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Highlights (1) Please refer to the section entitled "Non-IFRS Financial Measures" in this press release for a definition of these measures. MONTREAL, Dec. 11, 2024 (GLOBE NEWSWIRE) -- Transcontinental Inc. (TSX: TCL.A TCL.B) announces its results for the fourth quarter and fiscal year 2024, which ended October 27, 2024. "Once again, we posted solid quarterly results and therefore ended the fiscal year on a strong note," said Thomas Morin, President and Chief Executive Officer of TC Transcontinental. "I am very pleased with the excellent results for fiscal 2024 and would like to thank our teams for their disciplined work in reducing costs and improving profitability. "In our Packaging Sector, despite the ongoing pressure on our medical market activities, we reported a 6.5% increase in adjusted operating earnings before depreciation and amortization for the quarter, mainly as a result of our cost reduction initiatives. For the fiscal year 2024, our adjusted operating earnings before depreciation and amortization amounted to $262.2 million, up 14.2% compared to the prior year. "In our Retail Services and Printing Sector, we recorded an increase in adjusted operating earnings before depreciation and amortization for a second consecutive quarter. The actions taken to improve our cost structure, a more favourable product mix, including the roll-out of raddar TM, as well as growth in our in-store marketing activities, continue to show results. For fiscal 2024, our adjusted operating earnings before depreciation and amortization stood at $201.0 million, an increase of 2.1% compared to the prior year. "Mainly as a result of the implementation of the program aimed at improving our profitability and our financial position, we posted a solid performance for fiscal 2024," added Donald LeCavalier, Executive Vice President and Chief Financial Officer of TC Transcontinental. "In addition, we generated significant cash flows in fiscal 2024 which, combined with the monetization of some real estate assets, enabled us to improve our balance sheet by reducing our net indebtedness ratio to 1.71 times the adjusted operating earnings before depreciation and amortization while allocating $32.3 million to our share repurchase program." Financial Highlights Results for the Fourth Quarter of Fiscal 2024 Revenues decreased by $30.4 million, or 3.9%, from $779.7 million in the fourth quarter of 2023 to $749.3 million in the corresponding period of 2024. This decrease is mainly due to lower volume in the Retail Services and Printing Sector and the Packaging Sector, partially mitigated by the favourable effect of exchange rate fluctuations. Operating earnings before depreciation and amortization increased by $8.6 million, or 7.0%, from $123.2 million in the fourth quarter of 2023 to $131.8 million in the fourth quarter of 2024. This increase is mainly attributable to our cost reduction initiatives and the decrease in asset impairment charges, partially offset by lower volume and the rise in restructuring and other costs. Despite an increase in adjusted operating earnings before depreciation and amortization in the two main operating sectors, consolidated adjusted operating earnings before depreciation and amortization decreased by $3.3 million, or 2.3%, from $145.5 million in the fourth quarter of 2023 to $142.2 million in the fourth quarter of 2024. This decrease is mainly due to the unfavourable effect of the change in the incentive compensation expense, including the stock-based compensation expense. Net earnings attributable to shareholders of the Corporation increased by $6.2 million, or 14.9%, from $41.7 million in the fourth quarter of 2023 to $47.9 million in the fourth quarter of 2024. This increase is mainly attributable to the previously explained increase in operating earnings before depreciation and amortization, the decrease in depreciation and amortization, and lower financial expenses, partially offset by higher income taxes. On a per share basis, net earnings attributable to shareholders of the Corporation went from $0.48 to $0.57, respectively. Adjusted net earnings attributable to shareholders of the Corporation decreased by $4.5 million, or 6.3%, from $71.8 million in the fourth quarter of 2023 to $67.3 million in the fourth quarter of 2024. This decrease is mainly due to the previously explained decrease in adjusted operating earnings before depreciation and amortization and higher income taxes, partially mitigated by the decrease in depreciation and amortization, and lower financial expenses. On a per share basis, adjusted net earnings attributable to shareholders of the Corporation went from $0.83 to $0.79, respectively. Results for Fiscal Year 2024 Revenues decreased by $127.7 million, or 4.3%, from $2,940.6 million in fiscal year 2023 to $2,812.9 million in the corresponding period of 2024. This decrease is mainly due to lower volume in the Retail Services and Printing Sector as well