Lilly

It’s dead certain that if you’ve been a television critic for, ahem, a number of years, you’re going to have reviewed a passel of shows based on the writing of Stephen King, America’s most adapted, if not necessarily most adaptable author. (It’s been a mere three months since the last, “The Institute,” on MGM+.) The latest float in this long parade premieres Sunday on HBO — it’s “It: Welcome to Derry,” a prequel to the 2017 film, “It” (and its 2019 follow-up, “It: Chapter Two”) based on King’s 1986 creepy clown novel, each of which made a packet. (There was a 1990 TV miniseries version as well.)

Developed by Andy Muschietti (director of the films), Barbara Muschietti and Jason Fuchs, “Derry” is an extension of the brand rather than an adaptation, which features a white-faced circus-style clown called Pennywise (Bill Skarsgård, back from the movies) who lives in the sewer and comes around every 27 years to feed on children’s fear — fear being the preferred dish of many famous monsters of filmland, and white-faced circus clowns having lost all goodwill in the culture. (No thanks to King. Or Krusty.) And while I assume some of the series’ points may be found within King’s original 1,138-page novel, life is short and that is going to have to remain an assumption. In any case, it’s very much a work of television — not what I’d call prestige television, despite a modicum of well-done fright effects — just ordinary, workman-like TV, with monsters. (Or one monster in many forms.)

It’s 1962 in Derry, Maine, and everywhere else. (Subsequent seasons — prequel prequels — will reportedly be set in 1935 and 1908.) The Cold War is heating up. Schoolchildren, forced to watch animated films about the effects of a nuclear blast, are ducking and covering beneath their desks (a psychological rather than a practical exercise). But the threat of annihilation has done nothing to slow them in their teenage rituals. Bullies chase a target down the street. A group of snobby girls is called the Pattycakes, because they play patty cake, and their leader is named Patty. On the other hand are the kids we care about, the outsiders, banded together in unpopularity. It’s a paradoxical quality of horror films that to be an outsider either qualifies you as a hero or the monster — the insiders are usually just food. Not that the monsters are particular about whom they eat.

We open in a movie theater. Robert Preston is on the screen in “The Music Man,” performing “Ya Got Trouble.” (Chronologically accurate foreshadowing!) In the audience is Matty (Miles Ekhardt), a boy way too old to be sucking on a pacifier. Chased from the theater — he’s been sneaking in — it’s a snowy night, and he accepts a ride from a seemingly normal family, who quickly turn abnormal. Suddenly it’s four months later and Matty is an officially missing child.

Taylour Paige, Blake Cameron James and Jovan Adepo play the Hanlon family, who have just moved to Derry, Maine.

(Brooke Palmer / HBO)

The series begins promisingly, setting up (as in “It,” or, hmmm, “Stranger Things”) a company of junior investigators. Phil (Jack Molloy Legault) has a lot of thoughts about aliens and sex; Teddy (Mikkal Karim Fidler) is studious and serious and has thoughts about Matty. Lilly (Clara Stack) is called “loony” because she spent time in a sanitarium — the King-canonical Juniper Hill Asylum — after her father died in a pickle factory accident. (Not played for laughs, although the pickle is perhaps the funniest of all foods.) Lilly thinks she heard Matty singing “Trouble” through the drain in her bathtub; Ronnie (Amanda Christine), the daughter of the cinema’s projectionist Hank (Stephen Rider), has heard voices in the theater’s pipes. The kids run the film, and supernatural mayhem ensues. It’s pretty crazy! Gross hallucinations — or are they? — will afflict them through the series.

Meanwhile, Air Force Maj. Leroy Hanlon (Jovan Adepo) has been transferred to the local base, where secret doings are afoot, involving (classic plot line) the military’s desire to claim and weaponize whatever barely understood dangerous thing that’s out there in the woods. (His value to this operation is that he cannot feel fear, the result of a brain injury.) The Hanlons — including wife Charlotte (Taylour Paige), a civil rights activist in a Jackie Kennedy pillbox hat, and son Will (Blake Cameron James) — are Black (as are Ronnie and her father, seemingly accounting for 100% of Derry’s in-town African American population). “Don’t be looking for trouble,” Leroy tells Charlotte, who responds, “There’s going to be trouble anywhere we go. That’s the country you swore your life to defend.” Will, who is scientific, will become friends with Rich (Arian S. Cartaya), an appealingly goofy kid in a band uniform; they’ll both wind up on the Pennywise case.

