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Baggage handler slammed after viral video shows guitars violently tossed on tarmac

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A viral video showing an airport baggage handler tossing guitar cases roughly onto the tarmac at Los Angeles International Airport is sparking outrage online and larger concerns about how airlines may be handling passengers’ belongings.

The clip, reportedly filmed at Los Angeles International Airport, appears to show an airport worker roughly throwing multiple guitar cases from a luggage cart onto the ground.

College student Nick Ruiz, 21, who filmed the incident, said he spotted the scene while walking through Terminal 4 after arriving from Los Angeles, news agency Jam Press reported.

‘WORST PLANE RIDE’: AIRLINE PASSENGER CLAIMS SHE WAS REPEATEDLY SHOVED FOR RECLINING HER SEAT

“The whole situation felt wrong,” Ruiz told the agency.

He said he began recording his video out of concern for the instruments.

Airline worker in bright orange throws guitars on the tarmac.

A viral video of a baggage handler tossing guitar cases at LAX has sparked outrage and concern over luggage handling. (Jam Press/@goyamariacookie)

Gary Leff, a Texas-based travel expert and author of the blog “View From the Wing,” did not personally observe the incident but watched the video. He told Fox News Digital that while the video may appear shocking, this type of handling is not uncommon, in his experience.

“Airlines usually say behavior like this is unacceptable when a video comes out, but it’s actually fairly standard,” Leff said, expressing his point of view.

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He noted that checked baggage, even when labeled “fragile,” is not always treated with the extra care some might expect.

“Bags are designed to protect their contents,” he said, adding that flight passengers should avoid checking high-value or delicate items whenever possible.

airport

Airlines often condemn the type of incident captured in the viral video, but one travel expert said he believes it’s fairly common.  (AP)

“Probably the number-one photo I see most often [on] social media about airlines is damaged bags,” he said.

The video quickly gained traction on social media, with many viewers criticizing what they described as careless handling of expensive equipment.

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“Absolutely disgraceful,” one user wrote on TikTok.

“It’s the fact that it takes the same amount of effort or less to place them down calmly,” another user wrote. 

“As a musician, this breaks my heart.”

Many commenters shared similar frustrations, highlighting both the financial loss and emotional impact.

“That’s easily $3,000 of equipment, by the way,” a commenter wrote.

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“As a musician, this breaks my heart,” another user noted.

Others said the clip helps explain why luggage and fragile items often arrive damaged after flights.

Airline worker in bright orange vest picking up guitars and tossing them on the tarmac.

The clip spread rapidly online, drawing criticism from viewers who said the costly gear was handled carelessly. (Jam Press/@goyamariacookie)

Airlines are required to accommodate musical instruments either as checked baggage or carry-on items, depending on size and space availability, according to the U.S. Department of Transportation.

For larger instruments that cannot fit in overhead bins, some airlines allow passengers to purchase an additional seat to keep the item with them in the cabin.

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The department recommends that travelers who check their instrument mark the case as “fragile” even if in an instrument-shaped case.

Fox News Digital reached out to Los Angeles International Airport for comment.

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Esports Nations Cup 2026 Awards Official Partner Status Across 100+ Nations to Build the Future of Nation-Based Esports

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New global framework unites federations, clubs and ecosystem leaders to form national teams and mobilize local communities, accelerating representation on the global stage

Watch the ENC National Team Partners Announcement Campaign

[Media Kit]

RIYADH, Saudi Arabia, March 25, 2026 /PRNewswire/ — The Esports Foundation (EF) today awarded National Team Partner status to organizations and individuals across more than 100 countries and territories for the Esports Nations Cup 2026 (ENC), the global nation-based esports competition set to debut in Riyadh from November 2-29, 2026.

The Esports Foundation has awarded National Team Partner status to more than 100 countries and territories for the inagural
The Esports Foundation has awarded National Team Partner status to more than 100 countries and territories for the inagural

This marks the first time esports introduces a structured global system for national teams at scale, adding a new layer to the industry’s ecosystem alongside club-based competition. Designed to complement existing frameworks rather than replace them, the ENC will work with local stakeholders closest to the sport to strengthen connections and support long-term national development. 

National Team Partners will lead team formation, mobilize local communities and establish the structures needed to enable participation and the growth of esports. To ensure worldwide participation, countries and territories without a partner will be supported through regional structures provided by the EF. 

The EF received more than 630 applications from 150 countries and territories, reflecting the global interest in and opportunity for nation-based esports. The partners represent legacy esports organizations that have shaped their national scenes for decades alongside emerging forces driving the next wave of competitive gaming. The list of organizations and individuals who have been awarded this status is available on the ENC website and will be updated as additional appointments are confirmed.

“The Esports Nations Cup introduces something esports has never had before: a global system for national teams at an unprecedented scale,” said Ralf Reichert, CEO of the Esports Foundation. “The response we received from across the world shows that communities are ready for this next step. Together with our partners, we are building the structures that will allow players to represent their nations and compete on the biggest stage in esports. With more than 100 nations now part of the system, the Esports Nations Cup moves from concept to reality, establishing national esports as a lasting part of the global competitive landscape.”

Recognizing that esports has developed differently in many nations, the ENC adopts a partnership-led approach rather than relying on a single model, marking a first in global sport and esports alike. By working with recognized local stakeholders, whether institutions, Clubs, or community-led organizations, this model is designed to unlock the full creative and competitive potential of each nation.

National Team Partners will operate through a range of structures, from established national bodies such as the Korea Esports Association and the Saudi Esports Federation, to club-led coalitions in Brazil and the USA, and hybrid public-private alliances in countries like Germany, Canada and the UAE.

In markets such as Malaysia, Turkey, and Thailand, partners include federations working closely with grassroots communities, while in emerging regions like Indonesia and Mongolia, partners are being supported through structured development to represent their nations on a global stage.

For the first time in the history of esports, national teams will be formed from these local structures, bringing players together to compete for their nation and unlocking a new dimension of fandom built on identity and pride. From South Korea’s legendary League of Legends dominance and India’s Chess affinity, to Brazil’s Counter-Strike tradition, Japan’s fighting games heritage and Southeast Asia’s mobile games’ powerhouses, the ENC creates a new global stage for competition.

The ENC will launch in Riyadh in November 2026 before moving to a rotating city model. The biennial ENC complements the annual Club-based Esports World Cup (EWC), providing a stable structure for players and long-term investment in national team programs.

Additional information about the Esports Nations Cup will be released in the coming weeks. To stay up to date, visit esportsnationscup.com, and follow ENC on X, Facebook, Instagram, TikTok and YouTube, and follow the Esports Foundation on LinkedIn.

About the Esports Nations Cup
The Esports Nations Cup (ENC) is a biennial global esports competition created by the Esports Foundation (EF) that brings national pride to the world stage. Launching in Riyadh, Saudi Arabia, in 2026, the ENC will feature the world’s best players competing not for their clubs, but for their countries and territories, across a lineup of leading esports titles. Built in collaboration with game partners, clubs, and esports organizations, the ENC establishes the first recurring, large-scale platform for national teams in esports. Beyond competition, it aims to fuel fandom, inspire heroes, and provide sustainable pathways for nations, players, and partners to grow within the global esports ecosystem. esportsnationscup.com

About the Esports Foundation
The Esports Foundation (EF) is a non-profit organization based in Riyadh, Saudi Arabia, dedicated to advancing and professionalizing the global esports industry. Through the annual Esports World Cup (EWC) and the biennial Esports Nations Cup (ENC), the EF brings together the world’s top players, leading clubs, and millions of fans for the biggest stages in competitive gaming. Beyond hosting tournaments, the Esports Foundation works year-round to grow the esports ecosystem, support talent development, and create lasting opportunities for players, teams, and partners worldwide.