as in the Packaging Sector. Operating earnings before depreciation and amortization increased by $25.1 million, or 6.3%, from $399.6 million in fiscal year 2023 to $424.7 million in the corresponding period of 2024. This increase is mainly attributable to our cost reduction initiatives and the decrease in asset impairment charges, partially offset by lower volume and the rise in restructuring and other costs. Adjusted operating earnings before depreciation and amortization increased by $22.9 million, or 5.1%, from $446.5 million in fiscal year 2023 to $469.4 million in the corresponding period of 2024. This increase is mainly attributable to our cost reduction initiatives, partially offset by lower volume. Net earnings attributable to shareholders of the Corporation increased by $35.5 million, or 41.4%, from $85.8 million in fiscal year 2023 to $121.3 million in the corresponding period of 2024. This increase is mainly attributable to the previously explained increase in operating earnings before depreciation and amortization, the decrease in depreciation and amortization, and lower financial expenses, partially offset by higher income taxes. On a per share basis, net earnings attributable to shareholders of the Corporation went from $0.99 to $1.41, respectively. Adjusted net earnings attributable to shareholders of the Corporation increased by $25.4 million, or 14.4%, from $176.0 million in fiscal year 2023 to $201.4 million in the corresponding period of 2024. This increase is mainly attributable to the previously explained increase in adjusted operating earnings before depreciation and amortization, the decrease in depreciation and amortization, and lower financial expenses, partially offset by higher income taxes. On a per share basis, adjusted net earnings attributable to shareholders of the Corporation went from $2.03 to $2.34, respectively. For more detailed financial information, please see the Management’s Discussion and Analysis for the year ended October 27, 2024, as well as the financial statements in the “Investors” section of our website at www.tc.tc . Outlook In the Packaging Sector, our investments, including those related to sustainable packaging solutions, position us well for the future and should be a key driver of our long-term growth. In terms of profitability, we expect to generate organic growth in adjusted operating earnings before depreciation and amortization for fiscal 2025 compared to fiscal 2024. In the Retail Services and Printing Sector, we are encouraged by the roll-out of raddar TM and growth opportunities in our in-store marketing activities. Despite a decrease in revenues resulting from lower volume in our traditional activities and the roll-out of raddar TM, we expect adjusted operating earnings before depreciation and amortization for fiscal 2025 to be stable compared to fiscal 2024, excluding the impact of the labour conflict at Canada Post. Lastly, in addition to the amount received for the sale of our industrial packaging operations, we expect to continue generating significant cash flows from operating activities, which will enable us to reduce our net indebtedness while continuing to make strategic investments and return capital to our shareholders. Labour Conflict at Canada Post On November 15, 2024, the Canadian Union of Postal Workers initiated a national strike. As of December 11, 2024, this labour conflict at Canada Post, which remain unresolved, is disrupting the distribution services of flyers, including the raddar TM leaflet. As a result, the Corporation is incurring revenue losses in regions where raddar TM is not distributed through alternative networks, as well as additional costs, including the printing costs of undistributed flyers and the establishment of alternative distribution networks in certain regions of Quebec. As of December 11, 2024, the revenue losses, and consequently the profit losses, along with the additional costs, are estimated at approximately $7.0 million. Non-IFRS Financial Measures In this document, unless otherwise indicated, all financial data are prepared in accordance with International Financial Reporting Accounting Standards ("IFRS") and the term "dollar", as well as the symbol "$" designate Canadian dollars. In addition, in this press release, we also use certain non-IFRS financial measures for which a complete definition is presented below and for which a reconciliation to financial information in accordance with IFRS is presented in the section entitled "Reconciliation of Non-IFRS Financial Measures" and in Note 3, "Segmented Information", to the audited annual consolidated financial statements for the fiscal year ended October 27, 2024. Reconciliation of Non-IFRS Financial Measures The financial information has been prepared in accordance with IFRS. However, financial measures used, namely adjusted operating earnings before depreciation and amortization, adjusted operating earnings, adjusted income taxes, adjusted net earnings attributable to