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  • ‘Pretty in Pink’: THR’s 1986 Review

    ‘Pretty in Pink’: THR’s 1986 Review

    On Feb. 28, 1986, Paramount unveiled John Hughes’ high school feature Pretty in Pink in theaters, where it would go on to gross $40 million in its run and become a breakout for Breakfast Club star Molly Ringwald. The Hollywood Reporter’s original review is below:

    What do you say about a girl whose date reneges in his invitation to the prom? If it’s Molly Ringwald and you’re Paramount, you’d say you’ve probably got a box-office hit. Color Pretty in Pink green for the studio.

    Ringwald and Andrew McCarthy star in this latest John Hughes’ teenage melodrama about a girl from the wrong side of the tracks and a boy from the country club who fall for each other. It’s not an easy boundary to cross in their stratified high school and screenwriter Hughes has very astutely dramatized the pressures and crosscurrents of high school life.

    As an industrious and self-reliant senior, Ringwald essentially baby-sits her chronically myopic father (Harry Dean Stanton), sews her own clothes and contends with the condescension of her patrician peers. She’s a model of decorum and restraint but largely unnoticed by the opposite sex. Only a geeky, witty male pal (Jon Cryer) sees her worth, until one day, quite remarkably, rich-kid McCarthy takes an interest. This sparks all kinds of adverse reaction, mainly from McCarthy’s snotty pals and girlfriends, a tribe so fiercely materialistic and shallow as to make current Less Than Zero-types seem well rounded by comparison.

    While Hughes has tapped into the peer dilemmas of high school with sensivity and keen insight, his stacked-deck script tends to dilute the film’s obvious emotional appeal. As the poor girl, Ringwald seems a candidate for canonization. Disciplined, considerate, well groomed and studious, she’s the model young lady. Quite unbelievably she’s constantly attacked by sniping future-sorority girl types — in real life, one suspects they wouldn’t even notice the unobtrusive, demure Ringwald.

    Nevertheless, the film shines with atmospheric nuances and Ringwald’s away-from-school life (working in a record store, tending her dad) taps into common teen-age problems. Her easy, quirky friendship with the hypertensive Cryer rings true. As the smart and smitten outsider, he is convincingly vulnerable and likable.

    Characters who ring less true include Stanton’s role as the bathrobe-clad father. He’s a deadbeat, pining away for his long-departed wife but as written here the role is reminiscent of an old-time, hangdog-lovable Disney villain. Another oddity is Ringwald’s co-worker in the record store (Annie Potts), a ’60s leftover who looks 15, alternates between punk and beehive hairdos and listens to the Association, of all groups. It’s a nice and odd idea, but such lines as “I loved The Big Chill” make this pseudo-’60s section a distraction.

    Ringwald and McCarthy are outstanding in their roles, a credit to writer Hughes and first-time director Harold Deutch. Ringwald’s prim, disciplined portrayal adds just the right touch of endearing spunkiness, while McCarthy, fighting with his social demons, is a likable rich kid with character substance.

    As two snotty rich girls, Kate Vernon and Emily Longstreth are positively princess, convincing in their cool bitchiness.

    Certain to be a touchstone for teen-agers grappling with identity and prom problems this spring, Pretty in Pink is discolored by a pat and incredible ending. Hughes has drummed up a blonde exmachina to save the day. It rings false Molly’s last choice is a surprise and will be, for many, a disappointment. Technical credits, all of them, get top grades. — Duane Byrge, originally published on Feb. 7, 1986.

  • UTA Agent Paul Coggiola Exits to Head New Creators Division at LIFT Management

    UTA Agent Paul Coggiola Exits to Head New Creators Division at LIFT Management

    Veteran agent Paul Coggiola has left UTA to lead LIFT Creators, a new division of athlete-representation firm LIFT Management focused on digital influencers.

    Coggiola will serve as president of LIFT Creators. At UTA, he led the agency’s sports crossover team. At LIFT, he’s already signed clients to join him at the new agency including Kickball Dad, Sydney Carter (managed by Taylor Burner at Agency 3-2), Stu Holden, Treasure Wilson (managed by Regina Harris at DBA), RainbowDads (managed by Mack Davey at DBA), Imperial Hal, and DougDoug.

