On October 10, 2025, wealth management company Douglas Lane & Associates disclosed a purchase of Thermo Fisher Scientific valued at approximately $7.79 million, based on the average price for Q3 2025.
What happened
According to a filing with the Securities and Exchange Commission (SEC) dated October 10, 2025, Douglas Lane & Associates increased its position in Thermo Fisher Scientific(TMO -1.85%) by 16,745 shares during the quarter. The estimated transaction value was $7.79 million, based on the average closing price for the quarter. The fund now holds 216,276 shares after the trade.
What else to know
Following the purchase, Thermo Fisher Scientific represented 1.5% of the fund’s reportable assets under management as of September 30, 2025.
Top holdings after the filing are as follows:
NASDAQ:NVDA: $312.46 million (4.4% of AUM) as of September 30, 2025
NASDAQ:GOOG: $212.16 million (3.0% of AUM) as of September 30, 2025
NYSE:JPM: $203.56 million (2.8% of AUM) as of September 30, 2025
NASDAQ:MSFT: $184.79 million (2.6% of AUM) as of September 30, 2025
NASDAQ:QCOM: $167.31 million (2.3% of AUM) as of September 30, 2025
As of October 9, 2025, Thermo Fisher shares were priced at $534.68, and were down about 12% over the trailing 12 months.
Company Overview
Metric
Value
Revenue (TTM)
$43.21 billion
Net Income (TTM)
$6.58 billion
Dividend Yield
0.32%
Price (as of market close 2025-10-09)
$534.68
Company Snapshot
Thermo Fisher Scientific offers life sciences solutions, analytical instruments, specialty diagnostics, laboratory products, and biopharma services with revenue streams diversified across research, diagnostics, and pharmaceutical sectors.
The company operates a multi-segment business model, generating revenue through direct sales, e-commerce, and third-party distribution of proprietary products, consumables, and services. It serves pharmaceutical and biotechnology companies, clinical and research laboratories, academic institutions, government agencies, and industrial customers globally.
IMAGE SOURCE: GETTY IMAGES.
Thermo Fisher Scientific is a global leader in scientific instrumentation, diagnostics, and laboratory services, with a broad portfolio that supports research, healthcare, and biopharmaceutical production. The company leverages scale and a diverse product offering to drive consistent revenue growth, and serve a wide range of end markets.
Foolish take
Douglas Lane upping its Thermo Fisher Scientific holdings is noteworthy in that the wealth management company already had a substantial stake. This move suggests Douglas Lane believes Thermo Fisher stock remains attractively valued, especially after its decline over the last 12 months.
Indeed, looking at Thermo Fisher stock’s price-to-earnings (P/E) ratio shows it’s lower than it was a year ago. This indicates shares are a better value now, although the earnings multiple is not as low as it was after President Trump’s new tariff policies caused the entire stock market to fall last April.
As far as its business performance, Thermo Fisher is doing well. It achieved 3% revenue growth to $10.9 billion in its fiscal second quarter, ended June 28. The company did an outstanding job managing its expenses, and combined with its sales growth, allowed Thermo Fisher to deliver a 6% year-over-year increase in fiscal Q2 diluted earnings per share (EPS) to $4.28. This continues the trend of rising EPS exhibited over the last couple of years.
On top of that, Thermo Fisher raised its 2025 fiscal guidance to sales of about $44 billion. This would be a jump up from the prior year’s $42.9 billion. With rising revenue and EPS combined with a reasonable P/E ratio, Thermo Fisher stock looks like a compelling buy.
Glossary
Assets Under Management (AUM): The total market value of investments managed by a fund or investment firm. 13F Reportable Assets: Securities that institutional investment managers must disclose in quarterly SEC filings if they exceed $100 million in assets. Alpha: A measure of an investment’s performance relative to a benchmark index, often indicating excess return. Quarter: A three-month period used by companies for financial reporting and performance measurement. Proprietary Products: Goods or services owned and produced exclusively by a company, often protected by patents or trademarks. Consumables: Products intended for single or limited use, requiring regular replacement in laboratory or industrial settings. Direct Sales: Selling products or services directly to customers without intermediaries or third-party distributors. Third-Party Distribution: The sale of products through external companies or intermediaries rather than directly from the manufacturer. Dividend Yield: The annual dividend payment expressed as a percentage of the stock’s current price. Biopharma Services: Specialized services supporting the development and manufacturing of biopharmaceutical drugs. End Markets: The final industries or customer segments that purchase and use a company’s products or services. TTM: The 12-month period ending with the most recent quarterly report.