shareholders of the Corporation, adjusted net earnings attributable to shareholders of the Corporation per share, net indebtedness and net indebtedness ratio, for which a reconciliation is presented in the following table, do not have any standardized meaning under IFRS and could be calculated differently by other companies. We believe that many of our readers analyze the financial performance of the Corporation’s activities based on these non-IFRS financial measures as such measures may allow for easier comparisons between periods. These measures should be considered as a complement to financial performance measures in accordance with IFRS. They do not substitute and are not superior to them. The Corporation also believes that these measures are useful indicators of the performance of its operations and its ability to meet its financial obligations. Furthermore, management also uses some of these non-IFRS financial measures to assess the performance of its activities and managers. Dividend The Corporation's Board of Directors declared a quarterly dividend of $0.225 per share on Class A Subordinate Voting Shares and Class B Shares. This dividend is payable on January 20, 2025, to shareholders of record at the close of business on January 6, 2025. Normal Course Issuer Bid On June 12, 2024, the Corporation has been authorized to repurchase, for cancellation on the open market, or subject to the approval of any securities authority by private agreements, between June 17, 2024 and June 16, 2025, or at an earlier date if the Corporation concludes or cancels the offer, up to 3,662,967 of its Class A Subordinate Voting Shares and up to 668,241 of its Class B Shares. The repurchases are made in the normal course of business at market prices through the Toronto Stock Exchange. During the fourth quarter of 2024, the Corporation repurchased and cancelled 900,459 Class A Subordinate Voting Shares at a weighted average price of $16.20 and 2,000 Class B Shares at a weighted average price of $16.39, for a total cash consideration of $14.6 million. During fiscal 2024, the Corporation repurchased and cancelled 2,060,217 Class A Subordinate Voting Shares at a weighted average price of $15.65 and 7,000 Class B Shares at a weighted average price of $15.66, for a total cash consideration of $32.3 million. On October 16, 2024, the Corporation authorized its broker to repurchase shares between October 28, 2024, and December 13, 2024, inclusively, in accordance with parameters set by the Corporation. Subsequent to the year ended October 27, 2024, the Corporation repurchased 413,278 Class A Subordinated Voting Shares and 2,400 Class B Shares for a total cash consideration of $7.0 million. Additional information Conference Call Upon releasing its results for the fourth quarter and fiscal 2024, the Corporation will hold a conference call for the financial community on December 12, 2024, at 8:00 a.m. The dial-in numbers are 1-289-514-5100 or 1-800-717-1738. Media may hear the call in listen-only mode or tune in to the simultaneous audio broadcast on TC Transcontinental’s website, which will then be archived for 30 days. For media requests or interviews, please contact Nathalie St-Jean, Senior Advisor, Corporate Communications of TC Transcontinental, at 514-954-3581. Profile TC Transcontinental is a leader in flexible packaging in North America and in retail services in Canada, and is Canada’s largest printer. The Corporation is also the leading Canadian French-language educational publishing group. Since 1976, TC Transcontinental's mission has been to create quality products and services that allow businesses to attract, reach and retain their target customers. Respect, teamwork, performance and innovation are the strong values held by the Corporation and its employees. TC Transcontinental's commitment to its stakeholders is to pursue its business activities in a responsible manner. Transcontinental Inc. (TSX: TCL.A TCL.B), known as TC Transcontinental, has approximately 7,500 employees, the majority of which are based in Canada, the United States and Latin America. TC Transcontinental generated revenues of $2.8 billion during the fiscal year ended October 27, 2024. For more information, visit TC Transcontinental's website at www.tc.tc . Forward-looking Statements Our public communications often contain oral or written forward-looking statements which are based on the expectations of management and inherently subject to a certain number of risks and uncertainties, known and unknown. By their very nature, forward-looking statements are derived from both general and specific assumptions. The Corporation cautions against undue reliance on such statements since actual results or events may differ materially from the expectations expressed or implied in them. Forward-looking statements may include observations concerning the Corporation's objectives, strategy, anticipated financial results and business outlook. The Corporation's future performance may also be