    The former UTA agent will assist with digital marketing strategy and maximize LIFT’s traditional talent verticals, along with their representation duties. Coggioloa will remain based in L.A.

    “Creators are at the intersection of sports, entertainment, lifestyle and most importantly, culture. That’s where brands strive to be. And brands are clearly seeing success with utilizing influencers and content creators,” LIFT chief marketing officer Corey Vann said in a statement. “Establishing LIFT with a presence in the growing creator economy was one of my top priorities upon joining, and we feel like we landed the perfect partner in Paul.”

    LIFT CEO Donnie McGrath commented: “This is a critical addition to our business, and it comes at a pivotal time as we look to bridge the gap between traditional athlete representation and the digital arena. I am thrilled to have Paul join us. He brings impactful client experience and a proven track record in talent management.”

    Coggiola said in a statement, “Creators are the storytellers of our time. I look forward to building a distinct platform and providing tools that let their voices travel farther than ever before. This new division isn’t just about content — it’s about empowering people with ideas to reach the world. At its core, LIFT Creators will be built on the foundation of knowing our clients’ passions and utilizing our relationships to build brands they are proud of.”

    New York-based LIFT Management’s roster of sports clients includes athletes in the NBA, WNBA and NFL. The agency’s services span contract negotiation, name, image and likeness (NIL) representation, marketing, community outreach and philanthropy

    The agency was founded in 2020 (as LIFT Sports Management) by McGrath, a former Providence College star college basketball player, and former NBA star Mike Miller.

  • ‘Forensic Files’ to Be Adapted Into Vertical Format by Microdrama Streamer GammaTime (EXCLUSIVE)

    ‘Forensic Files’ to Be Adapted Into Vertical Format by Microdrama Streamer GammaTime (EXCLUSIVE)

    Select episodes of the pioneering true crime docuseries “Forensic Files” will soon be available in a vertical format meant for smartphone viewing.

    Content Partners LLC, which owns the rights to “Forensic Files,” has entered a licensing agreement with microdrama streamer GammaTime to adapt the docuseries for the mobile-first platform. GammaTime will present “a curated collection of 15 of Forensic Files’ most compelling cases,” per a release from the company.

    “Forensic Files” was created, narrated and executive produced by Paul Dowling and ran for 14 seasons and more than 400 episodes from 1996 to 2011, beginning on TLC before moving to Court TV in 2000 and then TruTV for its final seasons. In 2020, revival series “Forensic Files II” premiered, running for four seasons until 2023. Episodes of “Forensic Files” give in-depth looks at how forensic science is used to solve violent crimes and other difficult cases.

    GammaTime launched in 2025 with $14 million in funding, with high-profile investors including Alexis Ohanian and Kris Jenner. Its library of vertical content focuses especially on the true crime genre.

    “Forensic Files is the gold standard in true crime,” GammaTime’s Bill Block said in a statement. “Each episode’s tightly structured storytelling and high-impact reveals make them perfectly suited for GammaTime vertical viewing — delivering complete, gripping true crime stories in the mobile-first format.”

    “GammaTime is an excellent partner for expanding Forensic Files into the vertical space,” added Content Partner’s Scott Hemming. “Bill and the team have a deep understanding of the format and a genuine passion for true crime. We’re pleased to work with them to bring this leading flagship series to new audiences in an innovative way.”

  • Bath & Body Works and Vera Bradley Unveil Exclusive Collaboration in Time for Mother’s Day

    Bath & Body Works and Vera Bradley Unveil Exclusive Collaboration in Time for Mother’s Day

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    Following Bath & Body Works’ second iteration of its fan-favorite Disney Princess Collection, the beloved brand is delivering yet another buzzy collaboration. This time, it’s with lifestyle and accessories label Vera Bradley. Released with Mother’s Day gifting top of mind, the limited-edition fashion-meets-fragrance drop makes for the ultimate token of appreciation, offering wallet-friendly luxury for moms with impeccable taste.

