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'Blatantly unfair': Former captain's fury over contentious Aussie tactic


Baltic Horizon Fund Consolidated Unaudited Interim Results for Q3 2020

Management Board of Northern Horizon Capital AS has approved the unaudited consolidated interim financial statements of Baltic Horizon Fund (the Fund) for the first nine months of 2020.Impact of COVID-19 pandemic At the beginning of 2020, a new coronavirus (COVID-19) started spreading all over the world, which has had an impact on businesses and economies, including in the Baltics. The virus outbreak has caused significant shifts in the Fund’s operating environment, which will have a negative overall impact on the Fund’s expected 2020 performance. However based on the currently available information, the Management Company believes that the COVID-19 pandemic should rather have a temporary effect on the Fund’s results and less than was previously expected. Broad portfolio diversification should allow the Fund to limit the COVID-19 impact on the whole portfolio and maintain healthy consolidated operational performance.The Fund has opted to retain approx. EUR 2.2 million of distributable cash flow from the results for the first three quarters of 2020 to strengthen the Fund’s financial position. Over the past three quarters, the Fund has increased its cash distribution reserve to EUR 3.0 million. The Management Company believes that it was in the best interest of the investors and the Fund to reduce its quarterly cash distribution during the initial outbreak of COVID-19 in order to protect and strengthen the Fund’s financial position. The management team will continue to actively monitor the economic impact of the pandemic and reassess future distribution levels depending on the upcoming operating results.In summary, it may be concluded that the COVID virus induced lockdown in the Baltics has impacted mainly Baltic Horizon’s centrally located retail and entertainment centres. Retail assets located in the central business districts (Postimaja, Europa and Galerija Centrs) accounted for 27.9% of total portfolio NOI in Q3 2020.  Overall, the portfolio has remained resilient to the crisis and the total negative effect on the portfolio NOI for the year 2020 is expected to remain around 10%.Distributions to unitholders for Q2 2020 and Q3 2020 Fund results On 24 July 2020, the Fund declared a cash distribution of EUR 1,701 thousand (EUR 0.015 per unit) to the Fund unitholders for Q2 2020 results. This represents a 1.14% return on the weighted average Q2 2020 net asset value to its unitholders. On 20 October 2020, the Fund declared a cash distribution of EUR 3,111 thousand (EUR 0.026 per unit) to the Fund unitholders for Q3 2020 results. This represents a 2.25% return on the weighted average Q3 2020 net asset value to its unitholders.Dividend capacity calculation The Fund reduced cash distribution for Q1-Q2 2020 due to COVID-19 outbreak. Generated net cash flow (GNCF) for Q1-Q2 2020 reached EUR 0.054 per unit.  EUR ’000Q3 2019Q4 2019Q1 2020Q2 2020Q3 2020 (+) Net rental income5,4125,6355,7724,6184,799 (-) Fund administrative expenses(879)(846)(889)(634)(682) (-) External interest expenses(1,295)(1,346)(1,331)(1,327)(1,327) (-) CAPEX expenditure1(178)(225)(95)(97)(230) (+) Added back listing related expenses60-3929114 (+) Added back acquisition related expenses16—- Generated net cash flow (GNCF)3,1363,2183,4962,5892,674        GNCF per weighted unit (EUR)0.0310.0290.0310.0230.024 12-months rolling GNCF yield2 (%)8.4%8.6%11.5%9.6%9.4%        Dividends declared for the period3,0613,1751,7011,7013,111 Dividends declared per unit3 (EUR)0.0270.0280.0150.0150.026 12-months rolling dividend yield2 (%)7.8%8.0%9.6%7.2%7.5% 1. The table provides actual capital expenditures for the quarter. Future dividend distributions to unitholders are aimed to be based on the annual budgeted capital expenditure plans equalised for each quarter. This will reduce the quarterly volatility of cash distributions to unitholders. 2. 12-month rolling GNCF and dividend yields are based on the closing market price of the unit as at the end of the quarter (Q3 2020: closing market price of the unit as of 30 September 2020). 3. Based on the number of units entitled to dividends. Net profit and net rental income During the first three quarters of 2020, the Group recorded a net loss of EUR 6.9 million against a net profit of EUR 5.4 million for Q1-Q3 2019.  The net result was significantly impacted by the one-off negative valuation result of EUR 15.8 million recognized in June 2020. The negative impact of valuation losses on investment properties was partially offset by an increase in net rental income, other operating income and a slight decrease in administrative expenses. Excluding the valuation impact on the net result, the net profit for Q1-Q3 2020 would have amounted to EUR 8.9 million (Q1-Q3 2019: EUR 7.8 million). In Q3 2020, the Fund earned a net profit of EUR 2.6 million, although negative COVID-19 related rent concessions impact on net rental income led to a lower net profit compared to previous year (Q3 2019: EUR 3.1 million). Earnings per unit for Q1-Q3 2020 were negative at EUR 0.06 (Q1-Q3 2019: positive EUR 0.06). Earnings per unit excluding valuation losses on the investment properties amounted to EUR 0.08 (Q1-Q3 2019: EUR 0.09).In Q1-Q3 2020, the Group earned net rental income of EUR 15.2 million exceeding the previous year’s net rental income for the same period by EUR 1.6 million or 11.8% (Q1-Q3 2019: 13.6 million). The increase was achieved through new acquisitions that were made following the capital raisings in 2019. The acquisition of Galerija Centrs and North Star had a significant effect on the Group’s net rental income growth in Q1-Q3 2020 as compared to Q1-Q3 2019, albeit rental income growth in Q2-Q3 2020 was slower due to relief measures granted to tenants during the COVID-19 pandemic. The addition of Galerija Centrs added EUR 2.5 million to the net rental income during the first quarters of 2020, while North Star added EUR 1.1 million. On an EPRA like-for-like basis, portfolio net rental income decreased by 7.2% year on year mainly due to weaker performance in retail and leisure segments. The decrease was partially offset by the strong performance of the office segment which remained largely unaffected by the lockdown in the Baltic States.   