Latest news with #Bebop
Scoop
15 hours ago
- Business
- Scoop
Blackpearl Group Hits $12.5M ARR, Targets $50M Leveraging Multi-product Innovation
Press Release – Blackpearl Group As the AI landscape continues to shift, Blackpearl is not just chasing the future – it's actively building it. The AI opportunity is here and our platform has been purpose-built to capture it.' Blackpearl Group Limited (NZX: BPG) has announced its results for the year ended 31 March 2025, recording an astounding 70% increase in Annual Recurring Revenue (ARR) and sharp rise in average revenue per user, underpinned by a multi-product innovation strategy. With $12.5m in ARR, Blackpearl is positioning not just for $20m ARR but to build toward $50m and beyond. 'Last year, we committed to setting ourselves up for the next stage of growth. We have the potential to be a billion-dollar company and we're creating a portfolio of solutions that balance high-risk innovation with consistent, long-term performance. We're innovating and executing at a pace that's hard for anyone to keep up with,' commented Nick Lissette, Chief Executive Officer. Building for the next stage of growth Lissette believes Blackpearl's success is rooted in an ability to innovate at pace on an ongoing basis. 'Last year, we told investors we would invest in the next stage of growth and we've proven this with the launch of Bebop, an AI-powered sales intelligence tool developed in a single quarter and the most successful beta in the company's history,' he explains. 'We're targeting the SME market in the US with AI-powered solutions that deliver measurable growth. With Pearl Diver firmly embedded and Bebop now live, the next phase of Blackearl's trajectory is dominance,' believes Lissette. Innovation powered by execution Importantly, this innovation has been strengthened by disciplined execution. 'At the same time, we've focused on scaling our core data infrastructure and transitioning to high-value enterprise customers. This has been a powerful multiplier of sustainable growth as we position ourselves for what's next,' comments Chief Financial Officer Karen Cargill. Pearl Engine, the core platform behind Blackpearl's products, has scaled by 210x over the past year and now processes 21 billion rows of data per day. What's more, average revenue per user (ARPU) reached $17.5k, marking a sharp 53% increase over the past six months and subscription revenue is up 91% from FY24. Highlights • $12.5m ARR, up 70% from $7.4m as at 31 March 2024 • $7.7m subscription revenue, up 91% from $4.1m in FY24 • $17.5k ARPU, up 53% over the last 6 months • 68% gross margin, reflecting continued platform efficiency • 17% of revenue from top 10 customers, up from 10% as at 31 March 2024 • Pearl Diver reached ~$10m ARR, only eight quarters after its full launch • Raised $12.5m in growth capital • Officially launched Bebop, following the most successful beta in the company's history Building the future 'As the AI landscape continues to shift, Blackpearl is not just chasing the future – it's actively building it. The AI opportunity is here and our platform has been purpose-built to capture it. We're positioned to lead AI-powered sales and marketing solutions for the US SME market and we're entering FY26 with clear momentum, a disciplined growth strategy and a compelling value proposition for investors,' concludes Lissette.