    Available while supplies last at BathAndBodyWorks.com, the 22-piece collection spans perfume, body care, home fragrance, gift sets and accessories. Exclusive to this collaboration, the two coveted brands came together to create a brand-new fragrance, Peach Blossom & Nectar, and a brand-new Vera Bradley print — fittingly, decked out in peaches. Prices range from $1.95 for the PocketBac Hand Sanitizer to $69.95 for the Eau De Parfum.

    1.65 fl oz.

    14.5 oz.

    Pairs perfectly with the above candle.

    Beyond the Vera Bradley collaboration, Bath & Body Works’ online Mother’s Day Shop highlights three additional product lines: the Cherry Blossom Collection, the Gingham Collection and the Rooted Collection, fit for the mom who gravitates towards garden-inspired fragrances and an earthy aesthetic.

    Pair with your favorite three-wick candle.

    14.5 oz.

    Back to Vera Bradley x Bath & Body Works’ limited-release lineup, the partnership welcomes two Rewards member-exclusive gift sets, each containing a paisley-patterned cosmetics case — one in blue and one in pink — filled with three coordinating products from the collaboration. (Bath & Body Works’ Loyalty Rewards is free to join here.) Each gift set retails for $34.95, and will be available in store and online through May 11, 2026, while supplies last.

    Fragrances include Blue Washed Sky and Pink Berry Burst.

    Fragrance notes include berry punch, apple blossom and sparkling florals.

    Check out a few more gifting favorites from the Vera Bradley x Bath & Body Works collection below, and shop the full inventory at BathAndBodyWorks.com. And for even more Mother’s Day gifting inspiration, visit Bath & Body Works’ dedicated gift shop here.

    Doubles as a bag charm.

    0.47 fl oz.

    8 fl oz.

  • War on Iran: US’s history of making other nations pay for conflicts

    United States President Donald Trump is considering asking Arab countries to cover the cost of the US-Israel war on Iran, White House spokesperson Karoline Leavitt has said.

    “I think it’s something the president would be quite interested in calling them to do,” Leavitt told reporters at a news briefing on Monday.

    “I won’t get ahead of him on that, but certainly, it’s an idea that I know that he has and something that I think you’ll hear more from him on.”

    Such a mechanism would be similar to how US allies helped fund Washington’s intervention during the Gulf War in 1990.

    On Monday, Trump also indicated that he may be satisfied with bringing the war to a close even without the reopening of the Strait of Hormuz, suggesting that “other partners” who rely more heavily on exports shipped through the narrow waterway, which Iran closed shortly after the war began at the end of February, should take on the burden of managing that crisis.

    In peacetime, about 20 percent of the world’s oil and liquefied natural gas supplies are shipped through the strait. This has forced the price of Brent crude oil, the global benchmark, as high as $116 per barrel this week, compared with a pre-war price of about $65 and has sparked major supply concerns across the globe. The US, however, is largely self-sufficient when it comes to these resources.

    INTERACTIVE - Strait of Hormuz - March 2, 2026-1772714221

    For its part, Tehran has stated that the US should pay reparations to compensate victims of the war in Iran as a condition for any ceasefire to take effect.

    So far, there has been no indication from Middle Eastern governments – particularly members of the Gulf Cooperation Council (GCC), which have themselves been directly affected by Iranian strikes on US military assets and infrastructure in their territories – about whether they are prepared to help fund the war. The overall cost, which could run to tens of billions of dollars, analysts said, is still unclear.

    Unlike in the 1990-1991 Gulf War, GCC and other Arab states did not ask the US to intervene in Iran before strikes began on February 28, experts pointed out.

    “This would have made sense if it was those GCC states that advocated for this war to happen, but they actually advocated for the war not to happen in the lead-up to the war. They continue to call for diplomacy and de-escalation,” Zeidon Alkinani, founding director of the Arab Perspectives Institute, told Al Jazeera.

    “The country that seems to be worthy to take and handle the costs would be Israel. The Israeli government … is the party and the agency that has convinced and pushed the United States to take this war on,” Alkinani added.

    If the US were to press Arab countries to fund the war on Iran, it would not be the first time the US has tried to – often successfully – make other nations pay for wars it has started or been heavily involved in.

    Gulf War

    In August 1990, then-Iraqi President Saddam Hussein ordered the invasion of Kuwait, accusing it of overproducing oil to drive down prices and harming its northern neighbour’s war-battered economy after its protracted conflict with Iran for much of the 1980s.