Esports Nations Cup
Esports Nations Cup

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DPC Dash Ltd Announces Full Year 2025 Financial Results

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Revenues increased to RMB5.38 billion, representing 24.8% year-over-year growth

Adjusted net profit reached RMB187.9 million, representing 43.3% year-over-year growth

Store-level operating profit grew by 18.5%; Adjusted group EBITDA increased by 28.2%

EPS increased 157.1% YoY to RMB1.08, Diluted EPS increased 150.0% YoY to RMB1.05

HONG KONG, March 25, 2026 /PRNewswire/ — DPC Dash Ltd – Domino’s Pizza China (“DPC Dash” or the “Company”, together with its subsidiaries, the “Group”) (1405.HK), Domino’s Pizza’s exclusive master franchisee in the China Mainland, the Hong Kong Special Administrative Region of China, and the Macau Special Administrative Region of China, today announced its audited consolidated financial results for the year ended December 31, 2025 (“FY2025”).

FY2025 HIGHLIGHTS[1]

  • Revenues reached RMB5.38 billion, representing an increase of 24.8% from RMB4.31 billion in the year ended December 31, 2024 (“FY2024”).
  • Opened 307 net new stores and entered into 21 new cities in FY2025. Total stores reached 1,315, across 60 cities, with 517 stores in Tier 1 cities and 798 stores in non-Tier 1 cities, as of December 31, 2025.
  • Same-store sales growth (SSSG) was -1.5%, compared to 2.5% for FY2024 and -1.0% in the first six months of 2025. Tier 1 City markets delivered positive SSSG during FY2025 and in both the six months ended June 30 and December 31, 2025.
  • Store-level EBITDA was RMB1,001.0 million, representing an increase of 20.4% from RMB831.4 million in FY2024. Store-level EBITDA margin was 18.6%, compared to 19.3% in FY2024.
  • Store-level operating profit was RMB739.7 million, representing an increase of 18.5% from RMB624.0 million in FY2024. Store-level operating profit margin was 13.7%, compared to 14.5% for FY2024.
  • Adjusted EBITDA was RMB634.6 million, representing an increase of 28.2% from RMB495.2 million in FY2024. Adjusted EBITDA margin was 11.8%, compared to 11.5% for FY2024.
  • Adjusted Net profit was RMB187.9 million, representing an increase of 43.3% from RMB131.2 million in FY2024. Adjusted Net Profit margin was 3.5%, compared to 3.0% for FY2024.
  • As of December 31, 2025, the Group held RMB1,001.5 million in cash and bank balances, as compared to RMB1,069.3 million as of December 31, 2024.
  • Total loyalty program membership was 35.6 million, representing an increase of 45.3% from 24.5 million in FY2024.

[1] Please refer to the section “KEY DEFINITIONS” below for detailed definitions on certain terms used.

Ms. Aileen Wang, CEO & Executive Director of DPC Dash commented, “We delivered another year of strong growth in 2025, with revenue increasing 24.8% to RMB5.38 billion and 307 net store openings expanding our footprint to 1,315 stores across 60 cities as of year end. Our 4D strategy continues to drive results across our network. Stores in Tier 1 cities delivered solid growth driven by positive same-store sales growth, demonstrating the resilience and sustained brand strength in our most mature markets. Meanwhile, non-Tier 1 markets now contribute nearly 60% of revenue, with new stores achieving exceptional unit economics and strong capital efficiency. We remain confident in our ability to capture the significant pizza market opportunity while delivering sustainable, long-term value for our shareholders.”

Ms. Helen Wu, CFO of DPC Dash, added, “Our 2025 results reflect both strong top-line momentum and enhanced operating efficiency, with adjusted EBITDA growing 28.2% to RMB634.6 million and adjusted net profit increasing 43.3% to RMB187.9 million. These results reflect our consistent cost discipline and targeted store‑level investments, as well as the increasing benefits of scale and efficiency at the corporate level. Looking ahead, supported by our solid balance sheet, we are well positioned to advance our ‘Go‑Deeper’ and ‘Go‑Broader’ strategy in a disciplined manner, maintaining a strong focus on efficiency as our footprint expands and stores ramp up.”

FY2025 Financial Results

Year ended

Dec 31,

Dec 31,

(in RMB millions, except percentages and per share data)

2025

2024

YoY

Revenue

5,382.0

4,314.1

+24.8 %

Store-level EBITDA[1]

1,001.0

831.4

+20.4 %

Store-level EBITDA margin[1]

18.6 %

19.3 %

-0.7

Store-level operating profit

739.7

624.0

+18.5 %

Store-level operating profit margin

13.7 %

14.5 %

-0.8

Adjusted EBITDA[1]

634.6

495.2

+28.2 %

Adjusted EBITDA margin[1]

11.8 %

11.5 %

+0.3

Adjusted Net Profit[1]

187.9

131.2

+43.3 %

Adjusted Net Profit margin[1]

3.5 %

3.0 %

+0.5

Net Profit

141.9

55.2

157.1 %

Net Profit margin

2.6 %

1.3 %

+1.3

Basic Earnings per share

1.08

0.42

157.1 %

Diluted Earnings per share

1.05

0.42

150.0 %

[1] Please refer to the section “Non-IFRS Measures” below for detailed definition on certain terms used.

Recent Developments

On December 19, 2025, the Company was recognized as a 2025 Best Employer by Mercer for the fourth consecutive year, and was also honored with the first-time “Star Employer” award.

As of December 31, 2025, the Chinese mainland market ranks as the third-largest international market within Domino’s Pizza’s global system in terms of store count.

On January 1, 2026, the Company opened 62 stores in 46 cities, the highest daily opening record in its history. Its first store in Dalian generated sales close to RMB700,000 on the grand opening day, setting a new record in Domino’s global system.

As of January 31, 2026, the Company held all of the top 50 positions in the global records of Domino’s Pizza for the first 30-day sales of new stores, such as the first store in Xuzhou, Handan and Huhehaote.

Outlook

The Group expects to open approximately 350 new stores in 2026. As of March 20, 2026, the Company opened 140 net new stores, with 14 stores under construction, and 65 stores signed, well on track to deliver the 2026 full year opening target of 350 stores.

Conference Call Information

The Company will host a conference call today, Wednesday, March 25, 2026, at 7:00 pm Hong Kong Time (or Wednesday, March 25, 2026, at 7:00 am Eastern Time) to discuss the financial results.

A live audio-only webcast of the call can be accessed directly at https://event.choruscall.com/mediaframe/webcast.html?webcastid=nHRXnD0d.

To participate by phone, participants are strongly encouraged to pre-register for the conference call, by using the link provided below. Upon registering, each participant will receive a set of participant dial-in numbers, the event passcode, and a unique access PIN, which can be used to join the conference call.