Portfolio properties in the office segment contributed 55.1% (Q1-Q3 2019: 51.5%) of net rental income in Q1-Q3 2020 followed by the retail segment with 40.6% (Q1-Q3 2019: 42.8%) and the leisure segment with 4.3% (Q1-Q3 2019: 5.7%).  Retail assets located in the central business districts (Postimaja, Europa and Galerija Centrs) accounted for 30.0% of total portfolio net rental income in the first three quarters of 2020. Total net rental income attributable to neighbourhood shopping centres accounted for 10.6% in Q1-Q3 2020. During the first three quarters of 2020, investment properties in Latvia and Lithuania contributed 39.4% (Q1-Q3 2019: 35.4%) and 35.3% (Q1-Q3 2019: 35.4%) of net rental income respectively, while investment properties in Estonia contributed 25.3% (Q1-Q3 2019: 29.2%).Gross Asset Value (GAV) At the end of September 2020, the GAV decreased to EUR 358.4 million (31 December 2019: EUR 371.7 million) which was a drop of 3.6% over the first three quarters of 2020. The decrease is mainly related to the negative property revaluation of EUR 15.8 million or 3.7% of the portfolio value at the end of 2019. Compared to the previous quarter, the Fund’s GAV rose by EUR 1.7 million during Q3 2020. The Group made a capital investment (EUR 1.2 million) in the Meraki office building development project during Q3 2020. The Fund aims to continue the construction of the Meraki office building throughout 2020 and 2021. The Management Company will continue to actively monitor the economic impact of the pandemic and ensure sufficient liquidity levels during the construction period.Net Asset Value (NAV) At the end of September 2020, the Fund net asset value (NAV) decreased to EUR 138.9 million (31 December 2019: EUR 152.5 million) as a result of negative portfolio revaluation which was impacted by the high market uncertainty surrounding the COVID-19 pandemic. Compared to the year-end 2019 NAV, the Fund’s NAV decreased by 9.0%. Positive operational performance over the period was offset by EUR 6.6 million dividend distributions to the unitholders and a negative cash flow hedge reserve movement of EUR 0.2 million. Compared to the previous quarter, the Fund’s NAV rose by EUR 0.9 million during Q3 2020 mostly due to positive operational performance of the portfolio. At 30 September 2020, NAV per unit stood at EUR 1.2247 (31 December 2019: EUR 1.3451), while NAV per unit based on EPRA standards was EUR 1.3137 (31 December 2019: EUR 1.4333).Investment properties The Baltic Horizon Fund portfolio consists of 15 cash flow investment properties in the Baltic capitals and investment property under construction on the Meraki land plot. At the end of Q3 2020, the fair value of the Fund’s portfolio was EUR 347.2 million (31 December 2019: EUR 358.9 million) and incorporated a total net leasable area of 153,351 sq. m. During Q3 2020, the Group invested EUR 0.5 million in the existing property portfolio and an additional EUR 1.2 million in the Meraki development project.Interest bearing loans and bonds Interest bearing loans and bonds (excluding lease liabilities) remained at a similar level of EUR 205.7 million compared to year-end 2019 figures (31 December 2019: EUR 205.8 million). Outstanding bank loans decreased slightly due to regular bank loan amortization. Annual loan amortization forms 0.2% of total debt outstanding.   Financial covenants for bondsCovenantRequirementRatio 31.12.2019Ratio 31.03.2020Ratio 30.06.2020Ratio 30.09.2020 Equity Ratio  >25%1/35.0%42.6%42.4%40.0%40.2% Debt Service Coverage Ratio  > 1.203.323.353.303.16 1. On 28 July, the bondholders adopted the decision by the way of written procedure to temporarily reduce the equity ratio bond covenant to 25% or greater, until 31 July 2021Cash flow Cash inflow from core operating activities for the first three quarters of 2020 amounted to EUR 11.9 million (Q1-Q3 2019:  cash inflow of EUR 11.0 million). Cash outflow from investing activities was EUR 2.5 million (Q1-Q3 2019: cash outflow of EUR 56.4 million) due to subsequent capital expenditure on existing portfolio properties and investments in the Meraki development project. Cash outflow from financing activities was EUR 10.9 million (Q1-Q3 2019: cash inflow of EUR 38.8 million). During the first nine months of 2020, the Fund made three cash distributions of EUR 6.6 million and paid regular interest on bank loans and bonds. At the end of Q3 2020, the Fund had a sufficient amount of cash (EUR 8.4 million) to cover its liquidity needs amid the COVID-19 pandemic.Key earnings figuresEUR ‘000    Q3 2020Q3 2019Change (%) Net rental income    4,799 5,412 (11.3) Administrative expenses   (682)(879)(22.4%) Other operating income   -17(100.0%) Valuation losses on investment properties (4)– Operating (loss) profit    4,1134,550 (9.6%) Net financing costs    (1,367)(1,339)2.1% Loss before tax    2,7463,211 (14.5%) Income tax    (153)(152)0.7% Net (loss) profit for the period   2,593 3,059 (15.2%)           Weighted average number of units outstanding (units) 113,387,525100,461,17812.9% Earnings per unit (EUR)   0.02 0.03 (33.3%)           Key financial position figuresEUR ‘000    30.09.202031.12.2019Change (%) Investment properties in use   342,775356,575(3.9%) Investment property under construction  4,4372,36787.5% Gross asset value (GAV)   358,409 371,734 (3.6%)           Interest bearing loans and bonds   205,660205,827(0.1%) Total liabilities    219,544 219,216 0.1%           Net asset value (NAV)   128,865 152,518 (9.0%)         Number of units outstanding (units)   113,387,525113,387,525- IFRS Net asset value (IFRS NAV) per unit (EUR) 1.2247 1.3451 (9.0%) EPRA Net reinvestment value (EPRA NRV) per unit (EUR) 1.31371.4333(8.3%) EPRA Net tangible assets (EPRA NTA) per unit (EUR) 1.31371.4333(8.3%) EPRA Net disposal value (EPRA NDV) per unit (EUR) 1.22921.3400(8.3%) EPRA Net asset value (EPRA NAV) per unit (EUR) 1.31371.4333(8.3%)         Loan-to-Value ratio (%)   59.2%57.3%- Average effective