JPMorgan Chase is an advertising partner of Motley Fool Money. Robert Izquierdo has positions in Alphabet, JPMorgan Chase, Microsoft, Nvidia, and Qualcomm. The Motley Fool has positions in and recommends Alphabet, JPMorgan Chase, Microsoft, Nvidia, Qualcomm, and Thermo Fisher Scientific. The Motley Fool recommends the following options: long January 2026 $395 calls on Microsoft and short January 2026 $405 calls on Microsoft. The Motley Fool has a disclosure policy.
As USC enters a critical stretch of its conference slate, it’s unclear if it’ll have its star wideout or starting left tackle ready to play.
Junior wideout Ja’Kobi Lane did return to practice on Tuesday after sitting out last Saturday’s win over Michigan State with an upper body injury he suffered the week before. But junior offensive tackle Elijah Paige was not seen entering or leaving USC’s practice field.
USC coach Lincoln Riley declined to provide an update on Lane or Paige on Tuesday and instead referred reporters to the Big Ten’s availability report, which is released two hours before kickoff every Saturday.
Without Lane, who is averaging almost 27 yards per catch this season, USC was forced to count on senior Jaden Richardson, who had just one catch coming into last Saturday’s game. He doubled that output against Michigan State and would presumably play a similar role if Lane is unable to play.
“He’s really created his own value here,” Riley said of Richardson. “He can play any of the receiver positions in our offense. Just does a lot of things well.”
Lane came out for early warm-ups last Saturday in shorts and a sweatshirt and appeared as if he’d try to play. But when the team returned in full pads, Lane came out of the tunnel several minutes later in street clothes.
It’s not clear how close Lane was to playing then or how seriously USC was actually considering the possibility. After the game, Riley described his injury as only “inconclusive.”
USC has a bye next week after its trip to Illinois.
“[It] was a little bit unexpected,” Riley said of Lane’s injury. “I don’t think it’ll be super long, but at the same time, I can’t sit here today and say for sure he’s going to play next week or in the coming weeks.”
Paige left Saturday’s game early in the second quarter and never returned, causing a chain reaction down USC’s offensive line. Paige was replaced by Justin Tauanuu, who shifted from left to right tackle. Tobias Raymond then moved from left guard to right tackle, while Micah Banuelos took over at left guard.
“These guys take a lot of reps at different positions throughout the week and really have throughout camp,” Riley said. “Some of the position flex we’ve built up at that position really paid off.”
Illinois is dealing with its own injury issues, but on defense. In a blowout loss to Indiana last week, Illinois was without most of its starting secondary. This Saturday, it definitely won’t have All-Big Ten cornerback Xavier Scott, who’s out for the season, and it could also be without a starting safety who is in concussion protocol. Two other key cornerbacks have yet to practice, but Illinois coach Bret Bielema expressed hope that they’d be cleared by midweek.
Even without its top red zone receiver and its steadiest offensive linemen, USC’s offense didn’t show many signs of slowing down last Saturday. It still piled up 517 yards of offense.
SACRAMENTO — A popular perk for California drivers of electric and low-emission cars is coming to an end.
Beginning Oct. 1, motorists with a Clean Air Vehicle decal will no longer be able to drive solo in carpool lanes because the program was not extended by the federal government, according to the California Department of Motor Vehicles.
The carpool benefit was promoted as a cost-effective incentive to encourage Californians to buy clean and zero-emission vehicles. More than a million motorists have applied for the decal since it became available more than two decades ago. There are roughly a half million vehicles in California with active decals, allowing them to use the carpool lane alone. Last month, the DMV stopped issuing new decals and warned that the program could be ending.
Extending the program would have required approval from Congress and President Trump.
“A Trump traffic jam is on its way to California and other states – all because Republicans in Congress decided to let a wildly successful bipartisan program expire,” Newsom said in a statement. “That’s Trump’s America: more traffic, more smog and a government more committed to slashing proven programs than solving real problems.”