Pre-registration Link: https://dpregister.com/sreg/10206649/1034ed20f15

An audio-only replay of the call will also be accessible through April 1, 2026, by dialing the following numbers:

United States Toll Free:

+ 1-855-669-9658

International:

+ 1-412-317-0088

Access Code:

2877882

Key Definitions

  • Store-level operating profit represents revenue less operational costs incurred at the store level, comprising salary-based expense, raw materials and consumables cost, depreciation of right-of-use assets, depreciation of plant and equipment, amortization of intangible assets, variable lease rental payment and short-term rental expenses, utilities expenses, advertising and promotion expenses, store operating and maintenance expenses and other expenses.
  • Store-level operating profit margin is calculated by dividing store-level operating profit by revenue for the same year.
  • Store-level EBITDA is defined as store-level operating profit for the year and adding back depreciation of plant and equipment and amortization of intangible assets in store-level.
  • Store-level EBITDA margin is calculated by dividing Store-level EBITDA by revenue for the same year.
  • Adjusted EBITDA is defined as Adjusted Net Profit for the year and adding back depreciation and amortization (excluding depreciation of right-of-use assets), income tax expense and interest income and expenses, net.
  • Adjusted EBITDA margin is calculated by dividing Adjusted EBITDA by revenue for the same year.
  • Adjusted Net Profit is defined as profit for the year and adding back share-based compensation.
  • Adjusted Net Profit margin is calculated by dividing Adjusted Net Profit by revenue for the same year.
  • Net new store openings. The number of gross new stores opened during the year minus the number of stores closed during the period.
  • Same-store sales growth (SSSG). SSSG compares the sales generated by same stores during the relevant period year-on-year: the SSSG for the year ended December 31, 2025 compares the same-store sales of the year ended December 31, 2025 and that of the year ended December 31, 2024; the SSSG for the six months ended June 30, 2025 compares the same-store sales of the six months ended June 30, 2025 and that of the six months ended June 30, 2024; and the SSSG for the year ended December 31, 2024 compares the same-store sales of the year ended December 31, 2024 and that of the year ended December 31, 2023.

Non-IFRS Measures

To supplement the Group’s consolidated financial statements that are presented in accordance with the IFRS, the Group also uses Adjusted Net Profit (non-IFRS measure), Adjusted Net Profit margin (non-IFRS measure), Adjusted EBITDA (non-IFRS measure), Adjusted EBITDA margin (non-IFRS measure), Store-level EBITDA (non-IFRS measure) and Store-level EBITDA margin (non-IFRS measure) as additional financial measures, which are not required by, or presented in accordance with, IFRS.

“Store-level EBITDA” is defined as store-level operating profit for the year and adding back depreciation of plant and equipment and amortization of intangible assets in store-level. “Store-level EBITDA margin” is calculated by dividing Store-level EBITDA by revenue for the same year. “Adjusted Net Profit” is defined as profit for the year and adding back share-based compensation. “Adjusted Net Profit margin” is calculated by dividing Adjusted Net Profit by revenue for the same year. “Adjusted EBITDA” is defined as Adjusted Net Profit for the year and adding back depreciation and amortization (excluding depreciation of right-of-use assets), income tax expense and interest income and expenses, net. “Adjusted EBITDA margin” is calculated by dividing Adjusted EBITDA by revenue for the same year.

The Group believes that these non-IFRS measures facilitate comparisons of operating performance from period to period and company to company. The Group believes that these measures provide useful information to investors and others in understanding and evaluating the Group’s results of operations in the same manner as they help the Group’s management. However, the Group’s presentation of Adjusted Net Profit (non-IFRS measure), Adjusted Net Profit margin (non-IFRS measure), Adjusted EBITDA (non-IFRS measure), Adjusted EBITDA margin (non-IFRS measure), Store-level EBITDA (non-IFRS measure) and Store-level EBITDA margin (non-IFRS measure) may not be comparable to similarly titled measures presented by other companies. The use of such non-IFRS measures has limitations as an analytical tool, and shareholders and potential investors of the Company should not consider them in isolation from, or as substitute for analysis of, the Group’s results of operations or financial condition as reported under IFRS.

Forward-Looking Statements

Certain statements in this document and/or the Announcement are forward-looking statements that are, by their nature, subject to significant risks and uncertainties. Any statements that express, or involve discussions as to, expectations, beliefs, plans, objectives, assumptions, future events, or performance (often, but not always, through the use of words or phrases such as “will”, “expect”, “anticipate”, “estimate”, “believe”, “going forward”, “ought to”, “may”, “seek”, “should”, “intend”, “plan”, “projection”, “could”, “vision”, “goals”, “aim”, “aspire”, “objective”, “target”, “schedules”, and “outlook”) are not historical facts, are forward-looking and may involve estimates and assumptions and are subject to risks (including but not limited to the risk factors detailed in this document and/or the Announcement), uncertainties and other factors some of which are beyond the Company’s control. Accordingly, these factors could cause actual results or outcomes to differ materially from those expressed in the forward-looking statements. The Company’s forward-looking statements have been based on assumptions and factors concerning future events that may prove to be inaccurate. Those assumptions and factors are based on information currently available to the Company about the businesses that it operates. The risks, uncertainties and other factors, many of which are beyond the Company’s control, that could influence actual results include, but are not limited to: the Company’s operations and business prospects; its business and operating strategies and ability to implement such strategies; its ability to develop and manage its operations and business; its ability to control costs and expenses; its ability to identify and satisfy customer demands and preferences; the actions and developments of its competitors; general economic, political and business conditions in the markets in which it operates; and changes to regulatory and operating conditions in the industry and geographical markets in which it operates.

Any forward-looking statement speaks only as of the date on which such statement is made, and, except as required by the Rules Governing the Listing of Securities on The Stock Exchange of Hong Kong Limited or under applicable law, the Company undertakes no obligation to update any forward-looking statement to reflect events or circumstances after the date on which such statement is made or to reflect the occurrence of unanticipated events.

Since actual results or outcomes could differ materially from those expressed in any forward-looking statements, the Company’s shareholders and potential investors are advised not to place undue reliance on the forward-looking statements and to exercise caution in dealing in securities in the Company.

About DPC Dash Ltd

DPC Dash is Domino’s Pizza’s exclusive master franchisee in the Chinese mainland, the Hong Kong Special Administrative Region of China and the Macau Special Administrative Region of China. Domino’s Pizza, Inc., DPC Dash’s global franchisor, is one of the most widely-recognized global consumer brands and the world’s largest pizza company. Led by a seasoned and visionary management team, DPC Dash is a market leader that differentiates from competitors with, among others, a continually innovated and localized pizza-focused menu, unique expertise and leadership in delivery, technology focus and scalable and replicable store economic model. DPC Dash operates 1,315 stores in 60 cities in the Chinese mainland as of December 31, 2025.