interest rate (%)   2.6%2.6%- Property performance During Q3 2020, the average actual occupancy of the portfolio was 94.6% (Q2 2020: 96.4%). Taking into account Duetto I and Duetto II rental guarantees, the effective occupancy rate was 94.6% (Q2 2020: 96.4%). The occupancy rate as of 30 September 2020 was 94.7% (30 June 2020: 96.0%). The Fund’s tenant base remains strong despite several tenants vacating premises in Q3 2020. Occupancy rates in the retail segment decreased further because of additional vacancies in Europa SC, Pirita SC and Galerija Centrs. The Fund signed a new rental agreement with F8 Outlet in Domus PRO Retail Park which increased the occupancy level of property to 100.0% at the end of Q3 2020. Occupancy rates in the office segment still remain strong albeit two tenants vacating premises in Upmalas Biroji and Lincona had a minor negative effect on the occupancy levels.The average direct property yield during Q3 2020 was 5.5% (Q2 2020: 5.3%). The net initial yield for the whole portfolio for Q3 2020 was 5.6% (Q2 2020: 5.2%). Property yields increased compared to Q2 2020 albeit rent relief measures are still affecting the Fund’s performance. Compared to pre-COVID-19 pandemic performance levels, the leisure and retail segments took the biggest hit mainly due to the COVID-19 incentives, while the office segment continued to perform well and remained largely unaffected. The average rental rate for the whole portfolio for Q3 2020 was EUR 11.8 per sq. m.Property nameSectorFair value1 (EUR ‘000)NLA (sq. m.)Direct property yield Q3 20202Net initial yield Q3 20203Occupancy rate for Q3 2020 Vilnius, Lithuania       Duetto IOffice16,2508,5877.7%7.1%100.0% Duetto IIOffice18,6658,6747.3%7.2%100.0% Europa SCRetail39,72516,8565.0%4.7%91.6% Domus Pro Retail ParkRetail16,17011,2477.0%6.7%96.6% Domus Pro OfficeOffice7,5904,8318.4%7.1%100.0% North StarOffice19,74310,5506.9%7.2%100.0% Meraki Development 4,437— – Total Vilnius 122,58060,745 6.5% 6.3% 97.0% Riga, Latvia       Upmalas Biroji BCOffice23,03310,4586.4%6.7%90.2% Vainodes IOffice20,8438,0526.9%7.0%100.0% LNK CentreOffice16,5057,4536.4%6.6%100.0% Sky SCRetail4,9623,2548.5%8.6%98.6% Galerija CentrsRetail71,37020,0223.8%4.0%84.9% Total Riga 136,713 49,239 5.2% 5.4% 91.7% Tallinn, Estonia       Postimaja & CC Plaza complexRetail30,8329,1451.4%1.6%95.1% Postimaja & CC Plaza complexLeisure14,2508,6648.0%6.7%100.0% G4S HeadquartersOffice16,7909,1797.9%7.3%100.0% LinconaOffice16,47010,8717.5%7.2%91.6% Pirita SCRetail9,5775,5084.7%6.1%81.5% Total Tallinn 87,919 43,367 4.9% 5.0% 94.5% Total portfolio 347,212 153,351 5.5% 5.6% 94.6% 1. Based on the latest valuation as at 30 June 2020m subsequent capital expenditure and recognised right-of-use assets.   2. Direct property yield (DPY) is calculated by dividing NOI by the acquisition value and subsequent capital expenditure of the property. 3. The net initial yield (NIY) is calculated by dividing NOI by the market value of the property.CONSOLIDATED STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOMEEUR ‘00001.07.2020-30.09.202001.07.2019-30.09.201901.01.2020-30.09.202001.01.2019-30.09.2019       Rental income5,267 5,782 16,549 14,579 Service charge income1,245 1,476 3,749 3,128 Cost of rental activities(1,713)(1,846)(5,109)(4,123) Net rental income4,799 5,412 15,189 13,584       Administrative expenses(682)(879)(2,205)(2,405) Other operating income- 17 186 23 Valuation losses on investment properties(4)-(15,757)(2,439) Operating (loss) profit4,113 4,550 (2,587)8,763       Financial income1 1 3 4 Financial expenses(1,368)(1,340)(4,118)(3,316) Net financing costs(1,367)(1,339)(4,115)(3,312)       (Loss) profit before tax2,746 3,211(6,702)5,451 Income tax charge(153)(152)(161)(75) (Loss) profit for the period2,593 3,059 (6,863)5,376       Other comprehensive income that is or may be reclassified to profit or loss in subsequent periods Net losses on cash flow hedges(3)(305)(227)(1,397) Income tax relating to net gains on cash flow hedges(2)171392 Other comprehensive expense, net of tax, that is or may be reclassified to profit or loss in subsequent periods(5)(288)(214)(1,305)       Total comprehensive (expense) income for the period, net of tax2,588 2,771(7,077)4,071       Basic and diluted earnings per unit (EUR)           0.02 0.03(0.06)0.06 CONSOLIDATED STATEMENT OF FINANCIAL POSITIONEUR ‘00030.09.202031.12.2019     Non-current assets   Investment properties342,775 356,575 Investment property under construction4,437 2,367 Derivative financial instruments- 73 Other non-current assets54 54 Total non-current assets347,266 359,069     Current assets   Trade and other receivables1,849 1,794 Prepayments496 301 Other current assets411 734 Cash and cash equivalents8,387 9,836 Total current assets11,143 12,665 Total assets358,409 371,734     Equity   Paid in capital138,064 138,064 Cash flow hedge reserve(1,770)(1,556) Retained earnings2,571 16,010 Total equity138,865 152,518     Non-current liabilities   Interest bearing loans and borrowings195,705 205,718 Deferred tax liabilities6,166 6,199 Derivative financial instruments1,847 1,728 Other non-current liabilities1,162 1,298 Total non-current liabilities204,880 214,943     Current liabilities   Interest bearing loans and borrowings10,247 414 Trade and other payables3,729 3,171 Income tax payable- 8 Derivative financial instruments35 – Other current liabilities653 680 Total current liabilities14,664 4,273 Total liabilities219,544 219,216 Total equity and liabilities358,409 371,734 For more information, please contact:  Tarmo Karotam Baltic Horizon Fund manager E-mail www.baltichorizon.comThe Fund is a registered contractual public closed-end real estate fund that is managed by Alternative Investment Fund Manager license holder Northern Horizon Capital AS. Both the Fund and the Management Company are supervised by the Estonian Financial Supervision Authority. This announcement contains information that the Management Company is obliged to disclose pursuant to the EU Market Abuse Regulation. The information was submitted for publication, through the agency of the above distributors, at 23:32 on 30 November 2020.Attachment * BHF quarterly report Q3 2020


