. The decrease was primarily due to cost savings initiatives comprised of lower payroll expense of $0.4 million, partially offset by higher operating expenses of $0.1 million.

Wholesale non-GAAP Adjusted EBITDA for the quarter increased by $1.6 million to $4.7 million from $3.1 million in the prior year. The increase in Wholesale non-GAAP Adjusted EBITDA is due to the higher gross margin and lower selling and administrative expenses in the third quarter of 2024.

Cash Flow, Balance Sheet and Refinancing Discussions

Cash flows used in operating activities from continuing operations during the 39 weeks ended January 27, 2024 were $(83.2) million compared to $(21.2) million during the 39 weeks ended January 28, 2023. This increase in cash flows used in operating activities from continuing operations of $62.0 million was primarily due to changes in working capital, including higher accounts receivables of $81.7 million and higher inventory levels of $88.2 million primarily related to our increased adoption of our BNC First Day equitable and inclusive access sales; higher payments for interest expense of $6.2 million; offset by higher payables of $78.0 million due to delayed payments to vendors for inventory purchases and expenses, as a result of borrowing capacity limitations under our credit facility.

Given the growth of our BNC First Day programs, the timing of cash collection from our school partners may shift to periods subsequent to when the revenue is recognized. When a school adopts our BNC First Day equitable and inclusive access offerings, cash collection from the school generally occurs after the institution’s drop/add dates, which is later in the working capital cycle, particularly in our third quarter given the timing of the Spring Term and our quarterly reporting period, as compared to direct-to-student point-of-sale transactions where cash is generally collected during the point-of-sale transaction or within a few days from the credit card processor. As a higher percentage of our sales shift to BNC First Day equitable and inclusive access offerings, we are focused on efforts to better align the timing of our cash outflows to course material vendors with cash inflows collected from schools.

As of January 27, 2024, the Company’s cash and cash equivalents were $8.1 million and total outstanding debt was $254.3 million, as compared to cash and cash equivalents of $9.4 million and total outstanding debt of $283.9 million in the prior year period.

The Company is engaged in advanced and ongoing discussions with third parties to evaluate a range of options to strengthen its liquidity and financial position. The potential options under consideration include among other things, a refinancing, in whole or in part, of the Company’s obligations under the Credit Agreements, as well as a potential equity offering, which would likely be conducted at a substantial discount to the current market price of the Company’s common stock. There can be no assurance that any refinancing, equity offering, or other transaction will occur or, if any transaction occurs, that it will ultimately be consummated, or that the Company’s effort to strengthen its liquidity and financial position will be achieved.

On March 12, 2024, the Company entered into an amendment to its credit agreement to amend certain financial covenants. For more details on the amendment, please refer to the Company’s Quarterly Report on Form 10-Q filed with the SEC on March 12, 2024.

Fiscal Year 2024 Outlook

The Company is maintaining its fiscal year 2024 guidance of approximately $40 million of consolidated non-GAAP Adjusted EBITDA from Continuing Operations.

Conference Call

The Company will not host an earnings conference call due to the advanced and ongoing discussions with third parties to evaluate a range of options to strengthen its liquidity and financial position.

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, 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 continue as a going concern: 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 service provider relationships, 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 strategic service provider relationships, 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 the potential loss of control over personal information; risks associated with the potential misappropriation of our 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 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, service providers, and campus 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 applicable domestic and international laws, rules or regulations, including, without limitation, U.S. tax reform, changes in tax rates, laws and regulations, as well as related guidance; changes in and enactment of applicable laws, rules or regulations or changes in enforcement practices including, without limitation, with regard to consumer data privacy rights, which may restrict or prohibit our use of consumer personal information for 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 Annual Report on Form 10-K for the fiscal 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.

EXPLANATORY NOTE

On May 31, 2023, we completed the sale of these assets related to our DSS Segment. The results of operations related to the DSS Segment are included in the condensed consolidated statements of operations as “Loss from discontinued operations, net of tax.” The cash flows of the DSS Segment are also presented separately in our condensed consolidated statements of cash flows.

We have two reportable segments: Retail and Wholesale as follows:

  • The Retail Segment operates 1,272 college, university, and K-12 school bookstores, comprised of 717 physical bookstores and 555 virtual bookstores. Our bookstores typically operate under agreements with the college, university, or K-12 schools to be the official bookstore and the exclusive seller of course materials and supplies, including physical and digital products. The majority of the physical campus bookstores have school-branded e-commerce websites which we operate independently or along with our merchant service providers, and which offer students access to affordable course materials and affinity products, including emblematic apparel and gifts. The Retail Segment offers our BNC First Day® equitable and inclusive access programs, consisting of First Day Complete and First Day, which provide faculty required course materials on or before the first day of class at a discounted rate, as compared to the total retail price for the same course materials if purchased separately. The BNC First Day discounted price is offered as a course fee or included in tuition. Additionally, the Retail Segment offers a suite of digital content and services to colleges and universities, including a variety of open educational resource-based courseware.
  • The Wholesale Segment is comprised of our wholesale textbook business and is one of the largest textbook wholesalers in the country.

