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Acclaimed architect Robert A.M. Stern, a prominent figure in American architecture who designed notable museums, libraries and residences, died Thursday, according to a statement from the firm he founded. He was 86.

The statement did not specify a cause of death, but said Stern “died comfortably at his home.”

“At RAMSA, we grieve the loss of our founder, mentor, and friend, and remain committed to carrying forth his ideals,” the statement from the firm’s partners said.

Born in Brooklyn, N.Y., in 1939, Stern founded the Robert A. M. Stern Architects firm, now known as RAMSA, in 1969. He gained acclaim for his decades of work and style, which blended postmodernism with contextual design, drawing inspiration from historic and traditional styles.

He was widely known for 15 Central Park West, a luxury condominium featuring a recognizable limestone exterior in Manhattan bordering Central Park. The building opened in 2008 and has attracted prominent, wealthy and famous tenants.

Stern’s works also include the George W. Bush Presidential Center in Dallas, the Museum of the American Revolution in Philadelphia, the Gerald R. Ford School of Public Policy at the University of Michigan and Disney’s Yacht and Beach Club Resorts in Florida. Stern also designed Cal State Northridge’s Manzanita Hall in 2003.

He served as dean of the Yale School of Architecture from 1998 to 2016. He was previously the director of Columbia University’s Temple Hoyne Buell Center for the Study of American Architecture.

The company’s stock has zoomed this year, driven by the explosive growth of the weight-loss drug market.

Eli Lilly has hit $1 trillion in market value, making it the first drugmaker to enter the exclusive club dominated by tech giants and underscoring its rise as a weight-loss powerhouse.

A more than 35 percent rally in the company’s stock this year has largely been driven by the explosive growth of the weight-loss drug market and saw it join the $1 trillion club on Friday.

Once seen as a niche category, obesity treatments are now one of the most lucrative segments in healthcare, with steadily rising demand.

Novo Nordisk had the early lead in the space, but Lilly’s drugs – Mounjaro and Zepbound – have surged in popularity and helped eclipse its rival in prescriptions.

The company’s shares were up 1.3 percent at a record high of $1,057.70.

Lilly now trades at one of the richest valuations in big pharma, at about 50 times its expected earnings over the next 12 months, according to LSEG data, reflecting investors’ belief that demand for obesity drugs will remain strong.

Shares have also far outpaced the broader United States equity market. Since the launch of Zepbound in late 2023, Lilly has gained more than 75 percent, compared with a more than 50 percent rise in the S&P 500 over the same period.

In the latest reported quarter, Lilly posted combined revenue of more than $10.09bn from its obesity and diabetes portfolio, accounting for more than half of its total revenue of $17.6bn.

“They are doing so many things outside of obesity, but to suggest anything is driving share price beyond obesity at this point, I don’t know if that would be a factual statement,” said Kevin Gade, chief operating officer at Lilly shareholder Bahl and Gaynor, in advance of the milestone.

‘Sales phenomenon’

Wall Street estimates the weight-loss drug market to be worth $150bn by 2030, with Lilly and Novo together controlling the majority of projected global sales.

Investors are now focused on Lilly’s oral obesity drug, orforglipron, which is expected to be approved early next year.

In a note last week, Citi analysts said the latest generation of GLP-1 drugs have already been a “sales phenomenon”, and orforglipron is poised to benefit from the “inroads made by its injectable predecessors”.

Lilly’s recent deal with the White House to cut prices for its weight-loss drugs, as well as planned investments to expand drug production, augur well for its growth.

Lilly is starting to resemble the “Magnificent Seven” again, said James Shin, director of Biopharma Equity Research at Deutsche Bank, referring to the seven tech heavyweights, including Nvidia and Microsoft, that have powered much of the market’s returns this year.

At one point, investors viewed it as part of that elite group, but after some disappointing headlines and earnings, it slipped out of favour.

Now, however, it seems poised to rejoin that circle, possibly even as an alternative for investors, especially given recent concerns and weakness in some AI stocks, he added.