Black Sands Entertainment’s Manuel Godoy Reflects on Running a Black-Owned Comic Publisher

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Black Sands Entertainment's Manuel Godoy Reflects on Running a Black-Owned Comic Publisher

While new comic book publishers seem to come and go with the tides, Black Sands Entertainment is making some serious waves within the comic book industry. Run by President Manuel Godoy, Black Sands has an impressive array of comic book and animated series under its umbrella, all focused on Black characters and focusing on the African-American community.

As one of the only Black-owned publishing companies in the United States, Black Sands Entertainment was successful in raising $1 million in December of last year through a WeFunder campaign. CBR spoke with Godoy about the challenges related to being a Black business owner/entrepreneur, the opportunities that lie ahead for Black Sands Entertainment and the upcoming launch of The Black Sands Publishing app.

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CBR: To kick things off, can you go back in time and tell us a little bit about the origin of how Black Sands Entertainment was created?

Manuel Godoy: So in 2016, we funded the corporation for Black Sands Entertainment, and start creating our comic books. Kids 2 Kings was the original name of the main series. And we made a Kids 2 Kings #1 after failing at a video game production. So we had video game production for Black Sands and spent like $20,000 on it, right? It was still expensive, and we only got to a beta at that point. And I was like, “I’m never gonna be able to finish this game.” And so I abandoned that production and pivoted to a more comic-oriented series. And we went to Kickstarter in 2017 for Kids 2 Kings and raised $20,000 for our campaign. And we just haven’t stopped since then. We just kept moving forward, constantly growing and evolving over the years. And now we’re at the precipice of new horizons.

How many titles do you have so far under the umbrella?

So for our specific company, we have about six different titles. So we have six different series that are in our company right now. And on top of that, we also have 26 different titles signed to the BSP, which is our app coming out in February.

Business owners already have a tough time trying to establish themselves. And of course, it only intensifies when you’re a Black entrepreneur. What was the reception like in the creative community once you started to promote Black Sands?

Well, I’ve always been a little bit of a different type of marketer. So as opposed to like, leading so much with the content, I usually lead with the causes, like why people should support this brand, what it means to parents and the kids. And that’s really resonated well with our audience. Currently, 25 percent of our customer base are avid comic book fans. Most of them are just parents who want to have amazing content for their kids. And that’s usually the loop, right? The parents buy for your kids, the kids love it, they email us asking when the next one is coming out, and then we just keep going. And that’s really how we’ve been going. We’re huge on social media. So we have five million impressions a month now. So so we have a really effective, organic marketing campaign.

When you started to go out to promote all your different comics, were you a fixture on the convention circuit, or was it more networking online?

At first, it was the convention circuit. So we were definitely heavy with the convention circuit in 2018 and 2019. I think in 2018 we did like 15 shows, and then in 2019, we did like 25. And then when we got to a point where we just were making way too much money online, to the point where we were like, yeah, there’s no reason to go to shows anymore, except for maybe four major shows. But that was it. And then COVID hit and then we said no more shows. [Laughs] So it was good that we pivoted before that.