California is one of 13 states offering the benefit. Vehicles that qualified included fuel cell electric, natural gas or plug-in electric cars.
Last year, Newsom signed a bill that extended California’s decal program until 2027, but the state will no longer be able to continue it without federal authority, the governor’s office said. According to the California Energy Commission, 25% of new cars sold in the state are zero-emission vehicles.
Drivers in electric and low-emission cars will only be able to use carpool lanes after the program expires if they meet the multiple occupant requirements. The reduced toll rates available in some areas to drivers with a decal will also end on Oct. 1.
California law indicates that drivers will not be cited for driving in the carpool lane with an invalid decal within 60 days of the program ending.
“Californians are committed to lowering their carbon footprint and these decals helped drivers be good stewards of our highways and environment,” said Steve Gordon, director of the California DMV, in a statement. “By taking away this program, hundreds of thousands of California’s drivers will pay the price. It’s a lose-lose and we urge the federal government to retain this program.”
The glass partition wall in Lisa Hanawalt’s office is lined with reference sheets dedicated to the members of the central family in “Long Story Short.”
Each page lists a character’s name, birth month and year — along with their zodiac sign — and a dated timeline of full body images that tracks how they look at different ages. Depending on the character, this includes their designs as children, teens and middle-aged adults.
During a mid-August morning at ShadowMachine studio, Hanawalt sits at her desk, pulling up different looks of earlier incarnations of the characters that she did before their final designs were set along with newer works in progress. Raphael Bob-Waksberg sits just behind her as they point out little details that they’re fond of and bounce their thoughts back and forth on whether certain characters might drastically change their appearance one year, as people tend to do.
“It’s a fun thing you don’t get to do on a lot of animated shows,” says Bob-Waksberg, the creator and showrunner of “Long Story Short.” “To evolve with our characters and dress them up and have so many different looks for them.”
On most animated sitcoms, characters are trapped in time: perpetually the same age, usually wearing the same clothes, rarely even getting a haircut — no matter how many holiday episodes they get through the years. Not so on “Long Story Short,” where the passage of time is a feature.
“It’s really fun to get to know the characters and to think about their aesthetic,” says Hanawalt, the show’s supervising producer. “We have to draw a lot of different versions of everybody.”
Siblings Shira, left, Yoshi and Avi Schwooper in “Long Story Short.”
(Netflix)
Launching Friday on Netflix, “Long Story Short” follows the Schwoopers, a Bay Area family whose portmanteau last name is a blend of the parents’ Schwartz and Cooper, through the ups and downs of their lives. The show’s cast includes Lisa Edelstein and Paul Reiser, who voice the parents Naomi and Elliot, respectively, and Ben Feldman, Abbi Jacobson and Max Greenfield as the Schwooper children, Avi, Shira and Yoshi.
Their story unfolds over time across both everyday happenings and milestones, with each self-contained episode jumping between moments that reverberate from anywhere in the 1950s to 2020s.
“It feels cumulative, even though the episodes themselves are not necessarily connected directly,” Bob-Waksberg says. “We thought a lot about emotional arcs more than narrative arcs. Can we feel like these characters have gone on a journey, even though we’re seeing the [story] out of order?”
“Long Story Short” is Bob-Waksberg’s first new show since the conclusion of “Bojack Horseman,” the acclaimed adult animated series that ended in 2020, about a washed up former sitcom star and his struggles set in an alternate Hollywood where humans lived alongside anthropomorphic animals. While “Bojack” didn’t shy away from showing how terrible parents were the root cause of various characters’ troubles, “Long Story Short” is a more nuanced take on dysfunction where it’s not as easy to place blame.
“As you get older, you kind of realize, we’re all screwed up in different ways and most of us didn’t have parents that bad,” Bob-Waksberg says. “We had parents who were trying and in some ways succeeding, and in other ways, not quite giving us what we needed.”
The show marks the pair’s third animated series together. Hanawalt served as the production designer and producer on “Bojack” before developing her own series, “Tuca & Bertie,” on which Bob-Waksberg served as an executive producer. But their easy rapport as they comment on a short clip of sauce exploding and whether a character is the type of person to only own one suit — as well as when the conversation detours into listing actors they insist the other likes after a missed film reference — makes it obvious that their friendship runs much deeper.
