A star more than 160,000 light-years from Earth has just become the epic subject of the first close-up portrait of a star in another galaxy.It’s called WOH G64, a red supergiant star ensconced in the Large Magellanic Cloud dwarf galaxy orbiting the Milky Way. It’s so large that it has, for some years, been known as “The Monster” or “The Behemoth”, clocking in at nearly 2,000 times the radius of the Sun.
A star more than 160,000 light-years from Earth has just become the epic subject of the first close-up portrait of a star in another galaxy.It’s called WOH G64, a red supergiant star ensconced in the Large Magellanic Cloud dwarf galaxy orbiting the Milky Way. It’s so large that it has, for some years, been known as “The Monster” or “The Behemoth”, clocking in at nearly 2,000 times the radius of the Sun.
Founded more than a decade ago, Abside Networks is looking to raise its profile as the company gets more serious about the US military’s 5G business.”We’re stepping out and we’re growing,” Doug Hutchison, Abside’s chief product officer and VP of business development, told Light Reading. “We’re in that growth phase now.”Based in Concord, Massachusetts, Abside Networks builds wireless networking equipment that is open radio access network (RAN) compliant, including 5G radios and other components. It does so via a small team of veteran designers and a group of third-party contract manufacturers that physically build the company’s radio products.All that work – including the manufacture of Abside’s 5G radios – is done inside the US.”Everything is local,” Hutchison said, though he declined to name the companies that manufacture Abside’s products. “That’s one of our claims to fame.”Abside is pursuing the same opportunity that JMA Wireless, Lockheed Martin, Ericsson, Nokia, Motorola, Oceus Networks, Sempre and others are chasing: the Pentagon’s FutureG program, which is part of the US Department of Defense’s (DoD’s) effort to leverage commercial 5G technology for military applications.Ultimately, the US military has a vision of using 5G and other technologies to connect “sensors with shooters across all domains, commands and services.” Meaning, the DoD wants a comprehensive, interoperable wireless networking system to connect everything owned and operated by the Pentagon.Along those lines, the DoD has already allocated roughly $650 million over the past three years to various 5G research and development projects – and more spending is imminent.In response, massive 5G radio vendors like Ericsson and Nokia have set up divisions focused specifically on 5G military applications.From Loon to the PentagonAbside originally launched in 2012 with the goal of leveraging 4G technology for federal and military uses. But much of its early work involved designing and building the networking equipment used by Google’s ill-fated Project Loon effort, a program that aimed to provide Internet access to remote and underserved areas using high-altitude balloons. Three years ago, Google owner Alphabet shuttered the project because “commercial viability has proven much longer and riskier than hoped.”The timing was good for Abside, Hutchison said.Early Pentagon forays into 5G primarily involved the 3.5GHz CBRS spectrum band. But the DoD is increasingly eyeing other spectrum bands including n79, which operates in the 4.4-5GHz range and is licensed to federal users, according to Hutchison.”It’s a very different approach from Nokia and Ericsson,” Hutchison said of Abside’s efforts. He explained that big 5G equipment vendors mainly focus their equipment on commercial spectrum bands owned by the likes of AT&T and T-Mobile. But Abside is focusing its efforts on spectrum intended for federal and military users.Hutchison likened Ericsson and Nokia to Ford and GM, which build standard commercial cars. The military, meanwhile, buys specialized Humvees for its transportation needs. “That’s probably the fairest analogy,” he said.Moving forward”One of the reasons we’re stepping out now is the maturity of our products,” Hutchison said. Abside has conducted multiple rounds of fundraising, each totaling several million dollars, he said, though he declined to provide details. The company counts around 20 full-time employees and a wide range of contractors and consultants.The global open RAN trend is helping to drive Abside’s momentum, Hutchison added. Open RAN allows components from different vendors – including radio, hardware and software – to be interoperable on the same platform. Although the technology has traveled a bumpy path, commercial operators ranging from Vodafone to AT&T have voiced support for open RAN.”Modularity in the RAN allows agility and promotes supply chain security, vendor competition, and, ultimately, innovation and cost efficiencies,” according to the DoD.With open RAN, “you’re getting to see a lot of new ideas at least get introduced to the marketplace,” Hutchison said. “You’ve kicked the door open to innovation, and that’s a big deal.”