Techday NZ
20 hours ago
- Business
- Techday NZ
Blackpearl targets US growth after strong rise in annual revenue
Blackpearl Group has reported a significant increase in annual recurring revenue and set out plans to achieve USD $50 million in ARR by leveraging a multi-product strategy and targeting growth in the US market. The company ended the year to 31 March 2025 with USD $12.5 million in ARR, marking a 70 percent rise from the previous year. Blackpearl's average revenue per user rose by 53 percent over the past six months, with subscription revenue up 91 percent to USD $7.7 million, highlighting its ongoing expansion. Chief Executive Officer Nick Lissette described Blackpearl's long-term strategy, stating, "Last year, we committed to setting ourselves up for the next stage of growth. We have the potential to be a billion-dollar company and we're creating a portfolio of solutions that balance high-risk innovation with consistent, long-term performance. We're innovating and executing at a pace that's hard for anyone to keep up with." Lissette attributes the results to a strong focus on product development and continuous innovation. He said, "Last year, we told investors we would invest in the next stage of growth and we've proven this with the launch of Bebop, an AI-powered sales intelligence tool developed in a single quarter and the most successful beta in the company's history." With a focus on small and medium-sized businesses in the United States, Blackpearl has expanded its suite of AI-powered solutions. "We're targeting the SME market in the US with AI-powered solutions that deliver measurable growth. With Pearl Diver firmly embedded and Bebop now live, the next phase of Blackearl's trajectory is dominance," Lissette commented. Chief Financial Officer Karen Cargill emphasised the importance of execution alongside innovation. "At the same time, we've focused on scaling our core data infrastructure and transitioning to high-value enterprise customers. This has been a powerful multiplier of sustainable growth as we position ourselves for what's next," she said. Pearl Engine, the company's core platform, processed 21 billion rows of data per day after scaling by 210 times over the past year. The company's subscription revenue reached USD $7.7 million, an increase of 91 percent from the prior year. The company's key financial highlights include a gross margin of 68 percent, reflecting ongoing platform efficiency, and a rise in revenue concentration, with 17 percent of total revenue now generated by its top 10 customers, up from 10 percent the previous year. Pearl Diver, Blackpearl's solution aimed at the SME market, achieved approximately USD $10 million in ARR just eight quarters after its full launch. During the reporting period, Blackpearl also completed a USD $12.5 million capital raise to fund its growth plans. The launch of Bebop followed what the company described as the most successful beta in its history. Looking ahead, Lissette outlined Blackpearl's position in the AI landscape, stating, "As the AI landscape continues to shift, Blackpearl is not just chasing the future - it's actively building it. The AI opportunity is here and our platform has been purpose-built to capture it. We're positioned to lead AI-powered sales and marketing solutions for the US SME market and we're entering FY26 with clear momentum, a disciplined growth strategy and a compelling value proposition for investors."
Scoop
21 hours ago
- Business
- Scoop
Blackpearl Group Hits $12.5M ARR, Targets $50M Leveraging Multi-product Innovation
Blackpearl Group Limited (NZX: BPG) has announced its results for the year ended 31 March 2025, recording an astounding 70% increase in Annual Recurring Revenue (ARR) and sharp rise in average revenue per user, underpinned by a multi-product innovation strategy. With $12.5m in ARR, Blackpearl is positioning not just for $20m ARR but to build toward $50m and beyond. 'Last year, we committed to setting ourselves up for the next stage of growth. We have the potential to be a billion-dollar company and we're creating a portfolio of solutions that balance high-risk innovation with consistent, long-term performance. We're innovating and executing at a pace that's hard for anyone to keep up with,' commented Nick Lissette, Chief Executive Officer. Building for the next stage of growth Lissette believes Blackpearl's success is rooted in an ability to innovate at pace on an ongoing basis. 'Last year, we told investors we would invest in the next stage of growth and we've proven this with the launch of Bebop, an AI-powered sales intelligence tool developed in a single quarter and the most successful beta in the company's history,' he explains. 'We're targeting the SME market in the US with AI-powered solutions that deliver measurable growth. With Pearl Diver firmly embedded and Bebop now live, the next phase of Blackearl's trajectory is dominance,' believes Lissette. Innovation powered by execution Importantly, this innovation has been strengthened by disciplined execution. 'At the same time, we've focused on scaling our core data infrastructure and transitioning to high-value enterprise customers. This has been a powerful multiplier of sustainable growth as we position ourselves for what's next,' comments Chief Financial Officer Karen Cargill. Pearl Engine, the core platform behind Blackpearl's products, has scaled by 210x over the past year and now processes 21 billion rows of data per day. What's more, average revenue per user (ARPU) reached $17.5k, marking a sharp 53% increase over the past six months and subscription revenue is up 91% from FY24. Highlights • $12.5m ARR, up 70% from $7.4m as at 31 March 2024 • $7.7m subscription revenue, up 91% from $4.1m in FY24 • $17.5k ARPU, up 53% over the last 6 months • 68% gross margin, reflecting continued platform efficiency • 17% of revenue from top 10 customers, up from 10% as at 31 March 2024 • Pearl Diver reached ~$10m ARR, only eight quarters after its full launch • Raised $12.5m in growth capital • Officially launched Bebop, following the most successful beta in the company's history Building the future 'As the AI landscape continues to shift, Blackpearl is not just chasing the future - it's actively building it. The AI opportunity is here and our platform has been purpose-built to capture it. We're positioned to lead AI-powered sales and marketing solutions for the US SME market and we're entering FY26 with clear momentum, a disciplined growth strategy and a compelling value proposition for investors,' concludes Lissette.