Still, analysts and investors are watching whether Lilly can sustain its current growth as prices of Mounjaro and Zepbound come under pressure, and whether its scale-up plans, along with its diversified pipeline and dealmaking, will offset margin pressure.

Saudi Aerospace Solutions (SAS) has signed an agreement to purchase 100 electric helicopters from the Chinese company Vertaxi. This reflects Saudi Arabia’s commitment to strengthening its technological partnership with China in the field of future aviation. Saudi Arabian Airlines confirmed its intention to use these small, electric-powered aircraft, acquired through the “Vertaxi” deal, to transport pilgrims between Mecca and Jeddah, as well as visitors to major sporting events in Riyadh and other tourist destinations. The low-altitude economy (LAE), represented by “Vertaxi,” is a strategic and emerging sector in China, combining advanced manufacturing with new business models such as smart cities. SAS’s vision is to establish Saudi Arabia as a regional hub for the LEA by 2030.

  Through this deal with China’s Vertaxi and Saudi Aerospace Solutions Group, it continues to pursue its ambitious goals of connecting the world to Saudi Arabia. This includes offering several advantages, such as linking multiple destinations via this advanced Chinese electric aircraft and supporting them with air routes between the major airports where the Saudi group operates. This initiative aligns with Saudi Arabia’s vision of economic diversification and the shift towards smart transportation models that could impact future technological and regional balances. The 8th China International Import Expo witnessed the signing of an agreement between Saudi Aerospace Solutions Group and Vertaxi, a Chinese company specializing in electric vertical takeoff and landing (eVTOL) aircraft. Saudi Aerospace Solutions Group signed a letter of intent to purchase 100 Vertaxi M1 electric cargo VTOL aircraft.  The electric aircraft included in the deal are among the first fully electric vertical takeoff and landing (eVTOL) vehicles.

 These aircraft are distinguished by their ability to take off and land vertically, eliminating the need for traditional airports. They can travel up to 175 km at speeds of up to 260 km/h, offering significant time savings for individual passengers compared to other options, and can accommodate up to six passengers.

 Through this deal with China, Saudi Arabia, officially through the Saudi Solutions Group, aims to enter a new era and achieve leadership in the aviation and air transport sector in the region. The Saudi electric aircraft deal with China will provide unprecedented solutions and new air routes to connect pilgrims to Mecca during the Hajj and Umrah seasons. It will also enable visitors to Saudi Arabia to quickly access sporting and entertainment events and tourist sites, in addition to connecting the Kingdom’s mega-projects within the framework of Saudi Vision 2030 with distinguished air services that meet the future aspirations of Saudis. Furthermore, this deal achieves a highly important objective for Saudi Arabia, which is continuing the implementation of initiatives supporting sustainability and environmental conservation (electric aircraft), which are characterized by their reduced carbon dioxide emissions. This Saudi deal with China will contribute to providing more flights and reducing travel times by up to 90%, including to long-distance tourist destinations. It will also offer effective transportation solutions in areas congested with pilgrims, travelers, and traffic jams. Furthermore, this Saudi-Chinese agreement will contribute to reducing traffic congestion, saving time, expanding the range of premium services for VIP guests visiting Saudi Arabia, and providing a seamless and luxurious travel experience. This will also contribute to boosting tourism and business within the Kingdom.

 Saudi Arabia is relying on the air transport electrification deal with China as a practical path to decarbonizing this vital and important sector, which is currently characterized by high emissions and environmental damage. Currently, environmentally friendly and low-carbon-emission electric aircraft represent a very small percentage of the global aviation fleet. Saudi Solutions Company will collaborate with the Chinese company Vertaxi to develop local applications for these aircraft.  Electric vertical takeoff and landing (eVTOL) cargo services in Saudi Arabia, including low-level logistics, marine power transport, and security inspection.