The journey from successful stage musical to big-screen adaptation is rarely truly successful. From director Joshua Logan’s use of coloured filters in the 1950s adaptation of South Pacific (which looks as if something is wrong) to Tom Hooper’s recent mega-mess movie of Cats, there are so many pitfalls to avoid.
The suspension of disbelief we willingly embrace in live performance is disrupted by the naturalism of cinema so that the aggressive ballet of the West Side Story gangs looks prissy and tame when filmed on the realistically gritty streets of New York. Similarly, Nathan Lane’s Max Bailystock was hilarious onstage in The Producers, but translates to the film as monstrous over-acting.
Like these musicals, Wicked has proven a remarkable success onstage and is the second highest-grossing musical in the history of New York’s Broadway (after The Lion King). Now it arrives on-screen in two parts; the first released this year and the second in 2025. Eyebrows have been raised at the 2 hour 40 minute running time for a movie that covers act one of the musical, which is 90 minutes onstage.
Inspired by figures like Saddam Hussein, Wicked began life in 1995 as a novel by Gregory Maguire who, drawing on L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz, wanted to explore how certain figures became demonised in society.
Set in the years before Dorothy crash lands in Oz, the story shows the Wicked Witch to not be evil; she is, in fact, good, becoming radicalised by the broken politics of Oz.
The novel was bought almost immediately by Demi Moore and Universal Studios who struggled to develop a screenplay until composer Stephen Schwartz suggested it became a stage musical.
Working with author Winnie Holzman, they created a female-centric story that jettisoned much of Maguire’s politics to concentrate on the “frenemy” relationship between “pretty in pink” Glinda and the green-skinned outsider, Elphaba.
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Director John M Chu’s movie takes Wicked back to its political roots. In a time when populist leaders are on the rise, it arrives as a warning of the dangers of modern fascism.
In particular, it expands the storyline of Oz’s speaking animals who lose their voices. Unlike onstage, these animals are CGI characters in fully animal form and Chu captures how societies are stunned into silence by outrageous political actions. In doing so, he emphasises the unthinking unkindness of the herd mentality. He also makes the film a paean to the power of goodwill.
Set mostly during the Wicked Witch’s schooling years, Shiz University is also more fleshed out. In this section, the movie is in danger of losing its narrative thrust. However, just as we begin to feel trapped in the love child of Mean Girls and Harry Potter, we are whizzed off to the Emerald City.
Here Maguire’s backstory to the Grimmerie, the Ozian book of spells, is now musicalized in a new sequence featuring the original stage stars Idina Menzel and Kristin Chenoweth, and topped by a cameo from Stephen Schwartz. Once in the City, Jeff Goldblum’s Wizard proves a scheming huckster too aware of his own limitations
One of the classic pitfalls of the movie musical is in casting. From Lucille Ball in Mame to Russell Crowe in Les Misérables, missteps here can prove fatal. Thankfully, Wicked is expertly cast.
Ariana Grande captures the over-dramatising spoilt brat Galinda (to become Glinda the Good Witch), with precision vocals. Jonathan Bailey has a ball with the athletic, knowingly objectified heartthrob Fieryo, cementing his place as a leading man. Michelle Yeoh and Jeff Goldblum bring sinister gravitas and reasonable vocals to their respective roles.
However, the casting masterstroke is Cynthia Erivo as Elphaba who brings the quiet dignity to the role that she first revealed onstage in The Color Purple. As a queer black woman, for her, Elphaba’s story is one of pride, this is a woman who refuses to be ashamed of who she is and is determined to fulfil her potential.
She has a distinctive singing voice and the confidence to erase memories of Menzel’s stylings. Film also brings dimensions to Erivo’s talent. The use of close-ups allows an intimacy in her relationships that is impossible in a live setting. She is also able to show her ability to convey the pain she is suffering in a simple glance.