Typically, the kids — also including Marge (Matilda Lawler, the secret weapon of “Station Eleven” and “The Santa Clauses”), Lilly’s socially desperate friend — are the strongest element in the story and the show; their energy overwhelms the obviousness of the narrative, and whatever takes us away from them, into pace-slowing side plots, is time less well spent.

What else? There’s a Native American element — including the old Indian burial ground story — represented by Rose (Kimberly Guerrero), who runs a thrift store (called Second Hand Rose, in a nice nod to Fanny Brice) and whose indomitable air makes her a kind of counterpart and potential ally to Charlotte. Manifest destiny gets a mention, and the plot will conventionally pose Native humbleness against white hubris. Dick Hallorann (Chris Chalk) is a Black serviceman with a tragic mental gift, used cruelly by his superiors — a familiar King type. Racism is a recurring theme without becoming a consistent plot point, with messages for 2025. (Rich: “This is America. You can’t just throw people in jail for nothing.” Will: “Are we talking about the same country?”)

Also: A statue of Paul Bunyan is going up in town — and in fact a 31-foot-tall Bunyan statue was unveiled in Bangor, Maine, in 1959. This is pointed to a couple of times, so I would imagine some kind of Stay-Puft Marshmallow Man scenario coming in the series’ unseen back half. Or something.

Horror, especially body-horror — there are two monstrous birth sequences in the five episodes, out of nine, available to review — has, you may have noticed, moved from the fringes to the center of popular (even high) culture, with A-list stars signing on and Oscar and Emmy nominations not unlikely. Indeed, the good, cheap, unrespectable, unambitious variety of scare flick has mostly disappeared from the big screen. That “Welcome to Derry” is more of a cheesy B-picture than its makers might like to imagine, assembled from worked-over tropes — somewhat excusable for King having originated many of them — is more in its favor than not. TV remains a haven for cheesiness. Long may it remain so.

Florida-based wealth advisory J. L. Bainbridge disclosed a purchase of Eli Lilly and Company valued at approximately $45.6 million for the quarter ended September 30, according to an SEC filing released on Friday.

What Happened

J. L. Bainbridge & Co. Inc. significantly increased its stake in Eli Lilly and Company (LLY -1.94%), acquiring 61,258 additional shares during the quarter. The estimated value of the purchase was $45.6 million based on the average closing price for the quarter. The position was reported in the firm’s quarterly Form 13-F filing with the Securities and Exchange Commission on Friday.

What Else to Know

This buy brings the position to 3.9% of J. L. Bainbridge & Co. Inc.’s 13F reportable assets.

Top holdings after the filing:

• NASDAQ:MSFT: $164.85 million (13.9% of AUM)
• NASDAQ:AAPL: $122.68 million (10.4% of AUM)
• NASDAQ:GOOGL: $116.65 million (9.9% of AUM)
• NYSE:GS: $71.43 million (6% of AUM)
• NYSE:ETN: $59.86 million (5.1% of AUM)

As of Friday’s market close, shares of Eli Lilly and Company were priced at $802.83, down 11% over the past year and far underperforming the S&P 500’s nearly 14% gain over the same period.

Company Overview

Company Snapshot

• Eli Lilly offers a broad portfolio of pharmaceuticals for diabetes, oncology, immunology, neuroscience, and other therapeutic areas, with leading products including Humalog, Trulicity, Jardiance, Verzenio, and Taltz.
• The company generates revenue primarily through the discovery, development, manufacturing, and global sale of branded prescription drugs, leveraging both proprietary research and strategic collaborations.
• It provides pharmaceuticals for chronic and complex diseases worldwide.

Eli Lilly and Company is a global pharmaceutical leader that maintains a diversified portfolio of innovative therapies for high-burden diseases. Its scale, established brands, and strategic partnerships provide competitive advantages in the rapidly evolving healthcare sector.