Longtime friends Raphael Bob-Waksberg and Lisa Hanawalt have previously worked together on “Bojack Horseman” and “Tuca & Bertie.”
(Jason Armond / Los Angeles Times)
Bob-Waksberg and Hanawalt explain that even during their high school years in Palo Alto, where they crossed paths as theater kids and became friends, they would talk about working on projects together and dream up TV show ideas. Describing Hanawalt as one of his favorite people and artists, Bob-Waksberg says she is the first person he thinks of whenever he needs someone for artistic work.
After hearing Bob-Waksberg’s idea for “Long Story Short,” “I just immediately felt like I knew what it should look like,” says Hanawalt. “That it should look like Sunday funnies, comics and ‘Peanuts.’ … I thought this should be more hand-drawn and loose. The warmth of the show, but also playing against how serious some of the subject matter is, I thought [that style] would help warm it up a bit.”
Though Hanawalt says backgrounds are not her forte, she had a vision of what she saw for the world and started drawing houses and buildings that resembled those they grew up in. Bob-Waksberg credits that as the reason for the show being set in Northern California.
Another reason Hanawalt wanted to work on the show was because it involved designing humans — something she’s leaned away from in the past.
“All the other stuff I get sent is for animals [and] animal people,” she says. “People see me as the animal lady, which I am — I do love anthropomorphic animals and plants. But I was actually leaning toward something more realistic. … I don’t want to get pigeonholed. And doing the same thing over and over, it gets really boring to me. So this was a fun challenge, drawing humans that are as cute as animals.”
Hearing this, Bob-Waksberg is amused by how aspects from their past have come to define them.
“I was just thinking about how 13, 14 years ago, I was developing a whole bunch of TV shows,” he says. “The one that went was the animated one and now I’m a cartoon guy, which I don’t resent. It’s been very good for me. But it’s so funny, [to think that] there’s another universe in which this other show went and then I’d be known as that kind of writer.”
The Schwooper family in an episode of “Long Story Short.”
(Netflix)
Both Bob-Waksberg and Hanawalt acknowledge it’s still a tough time for the industry, including for writers looking for work and creatives trying to get things made. Both mention having pitched different ideas that they were certain would be their next projects that ultimately went nowhere.
“I’m glad to work on this because I’m happy to not be a showrunner right now,” Hanawalt admits. “‘Tuca & Bertie’ wiped me out [and] I didn’t have enough juice to keep pitching.”
Still, Bob-Waksberg believes animation is one of the few places were shows based on original ideas have a chance, and for that he and Hanawalt are both grateful because they’d rather work on their own ideas than play in someone else’s sandbox. In other spaces, studios appear to only show interest on ideas based on existing IP like a book, news article or podcast. They also remain hopeful that, in time, things will get better.
“The appetite for original, good shows and animated shows is always there,” Hanawalt says. “That’s consistent. The audience is there. It’s just a matter of getting it to them.”
Although the show centers a Jewish family in Northern California and includes nods to his upbringing, Bob-Waksberg has been clear that “Long Story Short” is not autobiographical. But it is deeply personal. He explains that discussing the novel “Interior Chinatown,” which confronts the interplay of representation and identity, with author Charles Yu was one of the things that made him think about what it would be like to address his own identity in his work.
“It felt like it opened up this new door of story possibility that I hadn’t considered before,” Bob-Waksberg says. “One of the interesting things about working on this show is unpacking [how], especially in conversation with my other writers and the actors and other people, some things that I attributed to being Jewish is just my family.”
“Long Story Short” showrunner Raphael Bob-Waksberg and supervising producer Lisa Hanawalt.
(Jason Armond / Los Angeles Times)
While the series addresses the “trauma” — in quotes depending on which character you ask — rooted in people’s upbringing, it’s also filled with plenty of humor and heart. Most episodes are zoomed in on whatever more personal issue the Schwoopers are facing, and the passage of time is conveyed through characters’ ages and appearances rather than by referencing specific happenings and headlines that might be associated with that story’s era.
But one global event the series does acknowledge is the COVID-19 pandemic. For Bob-Waksberg, it was important to do so because it’s a collective trauma that affected everyone and should be remembered as such.