    Iraq also revived a longstanding territorial claim over Kuwait dating back to Ottoman- and British-era borders to justify its invasion.

    The Iraqi army rapidly overran Kuwait, occupying its capital within days and forcing the 13th emir of Kuwait, Sheikh Jaber al-Ahmad al-Sabah, to flee to Saudi Arabia, where he led the government in exile while Iraqi forces controlled the country.

    In January 1991, the US led a global coalition of several dozen countries, including Western, Arab and other Muslim-majority states, to force out Iraqi forces at the request of Kuwait and several of its Gulf neighbours, especially Saudi Arabia. The invasion was named Operation Desert Storm.

    The conflict lasted just over six weeks with its main combat phase running from mid‑January to the end of February 1991. The war cost the coalition $61bn at the time, worth about $140bn today.

    The war was mostly funded as it progressed by a group of nations comprising Kuwait, Saudi Arabia, the United Arab Emirates, Germany and Japan. Together, they provided $54bn, about 88 percent of the cost of the war.

    Most of those contributions were footed by Saudi Arabia, which paid $16.8bn at the time, covering 27 percent of the war costs, and Kuwait, which provided $16bn, or 26 percent of the war costs.

    Japan contributed $10bn (16 percent), Germany spent $6.4bn (10 percent), the UAE provided $4bn (6.5 percent) and South Korea chipped in $251m (0.5 percent).

    The US covered 12 percent of the costs of the war – $7.3bn, according to figures published by the Pentagon in the early 1990s.

    Post-World War II

    World War II officially began when Germany invaded Poland in 1939 amid Nazi expansionism.

    As a result, Britain and France declared war on Germany a couple of days later.

    Japan had already been at war in China since 1937, and in 1941, Japan attacked the US naval base at Pearl Harbor in Hawaii. This pulled the US into the war.

    The war ended in 1945: Soviet troops took Berlin, and Germany surrendered; weeks later, the US dropped two atomic bombs on Japan, which too then surrendered.

    From 1948 to 1951, the US implemented the Marshall Plan, a US aid plan for Europe’s recovery from the devastation of the war. The US provided more than $13bn in economic support to rebuild Western European economies and contain Soviet influence.

    But war reparations were also paid by Japan and Germany, who were forced to accept occupation.

    Japan paid more than $1bn from the 1950s to the 1970s to several Asian countries through a patchwork of bilateral treaties and “economic cooperation” agreements.

    Germany paid tens of billions of dollars of reparations and compensation. However, there is no single, universally agreed total figure.

    While Japanese and German reparations did not go to the US, both countries have spent billions of dollars on the upkeep of US military bases on their territories since World War II. Japan spends about $1.4bn a year, and Germany in excess of $1bn annually, on these bases.

    Ukraine war

    Russia’s ongoing war on Ukraine began in February 2022 when Russia launched its full-scale invasion of its neighbour.

    While it was not an instigator of this conflict, the US was at first a key ally of Ukraine, providing Kyiv with military support to counter Russian attacks.

    Indeed, the US committed the largest amount of aid to Ukraine – 114.64 billion euros ($134bn) – from January 24, 2022, to June 30, 2025.

    This included 64.6 billion euros ($75bn) in military aid, 46.6 billion euros ($54bn) in financial aid and 3.4 billion euros ($4bn) in humanitarian aid.

    The European Union has been the second biggest donor at 63.19 billion euros ($74bn), followed by Germany (21.29 billion euros or $25bn), the United Kingdom (18.6 billion euros or $21bn) and Japan (13.57 billion euros or $15bn).

    At the same time, Washington has urged European allies to supply weapons to Ukraine and ramp up their own defence spending, helping drive US foreign arms sales to a record $318.7bn in 2024.

    Since returning to office in January 2025, Trump has withdrawn 99 percent of US support, shifting the financial burden to European nations instead.

    Rather than provide aid, Washington is now selling weapons to Ukraine’s European allies. In July, for example, the US and Germany struck a deal through which Germany will buy US-made air defence systems, such as Patriot systems, to make them available to Ukraine.