Foolish Take

Florida-based J.L. Bainbridge & Co. boosted its exposure to Eli Lilly last quarter, purchasing roughly $45.6 million worth of shares even as the stock has endured a difficult stretch. Shares are down 11% over the past year, pressured by valuation concerns and, most recently, political commentary on potential weight-loss drug price cuts. The decline followed remarks by President Donald Trump, who suggested GLP-1 treatments like Lilly’s Mounjaro and Zepbound could face price reductions—a move that briefly sent shares tumbling more than 4% on Friday.

Despite near-term volatility, Bainbridge’s purchase reflects long-term conviction in Lilly’s fundamentals. The pharmaceutical giant remains a dominant player in metabolic and diabetes care, with GLP-1 demand still far outpacing supply. Analysts at BMO Capital Markets called the recent selloff “overdone,” noting that most insured Americans already pay modest out-of-pocket costs for these drugs.

For Bainbridge, whose portfolio is anchored by Microsoft, Apple, and Alphabet, the addition of Lilly underscores a strategy centered on durable growth and innovation-led healthcare exposure. Long-term investors may see current weakness as a potential entry point into one of the most profitable franchises in global pharmaceuticals.

Glossary

Form 13-F: A quarterly SEC filing by institutional investment managers disclosing their equity holdings.
AUM (Assets Under Management): The total market value of investments managed on behalf of clients by a fund or firm.
Reportable AUM: Portion of a fund’s assets that must be disclosed in regulatory filings, such as the Form 13-F.
Top holdings: The largest investments in a fund, ranked by their value as a percentage of total assets.
Trailing twelve months (TTM): The 12-month period ending with the most recent quarterly report.
Stake: The ownership interest or position an investor holds in a company, usually measured in shares or percentage.
Strategic collaborations: Partnerships between companies to jointly develop, market, or distribute products or services.
Pharmaceutical portfolio: The collection of drugs and therapies a company develops, manufactures, and sells.
Underperforming: Delivering a lower return or performance compared to a benchmark or peer group.

Eli Lilly (LLY -0.82%) has been one of the best-performing healthcare giants over the past decade. It now stands as the largest in the sector by market cap.

Even with headwinds it has encountered this year, the drugmaker is arguably one of the top stocks in its industry to buy right now. Here’s why.

Image source: Getty Images.

Innovation pays off

It’s hard to find a drugmaker that has proven more innovative than Eli Lilly in recent years. Within its core areas of diabetes and weight management, Lilly launched tirzepatide, marketed as Mounjaro for diabetes and Zepbound for obesity. Tirzepatide was a significant breakthrough, as the first dual GLP-1 (glucagon-like peptide-1) and GIP (gastric inhibitory polypeptide) agonist, a medicine that mimics the action of these two gut hormones.

That’s one of the reasons tirzepatide has proved more effective than traditional GLP-1 drugs, and is racking up sales the likes of which have almost never been seen in the history of the industry. That’s not hyperbole. Most compounds never reach $1 billion in annual sales. Most of those that do, never get to $5 billion, and those that do, typically take years on the market to get there. In its third full year on the market, tirzepatide will generate well over $20 billion this year.

The next chapter

Last year, Eli Lilly earned approval for Kisunla, a medicine indicated to treat Alzheimer’s disease, an area that had long been considered the graveyard of investigational medications. So Lilly’s innovative prowess extends beyond its core markets. And the company is leveraging its success in weight management and obesity to establish a strong foundation for the future.

Thanks to acquisitions and licensing deals, it has significantly expanded its pipeline, which should power clinical and regulatory success over the next few years and strong financial results well into the next decade. That’s why Eli Lilly is one of the top healthcare stocks to buy right now.

Like most aspects of her life, Lilly Singh approaches the end of the weekend with a clear intention. “Sunday is a big deal to me,” she says. “Sunday is my self-love, reset day.”

The comedic actress and personality began a career in her native Toronto as an early YouTube star. She moved to Los Angeles in 2015, first landing at a spot near the La Brea Tar Pits before relocating to a house in the San Fernando Valley that she shares with her dogs, Scarbro and Soca.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“I moved to L.A. to be warm and the Valley is very warm,” Singh says. “When people are complaining it’s too hot, I am thriving.”