 This Saudi deal with China comes at a time when China is accelerating its plans to strengthen its global digital presence. Tencent (the Chinese giant) is also simultaneously taking new steps in the Saudi market through cloud investments, in line with the goals of the Kingdom’s Vision 2030 for digital transformation. Dawson Tong, senior executive vice president of Tencent and CEO of its Cloud and Smart Industries Group, confirmed that “the new data center in the Saudi capital, Riyadh, represents a significant growth opportunity,” explaining that the Chinese partnership with Saudi Arabia is nearing completion of its final launch stages. He officially confirmed that “we already serve many Chinese companies that are increasing their investments in Saudi Arabia, and a number of our partners have lined up to benefit from the new data center in Riyadh, which allows us to expand not only within the Kingdom but throughout the entire region.”

  In this context, Saudi and Chinese companies signed 34 investment agreements on the sidelines of Chinese President Xi Jinping’s visit to Saudi Arabia in December 2022. These Saudi-Chinese agreements covered various sectors, including green energy and green hydrogen, solar photovoltaic energy, information technology, transportation and logistics, medical industries, housing, and construction, among others. Saudi Arabia’s Vision 2030 offers diverse investment opportunities in partnership with China across multiple sectors as part of the Saudi government’s efforts to diversify the economy away from crude oil, which is currently the Kingdom’s primary source of income.

 In the future industries sector, the Saudi Business Industries Company (Sahl Al-Aamal) signed a cooperation agreement with two Chinese companies: China New Energy and Eurasia. The aim is to establish a specialized electric vehicle manufacturing plant in Saudi Arabia, with investments totaling one billion Saudi riyals. This new Saudi-Chinese project also aims to support Saudi Arabia’s drive towards sustainable transportation, increase local content, and create quality job opportunities through partnership with Chinese companies.

 These Saudi steps towards partnership and cooperation with China come within the framework of the “Vision 100 strategy” to expand its international partnerships and enhance its ability to transfer advanced technologies and knowledge to the Saudi market, thus contributing to driving economic development and achieving sustainability.

  From the preceding analysis, we conclude that the Saudi-Chinese partnership, through the helicopter deal with the Chinese company Vertaxi and others, promotes environmentally friendly industrial innovation.  With the joint Saudi-Chinese effort to strengthen partnership in artificial intelligence and petrochemicals to develop sustainable and environmentally friendly technologies, Saudi Arabia has affirmed its readiness to welcome Chinese investments through the development of industrial cities, aiming to increase the number of its factories to more than 26,000 by 2030 through cooperation with China.

The former chief executive of WPP’s Motion Content Group — the producer behind “Love Is Blind” and other reality TV shows — is suing the ad agency, saying he was fired after he flagged alleged improper billing practices.

In the lawsuit, filed in U.S. District Court for the Southern District of New York on Tuesday, Richard Foster said he was ousted after he repeatedly warned senior managers about alleged “kickback practices” involving the company’s “rebate-driven deals” that he said “were unsustainable, unlawful, and a significant threat to the Company.”

Foster, a 17-year veteran, led WPP’s media division that is the producer and co-financier of “Love Island” and some 2,500 other television shows around the world. The division was rebranded in 2023 as GroupM Motion Entertainment in the North America.

Foster alleged in his lawsuit that GroupM leveraged “client budgets to secure inventory deals” from media companies that included cash rebates, inventory discounts and other financial incentives, and that these transactions were not always transparent or disclosed to clients.

Over the last five years, the lawsuit states, the company “generated rebate-driven deals valued between $3 [billion] and $4 billion, of which it improperly retained approximately $1.5 [billion] to $2 billion.”

But rather than confront the issues, Foster claims executives “marginalized him, and ultimately terminated him and his team to cover up their own improper practices.”

WPP disputed the claims.

“The Company is aware of a lawsuit in the New York State Court filed by a former employee who was let go in a recent organizational restructuring,” a WPP spokesperson said in a statement. “The court has not yet made any findings in relation to the allegations and we will defend them vigorously.”

In December, Foster submitted a 35-page internal report emphasizing that there were opportunities to establish a new entertainment division, but warned that its use of rebates could pose “possible legal and reputational” risks to the company.

At one point, Foster alleged that he told one executive, that “WPP and GroupM have ‘been sleepwalking to the edge of a cliff and people don’t want to hear it.’”