affected by a number of factors, many of which are beyond the Corporation's will or control. These factors include, but are not limited to the impact of digital product development and adoption, the impact of changes in the participants in the distribution of newspapers and printed advertising materials and the disruption in their activities resulting mainly from labour disputes, including at Canada Post, the impact of regulations or legislation regarding door-to-door distribution on the printing of paper flyers or printed advertising materials, inflation and recession risks, economic conditions and geopolitical uncertainty, environmental risks as well as adoption of new regulations or amendments and changes to consumption habits, risk of an operational disruption that could be harmful to its ability to meet deadlines, the worldwide outbreak of a disease, a virus or any other contagious disease could have an adverse impact on the Corporation’s operations, the ability to generate organic long-term growth and face competition, a significant increase in the cost of raw materials, the availability of those materials and energy consumption could have an adverse impact on the Corporation’s activities, the ability to complete acquisitions and properly integrate them, cybersecurity, data protection, warehousing and usage, the impact of digital product development and adoption on the demand for printed products other than flyers, the failure of patents, trademarks and confidentiality agreements to protect intellectual property, a difficulty to attract and retain employees in the main operating sectors, the safety and quality of packaging products used in the food industry, bad debts from certain customers, import and export controls, duties, tariffs or taxes, exchange rate fluctuations, increase in market interest rates with respect to our financial instruments as well as availability of capital at a reasonable cost, the legal risks related to its activities and the compliance of its activities with applicable regulations, the impact of major market fluctuations on the solvency of defined benefit pension plans, changes in tax legislation and disputes with tax authorities or amendments to statutory tax rates in force, the impact of impairment tests on the value of assets and a conflict of interest between the controlling shareholder and other shareholders. The main risks, uncertainties and factors that could influence actual results are described in the Management's Discussion and Analysis for the fiscal year ended October 27, 2024 and in the latest Annual Information Form . Unless otherwise indicated by the Corporation, forward-looking statements do not take into account the potential impact of non-recurring or other unusual items, nor of disposals, business combinations, mergers or acquisitions which may be announced or entered into after the date of December 11, 2024. The forward-looking statements in this press release are made pursuant to the “safe harbour” provisions of applicable Canadian securities legislation. The forward-looking statements in this release are based on current expectations and information available as at December 11, 2024. Such forward-looking information may also be found in other documents filed with Canadian securities regulators or in other communications. The Corporation's management disclaims any intention or obligation to update or revise these statements unless otherwise required by the securities authorities. For information:CII seeks priority sector lending for new and emerging sectors
Trump made the announcement in a Truth Social post, calling Charles Kushner “a tremendous business leader, philanthropist, & dealmaker." Kushner is the founder of Kushner Companies, a real estate firm. Jared Kushner is a former White House senior adviser to Trump who is married to Trump’s eldest daughter, Ivanka. The elder Kushner was pardoned by Trump in December 2020 after pleading guilty years earlier to tax evasion and making illegal campaign donations. Prosecutors alleged that after Charles Kushner discovered his brother-in-law was cooperating with federal authorities in an investigation, he hatched a scheme for revenge and intimidation. Kushner hired a prostitute to lure his brother-in-law, then arranged to have the encounter in a New Jersey motel room recorded with a hidden camera and the recording sent to Kushner's own sister, the man’s wife, prosecutors said. Kushner eventually pleaded guilty to 18 counts including tax evasion and witness tampering. He was sentenced in 2005 to two years in prison — the most he could receive under a plea deal, but less than what Chris Christie, the U.S. attorney for New Jersey at the time and later governor and Republican presidential candidate, sought. Christie blamed Jared Kushner for his firing from Trump’s transition team in 2016, and called Charles Kushner’s offenses “one of the most loathsome, disgusting crimes that I prosecuted when I was U.S. attorney.” Trump and the elder