“This was a real dividing point for our world and for us all as individuals,” Bob-Waksberg says. “I feel like it’s been underrepresented in pop culture in a weird way [and] we all were very quick to move on.”
“Let’s not pretend that it never happened,” he continued. “I do feel like, as a storyteller, it is in some ways my job to be a document of the world.”
Recalling how important it was for him to hear stories from Holocaust survivors about their experiences when he was younger, Bob-Waksberg adds: “I don’t want to forget about these things.”
Rising star USC wideout Ja’Kobi Lane suffered a broken foot in May, but was fully cleared this week and will be ready for the Trojans’ season opener against Missouri State, coach Lincoln Riley said Thursday.
The foot injury kept Lane limited through most of the summer. By the start of preseason camp, he was still being brought along slowly. During the portion of USC’s practices open to reporters, Lane wasn’t even running routes on air.
Lane wasn’t deemed fully healthy until the final week of USC’s preseason camp. Riley said that the junior wideout had actually “progressed a little bit ahead of schedule.”
His return is a welcomed one on a USC offense that will rely on him to stretch the field this season. Lane was second in the Big Ten in receiving touchdowns last season as a sophomore, with 12 scores on just 43 receptions. He finished the year with six touchdowns across his final two games, a dominant stretch that would put him in the conversation to be a first-round pick in next spring’s NFL draft.
But after sitting out for part of the offseason, it may take some time to see that final leap from Lane as a junior. Riley said that Lane is still getting back into shape after being limited by his foot injury, but is progressing nicely with just over a week remaining before USC kicks off at the Coliseum.
“You can see some of the rust starting to get knocked off now,” Riley said of his top wideout.
We checked in to this popular central London hotel to see why it’s so popular – with celebrities and ‘regular’ travellers alike – and discovered spacious rooms and amazing views
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Lots of celebrities have stayed at this big central London hotel(Image: London Hilton on Park Lane)
First impressions when you enter London Hilton on Park Lane, on the edge of Hyde Park, are certainly grand ones, with a glitzy lobby filled with velvet sofas and human-sized bouquets of fresh flowers to greet you.
Despite this clearly being a big corporate hotel (there was at least one conference going on when we stayed), the service is super friendly and personal, from the welcome at reception to the cute note from housekeeping on our pillow with the turn down. Lots of guests were obviously repeat visitors, and staff greeted them – and first-timers like us – like old friends. We’re told Academy Award-winning actor Susan Sarandon recently stayed here, as did Maura Higgins to get ready before this year’s TV BAFTAs.
The London Hilton on Park Lane makes a grand first impression(Image: London Hilton on Park Lane)
The rooms at London Hilton on Park Lane
We were lucky enough to be put in the recently refurbished Executive Park Lane Suite, a huge space on the 25th floor featuring a lounge area, separate bedroom and dressing room, and incredible views out over Hyde Park, with the Serpentine twinkling in the middle. We were particularly taken by the window seat and super-comfy bed, and the large marble bathroom with two sinks, separate bath and shower, and Molton Brown toiletries. If your budget stretches to it, it’s a real luxury to have so much space in the city centre, and feels like London’s version of a luxury apartment in New York City, overlooking Central Park.
One big perk for those staying in an Executive Room or any of the 56 suites is access to the hotel’s Executive Lounge, where breakfast is served in the mornings, and drinks and snacks between 5pm-7pm in the evenings – and there’s a wide selection, with no limits on the wines, beers, soft drinks and snacks. You could basically dine out here if you so wished.
We stayed in one of the recently refurbished Executive Park Lane Suites(Image: London Hilton on Park Lane)
The food atLondon Hilton on Park Lane
Instead, however, we headed downstairs for dinner at the hotel’s Park Corner Brasserie, a modern British eatery serving elevated classics. Although not a huge number of options for vegetarians, we loved our cabbage and sweetcorn frittata, and there were loads of grill dishes to choose from. Our personal highlight came at the end of the meal with a trio of creme brulées, each one more delicious than the last.
Park Corner Brasserie serves modern British dishes(Image: London Hilton on Park Lane)
How much does it cost to stay atLondon Hilton on Park Lane?
For a stay that costs a little less, take a look at Citizen M’s four London hotels, which start from £208.80 per night, or browse hundreds of other options on Booking.com.
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