In January, Foster said he was asked to discuss the report with Brian Lesser, global CEO of GroupM, who “expressed concern about the legal risks tied to GroupM Trading and said he would investigate this further.” Days later Foster claimed that he received a text from Lesser asking him to send a “sanitized version of the report” and “to exclude any overt criticism of [GroupM Trading] as that is not in the spirit of working together.”

Eventually, Foster said he was terminated on July 10. He is seeking $100 million in damages.

“Richard Foster devoted nearly two decades to helping build one of the world’s most successful media and entertainment creation operations,” his attorney, William A. Brewer III, partner at Brewer, Attorneys & Counselors, said in a statement. “When he stood up for transparency and accountability at WPP, he was let go. This case will shine a light on systemic misconduct and the retaliation faced by an executive who refused to go along to get along.”

Sarah Paulson appears to be having a blast in Ryan Murphy’s new Hulu “legal” drama “All’s Fair,” and that’s about the only good thing about the show.

The New York Times recently ran a piece extolling it’s reimagining of the power suit (down to at least one visible thong) and I suppose that’s one way of avoiding the obvious. Still, I’m going to stick with Paulson’s obvious glee in playing a villain. Her Carrington Lane was left behind to fester in the comic-book sexism of a male-dominated divorce law firm when two of her colleagues stalked away to form an all-female team and Carrington is not one to surrender a grudge.

It’s impossible not to like Paulson and she is clearly enjoying the opportunity to glare and hiss and indulge in the kind of gross but creative profanity Melissa McCarthy likes to unleash when her characters hit the brink.

As for the rest … well, let’s just say with “All’s Fair,” American culture is getting exactly what it deserves: A series that wallows in the shiny, knockoff-ready trappings of new money (immaculate and soulless homes, private jets, diamonds the size of a Rubik’s Cube), defines “sisterhood” as the belief that any personal crisis can be alleviated by vaginal rejuvenation combined with a girls’ trip to a jewelry auction and gauges power by the ability to plot and take revenge. Preferably in the form of huge amounts of money.

“All’s Fair” may or may not be, as some have said, the worst show of the year (or possibly of all time), but with its celebration of the 1%, personal feuds and financial vengeance, it is certainly the first to truly embody the culture of the Trump presidency.

Down to the reality star at its center. “All’s Fair” gives top billing not to any of the fine and seasoned actors that star — Paulson, Niecy Nash, Naomi Watts, Glenn Close — but to Kim Kardashian, who plays Allura Grant, head of the law firm Grant, Ronson and Greene.

Niecy Nash, from left, Glenn Close and Kim Kardashian are among the stars of Ryan Murphy’s new Hulu drama “All’s Fair.”

(Ser Baffo / Disney)

That Kardashian (and Kris Jenner, who serves as a producer) were able to summon such forces of the galaxy to showcase her, shall we say, limited thespian abilities could be justifiably viewed as yet another “you go girl” testament to her seemingly limitless business acumen.

On the other hand, “All’s Fair” makes the dismal final season of “And Just Like That” look like Chekhov.

Murphy, and the forces at Disney, which owns Hulu, the home of “The Kardashians,” understand Kardashian’s cult-like following and are operating under the assumption that viewers will be so entranced by her and the fashions (which include an alarming amount of hats, capes and gloves) that they won’t notice that the main player is relying on her eyelash extensions to do her acting for her.

To be fair to Kardashian, few nonprofessional actors would shine beside scene partners like Close, Watts and Nash, and the writing of the series, which flirts with camp but never fully commits, does no one any favors.

Not since “Charlie’s Angels” has there been a “feminist fantasy” with such a male gaze. (Apologies to “Charlie’s Angels,” which was in many ways a groundbreaking show.)

After suffering on the sidelines of a mostly male law firm, Allura and Liberty Ronson (Watts) decide to branch out on their own. They do so with the blessing of Dina Standish (Close), that firm’s only female partner, and take with them ace investigator Emerald Greene (Nash). When we meet them again, 10 years later, Allura also has an assistant/mentee in Milan (Teyana Taylor), who later provides a predictable plot twist.