Kushner knew each other from real estate circles and their children were married in 2009.Fully half of the best films ever —from Charlie Chaplin’s to Claude Lanzmann’s—are replete with cinematic selfies. Yet they are rare over all, perhaps because the camera is an unflinching diagnostician. The medium admits self-portraiture with obvious ease (just step in front of the camera), but few filmmakers can withstand its penetrating gaze, which is surely why the practice self-selects toward the masters of the art. In the newest release to take up the challenge, Leos Carax’s “It’s Not Me,” the French director approaches the genre as a mosaic. He presents an audiovisual collage in which he only occasionally appears, made up of archival film clips and still photos, music and voice-overs, title cards and effects, and some newly filmed footage. With these elements, he forms a thematic and emotional self-portrait, delving into his personal life, taking stock of his career, and reflecting on art, politics, family, and the cinema as a form of self-discovery. Carax, who is sixty-four, has been making films since 1980 and made his first feature, “ Boy Meets Girl ,” in 1984. His early career was meteoric. By 1991, he had directed two movies (“ Bad Blood ” and “The Lovers on the Bridge”) of breathtakingly grand-scale inspiration, but he has made only three features since (most recently, “ Annette ,” from 2021). His ambitions, formed by spectacular golden-age classics and by the moderns’ uninhibited artistry, have run up against the realities of the economy and the psychology of contemporary cinema—its all-too-common division of industrial power and artistic intent. Yet his presence in the world of film—even when it takes the form of his absence—has, alongside his output, made him an exemplary outlier, a living myth, albeit a reticent one. He doesn’t so much cultivate a public image as he bears it, as something of an Icarus of romantically visionary designs. With “It’s Not Me,” Carax confronts the aberration of celebrity (even art-house celebrity) by means of a cinematic self-creation that’s both a matter of sincere reticence and an audaciously assertive work of art. “It’s Not Me” (now playing in theatres and available for purchase on Amazon and other sites, and, as of January 1st, streaming on the Criterion Channel) is as elusive as the title suggests. It’s a barely feature-length film, which originated as a commission from the Pompidou Center. Though only forty-two minutes long, it’s crowded with images and ideas, like a collection of keepsakes overflowing the little chest of drawers in which they’re kept. It’s also mercurially allusive, with its teeming material jammed together associatively, in an impressionistic whirl of abrupt transitions and superimpositions. Yet, as digressive as its surface seems, an artist’s sense of creative organization is at work. Elements are gathered together thematically and, subtly but surely, a chronological arc emerges. The result is a classical autobiography built of fragments and gaps—less a collection than a personal constellation. The title “It’s Not Me” may seem like a puckishly implausible denial, yet it’s accurate. The film, a shy director’s self-portrait, is filled with things that aren’t Carax but that make him who he is, whether memories or ideas, phrases or images, worldly deeds and works of art—especially, of course, movies. A crucial element of modernism is the endnote—as typified by T. S. Eliot’s “ The Waste Land ”—as a vital aesthetic element, linking a sometimes cryptic art work to the cultural precedents on which it depends and to which it subtly refers. That’s the tacit premise on which “It’s Not Me” runs, and its equivalent of Eliot’s endnotes are the credits, which detail all the films and music on which Carax draws. There are clips from thirty-one movies, including Eadweard Muybridge’s primordial motion studies, F. W. Murnau’s “Sunrise,” Nicholas Ray’s “Bigger Than Life,” Alfred Hitchcock’s “Vertigo,” and much of Carax’s own work. The soundtrack features Miles Davis, Prokofiev, Beethoven, and musicians who have figured in Carax’s films, such as Kylie Minogue, Sparks, and, of course, David Bowie, whose song “Modern Love” anchored an unforgettable set piece in “Bad Blood.” Early on, Carax shows himself in bed, accompanied by an allusion to the opening of “Swann’s Way,” and his vision of himself reaches back before firsthand memory, to his conception (featuring egg-related clips from “Bad Blood” and Ernst Lubitsch’s “The Marriage Circle”) and his family origins. His story and his family’s reach into the crises of the twentieth century and into contemporary politics. There are images of Shostakovich, Hitler, and clips that include documentary footage of an infamous 1939 pro-Nazi rally in Madison Square Garden (and its interruption by a young man outraged by the antisemitism on display). There is a segment showing politicians whom Carax deems to be possessed of “hate,” such as Xi Jinping, Donald