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How hands-on are you when it comes to working with the different creators under Black Sands?

Well, for other creators who are assigned to us for BSP, typically, the most I do is just make sure that the management processes are correct. So I’ve already curated the content to say, hey, there’s a clear audience for this content and its high quality, but now we have to figure out what your process is. So maybe the reason why they have three issues, and their brand’s been around for three years is because management’s not that great, right? So that’s usually what I’m most hands-on about is the management, the cost of their pages, the production schedule, the process of making stories. None of this stuff when it comes to their actual story. They can do whatever they want with that. I’m very hands-off when it comes to the creative side.

And since you’re juggling everything, what was your business background in before you got into comics?

Well, I was an Army vet. So I’ve done radar technician work and stuff like that, and then telecommunications and engineering. Those are the main things I used to do, so it was more of a design type feel to my job. I also did some work in the government, right before I finally came into this, but I had a long stretch of unemployment after engineering got outsourced. This is my way of dealing with basic chronic unemployment.

What challenges did COVID pose back during 2020? Were there any plans that needed to be adjusted? Or did new opportunities present themselves?

Well, new opportunities did present themselves, but I did have one issue. I was supposed to go to Seattle for Emerald City Comic-Con. I had already shipped like $20,000 of inventory to Emerald City. And they lost my inventory. Mostly because Seattle was one of the first places to lock down.

Yeah, I think it started out there.

Yeah, everything was messed up there. We didn’t fly yet. So we canceled our flights. But our stuff was already in the process to be shipped there and was gone. And most of it didn’t return. And then USPS was like, “Well, I don’t know what’s going on. So I can’t reimburse your charity.” So I lost like, $8,000 on the trip. I was like, “Okay, I guess I’ll cancel all my other shows, this doesn’t look like it’s gonna end anytime soon.” So that was a hiccup. But with that being said, people have become much more open to online purchases. So that’s good for us. Like 75 percent or more of our income came from e-commerce deals.

Have you been able to take part in any of the online conventions that have taken place since last year going into this year?

I really haven’t tried. If I’m not a panelist, I tend to not participate. Most of these companies don’t really know how to make a virtual convention work. So most of the time, people are paying for a spot on a website. And that’s it. That really doesn’t do anything for anybody.

A lot of times you can do better just by hosting your own thing on your YouTube channel.

Yeah, do a couple of social media posts. Most of the time you do better, as far as engagement. So I definitely avoid it. But some people do well. They have little conferences and breakout rooms and everything else. But it’s usually on the smaller side and more professional level. You might have a gaming conference with developers, right? It’s like a developer conference. Those will be better conferences because they’re really small groups, and you actually talk to people and have meetings and everything else throughout the entire week. Those are great. I’ve been to a couple of those.

What can fans look forward to with the publishing app you have coming out next month?

First of all, all the content is free. So it’s a free app to download. It’s going to be for iOS and Android. We also have a forum on there. So basically, anybody who’s a fan of Webtoons or ComiXology, you’re gonna love this app because we have a whole bunch of different kinds of stories, not just superhero stories. I’m a big proponent of a real fleshed-out story. So a lot of different diverse stories, a forum online so you can actually talk on the app. You can talk to people about comics, movies, whatever. We’ll have dozens of episodes coming out every single week.

It’s just a cooler experience than what they normally get from Webtoon. Because we’ve literally looked at Webtoons and brought all the key features that they have to the app. And then on top of that, we added gamification, where you have daily missions, where they have a forum and features that add more of a community aspect to it. Webtoon is a very individual experience — you download it, you might be able to comment and that’s about it. But for the most part, you’re by yourself. Whereas for us, there are 32,000 people on the app right now. So you don’t feel alone.

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What’s the official name of the app going to be?

It’s BSP, so Black Sands Publishing.

Something I’ve been curious about is more and more people have been forced to work from home since 2020. What’s your home/work setup like? Are you the type of person that needs total silence when working? Or do you find yourself listening to music or podcasts?

Yeah, I can’t avoid it, since I have kids. My roof is not the best. I have the entire basement. So I lock that door whenever I can. If they’re watching Shark Man or something like that, and they’re dancing upstairs, there’s nothing I can do. It’s like an earthquake down here. Yeah. So I’ve learned to do a lot of work with a lot of background noise. It’s hard, though. I do hire people all the time for assistance. And other kinds of managers, because no one man can do all this. Somebody else has to run the app and stuff like that.

How many people do you have helping you under the company?

So people who are directly doing the responsibilities that I normally would have, if I was doing them? I’d say I have six official people in charge of specific departments and the company. And then I also have some agencies working for me for either PR or for advertisements and stuff like that.

To wrap up, what do you see in store for Black Sands going into 2021 and beyond?

Well, what we’re looking to do is hit $2 million in sales. For physical books alone, we’re on pace to hit at least $1.2 million. But we really want to increase and get to $2 million. On top of that, we would love to hit maybe 500,000 users on the app by the end of December, but who knows, we might get way more than that. I have a lot of influencers on the team. And we’re also planning on raising a minimum of $10 million this year in capital. This is for the second round for our app and then a round for our animated properties for Black Sands. The animation will probably come out in the summer. And we’re going to use that clip, which is like seven minutes long, as a short. And we’re going to use that to raise the money for the entire show.

So it’s a different kind of process from how shows are typically funded. Usually, you go to like a Netflix of the world or HBO and you say, “Hey, this show is X amount of money,” and they’re like, “Alright, well, I like this show.” I think we’ll have good numbers to pay for it. We’re gonna pay for it ourselves, and then we’re going to be able to go to them as distributors instead of as the people who fund the production themselves.