The names alone suggest a level of parody, and, in the first episode, a send-up quality flits in and out of the proceedings, but the show chooses cynicism over satire every time.

Instead of sexist jokes, the partners of Grant, Ronson and Greene spend much of their time discussing how awful men are, with the possible exception of Liberty’s beau, Reggie (“The Handmaid’s Tale’s” O-T Fagbenle), and Standish’s ailing husband, Doug (Ed O’Neill).

That is, after all, the raison d’etre of the firm: Grant, Ronson and Greene are intent on protecting rich women from the perils of the prenup and generally making the bastards pay, sometimes through their “superior” knowledge of the law (in one storyline, this involves explaining that gifts are the sole property of the recipient, which even I knew), but more often blackmail (if you have chosen to live your life without ever seeing a butt plug the size of a traffic cone, keep your eyes shut when Emerald starts her slideshow).

A brief, and seemingly contractually required, mention of the firm raising money to help the underprivileged is laughable — “All’s Fair” is 100% après-moi television, in which extreme wealth is presented as too normal to even be aspirational, and any work not done by Emerald consists of sashaying in super slick shades from one successful throwdown to the next. With brief interludes in sumptuous cars and, as previously mentioned, overbidding on hideous brooches at a high-end jewelry auction (held by a firm client, which honestly seems potentially unethical, but whatevs).

If the dialogue were sharp, funny or even self-aware, Murphy and his team might get away with it, but it’s not — “It’s a shame your mother didn’t swallow,” Dina tells Carrington in what passes as proof that women can be as tough as men. Or that older women can talk trash. Or that Close will do her best to give a decent reading of any line. Or something.

There are brief nods to the women’s personal lives — as a divorce lawyer, Liberty is reluctant to marry Reggie, Dina is struggling with Doug’s decline, Emerald is a super-single mom — but it all feels very box-ticky. Including Allura’s disintegrating marriage, which becomes a major plot point as the gals gather round to make that bastard pay as well, and her realization that if she wants to become a mother, she’s running out of time.

Reading the zeitgeist, the creators of “All’s Fair” were clearly not looking for raves or awards, just viewers.

(Disney)

In many ways, “All’s Fair” is an American version of the excellent British series “The Split,” which follows a matriarchal family of female divorce lawyers. Early on, one of the daughters (played by Nicola Walker) leaves the family firm and, in her own way, attempts to right the wrongs often done to women facing divorce from rich and powerful men while dealing with her own marital breakdown and a family with actual children.

But “American version” doesn’t really cut it. This is Trump’s-America version, in which ethics, morals and virtually all human feeling are secondary to winning, and winning is defined by who ends up making their opponent pay.

Between Kardashian’s conspicuous nonacting and dialogue that often seems lifted from the all-caps regions of X, “All’s Fair” has, not surprisingly, received a critical drubbing. Which seems almost intentional.

Critics, after all, have long been routinely, and often viciously, disparaged (after the reviews were in, Close felt moved to post a sketch of the cast gathered around a “Fatal Attraction”-like “critic bunny stew”). More important, reviews, bad or good, do not (nor should they) predict audience reaction (see early theater reviews of “Wicked”). As Trump has proved again and again, bad press is still press and the worse it is, the more easily it can be cast as proof that the cultural elites (i.e. critics) are out to get … somebody.

So it shouldn’t surprise anyone that, despite a 5% score on Rotten Tomatoes, “All’s Fair” was Hulu’s most successful scripted series premiere in three years.

Reading the zeitgeist, the creators of “All’s Fair” were clearly not looking for raves or awards, just viewers. In this American moment, bad is good and shrewd operators know that if you throw in enough high-profile ingredients — Kardashian, Murphy, a bevy of fine actors — you needn’t take the trouble to ensure the mix will rise to the occasion.

As the president builds a ballroom while food banks are overrun, why wouldn’t TV audiences want to feast on fallen cake?