    INTERACTIVE-GCC_MILITARY_SEPT18_2025_PATRIOT_SYSTEM-1758287528
    (Al Jazeera)

    That same month, Trump announced he had approved $10bn in sales of weapons for Ukraine to be paid for by Ukraine’s European allies.

    He told reporters that after spending billions to help Ukraine since 2022, “we’re getting our money back in full.”

    The Kiel Institute’s Ukraine Support Tracker shows that support to Ukraine has remained stable since the withdrawal of nearly all US funding because Europe has ramped up its support by about two-thirds.

    In 2025, Europe contributed about $70bn in military and financial aid to Ukraine while the US contribution fell to $400m.

  • Box Office: ‘Super Mario Galaxy Movie’ Aims for $180 Million or More Domestically, $350 Million-Plus Globally

    Box Office: ‘Super Mario Galaxy Movie’ Aims for $180 Million or More Domestically, $350 Million-Plus Globally

    Mario and Luigi are about to turbocharge the box office.

    The Super Mario Galaxy Movie” is aiming for $175 million to $180 million in its first five days of release. Since its predecessor, 2023’s “The Super Mario Bros. Movie,” was enormously popular, exhibitors and independent tracking services believe that initial ticket sales will power to $190 million to $200 million. Like the original, Universal is getting a jump on the weekend by launching the family film in 4,000 North American theaters on Wednesday.

    At the international box office, “Mario” is expected to generate at least $175 million, bringing its global tally to somewhere around $350 million to $375 million. “The Super Mario Galaxy Movie” will easily rank as the biggest debut of the year, ahead of March’s “Project Hail Mary” with $80.5 million in North America and $140 million globally over the traditional three day weekend.

    These are blockbuster figures, but “The Super Mario Galaxy Movie” will need to climb toward the higher end of projections to match the start of the first film. “The Super Mario Bros. Movie” powered to $204 million in its five-day domestic debut (including $146 million over the traditional weekend) and $173 million overseas, resulting in a stellar $377 million worldwide. Thanks to four-quadrant appeal and multi-generational love for the Nintendo video game, “The Super Mario Bros. Movie” ended up as the second-highest grossing release of 2023 with $1.3 billion.

    “The Super Mario Galaxy Movie” cost $110 million to produce, not including the studio’s global promotional efforts. Aaron Horvath and Michael Jelenic returned to direct the sequel, which follows the Brooklyn-based plumbers known as Mario and Luigi as the venture into outer space. They’re joined by new and old pals including Yoshi, Princess Peach and Toad as they face off against Bowser and his son, Bowser Jr. The voice cast is led by Chris Pratt as Mario, Anya Taylor-Joy as Princess Peach, Charlie Day as Luigi, Jack Black as Bowser, Keegan-Michael Key as Toad, Donald Glover as Yoshi and Benny Safdie as Bowser Jr.

    This weekend’s other new release is A24’s twisted romance tale “The Drama,” starring Zendaya and Robert Pattinson. Bolstered by positive reviews, it’s targeting a solid launch around $12 million to $15 million from 4,000 domestic venues. That’s in line with A24’s breakout hit “Materialists” ($11.3 million to start) and Zendaya’s last film “Challengers” ($15 million to start), which appealed to similar demographics as “The Drama.” Directed by Kristoffer Borgli, the R-rated film follows a happily engaged couple whose wedding week goes off the rails after an unexpected revelation. It carries a budget of around $28 million.

    “Mario” will tower over the domestic box office and knock down the reigning champ, Amazon MGM’s “Project Hail Mary.” The space odyssey, starring Ryan Gosling, is projected to add $30 million in its third weekend of release. So far, the film has grossed $164 million domestically and $300 million globally after 10 days on the big screen. It already ranks as Amazon’s highest grossing film of all time, overtaking 2023’s “Creed III” with $276 million worldwide.

  • ‘Heated Rivalry: Unauthorized Musical Parody’ to Debut Off-Broadway This Spring

    ‘Heated Rivalry: Unauthorized Musical Parody’ to Debut Off-Broadway This Spring

    The “Heated Rivalry” phenomenon is headed to the stage.