Contacts

Investor Contact:
Hunter Blankenbaker

Vice President

Corporate Communications & Investor Relations

908-991-2776

hblankenbaker@bned.com

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‘Tiger Stripes,’ ‘Autobiography’ producer KawanKawan wraps filming on Borneo-set film ‘Tale Of The Land’

Indonesia’s KawanKawan Media has wrapped principal photography on feature “Tale of the Land,” it was revealed at Hong Kong rights market FilMart.

 

KawanKawan is the production company behind Makbul Mubarak’s Venice winner “Autobiography” and Amanda Nell Eu’s Cannes-winning “Tiger Stripes.”

 

“Tale of the Land” participated at FeatureLab Torino Film Lab in 2017, followed by the Hong Kong — Asia Film Financing Forum (HAF), the project market that operates concurrently with FilMart, in 2018, the Busan Asian Project Market in 2021 and QCinema Project Market in 2023.

 

The film is produced by Yulia Evina Bhara and Amerta Kusuma for KawanKawan. It is co-produced by the Philippines’ Cinematografica (“Whether the Weather Is Fine,” “Aswang”), with Armi Rae Cacanindin serving as co-producer.

 

“Tale of the Land” unfolds in the island of Borneo, drawing inspiration from the lives of the indigenous people amidst changes in their own land. It revolves around May, an indigenous Dayak girl, who is haunted by the trauma of her parents’ death in a land conflict, rendering her unable to set foot on the land. She lives in a floating house with her grandfather Tuha.

 

The coming-of-age film with fantasy elements is written and directed by Loeloe Hendra, marking his directorial debut. He previously made short “Onomastika,” which was a Berlinale 2015 selection. For Hendra, May’s character serves as an allegory reflecting the challenges faced by the indigenous people around the world where their homeland is changing due to the pressures of the modern world, the filmmaker said.

 

The cast is led by Shenina Cinnamon and Arswendy Bening Swara. Cinnamon featured in Yosep Anggi Noen’s 2023 Busan and Red Seas title “24 Hours With Gaspar,” slated for a global release on Netflix. Swara, awarded best actor at the 2022 Marrakech International Film Festival for “Autobiography,” reunites with Cinnamon after both played leads in Garin Nugroho’s “Badrun & Laundry” (2023).

 

Indonesian stars Angga Yunanda and Yusuf Mahardika are in the film’s featured cast. Yunanda is set to lead the upcoming Taiwanese-Indonesian co-production “Malice,” by Lim Lungyin, co-produced by Tydal Production and KawanKawan. Mahardika is set to star in “Borderless Fog,” an upcoming film by Edwin. 

 

Filipino filmmaker Carlo Francisco Manatad (Locarno winner “Whether the Weather Is Fine”), who edited “Autobiography” and “Tiger Stripes,” is performing that function on “Tale of the Land” as well. Filipino composer Teresa Barrozo (Brillante Mendoza’s “Kinatay”) has also boarded the project. “Tale of the Land” is in now in post-production.

 

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— Variety (EXCLUSIVE)

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HAF: Josh Kim sings Korean American ballad in ‘Camellia Girl’ project

Korean American writer and director Josh Kim journeys to the Hong Kong — Asia Film Financing Forum with “Camellia Girl,” which is in development.

 

His track record notably includes Thailand’s 2015 Oscar entry “How to Win at Checkers (Every Time),” the HBO Asia horror-drama series “Forbidden” and a body of shorts for Apple, Google, NPR and the Wall Street Journal.

 

The story is about two Korean American sisters who return home for their father’s funeral in rural Texas. The older sister leads a successful and stable life. The younger one, however, was addicted to drugs, dropped out of college and has built up debt trying to realize a dream of becoming a singer. When the two sisters arrive home, they learn that their father has left a rare antique fan worth more than a half a million dollars “to the child who finds it first.” This starts a scramble that will forever change the lives of the sisters.

 

“’Camellia Girl’ is a project I started writing after my father passed away. My mom has Alzheimer’s and he was taking care of her. So, after my father passed, I have been spending a lot more time at home in Texas with my mother,” Kim said.

 

“The title comes from a song the main character sings in the movie. It’s her father’s favorite song. It also happened to be my father’s favorite tune. It’s an old Korean trot song [a Korean music genre] that evokes a sense of yearning and loss. If you ask people in Korea what this loss is, everyone has a different answer. Some say it’s a lover who found a new life. For others, it’s a longing for a time when everything still seemed possible. This is the inspiration of ‘Camellia Girl,’ a story about sibling bonds, second chances and caretaking for the ones we love.”

 

Kim is looking to complete a $2.3 million budget at HAF and attach co-producers and a sales agent. The film is produced by Douglas Seok through Sea Oak Studios. Seok is a producer and cinematographer who was previously involved in the breakout Cambodian indie film “White Building” and a trio of films by Lee Isaac Chung, including Chung’s Oscar-winning “Minari.” He is also working on Chung’s upcoming “Twisters,” for Universal Studios.