She previously hosted the NBC talk show “A Little Late With Lilly Singh” and led the Disney+ sitcom “The Muppets Mayhem.” Most recently, she co-wrote, produced and starred in the film “Doin’ It,” playing an app-maker who is hired to teach a sex-ed class and decides she needs her own hands-on education in the subject. It opens in theaters Friday.

Singh was a night owl for most of her life, often staying up until the early morning hours and waking at noon. To improve her mental health, she’s adjusted her approach and now gets up during the week at 7 a.m. so she has two hours to mentally and physically prepare herself for the day.

There is a day of the week, however, where she shows herself compassion and makes an exception. “I’m probably not going to set an alarm on a Sunday,” she says.

This interview has been lightly edited for length and clarity.

9 a.m.: Daily routine
Every morning, I have certain mental health routines. I always am going to have journaling on my front patio, and I’m always going to stretch and do breath work. Those are nonnegotiables.

9:30 a.m.: Market essentials
After I deal with and feed the dogs, the No. 1 stop is the Studio City Farmers Market. I will die on the hill of saying it is the best farmers market. I take one thing at the farmers market very seriously, which is the kefir yogurt. I literally have a yogurt dealer, Orlando. I have to text him on Saturday night to be like, “Hold these flavors for me.” If you go there and you don’t text them, they’re sold out. When the Alphonso mango is in season, you have to get there at 7 a.m. to get it.

I walk both ways, so I’m basically a fit legend because, come on, it’s usually really hot.

10 a.m.: Flower power
I get florals every Sunday. If I don’t get them from the farmers market, I’ll get them at Trader Joe’s. Every Sunday, I reset my house in terms of flowers. I put flowers in every corner of my house. I spend an hour just making little bouquets and putting them on my desk and in my kitchen and in my bathrooms because it’s an easy dopamine-hit hack and it makes me happy throughout the week.

11 a.m.: The best brunch date
Almost every Sunday, I take myself on a solo brunch. No one is allowed to come with me. This is me taking myself on a date.

I go to the same spot every single time: Sweet Butter Kitchen. It’s just down Ventura. I get a two-sunny-side-up egg breakfast with sourdough toast. I get my bacon. Depending on how much I’ve worked that week and how much I want to spoil myself, I will also get pancakes.

I love the ambience. I’ll take my journal or sometimes I’ll just vibe out and enjoy my own company.

Noon: Planning session
Every third Sunday, I do a monthly reflection. I track my last month against my yearly goals.

I’ll also plan my social activities for the next month. Almost every month, I host a poker night. Almost every Thursday, I do a dinner. I’ll make sure my social calendar is full for the next month because in L.A., if you don’t do that, you won’t have friends and you’ll be alone.

I’m very about my journal. It’s a hard-covered journal that is smooth to the touch, with a specific Sharpie 1.0 pen. It’s the only pen I want to use. And the journal has a pen holder, which is also crucial. And it has the string that saves your page — also crucial. And it has lines. I don’t want a journal that doesn’t have lines. It has to have a little flap in the back that will hold all my documents.

In my adult life, I’ve always been this organized. Perhaps not in university or in high school, but as I’ve become a career woman, I like to be very, very organized.

1 p.m.: Tastes from home
I’m ready to eat again because Sundays are for eating. I love Smorgasburg LA. Coming from Toronto, I’m really used to Caribbean food and Asian foods. In L.A., I feel like the best international food I have found is at Smorgasburg.

If I want to hang with the friends or if someone’s in from out of town and I want to show them a good time, we’ll go there.

3 p.m.: Sunshine state
I think sunshine time is so important and nature is so important. Throughout the week, I don’t always get to spend time outside, so I spend as much time as humanly possible outside, and that’s either lying on the grass with my dogs or it’s in my pool.

5 p.m.: On the A-List
I don’t want you to think I’m a loner, but if I’m ever doing things alone, it’s more often going to be on a Sunday. I love going to the movie theater. For me, it is AMC at Universal [CityWalk]. My greatest quality — this is not even an ad — is that I am an AMC Stubs A-List member. I take it very seriously.