    “Heated Rivalry: The Unauthorized Musical Parody” will run Off-Broadway this spring following eight sold-out concert performances earlier this month. Inspired by the hit show about hockey and gay romance, “Heated Rivalry: The Unauthorized Musical Parody” follows starry-eyed golden boy Shane Hollander on “his journey from power center to power bottom,” according to a press release. Written by Dylan MarcAurele, the production will star Jay Armstrong Johnson as Ilya Rozanov and Jimin Moon as Shane Hollander.

    Here’s the official logline: “Relive all of the moments from the show that made you wet (with tears) up close on the small-stage by an incredible cast of Broadway actors who thought they were auditioning to be in Season 2. Sporting a bop-infused score, scene-stealing cameos by characters like ‘Rose Landry’ and ‘Ilya’s Ass,’ and time jumps absolutely no one can keep track of, audiences will find themselves hot, bothered, and probably saying, ‘….Girl!’ Because with love, sometimes it comes when you least expect it… and sometimes, it comes hands-free. So, grab a Canada Dry and join us for this hot and steamy romp!”

    Performances for the full, staged run of “Heated Rivalry: The Unauthorized Musical Parody” will begin on May 12 at the 6th Floor Theater (formerly The McKittrick Hotel) ahead of an official opening night on May 26 for eight-weeks only.

    The show’s creative team includes Dylan MarcAurele (book, music, lyrics and orchestrations), Alan Kliffer (direction), Brooke and Tiffan Engen (choreography), Sully Ross (scenic design), Brendan McCann (costume design), Devin Cameron (lighting design) and Germán Martinez (sound design).

    Based on the “Game Changers” book series by Rachel Reid, “Heated Rivalry” became an instant phenomenon when the Canadian-produced show landed last year on HBO Max. Production on Season 2 is slated to begin this summer, with an expected release date in April 2027.

  • S&P Dow Jones Indices and Kaiko bring iBoxx US Treasuries index onchain for first time

    S&P Dow Jones Indices and Kaiko bring iBoxx US Treasuries index onchain for first time

    S&P Dow Jones Indices, a division of S&P Global that tracks more than 125,000 benchmarks used across global investment markets, has joined forces with Kaiko, a digital assets data infrastructure firm, to bring the iBoxx US Treasuries Index to the Canton Network, making it the first major financial benchmark issued as a native blockchain asset.

    The index is not a tradeable or investable instrument. It is issued as a non-fungible token that embeds data distribution, licensing rights, and permissioning directly into its structure, according to the companies.

    While not investable, it enables institutional users authorized by S&P DJI to access end-of-day and intraday data, corporate actions, and automated compliance features through a single token.

    The system also introduces lifecycle controls, usage tracking, and streamlined reporting, reducing operational friction. This move aligns with the growing role of US Treasuries as core collateral in blockchain-based finance. It signals a broader shift toward a programmable, blockchain-native infrastructure for institutional financial markets

    Explaining the decision to tokenize the iBoxx US Treasuries Index, Cameron Drinkwater, Chief Product & Operations Officer at S&P Dow Jones Indices, highlighted that the rising role of US Treasuries as onchain collateral is driving demand for high-quality index data that is directly accessible on blockchain networks.

    “This collaboration with Kaiko allows us to bring the iBoxx US Treasuries Index onchain with the same intellectual property protections and licensing standards our clients depend on in traditional markets while unlocking new efficiencies and expanded revenue opportunities,” Drinkwater stated.

    With the iBoxx available natively on-chain, asset managers, exchanges, and decentralized finance protocols can reference an institutional-grade benchmark without the cumbersome off-chain integrations that previously characterized such efforts, as noted by Kaiko CEO Ambre Soubiran.

    “With S&P Dow Jones Indices, Kaiko has built something the market has not seen before: a financial benchmark tokenized as a programmable, permissioned data asset with compliance and licensing built in,” Soubiran stated. “This fundamentally changes the economics of building index-linked financial products on distributed ledger networks.”

    S&P DJI is expanding its indices into digital-native environments, making them programmable, onchain, and usable in real-time trading.

    Earlier this month, the team announced its partnership with Trade[XYZ] to launch the S&P 500 as a perpetual contract on Hyperliquid.