Trump, Benjamin Netanyahu, Bashar al-Assad, and Vladimir Putin. (“They all claim to be humiliated and offended,” he notes.) There’s an astoundingly appalling bedtime story about Hitler and death camps; an extended lament on widespread indifference to migrants whose corpses wash up on European beaches; and visions of resistance, including documentary footage of Pussy Riot, and the French Resistance as personified by one of its heroes, Jean Moulin. Carax riffs on his father’s identity, and the sense of paternity on display extends to “bad” movie fathers like ones played by James Mason, Robert Mitchum, and Adam Driver (in Carax’s “Annette”). Another of Carax’s cited father figures is Jean-Luc Godard, whose presence is felt throughout: the soundtrack even features a phone message Godard left for Carax asking him to call back, and the very nature of the project is reminiscent of Godard’s self-portrait film “JLG/JLG.” There are differences, of course; unlike Carax, Godard was a character, acting often in his own films and those of others, and he cultivated his public image with an artistic aplomb. Still, the similarities are felt, stylistically and technically, in the collage-like form and the free manipulation of archival images—and, above all, in a shared sense of audacious yet exquisite aestheticism yoked to a strain of refined, resolute insolence. Carax’s art is exemplified with clips of ecstatic and intimate performances that he has elicited from regular collaborators, such as Julie Delpy, Juliette Binoche, Michel Piccoli, Denis Lavant, and Carax’s late partner, Katerina Golubeva. Her death, in 2011, haunts the film and hovers over Carax’s depiction of their daughter, Nastya, seen in home movies as a small child and, as an adult, as an accomplished pianist. (Carax uses special effects to transform a performance of her into a gothic extravaganza.) He interrogates himself, in particular, as director of actresses, through the self-accusingly melancholy lens of Nathaniel Hawthorne’s story “The Birth-Mark,” about a murderous quest for perfect beauty. While following his own life cinematically, Carax includes reflections on the art itself—in particular, his view of the lost grandeur of its classics, which he has sought to recapture with modern means. He discusses “the gaze of the gods” offered by the heavy equipment of the silent-film era, comparing it ruefully with the meekness of lightweight modern technology. He draws a similarly self-deprecating contrast between the laborious wonder that film of motion represented for the nineteenth-century pioneer Muybridge and the ease of modern motion capture as depicted ( and transfigured ) in his own movie “ Holy Motors .” In an extended sequence, launched by a poetic riff on blinking, he links today’s inexhaustible profusion of images with a metaphorical form of blindness. The movie concludes with a sequence of astounding, giddy inspiration. After the endnote-like credits comes an ingenious mashup of Carax’s celebrated “Modern Love” sequence in “Bad Blood” with his most recent feature, “Annette.” It’s a fusion of the classic and the modern, the spectacular and the whimsical, the boldly fictional and the self-effacingly metafictional. It’s no mere happenstance that Carax places this set piece after his modernist endnotes—it’s a whiplash assertion that the naming of his self-defining obsessions is beside the point. The movie’s referential fragmentation is secondary to its unity as an experience. What’s most personal about “It’s Not Me” is what can’t be sourced in the credits: the art of the cinema itself. ♦ New Yorker Favorites A man was murdered in cold blood and you’re laughing ? The best albums of 2024. Little treats galore: a holiday gift guide . How Maria Callas lost her voice . An objectively objectionable grammatical pet peeve . What happened when the Hallmark Channel “ leaned into Christmas .” Sign up for our daily newsletter to receive the best stories from The New Yorker .
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CALGARY, Alberta — Jordan Binnington isn’t just looking forward to the games. Don’t forget about the practices. Binnington was named to Canada’s roster for the 4 Nations Face-Off on Wednesday evening, and he could be the country’s starting goaltender for the February tournament that also features players from the United States, Sweden and Finland. But those Canadian practices will be star-studded events themselves. “I think I’m even excited just for the practices,” Binnington said after Blues practice in Calgary. “It’s all the top dogs going at it and working together to do something special. I think the in-game competition, that’s where you want to be, right? That’s something you dream about. I’m excited to go against the best.” Binnington and defenseman Colton Parayko were both named to the Canadian team, the only two Blues players selected to play in the best-on-best tournament. For Binnington, it will be the third time he’s represented Canada on the international