AutoZone, Inc. (AZO) reported 6.2% year-over-year growth in earnings per share to $11.44 for the third quarter of fiscal 2017 (ended May 6, 2017) from $10.77 recorded in the year-ago quarter. Earnings missed the Zacks Consensus Estimate of $12.00.
Superior Industries International, Inc. (SUP) has achieved 75% of the threshold needed to complete its tender offer for the shares of UNIWHEELS AG.
Ford Motor Company (F) announced its decision to invest $350 million to upgrade its Livonia, MI transmission plant for building fuel-efficient vehicles.
Honda Motor Company, Ltd. (HMC) has introduced its first five-door Civic hatchback in the U.S.
AutoZone, Inc. (AZO) is slated to report third-quarter fiscal 2017 results on May 23, before the market opens.
Lear Corporation (LEA) seems to be a compelling pick for the investors on the back of its strong key value statistics.
Despite a classy cast, which includes Charlotte Gainsbourg and Mathieu Amalric alongside Cotillard, Arnaud Desplechin’s Cannes opener is a baffling messThe Cannes film festival has begun with a twirl of pure time-wasting silliness from French film-maker and Cannes veteran Arnaud Desplechin. This is an unfinished doodle of a film, a madly self-indulgent jeu d’esprit without substance: a sketch, or jumble of sketches, a ragbag of half-cooked ideas for other movie projects, I suspect, that the director has attempt to salvage and jam together. It is admittedly leavened with the occasional shrug of humour or elegance or interesting moment of performance. But these stylish touches are effectively orphaned, presented to us without any satisfying cinematic or dramatic context. And the tonal switches between sophisticated comedy, mystery and finally tragedy – a final scene attempts an allusion to Cordelia and Lear – are frankly baffling and jarring.Desplechin’s films are often composed of disparate elements, presented to us like boxes of chocolates for which he hopes we might have a sweet tooth, and this reminded me in some ways of his A Christmas Tale or Kings & Queen, with its moments of fantasy and reverie. Often in his movies the number of tasty or even sometimes rather delicious sweets outnumbers the duds. Not here. Continue reading...
To reduce costs and improve profitability, Ford Motor Company (F) plans to lay off approximately 10% of its salaried employees in North America and Asia.
The BBC2 broadcast of Mike Bartlett’s play is a reminder that even for republicans, the Queen’s death will loom largeKing Charles III, Mike Bartlett’s play set in a future shortly after the Queen’s death, aired on the BBC this week. Its trim new television version was directed by Rupert Goold and starred, in what turned out to be his masterful swansong, the late Tim Pigott-Smith, who died suddenly between filming and broadcast. The drama, the stage premiere of which was at the Almeida in London before runs in the West End and on Broadway, is about a constitutional crisis precipitated by the new king’s refusal to sign a bill into law. As the country descends into riots and unrest, a subplot also emerges about a romance between Prince Harry and an ordinary London student (their idyll rudely interrupted by press intrusion). And the Duchess of Cambridge reveals a steely interior life quite different from the benign exterior projected by the real Kate Middleton.Mr Bartlett’s blank-verse drama is a riff on the Shakespearean history play: he has given us a Prince Charles tinged with Lear and Richard III; a Duchess of Cambridge perfumed with Lady Macbeth; and a Prince Harry very obviously drawing on his namesake, Prince Hal of Henry IV, who hangs around taverns with his raffish pals only to abandon them brutally when duty calls. The royal family are, as Alan Bennett has pointed out (and he should know, given his play A Question of Attribution and story The Uncommon Reader, both of which feature the Queen) a gift to write about. They are endlessly seen while essentially unknown, and so provide blank slates on to which one can project imaginary life. Continue reading...
Zacks.com featured highlights: GATX, Lazard, PetMed Express, MKS Instruments and Lear
To Norman Lear, creator of iconic sitcoms including the ‘70s “Maude,” the fact that abortion is still a relatively taboo subject for TV is more than disappointing. “It’s pathetic,” he told Cosmopolitan for a lengthy piece providing an oral history of how abortion makes it on TV. In 1972, “Maude” made history for becoming one of the very first shows to depict a woman on screen deciding to terminate a pregnancy and also go through with her choice. Lear tackled the issue in the very first season during a two-part episode called “Maude’s Dilemma,” in which the 47-year-old character played by Bea Arthur learns she’s pregnant. Speaking with her husband, she realizes neither one of them wants a child, so she gets an abortion. As Cosmopolitan points out, the episode aired two months before the Supreme Court’s Roe v. Wade decision secured women’s rights to abortion throughout the United States. “I can’t imagine an excuse for staying away from [the subject of abortion], if it’s well discussed and you understand each point of view,” Lear went on. “The establishment likes to go along with that old idea that ‘nobody ever lost money underestimating the intelligence of the American people,’ and I think it’s dead wrong. There’s a sense that people are stupid, and we have to protect them. They’re not! And we don’t!” Although abortion is a common practice, it remains a rarity on television. TV writers wanting to include such a plotline bump up against standards departments at major networks, providing big hurdles to visibility of abortion, which in real life has come under threat by the administration of President Trump. When it is broached, the topic has historically been littered with flip-flop decisions by characters, who ultimately choose not to go through with the medical procedure. A study of abortion plotlines between 2005 and 2014, however, showed that storylines actually did a good job portraying the realities of it. Progress, though, has come incredibly slowly; even 20 years after the “Maude” plotline, a story appearing in the Chicago Tribune lamented conservative interest groups pressuring networks against anything too controversial, titled “Maude’s Abortion Fades Into History.” The episode attracted a stunning 65 million viewers, per the Tribune, which notes that protesters became better organized by the time the episode’s re-runs rolled around, sending 17,000 letters to the network. Advertisers wanted nothing to do with the repeats. Lear remembers that backlash. “They lay down in front of my car in L.A. and [CBS founder] William Paley’s car in New York. But that wasn’t ‘the American people’ speaking. It was a minority.” To read the whole piece, head to Cosmopolitan. -- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
Zacks.com featured highlights: Lear, BT Group, Monsanto, Ternium S.A. and Credicorp
BEGUN, THE BEER WARS HAVE: Craft Beer Bars Cutting Off Wicked Weed, Other AB InBev-Owned Breweries. …
BEGUN, THE BEER WARS HAVE: Craft Beer Bars Cutting Off Wicked Weed, Other AB InBev-Owned Breweries. Falling Rock Taphouse, Euclid Hall, the Crafty Fox, Walter’s 303 Pizzeria and Publik House and First Draft Taproom — all respected Denver craft beer bars — also said they will stop serving Wicked Weed and other AB-owned brands. … […]
Tesla, Inc.'s (TSLA) adjusted loss was of $1.97 per share in the first quarter of 2017 was wider than the Zacks Consensus Estimate of a loss of 67 cents.
General Motors Co. (GM) posted record adjusted earnings of $1.70 per share in the first quarter of 2017 that surpassed the Zacks Consensus Estimate of $1.45.