For more information, please visit www.dpcdash.com
For official company announcements, please visit www.hkexnews.hk

Contacts
DPC Dash Ltd Investor Relations:
DPC Dash Ltd
IR@dominos.com.cn

CONSOLIDATED STATEMENT OF COMPREHENSIVE INCOME

Year ended December 31

2025

2024

RMB’000

RMB’000

Revenue

5,382,047

4,314,093

Raw materials and consumables cost

(1,469,005)

(1,169,799)

Staff compensation expenses

(1,829,886)

(1,509,483)

Depreciation of right-of-use assets

(395,397)

(307,139)

Depreciation of plant and equipment

(261,405)

(208,643)

Amortization of intangible assets

(58,755)

(54,104)

Utilities expenses

(196,772)

(164,104)

Advertising and promotion expenses

(269,236)

(217,623)

Store operation and maintenance expenses

(334,184)

(270,833)

Variable lease rental payment, short-term
   rental and other related expenses

(144,493)

(121,035)

Other expenses

(160,082)

(137,721)

Other income

18,951

14,560

Other losses, net

(13,861)

(10,589)

Finance costs, net

(64,920)

(57,975)

Profit before income tax

203,002

99,605

Income tax expense

(61,070)

(44,410)

Profit for the year attributable to equity
   holders
of the Company

141,932

55,195

Other comprehensive (loss)/income:

Item that may be subsequently reclassified to   
profit or loss

Currency translation differences

10,951

(4,670)

Item that may not be subsequently reclassified
   to profit or loss

Currency translation differences

(21,534)

13,583

Other comprehensive (loss)/income for the
   year, net of tax

(10,583)

8,913

Total comprehensive income for the year
   attributable to equity holders of the
   Company

131,349

64,108

Earnings per share for profit attributable to
   equity holders of the Company

– Basic earnings per share (RMB)

1.08

0.42

– Diluted earnings per share (RMB)

1.05

0.42

CONSOLIDATED BALANCE SHEET

As at December 31

2025

2024

RMB’000

RMB’000

ASSETS

   Non-current assets

Plant and equipment

1,038,359

807,812

Right-of-use assets

1,747,209

1,305,383

Intangible assets

1,208,671

1,211,213

Deposits

104,798

74,822

Deferred income tax assets

161,863

108,336

4,260,900

3,507,566

Current assets

Inventories

132,065

114,551

Trade receivables

17,349

12,962

Prepayment, deposits and other receivables

234,766

171,745

Cash and bank balances

1,001,511

1,069,302

1,385,691

1,368,560

Total assets

5,646,591

4,876,126

EQUITY

Equity attributable to equity holders of the
   Company

Share capital

888,950

882,537

Share premium

2,324,731

2,278,503

Other reserves

148,368

150,240

Accumulated losses

(925,122)

(1,067,054)

Shares held for restricted share units

(“RSUs”)

(525)

(994)

Total equity

2,436,402

2,243,232

LIABILITIES

Non-current liabilities

Borrowings

199,400

Lease liabilities

1,413,606

1,078,957

Other payables

60,178

36,939

1,673,184

1,115,896

Current liabilities

Borrowings

400

200,000

Lease liabilities

393,684

289,221

Trade payables

279,126

248,645

Contract liabilities

56,008

63,010

Accruals and other payables

778,543

676,051

Current income tax liabilities

29,244

40,071

1,537,005

1,516,998

Total liabilities

3,210,189

2,632,894

Total equity and liabilities

5,646,591

4,876,126

CONSOLIDATED CASH FLOW STATEMENT

Year ended December 31

2025

2024

RMB’000

RMB’000

Cash flows from operating activities

Cash generated from operations

1,018,322

895,890

Income tax paid

(125,423)

(77,469)

Net cash generated from operating activities

892,899

818,421

Cash flows from investing activities

Purchase of plant and equipment

(454,304)

(373,163)

Purchase of intangible assets

(51,724)

(43,082)

Interest received

17,503

25,288

Proceeds from disposal of plant and
   equipment

48

127

Decrease in short-term time deposits with
   original maturities over three months

432,444

Net cash (used in)/generated from investing
   activities

(488,477)

41,614

Cash flows from financing activities

Rental deposit payment

(28,724)

(24,608)

Proceeds from borrowings

200,000

Repayment to borrowings

(200,200)

Payment of principal element of lease
   liabilities

(370,212)

(285,213)

Payment of interest element of lease
   liabilities

(74,024)

(68,092)

Interests paid

(6,584)

(9,318)

Proceeds from exercise of share options

15,853

5,225

Net cash used in financing activities

(463,891)

(382,006)

Net (decrease)/increase in cash and cash
   equivalents

(59,469)

478,029

Cash and cash equivalents at beginning of
   year

1,069,102

587,038

Exchange difference on cash and cash
   equivalents

(8,322)

4,035

Cash and cash equivalents at end of year

1,001,311

1,069,102

Cash at bank and in hand at end of year

1,001,511

1,069,302

Less: Restricted cash at end of year

(200)

(200)

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Saudi carrier says war has had limited impact on operations, but protracted conflict may weigh

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Steven Greenway, CEO of Saudi low-cost carrier Flyadeal, says Saudi Arabia has a big domestic market, and 95% of their flight operations are still largely unaffected by the Middle East war. He explains that despite initial airspace closures in the region, there has been a reduced knock-on effect over recent weeks.

04:04

44 minutes ago

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Australian champion Cam McEvoy exposes ‘ludicrous’ quirk in world record swim: ‘Zero dollars’

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A “dumbfounded” Cam McEvoy has exposed the costly irony of his swimming world record and is adamant he can get even faster after revealing the extent of his radical, revolutionary training program.

The 31-year-old sprinter notched 20.88 seconds in the 50m freestyle at the China Open on Saturday.

That bettered the 20.91 mark set by Brazilian Cesar Cielo while wearing a now-banned super-suit in December 2009, that swimming pundits considered untouchable.

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Back home in Brisbane, McEvoy admitted the record came earlier in his season than he had planned and that he had not swum beyond 25m in training before the event.

The four-time Olympian has reinvigorated his career after following a hunch by increasing his strength training and drastically reducing his weekly pool mileage from as much as 70km to 1.5km.

His time was also faster than Kristian Gkolomeev’s unofficial record of 20.89, achieved in a suit last year as a non-clean athlete pursuing the $US1 million ($A1.4 million) prizemoney offered by the Enhanced Games.

Cameron McEvoy celebrates his world record effort in China, surpassing a mark that stood for 17 years.
Cameron McEvoy celebrates his world record effort in China, surpassing a mark that stood for 17 years. Credit: Getty

“With this world record, I got zero dollars for that,” he said of the China Open feat that didn’t include a world title bonus.

McEvoy mused that the $US250,000 ($A357,000) first prize, plus the world title bonus, would have netted him about $A2 million if he “went the easier route” in the pro-doping exhibition he says “holds no weight”.

“I put a suit on which can easily drop half a second, then there’s the performance enhancing drug side of things, which I have no idea what happens there, but I’m sure it’s an improvement,” he said.

“We’re talking in the order of $2 million plus, compared to $0 and the $0 pathway is the much harder pathway to do something like this as well.

“It’s pretty ludicrous, a bit unfortunate that the value placed on (a clean world record) is deemed, from that perspective, very low or worth nothing.

“I’m dumbfounded in terms of the stark contrast that exists currently in the landscape of swimming.”

It hasn’t dampened the new father’s enthusiasm though, adamant he can get stronger and therefore faster in his mid-30s as he aims to swim at Brisbane’s 2032 Games.

“I’ve got the scientific side of (me saying), ‘OK, there’s a little bit of low hanging fruit there, maybe I can go quicker’,” McEvoy said.

“And then the other side, which is kind of the realisation of a childhood dream. I’ve been knocked back from a sponsorship, being told that I was too old.

“They wanted someone younger, so hopefully the result in China proves that people in their 30s can definitely sprint and continue to sprint.”

Australian head coach Rohan Taylor said McEvoy’s “venture” was charting new ground for the sport, but warned that it was not a blanket approach.