The film is a remarkable feat of 2D and 3D design and there are a dazzling array of quotes to other cinematic renderings of the Oz legends, all of which are delivered with a contemporary sensibility. This is a mechanically driven Oz, full of cogs and wheels, which reference the stage design of Wicked and includes a stylish train.
The costume designs reference both the stage show and the all-black disco musical The Wiz (1978). While the memories of the iconic Judy Garland’s 1939 movie are prompted every few minutes. In one scene, for instance, Elphaba transports a (cowardly) lion cub in a bicycle basket reminiscent of Toto’s dog-napping.
MGM changed Baum’s silver slippers to ruby (and the Wicked Witch’s skin to green) to showcase the newly developed Technicolor process. In this film they remain silver but are first presented in a ruby-encrusted box. There’s also nods to Baum’s original. Notably, the strangeness of the book’s Oz is more accurately captured than in any other cinematic version.
The best musical theatre is like experiencing a series of highwire acts in which the performers must flawlessly execute choreography, act convincingly and hit the highnotes eight times a week. Musical films, which can be re-shot and overdubbed, necessarily lack this sense of danger.
If at times Wicked struggles to capture the sheer energy of the stage, it re-imagines the work in a spectacular, but also thoughtful fashion, deepening serious themes and emotional connection. I will be back to see it and will undoubtedly see the four-plus hours in one sitting once part two is released next autumn. I only wish Judy Garland could see it.
Open this photo in gallery:Cynthia Erivo, left, and Ariana Grande in a scene from the film Wicked.Universal Pictures/The Associated PressWickedDirected by: Jon M. ChuWritten by: Winnie Holzman, Dana Fox (based on the novel by Gregory Maguire)Starring: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff GoldblumClassification: PG; 160 minutesTwenty-one years after the stage premiere of Wicked, the musical based on the 1995 novel by Gregory Maguire, which in turn was based on L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz and its 1939 film adaptation, the movie version of the beloved show is upon us. Fans of the musical will adore the cinematic spectacle. The rest will get a relentlessly faithful reprise of the Broadway hit, with even more background story woven in. After all, Part One (yes, you read it correctly; the concluding sequel is scheduled to arrive at a screen near you in November, 2025) is almost as long as the entire musical.Oddly enough, the movie is both sumptuous and somewhat soulless. Jon M. Chu’s vision of the Land of Oz is like a cross between Hogwarts and Barbieland. The sets are lavish, the costuming is detailed and musical numbers are grand in scale. However, for a director known for works such as the Step Up sequels, Crazy Rich Asians and Into The Heights, we don’t really get swept away with his Wicked world-building. Fortunately, for a show known for its power anthem style tunes, there are actors who truly have the pipes to deliver them – even if their acting is sometimes one-note. But that’s the challenge of large ensemble productions.Just like the musical, the movie begins with the death of the Wicked Witch of the West. As Ozians gather in glee, Glinda (Ariana Grande) floats in her pink bubble to address the crowd with her soothing and self-absorbed observations, and to confirm the news. Just as Glinda is leaving, a young woman from the crowd asks about rumours of Glinda’s friendship with the witch. “Are people born wicked? Or do they have wickedness thrust upon them,” Glinda wonders, as she confirms their paths crossing – at school.There follows a story told in flashback, when Glinda the Good was Galinda Upland, an insufferably popular young woman who arrives with a boat-full of pink baggage to Shiz University. That’s where she meets Elphaba Thropp (Cynthia Erivo), a young woman who grew up being rejected by her own father and society at large because she was born green. Elphaba is at Shiz to see off her younger sister Nessarose (Marissa Bode), who uses a wheelchair. However, sorcery professor Madame Morrible (Michelle Yeoh) sees potential in Elphaba and assigns her to be roommates with Galinda.Galinda and Elphaba do not get along at first. The arrival of Fiyero (Jonathan Bailey) and events leading up to a party change that dynamic. The roommates become good friends, with Fiyero rounding out the trio. After a series