Time of India
04-05-2025
- Entertainment
- Time of India
5 anime that left a lasting impact with just one season
There is a certain allure to anime that tells its tale in a single season, even in a medium where lengthy series frequently take center stage. Despite their brief running times, these programs are able to hold viewers' attention with gripping stories, endearing characters, and powerful concepts. Whatever the cause of the brief existence, several of these anime only lasted one season but were nevertheless well-liked by viewers. Today, let's examine five of those. 5 anime with just one season Cowboy Bebop - Crunchyroll Sunrise produced and animated it under the direction of a production team known as Hajime Yatate, which consists of director Shinichirō Watanabe, scriptwriter Keiko Nobumoto, character designer Toshihiro Kawamoto, mechanical designer Kimitoshi Yamane, and composer Yoko Kanno. The 26-episode series, which is set in 2071, centers on the life of a roaming bounty-hunting crew on board the Bebop starship. Death Parade - Crunchyroll Death Parade is a psychological thriller anime series produced by Madhouse and written, directed, and produced by Yuzuru Tachikawa in Japan. In Death Parade, Decim, an enigmatic bartender and arbitrator at the Quindecim bar where people who pass away simultaneously are sent to decide their fate, is the protagonist. Hellsing Ultimate - Crunchyroll I'm still pissed off for how Walter was turned evil in Hellsing Ultimate Since its premiere in early 2006, Hellsing Ultimate has been one of the greatest vampire anime to ever appear on television. Ten episodes, each lasting at least forty minutes, comprised Hellsing Ultimate's 2014 finale. These episodes told a gruesome and captivatingly sinister tale of humanity and what it really means to be a monster. Parasyte: The Maxim - Crunchyroll I love Parasyte The Maxim but I don't know anyone else who has seen this magnificent series. In 2014 and 2015, Japan released two live-action adaptations of the manga. Madhouse's adaptation of the anime television series, Parasyte-the maxim, ran in Japan from October 2014 to March 2015. The series centers on Shinichi Izumi, a senior in high school, who is the target of a parasitic organism's unsuccessful attempt to take over his brain. Samurai Champloo - Crunchyroll The Japanese historical adventure anime Samurai Champloo was released in 2004. Hip hop and other anachronistic cultural allusions are mixed with traditional aspects in the series' fictitious depiction of Edo era Japan. The show chronicles the adventures of Ronin Jin, a vagabond outlaw, and tea waitress Fuu. These one-season anime gems deserve a spot on your watchlist, so what are you waiting for? Start streaming them today!