So the animated shows you’re working on, are they based on the existing comics you’re already publishing?

Yes, Black Sands’ Seven Kingdoms, Cosmic Girls and Boys Family Adventures. Cosmic Girls is already ready to go. We’re pitching that now to some studios like Nickelodeon and Cartoon Network.

You can keep up with Black Sands Entertainment on Facebook, Instagram, YouTube, TikTok and at Black Sands’ website. The Black Sands Publishing app is set to launch on iOS and Android on Feb. 1.

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CartoonExtra 2021 is one of the most visited illegal websites





CartoonExtra 2021 is one of the most visited illegal websites

CartoonExtra 2021 is one of the most visited illegal websites

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Basic Information About CartoonExtra

CartoonExtra 2021 is one of the most visited illegal websites

CartoonExtra is a theft site giving its crowds an immense assortment of kid’s shows in various dialects online free of charge. The broad rundown of the most recent and old drawing of this unlawful site empowered the clients to watch and stream kid’s shows without any problem.

CartoonExtra 2021 is one of the most visited illegal websites

CartoonExtra unlawful site gives the HD and high caliber of recently dispatched kid’s shows to their clients as fast as conceivable with print characteristics going from 360P to 720P. CartoonExtra has unlawfully spilled motion pictures of a few language kid’s shows films and it is among the primary destinations.

Some acclaimed kid’s shows are Peppa Pig, PowerPuff Girls, Denice the Menace, Tom and Jerry, The Simpsons, Fairy Gone, Haikyuu, K, Gintama, and more kid’s shows have likewise been spilled by this illicit site.

Working Process of CartoonExtra

CartoonExtra 2021 is one of the most visited illegal websites

CartoonExtra is a downpour site, which transfers the entirety of its kid’s shows. Various individuals from unidentified spots direct site administration. Clients may browse film gatherings and import their #1 motion pictures as effectively as they need.

To stream kid’s shows from the CartoonExtra site, the client will initially get to the web by entering the particular space name. What’s more, after this, the client is allowed to download their number one films.

At the point when the site gets to click on promotions and different connections, sponsors furnish distributors with a way to bring in cash from their online substance.

CartoonExtra 2021 is one of the most visited illegal websites

The unlawful online site as of late released a film. This may be stun to the entertainment world as the film has fallen prey to robbery.

Cartoons Leaked by CartoonExtra website

CartoonExtra 2021 is one of the most visited illegal websites

CartoonExtra has as of late released a few English kid’s shows on its site. Referencing all the kid’s shows spilled via CartoonExtra is incomprehensible, we will discuss the most well-known kid’s shows spilled by the site. Examine the most recent kid’s shows and anime unlawfully spilled via CartoonExtra.

Disclaimer: doesn’t promote piracy and is strictly against online piracy. We understand and fully comply with the copyright acts/clauses and ensure we take all steps to comply with the Act.

Through our pages, We intend to inform our users about piracy and strongly encourage our users to avoid such platforms/websites. As a firm, we strongly support copyright acts. We advise our users to be very vigilant and avoid visiting such websites

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Can the ‘Sex and the City’ Reboot Keep Up with Fashion’s Woke Evolution?

Emily walpole



Can the ‘Sex and the City’ Reboot Keep Up with Fashion’s Woke Evolution?


It’s been nearly 20 years since Carrie Bradshaw, the protagonist and narrator of the HBO series “Sex and the City,” (SATC) described her penchant for wearing “ghetto gold” to her three equally white girlfriends at brunch as “fun”—not the aesthetic that she envisioned for her engagement ring.

“How can I marry a guy who doesn’t know which ring is me?” she bemoaned after finding a pear-shaped sparkler affixed to a yellow gold band, tucked away in her boyfriend’s belongings.

Though it was a cringe-worthy moment in 2001—and one of many from the show that routinely used gay men as campy comedic props and fetishized Black men, to its overall lack of diversity despite famously being set in New York City, which the show’s actresses often described as the “fifth character”—it didn’t deter millions of rabid fans from tuning into the show the following week to watch Carrie, Samantha, Miranda and Charlotte on their quest for love, success and Manolos in the Big Apple.

More than 10 million viewers watched the show’s final episode three years later, and the subsequent films, 2008’s “Sex and the City” and “Sex and the City 2” in 2010, went on to rake in a total of more than $713 million.

Audiences in 2021, however, may not be as generous—or uneducated. When the show’s star Sarah Jessica Parker announced on her Instagram account earlier this month that a new chapter in the SATC saga called “And Just Like That…” is going into production this spring, the news was met with cautious optimism.

On one hand, the show, which will follow three of the four original characters—Carrie, Miranda and Charlotte—“as they navigate the journey from the complicated reality of life and friendship in their 30s to the even more complicated reality of life and friendship in their 50s,” may be the kind of nostalgic romp that homebound viewers devour. A respite, perhaps, for restless viewers who are in fact navigating their own complicated realities of life and friendship in a pandemic.

On the other hand, the world is in an entirely different state of mind, especially in regard to one of the show’s biggest legacies: fashion.

The Black Lives Matter (BLM) movement in 2020 was the catalyst for an overdue reckoning in the fashion industry, and brought to light the ugly experiences rooted in racism many Black people have encountered while trying to survive in the business. In turn, the movement drove many fashion brands to recalibrate how they address diversity within their companies, promote inclusivity in their campaigns and communicate their messages with sensitivity. BLM also sparked online conversations about intersectional environmentalism and cultural appropriation, educating consumers about the deeper impact of their purchases.