stage. He was on the World Juniors roster in 2013 and played for Canada this summer at the World Championship. “Going to Worlds last year was big experience-wise for me, just playing on an international level and wearing the Canadian leaf on my sweater,” Binnington said. “Years of work and not really thinking too far ahead or too much about it. But it’s nice that it’s here and I’ll be representing the country.” There is a certain St. Louis flavor to the Canadian team. In addition to Binnington and Parayko’s inclusion on the roster, general manager Doug Armstrong is overseeing the process for Hockey Canada and will be Canada’s GM for the 2026 Olympics. Additionally, Blues goaltending coach David Alexander and video coordinator Elliott Mondou will be part of the Canadian coaching staff led by Tampa Bay coach Jon Cooper. “They’re going to get the opportunity to be around the best coaches in the world,” Blues coach Jim Montgomery said. “How they approach things, how they hold their meetings, how they give their information to their players, it’s all going to be new ideas that we can actually copy and make ourselves better.” Binnington will be joined in the crease by Vegas’ Adin Hill and Montreal’s Samuel Montembeault. Binnington and Hill have recent postseason success with the Blues’ Cup win in 2019 and the Golden Knights’ championship in 2023. This season, Binnington (.899 save percentage, 2.87 goals against average), Hill (.900, 2.67) and Montembeault (.901, 2.99) all have similar numbers. “It’s all focusing on what you can control, and for me, that’s just being the best I can be every day and winning hockey games,” Binnington said. “The more I do that, the better that sets me up for being the guy. But I’m all in on whatever they need me to do. I’m going to do my best to do what I need to do to be there.” Binnington said he found out that he would be included on the roster earlier this week. “I was excited,” Binnington said. “I know it hasn’t been the cleanest year so far, we’ve had a lot going on around here. But the fact that they showed that belief in me, it enhances my drive and my effort put forth to represent the country, and enjoy the moment with Team Canada.” Parayko will be playing a familiar role in front of Binnington as a right-handed, big, smooth-skating, shutdown defenseman. With Canada also icing offensive defensemen like Cale Makar, Josh Morrissey and Shea Theodore, Parayko should provide balance and be able to kill both plays and penalties. “It’s going to be above the NHL speed because now you have all the elite players from those nations that are competing,” Montgomery said. “I just know from having talked to coaches like Ken Hitchcock and Mike Babcock that when players go and they start practicing with a Sidney Crosby, and I imagine it’s going to be the same thing with a (Connor) McDavid and a (Nathan) Mackinnon is you start on time. “I’m anxious for the Blues players that they get around players like that, how important every day and every minute you are there to do your job, you do it right.” The tournament begins Feb. 12 when Canada faces Sweden in Montreal. The final is on Feb. 20 in Boston. “It’s special,” Binnington said. “I’m very excited. It’s a great honor just to be able to compete in practice and in games against some of the best in the world. It’s going to be high intensity, a short amount of time, so we’re all in. I think it’s a good opportunity. I’m really grateful, and I’m excited for it.” Former Blues defensemen Alex Pietrangelo (Canada) and Niko Mikkola (Finland) were both selected to represent their countries. St. Louis natives Matthew and Brady Tkachuk will play for the United States. Blues top-line center Robert Thomas was not selected for the Canadian team.News junkies will find much to love in “September 5,” a fictionalized account of ABC’s live coverage of the hostage crisis during the 1972 Munich Olympics. There are spirited debates about reporting with only one source, use of words like “terrorism” and what to do if violence breaks out during a live shot. There are negotiations with rival networks over satellite usage, disguises and fake badges made to get reels of 16mm film in and out of the locked down Olympic village and plenty of confused men (and a few women) trying to keep up with an ever-escalating situation. The film is a moment by moment retelling of how a group of sports broadcasters brought this story to the world in real time, despite the technical limitations and their own inexperience across a confusing 22 hours. Everyone came to the studio that night ready for breaking sports news, scores and pre-packaged interviews. Even that was going to be a test for the man running the control room for the first time. Geoffrey Mason, portrayed by , was a 28-year-old coordinating producer. Someone wonders about his experience and is assured that he’s covered minor league baseball games. But in the early hours of , eight members of a Palestinian group called Black September broke into