“If you’re going to be a concert pianist you don’t practice the trumpet,” he said.

“(But) he’s technically really, really superior, so that adds to what he’s doing.

“The jury’s out on whether a young kid can start training from that perspective and get to where he is.”

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Hope Medicine Announces First Patient Dosed in the Phase III Clinical Trial for Endometriosis

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SHANGHAI, March 25, 2026 /PRNewswire/ — Hope Medicine Inc., a science-driven, clinical-stage innovative biopharmaceutical company, announced that the first patient has been dosed in the Phase III clinical trial of HMI-115, its first-in-class monoclonal antibody with global rights, for the treatment of endometriosis. The dosing took place at the leading study site in China, Peking Union Medical College Hospital. This Phase III trial is a multicenter, randomized, double-blind, placebo-controlled study designed to confirm the safety and efficacy of HMI-115 in treating moderate-to-severe pain associated with endometriosis, with a treatment period of 24 weeks. HMI-115 is currently the first and only non-hormonal therapy globally to have entered Phase III clinical development.

Previously, HMI-115 was granted Fast Track Designation (FTD) by the U.S. Food and Drug Administration (FDA) for the treatment of moderate-to-severe pain associated with endometriosis. Additionally, HMI-115 was granted the Breakthrough Therapy Designation (BTD) by the Center for Drug Evaluation (CDE) of China’s National Medical Products Administration (NMPA). These recognitions from global regulatory authorities were primarily based on the results from a previously completed global multicenter Phase II clinical trial for HMI-115 in endometriosis, which demonstrated that HMI-115 achieved statistically significant improvement in moderate-to-severe pain associated with endometriosis, with no significant impact on key female hormones and no menopausal side effects. These findings have been published in The Lancet Obstetrics, Gynaecology, & Women’s Health. Furthermore, Hope Medicine was nominated as “Best Startup” for the prestigious Prix Galien Award.

Regarding this significant clinical milestone, Professor Xiao Ruiping, Founder of Hope Medicine, stated:
“The initiation of the Phase III clinical trial for HMI-115 in endometriosis, marks a milestone achievement in our clinical development. Peking Union Medical College Hospital, as the leading site, is at the forefront of this Phase III study. Hope Medicine remains unwavering in its original commitment to bringing truly differentiated first-in-class medicines to patients worldwide.”

Mr. Chen Xi, Chief Executive Officer of Hope Medicine, also commented:
“The launch of the Phase III trial signifies that the global development of HMI-115 for endometriosis has entered its final stage. Women’s health is a key focus area for Hope Medicine, and we will drive this trial with the best speed and quality to bring this innovative treatment to patients as soon as possible.”

About Endometriosis

Endometriosis is a common gynecological disease characterized by the implantation of endometrial cells outside the uterine cavity, typically presenting as a chronic inflammatory response. The endometrium is the mucosal tissue lining the uterine cavity, which undergoes hormone-dependent changes during the menstrual cycle. Endometriosis is common in women of reproductive age, with symptoms including lower abdominal and pelvic pain, dysmenorrhea, painful intercourse, and infertility. Comprehensive literature reports indicate that approximately 10% of women of reproductive age globally are affected by endometriosis, about 190 million women worldwide; 20%-50% of women with infertility have endometriosis, and 71%-87% of women with chronic pelvic pain have endometriosis. Endometriosis is one of the leading causes of dysmenorrhea, infertility, and chronic pelvic pain. The disease often leads to decreased quality of life, affecting patients’ sexual health, psychological well-being, and social behavior. Globally, the disease represents a potential market size of approximately US$200 billion (according to McKinsey report), with significant unmet medical needs.

About Hope Medicine

Hope Medicine Inc. is a science-driven clinical-stage biopharmaceutical company with research laboratories and offices in Beijing, Shanghai, and Nanjing, China. HopeMed is established on the in-depth expertise in translational medicine and decades of research of Professor Rui-Ping Xiao’s laboratory at the Institute of Molecular Medicine of Peking University. Based on excellent scientific research and to improve the quality of life, HopeMed is committed to the research, development, and commercialization of first-in-class medicines for common and major diseases that threaten human health.

Forward-Looking Statements

This press release contains forward-looking statements that are primarily based on the current outlook, expectations, estimates, and projections of the company’s management team. When using “anticipate,” “believe,” “may,” “design,” “effect,” “assess,” “expect,” “predict,” “target,” “aim,” “purpose” and any other similar words and expressions, in references to the company, the intention of the statement is forward-looking. Forward-looking statements are not guarantee of future performance and subject to risks and uncertainties, many of which are difficult to predict and often beyond the company’s control, which could cause actual results to differ materially from the Company’s expectations discussed in the forward-looking statements. These statements are subject to uncertainties and risks including, but not limited to, the following: the Company’s goals and strategies; the Company’s future business development; changes in technology; economic conditions; reputation and brand; the impact of competition and pricing; government regulations; changes in applicable laws or regulations. The company undertakes no public announcement obligation to update or revise any forward-looking statement in this press release, or to publicly announce any such updates or revisions, to reflect changes in our expectations or any events, circumstances or assumptions that affect these statements.

Source: Hope Medicine Inc.

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Houston rodeo cracks down with new dress code after revolt about ‘out of control’ attire

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The Houston Livestock Show and Rodeo (HLSR) organizers were not fans of teeny jean shorts, ultra low-cut tops and other “inappropriate” attire this year.

The rodeo’s organizers responded on March 16 to backlash on social media — and started enforcing much stricter dress-code rules.

Cowboy hats and boots were OK. Too much skin? Definitely not.

“Proper attire must be worn on HLSR showgrounds at all times, including shirts and appropriate footwear,” the rodeo’s updated code of conduct said.

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“HLSR reserves the right to deny admission to or remove any person wearing attire that is considered inappropriate or attire that could detract from the experience of other guests,” it also said.

“The Houston Livestock Show and Rodeo is a family-friendly event,” HLSR, also known as RodeoHouston, told Fox News Digital. “This addition to our Guest Code of Conduct helps set clear expectations, so everyone can enjoy a safe and respectable experience.”

Houston Livestock Show and Rodeo dress code crackdown

Several TikTok and Instagram videos complained that guests’ clothing (not pictured) was getting too revealing. (Houston Livestock Show and Rodeo )

The iconic event, launched almost 100 years ago, ran this year from March 2 – March 22, 2026. As the first two weeks progressed, complaints on social media mounted about attendees in scanty outfits.

This year, the event also experienced some chaos when multiple fights erupted on March 14 and the carnival shut down temporarily.

OUTRAGED CRUISE PASSENGERS BLAST COMPANY’S ‘IDIOTIC’ NEW DRESS CODE CRACKDOWN

Social media videos captured large groups of rodeo attendees running through the carnival area. 

Additional footage showed security officers intervening to break up physical altercations.

Houston Rodeo cracks down with stricter dress code

“Proper attire must be worn on HLSR showgrounds at all times,” said organizers of the Houston event.  (Houston Livestock Show and Rodeo )

Around the same time, several TikTok and Instagram videos slammed rodeo guests who they felt were dressed inappropriately

The event’s organizers decided to take action.

Clothing with obscene language or graphics, excessively torn clothing, visible undergarments and clothing that “expose[d] excessive portions of the skin” were banned.

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Visible tattoos or any other attire bearing the name, insignia, colors or other indicia of affiliation to a criminal street gang” were also a no-go.