SATC’s cultural exploitation problem didn’t start or stop with “ghetto gold.”

It was on full display in the second film, which took the four friends to Abu Dhabi, the UAE’s conservative capital, in an effort to escape their hectic—or in the case of Carrie, increasingly humdrum—New York City lives. The plot line teed up an endless parade of unfortunate opportunities to flash nonsensical wealth and more tone-deaf fashion choices like headdresses and harem pants, not to mention Carrie’s bewilderment when she finds out that shoes sold at a souk cost just $20. Shocking.

The Sex and the City reboot tees up an unique chance for TV to influence fashion in a positive new direction.

Sex and the City 2

Years later in an interview at a New York Magazine event, Parker said, “I can see where we fell short on that movie, and I’m perfectly happy to say that publicly.” These issues, however, will need to be rectified for the new show to stand a chance because woke fans and influential industry watchdogs, like Diet Prada and Saint Hoax, will be watching, and maybe even salivating and the chance to catch and call out the next big blunder.

“Many of the people I’ve talked to have said ‘I’ll watch it, but…,’” Benjamin Ayer, lead consultant for Benjamin Bellwether, said of the mixed reception to news of the reboot.

“The short of it is that the movies, especially the second one, really marked a point of seemingly no return,” the trend forecaster said. “The second movie has some real pain points for people who saw it as reductive to feminism and diversity; and, that’s on top of complaints that the show, in general, was too white and too materialistic.”

With doubts like these, the reboot runs the risk of becoming another successful “hate-watch” anomaly of the pandemic entertainment landscape, like the Netflix series “Emily in Paris,” which viewers binged last fall only to trade online gripes about the show’s unrealistic portrayal of fashion on an entry-level PR salary. (Though it didn’t stop style-hungry watchers from emulating some of the show’s key style moments, like red berets.) The show, it bears noting, was styled by Patricia Field, the iconic New York City stylist who coined the signature looks of SATC’s characters.

“With conversations around inclusivity growing louder, there will be pressure on the SATC reboot to be diverse and woke,” said Kayla Marci, an analyst for retail market intelligence platform Edited. “However, efforts need to be collaborative, well-researched and authentic to avoid coming off as insincere and tokenistic. As some episodes and parts of the movies were problematic, there is an opportunity to learn from these past mistakes.”

Positive influence

That’s not to say that “And Just Like That…” is doomed before its first fitting.

Rather, experts say the show’s creators and costume department have a chance to sway fashion in a new positive direction. SATC, after all, debuted 12 years before the first ’gram was ever posted. It influenced fashion through the original small screen, television, requiring viewers to come back each week at the same time, Sunday at 9 p.m. EST, for 94 episodes over the course of six years—an ask that seems unreasonable in the instant-gratification age of streaming.

Integral to this change, according to Caroline Vazzana, stylist, influencer and author of Making It in Manhattan: The Beginner’s Guide to Surviving & Thriving in the World of Fashion, will be more diversity behind-the-scenes—from the writing room to the wardrobe truck. More diverse view points on the set will help ensure that the show puts its best foot forward, she said.

The reboot also presents an opportunity to tap into a more mature millennial mindset and, perhaps, reinvigorate how viewers look at their own closets after months of wearing sweats. It may even inspire new loungewear or face-mask trends, Vazzana noted, if the show is set during coronavirus times.

Ayer lauds SATC for how it wielded fashion as a means to express the characters’ personalities and emotions. Field’s ability to build characters through silhouette, color, pattern and accessory choices—many of which went on to become global trends like Carrie’s tulle skirt from the opening credits, the horseshoe necklace she wore throughout season four or her silk corsages in season three—gave consumers the green light to be playfully experimental with their own look.

Manolos and a vintage fur—two Carrie Bradshaw signatures

“I’ve talked to so many women and gay men alike who felt they could be [bolder] in their fashion statements, especially in New York City,” because of the show, Ayer said.

Whether it was pairing two different colors of the same shoe style, like Carrie did when the ladies ventured to Los Angeles in season 3, or making strong shoulders sexy again à la Samantha, Field showed viewers how to mix and match and take risks. This adventurous approach to fashion filtered into street style, which became just as important as runway styling, Ayer added, and made designers who were once only on the tips of the tongues of in-the-know fashionistas, new household names.

Brands such as Manolo Blahnik, Fendi, Dior, Vivienne Westwood and Tiffany are just some of the labels still synonymous with the franchise, Marci said, as well as specific products like Fendi’s baguette bags and Manolo Blahnik’s Hangisi pump, which Big—a character that was likened to Donald Trump in a positive way early on in the series—used in lieu of an engagement ring to propose to Carrie in the first film. (Editor’s note: shoes, apparently, are a more acceptable symbol of love than “ghetto gold” jewelry.)

Woke fans and fashion industry watchdogs will be watching to see if the Sex and the City reboot can address diversity in an authentic way.

A Bergdorf Goodman window display featuring items from “Sex and the City: The Movie”

Since the show ended, Marci said many fashion houses have been reshaped by new creative directors at the helm of Dior, Gucci, Louis Vuitton, Burberry, Givenchy and Bottega Veneta. “These legacy brands’ redefined looks are very much in line with Carrie’s feminine and eccentric aesthetic, Miranda’s clean and minimal, and Charlotte’s polished and preppy one,” she said.