the Olympic village and attacked the Israeli delegation killing wrestling coach Moshe Weinberg and weightlifter Yossi Romano. Some escaped, but nine others were taken hostage. While the tragedy of the Munich Olympics has certainly been told many times, writer and director Tim Fehlbaum saw an opportunity in the team behind the live broadcast. And he commits fully to staying in the newsroom, with all of its glorious old technologies, from the walkie-talkies they used to stay in touch and to taking time to show how they had to manually add text to the screens. He and his screenwriter were able to reconstruct the events almost minute-by-minute, which helped shape the screenplay. The players are many in this large ensemble. , who’s looked right in a newsroom since “Shattered Glass,” gives gravitas to Roone Arledge, then-president of ABC Sports, and Ben Chaplin is operations engineer Marvin Bader. Leonie Benesch is Marianne Gebhardt, a German-speaking interpreter who is the only person there able to understand the language of the country. She might be a bit of a composite who checks off a lot of boxes as both an entrepreneurial woman and a younger German offering perspective and insight into what this moment might mean for the country trying to put on a good front in the aftermath of World War II. An actor (Benjamin Walker) plays broadcaster Peter Jennings, and real archival footage of anchor Jim McKay from that day is used in the film. And while they all rise to the occasion, mistakes are made – including a rather big one at the end, following imperfect secondhand information from the Fuerstenfeldbruck airfield. They don’t call it the first draft of history for nothing, after all, and it may be illuminating for audiences to see how it’s handled. The film looks of its time, but it also feels fairly modern in its sensibilities which makes it always seem more like a re-telling than an in-the-moment experience. This may be to its detriment, yet it’s still an undeniably riveting and compelling watch. The word thrilling doesn’t seem appropriate, however. This is not “Apollo 13” after all. The end is not a happy one. But at time when trust in the media is in crisis, this film is a great humanizer, reminding audiences that the media is far from a monolith, but a group of individuals under immense pressure to get the story right, get the story out and go back and do it again the next day. “September 5,” a Paramount Pictures release in theaters Friday, is rated R by the Motion Picture Association for language. Running time: 94. Three stars out of four.BETHESDA, Md. , Dec. 11, 2024 /PRNewswire/ -- Lockheed Martin (NYSE: LMT) today announced its board of directors has elected Admiral John C. Aquilino , former commander of the United States Indo-Pacific Command, to the board, effective today. "Admiral Aquilino's service to the nation and extensive experience in complex, global operations, including in the Indo-Pacific, will bring valuable insight to the board," said Lockheed Martin Chairman, President and CEO Jim Taiclet. "His perspective as a leader and warfighter will enhance board oversight. We look forward to working with him as we continue to advance our 21st Century Security ® strategy to strengthen deterrence and create a more advanced, resilient and collaborative defense industrial base." Aquilino served as the 26th commander of the U.S. Indo-Pacific Command, responsible for all U.S. military activities in the Indo-Pacific, from 2021 until his retirement as a four-star admiral in July 2024 . His previous assignments include serving as the Commander of the U.S. Pacific Fleet, the Commander of the U.S. Fifth Fleet and Naval Forces Central Command, and the Commander of Carrier Strike Group 2. Commissioned in 1984 following graduation from the U.S. Naval Academy , Aquilino has served as a fighter pilot in every geographic combatant command and participated in nearly every major military operation after his commissioning, including Operations Deliberate Force, Southern Watch, Enduring Freedom, Iraqi Freedom and Inherent Resolve. He is also a graduate of the Navy Fighter Weapons School (TOPGUN), Joint Forces Staff College and Harvard Kennedy School's executive education program in national and international security. Aquilino is considered an independent director under applicable rules and regulations and will serve on the Classified Business and Security Committee. About Lockheed Martin Lockheed Martin is a global defense technology company driving innovation and advancing scientific discovery. Our all-domain mission solutions and 21st Century Security ® vision accelerate the delivery of transformative technologies to ensure those we serve always stay ahead of ready. More information at LockheedMartin.com . View original content to download multimedia: https://www.prnewswire.com/news-releases/lockheed-martin-elects-john-c-aquilino-to-board-of-directors-302329516.html SOURCE Lockheed Martin
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