Over the years, the event has evolved from a modest exhibition into one of the largest entertainment gatherings in the United States.

Houston rodeo guests slammed for inappropriate clothing

Many fans of the event applauded the clothing crackdown. (Elizabeth Conley/Houston Chronicle )

As it expanded, it began to appeal to a younger generation, according to Houston’s KHOU 11.

In recent weeks, social media erupted with comments for and against the dress code. Many loyal fans applauded the crackdown.

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“Actual clothes would be a great start,” one commenter wrote on Facebook.

“Bravo! I wish the school systems would go back to enforcing this, too,” another commenter wrote on Facebook.

Houston Rodeo dress code gets changed

Cowboy hats and boots were definitely still welcome at the event. (Jason Fochtman/ Houston Chronicle)

Many on Instagram echoed this sentiment. “Thank you! Keep it classy!!” one person wrote. 

“Glad they added it. … It was out of control,” another Instagram user wrote.

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Some other attendees took things one step further, saying they were appalled by what they saw.

An Instagram user wrote, “So glad they are doing this. I was SHOCKED by the way some women were dressed or undressed.”

Houston Livestock Show and Rodeo almost 100 years old

Over the years, the event evolved from a modest exhibition into one of the largest entertainment gatherings in the U.S. (Elizabeth Conley/Houston Chronicle)

“We previously had a dress code, but this addition to the code of conduct expands those guidelines,” HLSR told Fox News Digital of the dress-code revisions. “The overall feedback from the community has been positive.”

The Houston Livestock Show and Rodeo began in 1932 as the Houston Fat Stock Show and Livestock Exposition, created by local business people to promote the region’s cattle industry.

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The first event featured livestock exhibitions and a small rodeo. After a pause during World War II, the show expanded, adding entertainment and educational programs to broaden its appeal.

The show is scheduled to return in 2027; it typically occurs over 20 days between late February and mid-March at NRG Stadium, featuring concerts, livestock shows and carnival activities.

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Sands China Celebrates Grand Opening at Hong Kong’s Art Central

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Sands Gallery as bridge bringing Macao artists onto international art stage
Contemporary artworks presented alongside century-old firecracker history 
Showcasing vibrant energy of Macao’s art and cultural scene

MACAO, March 24, 2026 /PRNewswire/ — Sands China celebrated the grand opening of its Sands Gallery booth Tuesday at Art Central, Hong Kong’s premier international art event. The booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.

Guests of honour officiate the opening ceremony of the Sands Gallery booth, presented by Sands China Tuesday at Art Central, Hong Kong’s annual premier international art event at Central Harbourfront.
Guests of honour officiate the opening ceremony of the Sands Gallery booth, presented by Sands China Tuesday at Art Central, Hong Kong’s annual premier international art event at Central Harbourfront.

Sands China’s participation in Art Central reaffirms the company’s commitment to promoting the development of art and culture in Macao. Since the establishment of Sands Gallery as a permanent art space in 2022, the company has consistently leveraged the gallery as a bridge connecting Macao artists with the global art world. Its debut appearance at Art Central not only brings emerging Macao artists onto an international stage, but also reflects the growing recognition of Sands Gallery within the international art scene. The opening day welcomed nearly 100 distinguished guests from Hong Kong and Macao to mark a new milestone in the development of Macao’s art scene.

Sands China is the first integrated tourism and leisure enterprise from Macao invited as an Associate Partner to join Art Central. In alignment with the Macao SAR government’s policy of diversified development, Sands China has long supported the integration of culture and tourism. Through presenting Sands Gallery at Art Central, the company seeks to further strengthen the gallery’s role as an international cultural portal for Macao – a portal that helps Macao artists expand onto global platforms, thereby elevating the international competitiveness of Macao’s arts and cultural sector and its talent development, while constantly fostering the city’s vibrant and diversified development.

The Sands Gallery booth will be open to the public March 25-29, presenting more than 40 artworks, including distinctive pieces from the three Macao artists. Their works and artistic visions demonstrate a high international standard, while reflecting deep connections to Macao’s urban life and cultural identity. Lei draws on scientific theory as the foundation of aesthetics, transforming artificial spectra, proportional values, and geometric structures into repetitive, precise blocks of colour and surfaces of light that reflect the fluidity and changes of urban life. Leong interrogates shifting notions of value and cultural interfaces that shape identity, informed by his personal migration history. His works examine the tension and intricate relations between Macao culture and artistic essence. Lio blends Japanese manga and Western painting into his practice in a distinctive approach, creating imaginative narratives and artistic spaces that resonate with both ordinary and philosophical experiences.

Dr. Wilfred Wong, executive vice chairman of Sands China Ltd., said: “Since the establishment of Sands Gallery in 2022, Sands China has been committed to fostering cultural exchange between Macao and the world – by leveraging the gallery as a bridge that brings the world of international art into Macao, while carrying Macao’s rich artistic vision to the world. After four years of dedicated efforts, we are honoured to be the first integrated tourism and leisure enterprise from Macao participating in Art Central as an Associate Partner. Today, we are delighted to introduce three exceptionally promising young artists from Macao — Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man — showcasing their creative flair to international audiences. Through the power of art, we hope to bring the world closer and deepen people’s understanding of one another.

“Macao is a city shaped by over four centuries of cultural exchange between East and West. To reflect this heritage, we are also presenting elements of our special exhibition, ‘A Century of Iec Long Firecracker Factory in Radiance,’ currently on view at Sands Gallery in Macao, enabling global audiences to experience this shared memory of Macao’s vibrant days. By participating in this year’s Art Central, we aim for Macao to be a wider international cultural portal, highlighting the stories of Macao artists — and to leverage art as a bridge for global understanding, so we may flourish and grow together.”

Lei said: “I would like to express my gratitude to Sands Gallery for supporting me on my artistic journey. From participating in the collateral exhibition for Art Macao at Sands Gallery a few years ago to being here at Art Central today, every step has held great significance for me. The three series on display took me 10 years to complete, and their rich content reflects my unwavering dedication to artistic practice and exploration. With the support of Sands Gallery, I believe that we can use Art Central as a platform to exchange ideas with artists from around the world while elevating my work to new heights.”

Leong said: “It was an honour to participate in a collateral exhibition for Art Macao at Sands Gallery a few years ago. I am honoured to join hands with the gallery once again to bring my recognised works to Art Central. Our participation in this prestigious art event not only opens a window for the future development of Macao’s art and cultural industry, but also allows the city’s distinctive artistic and cultural heritage to shine on the global stage. With the support of Sands Gallery and the showcase of my multimedia works that blend Eastern and Western cultures, we can unleash more opportunities to establish a presence on the global art scene and allow Macao artists to be seen by wider audiences.”

Lio said: “It is my first time participating in Art Central, and I am truly honoured to have been invited to an international platform outside Macao to showcase my works to global audiences and connect with artists from around the world. I am grateful to Sands Gallery for providing Macao artists with such a valuable opportunity to pave the way onto the global stage, showcasing the city’s creative flair to the world. Through this exhibition, I hope my works can reach more people and bring them a sense of resonance and joy, while demonstrating the strength of Macao’s art scene to the world.”  