The next show, however, has an opportunity to elevate lesser known designers and brands into the spotlight. In addition to the big names that everyone is expecting to see, Marci noted that cult darlings coveted by today’s consumer, like Ganni, Marine Serre or The Vampire’s Wife, would be a welcome addition.

“I’d love to see airtime given to designers spearheading environmental change like Gabriela Hearst and Stella McCartney, or labels that champion inclusivity like Fenty, Prabal Gurung or Christian Siriano, as well as see SATC use its enormous and powerful platform to showcase emerging BIPOC designers,” she said.

Ayer shared that sentiment, adding that the show’s stylists should “reward” high-fashion brands who are embracing diversity on their runways and look books, like Erdem, Balmain, Carolina Herrera, Collina Strada and Ferragamo, with placement on the show.

“The show has the power to elevate designers, and [it] should take that power seriously,” Ayer said. “It would be great to see the same fashion independence that Field brought to the cast of SATC to represent the new fashion industry. The one where sustainability matters, ethics matter, behavior matters.”

His top picks for the characters include “modern” and “powerful” looks by Fear of God for Miranda, classic and modern pieces by Wales Bonner and Andrew Gn for Charlotte and No Sesso and Threeasfour for Carrie’s fearless style. As the shows main trendsetter, Carrie, he added, should be “mixing her vintage fashion with new pieces from local, Black-owned, queer-owned, minority-owned and future-minded brands.”

Brooklyn-based and vice president-approved designer Christopher John Rogers is high on Vazzana’s list of designers whose work should make a cameo. “Christopher John Rogers would be epic and so beautiful for Carrie to be wearing around New York City,” she said.

Christopher John Rogers RTW Spring 2021

The reboot could bring good fortune to local talent. With the show celebrating the city, Marci said it would be great to see New York talent spotlighted. Fendi baguette bags could be traded for a ‘Bushwick Birkin,’ the nickname of Telfar’s in-demand unisex tote, or Carrie could swap her infamous Dior newspaper-print dress for Duckie Confetti’s money robe, she suggested.

A reflection of the times

Another common inducer of eye rolls about SATC was its unrealistic portrayal of wealth. The same lavish fashion that lured people to their TV sets each week also alienated some—particularly New Yorkers who knew the improbability of a local newspaper sex columnist being able to afford Carrie’s Upper East Side abode, endless closet and buzzing social life.

“This fantastical approach to luxury is what made the fashion in the show so iconic because it was very aspirational, yet unbelievable, that these ‘everyday women’ could afford to be head-to-toe in high-end designers every day,” Marci said. Following an economic crisis like the one brought on by the global pandemic, it will be important to balance the fantasy element with reality, she added.

While longtime fans of the show will expect to see a high caliber of designers, SATC must offer a measure of relatability in order to resonate with a new audience, Marci said. “A great way to show luxury in 2021 is to blend designer pieces with more contemporary and affordable brands,” she said. “Given the status of some of the items worn in the show and with sustainability becoming such an urgent and complex issue for the fashion industry, I’d love to see classic outfits re-worn or vintage archival pieces curated.”

The writers bringing the show to life “will have to make sure they reflect the times, and capture the essence of what they started out as: a show that helped normalize the timely female dynamic in mainstream culture,” Ayer added.

But that’s not to say that the ladies can’t catch up on their relationship follies while shopping in The RealReal or in small boutiques that champion diverse designers. Or why not have the characters share pieces, he added, highlighting the ever-growing sharing and rental economy.

“The show is known for the fashion, so represent the times,” Ayer said.

But be authentic

SATC is not the first show from the late ’90s and early aughts to make a recent comeback, but whereas series like “Will & Grace” and “90210” struggled to recreate the magic of their originals, “And Just Like That…” already has social media doing some of the leg work.

It also has Gen Z’s fondness for throwback fashion on its side. “A combination of social media and the revival of ’90s and ’00s fashion has helped keep SATC relevant as well as gain a cult following with a younger generation obsessed with nostalgia for an era they haven’t experienced,” Marci said.

Vazzana pointed out that SATC-themed content performs exceptionally well on TikTok. “Gen Z definitely knows about ‘Sex in the City’… young women and men are still very into that ‘moving to New York City’ mindset,” she said. Do they love the characters and appreciate their style the way older cohorts do? Vazzana isn’t sure. “Gen Z style is very different, but it is not super-eclectic and over-the-top like Carrie is known for,” she said. “Maybe it will  inspire a whole new generation to dress outside the lines.”

But if everyone wanted to “be a Carrie” back in 2004—fans even snapped up “I’m a Carrie” merchandise prior to the show’s finale—Type A Miranda has emerged as the fan-favorite today. “Reopening the SATC series time capsule in the 2020s has led to an internet consensus that Miranda is the coveted character, with attributes and style resonating with young women today,” Marci said, adding that her character is defined as career-driven, proud feminist with a minimal wardrobe.

Additionally, Charlotte, the most traditional character on the show, has become the poster character for political correctness, inspiring the #WokeCharlotte meme, a viral sensation that paired images of prim and proper Charlotte with progressive captions.  The evolution of these characters into today’s world will add to the show’s longevity and its impact on the Gen Z audience, Marci said.

While Ayer said the SATC reboot is really for “millennials and above who loved it the first time around,” as consumers, we are all moved by nostalgic pop-culture phenoms, no matter how we may think we’ve evolved, he added.

“Consumers will always be influenced by entertainment,” Ayer said. “As much as we may fight against it, we are creatures that crave persuasion.”

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