  • Warren Buffett says he would load up on Apple just not in this market

    Berkshire Hathaway Chairman Warren Buffett said he would buy “a whole lot” of Apple shares if the stock became cheap enough, but the current market isn’t offering the right opportunity yet.

    “I will buy them if they’re cheap. I’ll buy a whole lot of them if they’re cheap,” Buffett said a morning interview with CNBC’s ‘Squawk Box.’

    “It’s not impossible that Apple would get to a price. We would buy a lot of it, but not in this market,” he noted. “This just isn’t going to happen in this market.”

    Berkshire entered Apple in Q1 2016 with a $1 billion position of 9.8 million shares. Trimming began in late 2023, accelerated in 2024, and continued through 2025, reducing the stake by nearly 50% by mid-2024.

    Buffett admitted he sold Apple “too soon,” but said he didn’t regret the decision.

    “I sold it too soon,” the 95-year-old investor said. “But I bought it even sooner. I think we’ve made over $100 billion in that pre-tax.”

    Even with these sales, Apple stays Berkshire’s top equity holding.

    Buffett values Apple as a business with strong consumer demand, durable competitive advantages, and excellent management.

    “It’s a remark. It’s better than any business we own outright. Now, we own a railroad that’s worth more money than our Apple position, for example,” Buffett said.

    “But it doesn’t earn the rate remotely on capital that Apple does,” he noted. “Apple is a business that, you know, you’ve got one probably and your kids have got them.”

    On the current market drawdown, Buffett called it “nothing” compared to past episodes when Berkshire’s stock fell more than 50%, including the 2007–2008 financial crisis.

    He said he would deploy cash when stocks or businesses are attractive, but not based on short-term market timing.

    Buffett also said Berkshire, now led by CEO Greg Abel, is sitting on roughly $350 billion in cash and Treasury bills and recently purchased $17 billion in T-bills in a single week.

  • Bath & Body Works and Vera Bradley Unveil Exclusive Collaboration in Time for Mother’s Day

    Bath & Body Works and Vera Bradley Unveil Exclusive Collaboration in Time for Mother’s Day

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    Following Bath & Body Works’ second iteration of its fan-favorite Disney Princess Collection, the beloved brand is delivering yet another buzzy collaboration. This time, it’s with lifestyle and accessories label Vera Bradley. Released with Mother’s Day gifting top of mind, the limited-edition fashion-meets-fragrance drop makes for the ultimate token of appreciation, offering wallet-friendly luxury for moms with impeccable taste.

    Available while supplies last at BathAndBodyWorks.com, the 22-piece collection spans perfume, body care, home fragrance, gift sets and accessories. Exclusive to this collaboration, the two coveted brands came together to create a brand-new fragrance, Peach Blossom & Nectar, and a brand-new Vera Bradley print — fittingly, decked out in peaches. Prices range from $1.95 for the PocketBac Hand Sanitizer to $69.95 for the Eau De Parfum.

    1.65 fl oz.

    14.5 oz.

    Pairs perfectly with the above candle.

    Beyond the Vera Bradley collaboration, Bath & Body Works’ online Mother’s Day Shop highlights three additional product lines: the Cherry Blossom Collection, the Gingham Collection and the Rooted Collection, fit for the mom who gravitates towards garden-inspired fragrances and an earthy aesthetic.

    Pair with your favorite three-wick candle.

    14.5 oz.

    Back to Vera Bradley x Bath & Body Works’ limited-release lineup, the partnership welcomes two Rewards member-exclusive gift sets, each containing a paisley-patterned cosmetics case — one in blue and one in pink — filled with three coordinating products from the collaboration. (Bath & Body Works’ Loyalty Rewards is free to join here.) Each gift set retails for $34.95, and will be available in store and online through May 11, 2026, while supplies last.

    Fragrances include Blue Washed Sky and Pink Berry Burst.

    Fragrance notes include berry punch, apple blossom and sparkling florals.

    Check out a few more gifting favorites from the Vera Bradley x Bath & Body Works collection below, and shop the full inventory at BathAndBodyWorks.com. And for even more Mother’s Day gifting inspiration, visit Bath & Body Works’ dedicated gift shop here.

    Doubles as a bag charm.

    0.47 fl oz.

    8 fl oz.