of events, Elphaba receives an invitation from the Wizard of Oz to visit. When boarding the train, she pulls Galinda in along for the ride. However, the meeting with the Wizard (Jeff Goldblum) doesn’t go as Elphaba had planned. Just as we come to understand how Galinda came to be Glinda, we see Elphaba being given the mantle of the Wicked Witch of the West because “the best way to bring folks together is to give ‘em a real enemy.” Part One ends with a stirring rendition of Defying Gravity, showcasing both Erivo’s and Grande’s vocal chops.Without a doubt, Grande and Erivo are the stars that carry Wicked. Grande channels all of the well-meaning Mean Girls energy we’ve seen previously in her Nickelodeon avatars. From her penchant for melismas to hair flips, Grande has fun playing Glinda. It’s too bad that Bowen Yang and Bronwyn James get sidelined as sidekicks Pfannee and ShenShen without tapping into the true potential of their madcap comic abilities.It’s not easy being green but it’s even more of a challenge being Elphaba in an ensemble. There aren’t many chances for Erivo to dive into her character, when she’s constantly in opposition to others. But there are moments, such as when she states, “I don’t cause commotions. I am one.” You grin along as you watch Galinda and Elphaba go from frenemies to besties.Wicked isn’t really the vehicle to ponder deeper existential questions about the true nature of evil. Or how some of its messaging may be relevant in today’s era of misinformation and propaganda. It does, however, hit more than a few sweet spots for fellow misfits who see themselves in either Glinda or Elphaba. Audience members I was sitting with at an advance screening palpably restrained themselves from reacting too visibly to the movie; although there was a collective gasp of appreciation for a certain cameo appearance.Sing-along screenings are sure to come along soon, especially during the festive season. That should be, well, popular.In the interest of consistency across all critics’ reviews, The Globe has eliminated its star-rating system in film and theatre to align with coverage of music, books, visual arts and dance. Instead, works of excellence will be noted with a critic’s pick designation across all coverage. (Television reviews, typically based on an incomplete season, are exempt.)
In celebration of its 50th anniversary, the American Genre Film Archive is releasing a 4K restoration of Bob Clark‘s holiday horror classic “Black Christmas” in theaters.
Teaming up with the AGFA, Texas-based collectible company Mutant has created an 18″ by 24″ “Black Christmas” poster that will be available exclusively at select 50th anniversary screenings. The five-color screen print, produced by Night Swim in an edition of 285, features brand-new artwork by Phantom City Creative. Additional white and red variants of the poster will be released on Mutant’s website Nov. 29 — Black Friday.
“I am so honoured that the American genre Film Archive and Mutant are presenting the 50th Anniversary of ‘Black Christmas’ in movie theaters this year, star Olivia Hussey said of the rerelease. “The film world is lucky to have the AGFA, which continues to show the meaningful impact of going to the movies through screenings like this one. I’m so happy and honoured that AGFA is introducing this film to a new generation of moviegoers.”
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“AGFA is proud to partner with our friends at Shout Studios and Mutant to celebrate the 50th anniversary of Bob Clark’s ‘Black Christmas’ by bringing the iconic holiday horror hit back to movie theaters in stunning 4K,” American Genre Film Archive leadership said in a statement. “This year also marks the 15th Anniversary of AGFA and our mission to preserve, protect, and promote the greatest genre films and their filmmakers. We’re grateful to partner with incredible collaborators to bring these films to a new generation of movie lovers.”
The film will screen in North American theaters from Dec. 7-22. Participating venues include Olympia Film Society in Olympia, Wash., Grand Illusion Cinema in Seattle, the New Beverly Cinema and Vista Theater in Los Angeles, the Brattle Theatre in Boston, the Rivoli Theatre in La Cross, Wis., AFS Cinema in Austin, Denver Film in Denver, Co., Rubber Glove Studio in Denton, Texas, Cinema Moderne in Montreal, Quebec, the Hollywood Theatre in Portland, Ore., the Frida Cinema in Santa Ana, Calif., the Coolidge Corner Theatre, Brookline, Mass. and the Metro Cinema in Edmonton, Alberta.