Showcasing the diverse cultural heritage of Macao through contemporary art and century-old industrial craftsmanship

The Sands Gallery booth is also being presented in conjunction with “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers,” currently on view at Sands Gallery in Macao. Marking the centenary of the Iec Long Firecracker Factory, the booth is also presenting original Macao firecracker packaging labels. Through artistic expression spanning different eras, the exhibition showcases the enduring innovation and creative vitality of Macao’s arts and cultural landscape.

In addition, Professor Ung Vai Meng, distinguished professor of the Faculty of Humanities and Arts at the Macau University of Science and Technology and curator of the Iec Long firecracker exhibition, will host a seminar at the Art Central Theatre March 29. Titled “Aesthetics in a Square-Inch: A Century of Visual Culture Change Through Macao’s Firecracker Packaging,” the seminar will delve into the development and aesthetic spirit of Macao’s firecracker industry, bringing the cherished memories of its century-old industrial heritage to the global stage.

The booth’s opening brought together nearly 100 distinguished guests, including Macao government officials and representatives from the fields of art and culture, tourism, academia, and media. Moreover, Sands China specially arranged tours guided by professionals from Art Central for the guests to visit both the Sands Gallery booth and other participating galleries. The initiative aims to encourage Macao’s various sectors to broaden their international horizons by fostering deeper exchanges with global artists, galleries, and collectors, thereby enhancing their artistic perspectives.

Guests of honour at Tuesday’s opening ceremony were: Stanley Mok, general manager of the Macau Government Tourism Office Representative Office in Hong Kong; Corey Andrew Barr, fair director of Art Central; Lok Hei, president of the Macau Artist Society; Professor Ung;
Macao artists Lei, Leong, and Lio; Dr. Wong; and Devonne Iao, senior vice president and chief marketing officer of resort marketing for Sands China Ltd.

For more information about the Sands Gallery booth, please visit https://en.sandsresortsmacao.com/sands-lifestyle/sands-art-gallery/art-central-202603.html.

For more information about Art Central and ticketing, please visit artcentralhongkong.com.

About Sands Gallery

As an art space located at The Grand Suites at Four Seasons Hotel Macao, Sands Gallery is dedicated to bringing diverse art exhibitions to the city, fostering the sustainable development of Macao’s cultural and creative industries.

Since its establishment in 2022, the gallery has hosted 12 exhibitions of varied styles, introducing artworks of international and national calibre while also providing opportunities for local artists to showcase their works and connect with the global art stage.

Through continued endeavours in Macao’s arts and cultural sector, Sands China has built the Gallery into a platform of artistic weight and cultural depth, injecting multicultural vitality into Macao, enriching the artistic experiences of residents and visitors, and enhancing public appreciation of art. At the same time, it fully supports the Macao SAR government’s policy of promoting travel development, contributing to Macao’s growth as “a base for exchange and cooperation where Chinese culture is the mainstream and diverse cultures coexist.”

About Sands China Ltd.

Sands China Ltd. (Sands China or the Company) is incorporated in the Cayman Islands with limited liability and is listed on The Stock Exchange of Hong Kong Limited (HKEx: 1928). Sands China is the largest operator of integrated resorts in Macao. The Company’s integrated resorts on the Cotai Strip comprise The Venetian® Macao, The Plaza® Macao, The Parisian® Macao and The Londoner® Macao. The Company also owns and operates Sands® Macao on the Macao peninsula. The Company’s portfolio features a diversified mix of leisure and business attractions and transportation operations, including large meeting and convention facilities; a wide range of restaurants; shopping malls; world-class entertainment at The Venetian Arena, The Londoner Arena, The Venetian Theatre, The Parisian Theatre, The Londoner Theatre and Sands Theatre; and a high-speed Cotai Water Jet ferry service between Hong Kong and Macao. The Company’s Cotai Strip portfolio has the goal of contributing to Macao’s transformation into a world centre of tourism and leisure. Sands China is a subsidiary of global resort developer Las Vegas Sands Corp. (NYSE: LVS).

For more information, please visit www.sandschina.com.

About Art Central

Art Central, a cornerstone event of Hong Kong Art Month, presents the next generation of talent from Asia’s most forward-thinking galleries alongside celebrated artists from across the globe. Since its inaugural edition in 2015, Art Central has established itself as a leading platform for innovation in contemporary art, advancing the profiles of artists and galleries and reinforcing their presence within the international art landscape. Today, the Fair is recognised for the strength of its curatorial programming and as a vital meeting point for discovery and exchange among collectors and curators representing private, corporate, and institutional collections worldwide.

Media contacts:

Corporate Communications, Sands China Ltd.

Mabel Wu

Tel: +853 8118 2268

Email: mabel.wu@sands.com.mo

Jesse Chiang

Tel: +853 8118 2054

Email: jesse.chiang@sands.com.mo

Artist Profiles


Lei Ieng Wai

The 39-year-old artist is a graduate of the Oil Painting Department of the Guangzhou Academy of Fine Arts, holding both bachelor’s and master’s degrees. He currently serves as director of the Macau Artist Society, and vice president of the Macau Youth Art Association, and is a renowned and influential artist in Macao.

Lei acquires creative inspirations from the tension of light and shadow in everyday life. He draws on scientific theory as the foundation of aesthetics, transforming artificial spectra, proportional values, and geometric structures into repetitive and precise blocks of colour and surfaces of light, exploring urban changes and the lives of city dwellers.

He has held solo exhibitions in Portugal, Taiwan region, and Macao SAR, and participated in group exhibitions in the Chinese mainland, Macao SAR, Portugal, the United Kingdom, Spain, Australia, and the United States, including Art Madrid 2018, Affordable Art Fair New York, Affordable Art Fair Hampstead, and the collateral exhibition of “Art Macao: Macau International Art Biennale 2023.”


Leong Chi Mou

The 34-year-old artist graduated from the Macao Polytechnic University’s Faculty of Art and Design with a Bachelor of Arts degree in Visual Arts (Oil Painting). He is a member of the Macau Artist Society and one of Macao’s most influential emerging artists.

His works span both painting and installations. His practice interrogates shifting notions of value and the cultural interfaces that shape identity, informed by personal migration histories and Macao’s post-colonial context. Through these inquiries, Leong’s works examine the conditions of cultural survival and the intricate entanglements between artistic essence and value systems.

Beyond his solo exhibitions in Macao, he has participated in group exhibitions across the Chinese mainland, Portugal, Belgium, Japan, and other countries and regions. Notable appearances include the 23rd Shanghai Art Fair, the Shenzhen Art Fair, the Guangzhou International Art Fair, the collateral exhibition of “Art Macao: Macao International Art Biennale 2023,” and the Belgian exhibition “Surrealistic Chinoiserie: Golden City of Seres – A Cultural and Artistic Exchange Exhibition and Performance between Macao and Antwerp.”


Dor Lio Hak Man

The 49-year-old artist serves as vice-director of the Macau Artist Society, vice president of the Macau Youth Art Association, council member of the Society of Urban Sketchers Macao, and a member of Comic’s Kingdom Macau. He teaches visual art at a Macao high school and via private lessons.

Born into an artistic family and graduating from City University of Macau, he channels influences from Japanese manga and Western painting into a practice grounded in everyday observation. His work records daily encounters, emotional impressions, and imaginative associations with a relaxed sensibility. He shapes a refined, philosophically attuned visual language that bridges interior experience with an outward-facing openness.