I’d probably go to dinner and then a movie. So I don’t have popcorn solely for dinner, which I’ve done many times, but I try to avoid, I’m going to go to Kiwami by Katsu-Ya, which is on Ventura. It’s one of my favorite sushi spots. It feels very small and intimate. They have the best lychee martinis, and I’m a big lychee martini girly. The staff knows me because I go so often and they’re just so fast with the service.

It’s crucial for me to tell you that one of the reasons I go to the movies by myself is I am crazy about watching the previews. My friends always make me miss the previews. I love getting there early and I love being seated for the previews. I’ve gone to the theater sometimes 10 minutes before anything is even on the screen.

I like Universal because it is full of tourists. As someone who was not born and raised in L.A., I love seeing people experience L.A. When I’m walking from the parking lot to the theater, people have their Super Nintendo World stuff and they have their Universal merch. They’re so excited to be there, and it reminds me, like, oh yeah, this is a really exciting place for people.

10 p.m.: Ready for the week ahead
I’ll come home, cuddle the dogs, then I make sure I’m ready for the week. I make sure my house is in a good spot. I make sure my flowers are popping. I probably will do a hot tub or sauna moment, then do my skincare routine.

11 p.m.: One last journal entry
I don’t like to watch anything in my bedroom because sleeping is a huge thing for me. I have a little bit of insomnia, so I really try to wind down. On my night table, I have my nighttime journal and I do a little self-compassion journaling.

A hopeful report about a potential blockbuster drug currently in development and news of an expansion of manufacturing capability helped push Eli Lilly (LLY 2.09%) stock skyward on Tuesday. Shares of the massive U.S. pharmaceutical company closed the day more than 2% higher in value, on a session when the S&P 500 index landed slightly in the red.

A quickened approval process

Reuters published an article speculating that orforglipron, Eli Lilly’s next-generation obesity drug currently in development, could earn Food and Drug Administration (FDA) approval by the end of this year.

Image source: Getty Images.

The report was anchored by several analysts tracking Eli Lilly who believe a fast-track review process recently launched by the regulator could put orforglipron on pharmacy shelves very soon. Under the FDA’s Commissioner’s National Priority Voucher, the process for qualifying investigational drugs can be shorted to within 1-2 months. That’s well down from the roughly 10 months for a standard review.

The news agency quoted one of those analysts, Jefferies‘ Akash Tiwari, as saying that “We think orforglipron is a prime candidate for this pilot program as it treats a high-burden chronic condition and can be priced at parity.”

Virginia expansion

Meanwhile, Eli Lilly announced that it aims to construct a new manufacturing facility in Virginia. This factory, estimated to cost $5 billion, will concentrate largely on the production of antibody-drug conjugates, medications that are designed for delivery directly to affected cells in the body.

The Virginia plant is part of an assertive “capital expansion” program. Eli Lilly said it has devoted $50 billion to activities such as factory builds since 2020.

“Sirens,” premiering Thursday on Netflix, is an odd sort of a series, an interesting mix of hifalutin ideas, family drama and what might be called dark farce.

Set over Labor Day weekend on a Cape Cod island peopled by rich folks whose taste runs to pastels and floral prints, it stars Julianne Moore as Michaela, formerly a high-powered attorney who has given that up for marriage to hedge-fund billionaire Peter (Kevin Bacon) and a life dedicated to rescuing birds of prey. The queen of all she surveys, she speaks in moony aphorisms, is posing for Vanity Fair and orchestrating a fundraising gala, among minor entertainments.

Meanwhile, in Buffalo, we meet Devon (Meghann Fahy) a working-class hot mess, making her entrance out a police station door, wearing a short black dress, looking the worse for wear. Struggling to care for her father Bruce (Bill Camp), diagnosed with dementia, she goes in search of her sister, Simone (Milly Alcock), who has been working as Michaela’s personal assistant. After traveling 17 hours — carting, for reasons of comedy, the giant edible arrangement Simone has sent in lieu of an actual response to her call for help, still wearing her night-in-jail clothes — Devon will discover that her sister has been transformed: She’s removed the matching tattoos they got together, had a nose job and presents as something like the Disney version of “Wonderland’s” Alice, minus the curiosity. (“You’re dressed like a doily,” says Devon.) Ingmar Bergman fans will note the meant-to-be-noted crib from “Persona,” underlining Devon’s observation that Simone loses herself in other people.