“What a gift it will be to see ‘Black Christmas’ in theaters, in December, and in glorious 4K presentation,” added Mutant in a written statement. “We are so excited to partner with our friends at AGFA and several of the best arthouse cinemas across the U.S. and Great White North to offer a beautiful new silkscreen poster for the original holiday slasher. With a film as influential (and Canadian) as ‘Black Christmas’, no artist is better suited to deliver the goods than Toronto’s own Phantom City Creative.”
Originally released in 1974, “Black Christmas” follows a group of women in a sorority house who receive mysterious phone calls that become increasingly threatening. The first of Bob Clark’s two holiday classics — the other is “A Christmas Story” — the film stars Olivia Hussey, Keir Dullea, Margot Kidder, John Saxon and Marian Waldman.
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The German American Business Council of Michigan hosted its Fall Gala Dinner 2024 on Nov. 14 at the Detroit Athletic Club. The theme of the evening was ”Navigating transatlantic trade in times of a changing global economy.” Featured speakers included Homayune Ghaussi, a partner at Warner Norcross + Judd; Kennon Carter, director and vice president of sea freight at EMO Trans; and Michael Ahrens, consulate general of the Federal Republic of Germany. The panel was moderated by Arnd Herwig, vice president of engineering at Brose North America and president of the German American Business Council of Michigan. Gov. Gretchen Whitmer also provided remarks during the event. // Photographs by Lindsay Schweickert.
Arnd Herwig
Arnd Herwig speaks before the panel
Arnd Herwig, Michael Ahrens, Henry Julicher
Arnd Herwig
Austin Vavra, Shereen Abdelhak
Bernard Fraser, Nicole Massey
Henry Julicher, Arnd Herwig
Henry Julicher
Katya Misyukevich, Carlotta Gmachl, Zoran Tomic-Bobas, Vlatko Tomic-Bobas, Eric Shreffler, Don Brown, Feras Al-Hourani
Kennon Carter, Homayne Ghaussi, Rob Martell, Arnd Herwig
Kennon Carter, Homayne Ghaussi
Laura Guilbault, Vlatko Tomic-Bobas, Elisa Meyer, Michael Schulte
Laura Hall, Anna Elliott, San Giacomantonio
Matt Coates
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Patrick Fortier, Kay Opderbeck
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Rob Martell, Homayne Ghaussi, Kennon Carter, Arnd Herwig
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A majority of small business owners held off on major business decisions until after the election. // Stock photoA new KeyBank Small Business Flash Poll found 61 percent of respondents indicated they were likely to seek clarity and hold off on major business decisions until after the election, while 12 percent said the election would have no impact on their 2025 planning.The poll also found business owners anticipate policy shifts will most affect areas such as:Taxation (45 percent)Regulations (34 percent)Trade policies (31 percent)Despite challenges posed by pre-election uncertainty surrounding anticipated policy changes, small business owners are preparing for growth, with nearly one-third (32 percent) expecting to expand their staff in 2025.“Small business owners faced many challenges in 2024, including political uncertainty,” says Mike Walters, president of Business Banking at KeyBank. “Despite challenges, they’ve displayed great resilience and patience navigating an election year.“As they plan for 2025, it is important that they talk with their banker to develop strategies and explore solutions that can help them adapt to and persevere through potential policy shifts and changes.”KeyBank’s recent Small Business Flash Poll also showed higher interest rates have impacted small business owners in many ways, including:38 percent of respondents faced reduced profit margins37 percent faced increased borrowing costs31 percent have deferred capital investment due to high interest ratesAt the same time, more than half of respondents (56 percent) expect interest rate changes to positively impact their businesses. The poll found they’ve adapted to the rate environment by increasing cash reserves (43 percent), reducing reliance on debt (37 percent), and diversifying funding sources (32 percent).The survey, which was conducted online via Survey Monkey, included 1,796 respondents, ages 18-99, located in the United States, who own or operate a small-to-medium size business with an annual gross revenue of less than $10 million, completed the survey in August 2024.KeyBank operates 15 branch locations in Michigan and a regional office center in Southfield.KeyCorp’s roots trace back nearly 200 years to Albany, NY. Headquartered today in Cleveland, KeyBank is one of the nation’s largest bank-based financial services companies, with assets of approximately $190 billion at September 30, 2024.For more information, visit https://www.key.com/.IN RELATED NEWS, a new American Customer Satisfaction Index (ACI) shows over the past five years, U.S. economic growth has outpaced the