He has held solo exhibitions such as “Festa – Exhibition of Works by Lio Hak Man” in Macao and participated in group exhibitions in the Chinese mainland, Portugal, and South Korea, including “FEBRE: 15 Contemporary Artists from Macao” in Lisbon, “Beijing-Macao Art Teachers Group Exhibition,” and the “South Korea-Hong Kong-Macao Joint Art Exhibition.”

The Sands Gallery booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.
The Sands Gallery booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.

The Sands Gallery booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.
The Sands Gallery booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.

The Sands Gallery booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.
The Sands Gallery booth features artworks by three of Macao’s forward-looking, promising young artists – Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man – alongside a historical collection from “A Century of Iec Long Firecracker Factory in Radiance – An Exhibition on the Resonant History and Aesthetic Memory of Macao Firecrackers” currently on view at Sands Gallery in Macao. Together, the booth offers a magnificent display of Macao’s enduring artistic charm to visitors.

Sands China celebrated the grand opening of its Sands Gallery booth Tuesday at Art Central, Hong Kong’s premier international art event.
Sands China celebrated the grand opening of its Sands Gallery booth Tuesday at Art Central, Hong Kong’s premier international art event.

Source: Sands China Ltd.

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HD Hyundai Conducts Large-Scale Medical Mission in Subic, Philippines

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  • Medical staff from Ulsan University Hospital and employees of HD Hyundai Heavy Industries Philippines provide care to about 750 local residents
  • HD Hyundai operates a shipyard in Subic and participates in the Philippine Navy’s modernization program

SEOUL, South Korea, March 24, 2026 /PRNewswire/ — Ulsan University Hospital, under the Ulsan Industrial Education Foundation affiliated with HD Hyundai, launched a six-day large-scale medical mission in Subic on March 16, providing essential health care services to approximately 750 local residents.

From March 16 to March 21, medical staff from Ulsan University Hospital and employees of HD Hyundai Heavy Industries Philippines delivered healthcare services to about 750 local residents in Subic, Philippines.
From March 16 to March 21, medical staff from Ulsan University Hospital and employees of HD Hyundai Heavy Industries Philippines delivered healthcare services to about 750 local residents in Subic, Philippines.

The initiative, which ran from March 16 to March 21, mobilized a specialized medical team from Ulsan University Hospital alongside employees from HD Hyundai Heavy Industries Philippines and local government officials. The mission focused on expanding healthcare access in the region while deepening ties between South Korean medical experts and the Subic community.

The initiative has been recognized as a model for corporate-hospital social contribution, combining Ulsan University Hospital’s medical expertise with HD Hyundai Heavy Industries Philippines’ global infrastructure to foster sustainable growth alongside the local community.

Through its shipyard operations, HD Hyundai supports the Philippine Navy’s modernization efforts, producing a range of sophisticated fleet assets including frigates and offshore patrol vessels (OPV).

The mission coincides with HD Hyundai’s expanding maritime operations in the country. In May 2024, HD Korea Shipbuilding & Offshore Engineering signed a lease agreement with Cerberus Capital Management for a portion of the Subic shipyard. By September 2025, the newly established HD Hyundai Heavy Industries Philippines reached a major milestone with the steel-cutting ceremony for its first vessel, a 115,000-deadweight-ton petrochemical product carrier.

Beyond commercial shipbuilding, HD Hyundai Heavy Industries has emerged as a primary partner in the Philippine Navy’s fleet modernization program. The company has secured orders for 12 naval vessels, including frigates, corvettes, and OPVs. To date, every vessel delivered under these orders has been handed over ahead of schedule, reinforcing the company’s reputation for reliability and technical performance.

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James Hird weighs in on Essendon’s dreadful start to 2026 as Tim Watson calls club ‘a dispirited organisation’

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Essendon champion and former coach James Hird has spoken out about his club’s diabolical start to the 2026 season, and admits his phone was lighting up in the aftermath of the 63-point loss to Port Adelaide on Sunday.

Hird’s name continues to be mentioned as pressure ramps up on coach Brad Scott, and, appearing on 3AW radio station, he was directly asked about his phone activity after Essendon’s latest insipid effort.

WATCH THE VIDEO ABOVE: The wheel of blame at Essendon

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“The Essendon natives are pretty restless, put it that way,” Hird said.

Hird — a premiership captain, a two-time premiership player, a Brownlow medallist, a Norm Smith medallist — is a much-loved figure at Essendon despite the fact he was the coach during the club’s infamous doping scandal.

And the 53-year-old said he had empathy for Scott and understood the current coach’s frustration with his players.

Brad Scott is feeling the heat and we are not even at Round 3.
Brad Scott is feeling the heat and we are not even at Round 3. Credit: Seven

“You send your team out there with a game plan … and you expect them to do it, and they don’t execute,” Hird said.

“From the coaches’ box, it’s very hard to rectify that during the game.

“Look at Hawthorn, they’re fantastic at ball movement, you look at (the Western Bulldogs), they’re great around the contest, they get the ball to their forwards.

“You look at Essendon and you can’t see what they’re trying to do, and I think that’s the frustrating thing for the Essendon fans.”

Hird said the thing that Scott needed to urgently fix was the team’s contested game.

“I think if you’re building any team, you’ve got to start with the contest … there’s more goals scored off transition now and there’s more about ball movement and that’s a very important part of the game,” Hird said.

“But if you don’t get your contest … right from the start, you really rely on the other team to give you the ball back, or win it back to start your attack.

“I don’t think anyone who is an Essendon supporter went into this season thinking it was going to be a top-eight season.

“It was more we want to see the growth in younger players … we want to see the midfield connect with the forward line and we want to see a defence that stands up under pressure, not allow uncontested marks.

“So it will take time, and we understand that, but how do we see growth from the contest and defence, ultimately?”

AFL expert Kane Cornes unveiled a “wheel of blame” on Channel 7’s The Agenda Setters on Monday night, and apportioned some blame on Hird from his time as coach in the early to mid-2010s.

Scott held a significant portion at 19 per cent on the Cornes’ blame wheel, but that fell just under former list manager Adrian Dodoro (21 per cent), while the high-performance team (17 per cent) and Zach Merrett (11 per cent) were also key factors.

Hird was at four percent of the blame, disgraced biochemist Stephen Dank was at two per cent, while current players Darcy Parish and Ben McKay both featured at two per cent as well.

Cornes even had the fans on the wheel at three per cent.

Cornes’ ‘wheel of blame’.
Cornes’ ‘wheel of blame’. Credit: Seven

The Bombers haven’t won a final since 2004 and that doesn’t look like changing this year.

Coaching legend Kevin Sheedy has championed a return of Hird to the club, while former player Dean Solomon is on Scott‘s coaching panel and another name in the background.

Meanwhile, another club great Tim Watson said Scott’s job could be under threat if he can’t address the defensive problems.

“There’s no defensive mechanism that’s been apparent about the way he’s implemented his game plan,” Watson said on SEN.

“He’s had four pre-seasons now to do that and it’s still not apparent. You build a defence first which Essendon hasn’t been able to do.”

Last year an injury-hit Essendon were smashed by 100-plus point on 11 occasions.

“They had weaker personnel at their disposal but if you continue to get belted by those margins every week for four years then history tells you that you are going to be under threat as a coach,” Watson said.

“They are at ground zero in their rebuild … A dispirited organisation is what they look like right now.”

The Bombers face North Melbourne on Saturday in what suddenly looms as a crunch game for Scott and his players.

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