Simone, for her part, is delighted that she gets to call Michaela “Kiki,” “which is really a special honor,” and faithfully amplifies Michaela’s mercurial requests to the staff, personified by Felix Solis’ Jose, who hate her. (They maintain a text chain to joke about her.) For all that she’s loyal to Michaela, and considers her a best friend, she’s been hiding both her working-class roots and the fact that she’s been sleeping with Ethan (Glenn Howerton), Peter’s also-rich pal and neighbor.

Ethan (Glenn Howerton), Simone (Milly Alcock) and Devon (Meghann Fahy) during a gathering at Michaela’s home.

(Netflix)

Though Michaela worries he might be having an affair, Peter, for his part, comes across as an essentially good guy, for a hedge fund billionaire. He’s friendly with the help, who worked for him before his marriage to Michaela — there are a first wife and adult children offstage — can cook for himself and hides away from the pastel people in the mansion’s tower, where he strums a guitar and smokes a little pot. But room has been left for surprises.

“Sirens” is the sisters’ shared special code for “SOS,” which seems less practical than, you know, SOS, but ties into the vague Greek mythological references with which the series has been decorated — more suggestive than substantial, I’d say, though it’s possible that is my lack of classical education showing. The house Siri system is called Zeus. One episode is titled “Persephone,” after the goddess of the dead and queen of the underworld; Simone does indeed say to Michaela, “You are literally a goddess” — she does dress like one, in flimsy, flowing gowns — while Devon thinks that something’s gone dead behind Simone’s eyes, that she’s been zombified: “You’re in a cult.”

It was the sirens’ sweetly singing, of course, that drew sailors to their deaths in the old tales, and at one point Michaela looks out over the ocean and muses on the boats of whalers crashing bloodily on the rocks. (She is particular about the blood.) There is, in fact, a sailor in the series, Jordan (Trevor Salter), who captains Ethan’s yacht and whom Devon picks up in a hotel bar, but he is perhaps the least likely character in the show to crash into anything. And Michaela is attended by a trio of women (Jenn Lyon as Cloe, Erin Neufer as Lisa and Emily Borromeo as Astrid) who, suggesting the title creatures, speak in harmony and act as one, but they are more the embodiment of a notion, a throwaway joke, than active participants in the story. Michael Abels’ score features a choir of female voices, opts for something that one might well identify as ancient Greek music even with no notion of what ancient Greek music might have sounded like.

Kevin Bacon plays Peter, a hedge fund billionaire married to Michaela.

(Macall Polay / Netflix)

The core of the series is the struggle between Devon and Michaela for the soul of Simone, though there are ancillary battles that will help decide the fate of the war. For a viewer, it’s natural to side with Devon, who, after locking horns with Michaela, will go undercover at the mansion, dressing according to the house rules while she pokes around. (There is the suggestion of a murder mystery.) However hot a mess she may be, she isn’t pretentious; she has energy, boldness and consistency, and whatever she gets wrong, she lives in the world that most of us do. (I am assuming you are not a billionaire with a mansion on a cliff, a birdhouse full of raptors and a large staff to tend to your needs and whims, but if you are — thanks for reading!) That isn’t to say that Michaela doesn’t have her troubles — indeed, her neediness, which expresses itself as caretaking, resembles Devon’s. “I take care of everything in my orb,” says Michaela, “big and small, prey and predator.”

I hadn’t known when I watched “Sirens” that it was based on a play, the 2011 “Elemeno Pea,” by Molly Smith Metzler, who created the series as well, but I thought it might be. It had the scent of the stage in the way characters — including Bruce and Ray (Josh Segarra), Devon’s boss and adulterous occasional hookup — kept piling in, along with its farcical accelerations, its last-act revelations and reversals.

At “only” five episodes, it stays more focused than most limited series, though the tone shifts a bit; some characters come to seem deeper and more complex, which is good on the face of it, but also can feel a bit manufactured. Some bits of business are planted merely to bear practical fruit later. The ending I found half-satisfying, or half-frustrating, from character to character, but there are great, committed performances along the way, and I was far more than halfway entertained.