other G7 countries by about 300 percent.Meanwhile, at a national level, customer satisfaction as measured by the ACSI, which is based in Ann Arbor, holds in the third quarter of 2024 with a score of 77.9 (out of 100) — nearly the highest it has ever been.Consumer spending is by far the largest contributor to economic growth, and the degree to which buyers are satisfied or dissatisfied affects how much they spend. The advance estimate released by the U.S. Bureau of Economic Analysis shows 2.8 percent GDP growth in the third quarter and a 3.7 percent growth in consumer spending.Over the past five years, the recession that caused economic havoc in many other countries, was largely averted in the U.S. However, worldwide supply chain problems caused product shortages and a strong labor market led to shortages in the service sector.That, in turn, made consumer markets less efficient, causing inflation and diminished consumer power.“During this period, customer satisfaction mattered less and the national ACSI score had its steepest decline ever,” says Claes Fornell, founder of the ACSI and the Distinguished Donald C. Cook Professor (emeritus) of Business Administration at the University of Michigan in Ann Arbor.“The stock market became exceptionally concentrated, with fewer than 1 percent of the listed companies accounting for more than one-third of its capitalization. It no longer rewarded companies that provided strong customer satisfaction with excess returns. Although a recession was avoided, the markets did not function well.”Now, things have changed. U.S. overall satisfaction is stable since the second quarter at a near record high. However, it is just 1.4 points higher than it was a decade ago. Companies still struggle with how to best allocate resources for improving the satisfaction of their customers.While national customer satisfaction has not changed much, some individual companies show substantial ACSI movement. During the past decade, Bank of America, United Airlines, Cigna, HP, and Allegiant have seen double-digit percentage improvements in satisfaction.On the other hand, Dillard’s, Entergy, and Chrysler are among those that have lost significant ground over the last several years.Most industries continue to have high customer satisfaction elasticity. The higher it is, the more customer satisfaction impacts demand. Banks, internet service providers, financial advisors, and wireless phone service are among the highest elasticity industries. They stand to lose or gain the most from how they treat their customers.Financial punishment and reward are generally lower for general merchandise retailers, gas stations, and supermarkets because demand is more responsive to price and location in these industries.Overall, however, there is no industry or company in the Index that is financially immune to changes in the satisfaction of their customers. The higher the elasticity, the greater the competition.For more information, visit theacsi.org/.
Zurich Insurance Group has set out a new three-year plan with “highest targets ever” at its Investor Day one year ahead of the conclusion of the current cycle 2023-2025.In a statement today (21 November), the global financial services group spelled out its new financial targets for 2025–2027, namely a core return on equity (ROE) of more than 23%, core earnings per share (EPS) compound annual growth rate of more than 9% and cumulative cash remittances in excess of $19bn.
To deliver these targets, Zurich said it would further strengthen its commercial franchise and mprove Retail profitability and customer loyalty.
The plan will see the business aim to transform life protection into a global business to accelerate its growth. Protection gross written premiums to increase to a compound annual growth rate of 8%, and further growth in capital-light unit-linked business.
Zurich’s protection business, which represents almost 60% of the Life business operating profit, will be consolidated under a single global unit to improve technical excellence in underwriting and pricing, and customer focus.
It would also Support the continued transformation of Farmers to achieve sustainable growth of policies at Farmers Exchanges
Zurich said it is on track to exceed all of its 2023-2025 targets one year ahead of schedule, benefiting from the successful execution of its strategy and a better-than-anticipated market environment.
Over the years, Zurich has grown into a business serving 75 million customers. The Group has significantly invested in Middle Market, Specialties, and travel insurance services.
Digital platforms have been implemented across the Group and Gen AI is already being leveraged at scale by all of its markets, with 541 AI solutions in place and in development to improve performance and simplify customers’ lives.
Zurich has defined new business priorities that build on its unique market position and capitalize on its underwriting expertise to ensure it stays ahead of the market.