New York Times
14-04-2025
- Entertainment
- New York Times
The Creator of ‘Cowboy Bebop' Thinks Reality Is More Dystopian Than Sci-Fi
Shinichiro Watanabe's first anime, 'Cowboy Bebop,' was quite an opening act. A story of space bounty hunters trying to scrape by, its genre mash-up of westerns, science fiction and noir, with a jazzy soundtrack, was a critical and commercial success in Japan and beyond. Its American debut on Adult Swim, in 2001, is now considered a milestone in the popularization of anime in the United States. Not one to repeat himself, Watanabe followed up 'Bebop' with a story about samurai and hip-hop ('Samurai Champloo,' 2004); a coming-of-age story about jazz musicians ('Kids on the Slope,' 2012); a mystery thriller about teenage terrorists ('Terror in Resonance,' 2014); an animated 'Blade Runner' sequel ('Blade Runner Black Out 2022,' 2017); and a sci-fi musical show about two girls on Mars ('Carole & Tuesday,' 2019). Now, he has returned to the kind of sci-fi action that made his name with 'Lazarus,' streaming on Max and airing on Adult Swim, with new episodes arriving on Sundays. The show is set in 2055, after the disappearance of a doctor who discovered a miracle drug that has no side effects. Three years later, the doctor resurfaces with an announcement: The drug had a three-year half-life, and everyone who took it will die in 30 days unless someone finds him and the cure he developed. Watanabe has never been shy about being a fan of cinema. 'Cowboy Bebop,' for instance, makes specific references to films like 'Alien' and '2001: A Space Odyssey.' For 'Lazarus,' Watanabe went further, teaming with a Hollywood filmmaker, the 'John Wick' director Chad Stahelski, to design the thrilling, kinetic action sequences of the anime. In a video interview, Watanabe, speaking through the interpreters (and co-producers on the series) Takenari Maeda and Saechan, discussed the making of 'Lazarus,' the timeliness of the show's story and how watching the original 'Blade Runner' inspired his multicultural and inclusive anime casts. These are edited excerpts from the conversation. Unlike your previous sci-fi projects, 'Lazarus' takes place not on a distant planet or far into the future, but in our world just 30 years from now. Why was that important? In the past, I would look at other works of fiction and get inspired by them. But this time, just watching the news and taking a look at the world, things happening right now seem more dramatic and kind of crazier than fiction. Because I was inspired by events going on in the real world, putting it too far into the future would lose that touch of reality. What was it like to work with Chad Stahelski on the action scenes? How does having a separate team of action choreographers design those scenes impact the work of the animators? First off, they are big anime fans and they researched anime choreography on top of making live-action movies. They had very deep pockets in terms of ideas that they can come up with. At one point, Chad and his team said they could use one pencil to kill people. But upon asking them about it, they could come up with another 20 to 30 ideas off the top of their heads. So we were able to use their ideas as references to make the animation. We had to figure out which aspects of their footage we could stylize for animation. The anime starts with a doomsday clock saying there are 30 days until most of humanity dies, and yet we see businesses going on like normal, talk shows interviewing artists, and more. Why did you contrast the urgency of the story with scenes like these? That was inspired by reality and experiencing the Covid pandemic. Not everyone was acting the same way. There were people who didn't believe in it, and there were people who didn't wear masks. I thought the anime would be more grounded in reality if I made it so we had different reactions from the characters. In 'Lazarus,' artificial intelligence is depicted as a threat to the arts, as it was in your previous anime 'Carole & Tuesday.' Does that reflect your feelings about A.I. in relation to animation and entertainment? A.I. has become a powerful force within the industry, but I don't have a very positive outlook on the situation. It's difficult to go through the creative process, but if we let A.I. take over that part, what is left for us creators to have fun with? In 'Carole & Tuesday' the characters know it would be much easier to create music through A.I., but they want to have fun through the creative process, and those are exactly my thoughts. I create anime because I want to. Music is always a key component of your work, and the 'Lazarus' soundtrack includes acts like Kamasi Washington, Bonobo and Floating Points. How was the process of collaborating with them? They live in different places, so getting in contact with them was difficult. But we tracked them down when they happened to come to Japan and worked it out. None of them had experience with soundtracks before, so the one big comment I gave when I started working with them was to just work as if they were making their own album. Don't think of it as a soundtrack, make it your own. Your shows always have diverse casts in terms of ethnicities and genders, with several of your anime including transgender and nonbinary characters. Why is it important for you to include that in your work? Probably the biggest influence for that is the movie 'Blade Runner.' It was a melting pot of race and gender. I watched that movie when I was very young, and thought it was very cool. That movie was set in 2019, and when I watched it in the '80s I really did believe that the world would become like that. But once that time came, the world was nothing like it. So instead, I created that world in animation.