 

“It’s been almost 10 years since I made ‘How to Win at Checkers.’ I went to China after that to work on ‘Folding Beijing,’ but with censorship restrictions and the country closing down with COVID, it became a project I realized was untenable for me to stay on and direct. So, we let [studio] Wanda look for a new director for the Chinese-language version. Films are hard to make. If realized, ‘Camellia Girl’ would be my second movie,” says Kim.

 

 

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— Variety

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Stephen Colbert says CBS disputes Kristen Stewart’s ‘Rolling Stone’ cover; Stewart says ‘f— you’ to the homophobic haters

Kristen Stewart has responded to critics of her recent Rolling Stone cover, which prompted controversy upon its release.

 

As a guest on “The Late Show With Stephen Colbert,” Stewart was asked why she believes the cover, which shows her with her hand inside her jockstrap, has received such negative attention.

 

Colbert initiated the conversation after revealing that CBS did not want him to show the cover on his show.

 

“Now before I show this cover, I just want you to know and the audience to know that I think it’s a perfectly lovely cover,” he said.

 

“We were asked by CBS not to show it. They thought that would be not a good idea for us to show this, and I don’t know understand why. Because there’s the cover, right there,” he said, turning it around to face the audience.

 

“I want to say that you look better in a jockstrap than I ever did,” Colbert added, before asking the actor to comment on the criticism the image received.

 

Stewart pointed toward a societal double standard: “Well, it’s a little ironic because I feel like I’ve seen a lot of male pubic hair on the cover of things. I’ve seen a lot of hands in pants and unbuttoned…I think there’s a certain overt acknowledgment of a female sexuality that has its own volition in a way that is annoying for people who are sexist and homophobic.”

 

“I’ve certainly seen more revealing covers on Rolling Stone or Sports Illustrated for that matter,” Colbert said, to which Stewart said, “It’s not remotely explicit.”

 

Colbert added, “I think it also violates public expectations of female sexuality as opposed to how you’re presenting it here.”

 

Stewart agreed, “Yes, because female sexuality isn’t supposed to actually want anything but to be had. And that feels like it’s protruding in a way that might be annoying. But fuck you.”

 

Stewart’s Rolling Stone cover hit stands ahead of the release of her romantic thriller film “Love Lies Bleeding,” which came out on March 8.

 

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— Variety

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Asian Film Awards nominee ‘Rapture’ finds distribution in France with Capricci

Dominic Sangma’s “Rapture” (“Rimdogittanga”), which was a nominee at the recently concluded Asian Film Awards, has been snapped up for French distribution by Capricci, as revealed at Hong Kong rights market FilMart.

 

The film revolves around a 10-year-old boy who suffers from night blindness and for whom every night is terrifying when his village is gripped by the fear of child kidnappers. The film debuted at Locarno in 2023 and won prizes at the Asia Pacific Screen Awards and the Mumbai Film Festival. “Rapture” also won the special jury award at the Hainan Island International Film Festival in China and will screen at the upcoming Beijing International Film Festival.

 

The film is a rare India-China co-production. One of the lead producers is China’s Xu Jianshang, who met Sangma at a students’ film festival in 2014 and produced his “Ma’ama,” which won an award at the Shanghai Film Festival. “Rapture” was developed when Xu was attending the Busan Asian Film School in 2019. Xu introduced the project to Sun Li of China’s Joicy Studio, who boarded the project. The film’s India producer, Anu Rangachar, brought in several other producers including Harsh Agarwal of Uncombed Buddha, Aditya Grover and Stephen Zacharias. Eva Gunme R. Marak, a patron for many artists in the region, also boarded the project.

 

“Rapture” was invited to India’s Film Bazaar, won a grant for script development from the International Film Festival Rotterdam’s Hubert Bals Fund, participated in Boost NL and was selected for La Fabrique Cinema at Cannes. Xu took part in Talents Tokyo and Sangma at Berlinale Talents. Funding also came in from Vision Sud Est and the Doha Film Institute.

 

Capricci is a French independent arthouse production, distribution and sales company. The shingle has repped fiolms from directors such as Abel Ferrara, Albert Serra, Hong Sangsoo, Philippe Garrel, Bi Gan, Jean-Charles Hue and Wang Bing.

The Garo-language “Rapture” originated from a childhood memory of Sangma, who hails from Meghalaya in northeastern India, and the film is set there.

 

“Capricci is delighted to be working on the French release of ‘Rapture.’ With this film, we discovered a region of India with which we were unfamiliar, but also a filmmaker of extremely promising talent,” a Capricci spokesperson told Variety. “We were struck by the film’s formal beauty, as well as by Dominic Sangma’s extremely lucid view of his childhood memories and his community. We’re proud to bring his art to French cinephiles.”

 

Sangma told Variety: “Capricci are very special distributors for arthouse films, they distributed some of my favorite films of recent time, they’re perfect for ‘Rapture.’ It gives me immense pleasure that ‘Rapture’ will be theatrically released in France. ‘Rapture’ is a small film from Meghalaya and to be released theatrically in France means a proud moment for my entire Garo community and it is making history for my state, no other film from Meghalaya has released before in France. I am super excited and such moments are to cherish.”

 

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 — Variety (EXCLUSIVE)