Over the past eight years Zurich has delivered an industry-leading total shareholder return of 17%5 per year and distributed more than CHF 28 billion in dividends and share buybacks. Delivery of the new plan targets will support a continued superior shareholder return.
Mario Greco, group chief executive officer said: “Zurich is performing exceptionally well, generating market-leading shareholder returns, but we see new opportunities to accelerate our success story.
“To reflect our growing confidence, we are launching a new three-year plan with the most ambitious targets in Zurich’s history. I’m convinced that we will continue to create significant value for our customers and our shareholders.”
Zurich said its financial targets for 2025–20271 were supported by ambitious business targets including the life protection area covered above.
For commercial insurance, business operating profit is to exceed $4.2bn and Middle Market gross written premiums to surpass $10bn by end of 2027.
Portfolio quality improvement will drive performance supported by actions to strengthen underwriting discipline. Particular focus on Middle Market and Specialties are identified as areas to accelerate growth.
For retail and SME, the plan is to return to a long-term level of profitability and further improve customer loyalty.
Long-term profitability is expected to improve through a combination of strengthened underwriting capabilities across markets, improvements in the portfolio mix, and by leveraging scale and technology assets.
The customer experience would be enhanced through new initiatives to earn loyalty and drive financial impact. Further, with the announced acquisition of AIG’s global personal travel business, which is subject to regulatory approval and expected to close before the end of the year, Zurich will also become a leading global travel insurer serving more than 20 million customers and 200 distribution partners through regional units around the world.
Farmers exceeded the ambitions set in November 2023 by returning to profitability and improving its capital position. The next phase of its business transformation will grow policies in force and the Farmers Exchange expect sustainable mid-single digit gross written premium growth over the next three years.
Financial results in 2025 will be reported relative to both the current and new plans, Zurich said.
It’s time for most of us to bid goodbye to the Downtown Boston BID. The group is now doing business as the DBA.On Wednesday, at the Downtown Boston Business Improvement District’s annual meeting, president Michael Nichols announced that the organization will now be known as the Downtown Boston Alliance, or the DBA. New banners are on their way, as are yellow uniforms for the organization’s “ambassadors” to replace the bright orange ones in use today. The legal name of the BID, which receives nearly all of its $7 million in annual funding from downtown property owners, will stay the same.Nichols, in an interview, said the move is intended to make the organization’s brand more approachable and less wonky — only a handful of the biggest BIDs in the United States still use that nomenclature in their name.“Most of our largest peers … long ago came to the understanding that you can be a BID without calling yourself one,” Nichols said. “Folks, media, government and real estate know the term, and almost no one else does.”The name change, which was developed in-house with the help of local branding agency Proverb, also aims to send a message that the group wants to represent everyone who has a stake in downtown’s future, from street performers to beleaguered commuters, not just the landlords who pay the bills.“It’s much simpler and honest to suggest that we are the alliance of people who care about downtown Boston,” Nichols said.The Downtown BID, Boston’s first, was first formed 14 years ago at the prodding of then-mayor Tom Menino and founding chief executive Rosemarie Sansone, who led the BID until one month before she died in 2022. Nichols was hired by the BID’s board later that year. As with other BIDs, property owners pay for the organization’s budget in return for services such as events, business recruitment, and street cleaning. Nichols is starting to diversify the revenue stream, particularly amid the weakening values of downtown office towers, by applying for grants to help cover some of the costs. He’s also been busy trying to attract first-floor tenants to many of the buildings that cater less to office commuters, given the impact that hybrid work has had on the downtown workforce, and more to the casual visitors.Next up: Nichols has hired American Christmas, a Mount Vernon, N.Y.-based exhibitor, to create a winter wonderland of sorts through the main shopping district, including a dozen 16-foot nutcrackers. (The Macy’s tree, though, will be MIA again this holiday season.)And he’s making plans for a return of “Winteractive,” a display of quirky public art that drew hundreds of thousands of visitors last winter. No word yet on whether those two giant floating clown heads will be returning.Jon Chesto can be reached at [email protected]. Follow him @jonchesto.