On October 17, 2025, Sapient Capital LLC disclosed a purchase of 259,392 Eli Lilly and Company(LLY -1.94%) shares, for a total transaction value of $193,028,908.
What Happened
Sapient Capital LLC increased its stake in Eli Lilly and Company by 259,392 shares during Q3 2025, according to a U.S. Securities and Exchange Commission (SEC) filing dated October 17, 2025 (SEC filing). The estimated transaction value was $193.03 million, based on the average closing price for Q3 2025. The fund now holds 1,477,879 shares worth $1.07 billion in Q3 2025.
What Else to Know
Buy activity increased the position to 16.53% of Sapient Capital’s 13F AUM in Q3 2025
Top holdings after the filing:
LLY: $1.07 billion (16.5% of AUM) as of September 30, 2025
APP: $906.45 million (14.0% of AUM) as of September 30, 2025
AAPL: $346.81 million (5.3% of AUM) as of September 30, 2025
MSFT: $313.49 million (4.8% of AUM) as of September 30, 2025
GOOGL: $238.99 million (3.7% of AUM) as of September 30, 2025
As of October 17, 2025, shares were priced at $802.83, down 12.46% over the past year; shares have underperformed the S&P 500 by 25.79 percentage points
Company Overview
Metric
Value
Price (as of market close 2025-10-17)
$802.83
Market Capitalization
$722.03 billion
Revenue (TTM)
$53.26 billion
Net Income (TTM)
$13.80 billion
Company Snapshot
Eli Lilly and Company is a global pharmaceutical leader with a market capitalization of $722.03 billion as of October 17, 2025 and a diversified portfolio of innovative therapies. The company’s strategy centers on advancing high-impact medicines and expanding its reach through scientific innovation and partnerships. Its scale and established presence in key therapeutic areas provide advantages in the healthcare sector.
The company offers a broad portfolio of pharmaceuticals for diabetes, oncology, immunology, neuroscience, and other therapeutic areas, with leading products such as Trulicity, Humalog, Jardiance, and Taltz. It generates revenue primarily through the discovery, development, and global commercialization of branded prescription medicines, leveraging internal R&D and strategic collaborations. It treats patients with chronic and complex health conditions.
Foolish Take
This recent transaction by Sapient Capital, a private wealth advisor, is a notable institutional purchase. Here’s why.
First off, Sapient acquired over 259,000 shares of Eli Lilly, worth around $193 million. That is, of course, a great deal of money. But beyond that, the transaction makes the stock Sapient’s largest overall holding, with about $1.07 billion worth of Eli Lilly stock. In other words, Sapient is significantly increasing its already enormous stake Eli Lilly stock. That demonstrates the fund managers have a great deal of conviction that Eli Lilly stock should perform well.
Average investors may want to take note of this, particularly given Eli Lilly’s recent underperformance against major market indexes like the S&P 500. For example, Eli Lilly stock has lagged the S&P 500 year-to-date. Indeed, it has generated a total return of around 5% in 2025, while the benchmark index has generated a total return of 14%.
One potential headwind for Eli Lilly may be political pressure from Washington. President Donald Trump recently said that his administration will work to cut the cost of brand-name GLP-1s, like Eli Lilly’s Zepbound, to $150 per month — a significant decrease from the rate Eli Lilly currently offers on their direct-to-consumer site. That could cut into the company’s profits which have skyrocketed from $5 billion to nearly $14 billion thanks in part to the introduction of Zepbound in 2023.
In summary, investment advisor Sapient has made a huge bet on Eli Lilly stock, boosting its stake by ~25% and making the stock its top holding. The company’s shares have underperformed this year, and pressure from Washington is increasing for the company to lower the price of its star drug, Zepbound, which could stifle its overall profitability. All in all, it’s a mixed picture for Eli Lilly with significant uncertainty surrounding at least one of its key products.
Glossary
13F assets under management (AUM): The value of securities a fund manager reports to the SEC on Form 13F, typically U.S.-listed equities. Position: The amount of a particular security or asset held by an investor or fund. Trailing twelve months (TTM): The 12-month period ending with the most recent quarterly report. Dividend yield: Annual dividends per share divided by the share price, shown as a percentage. Forward price-to-earnings ratio: A valuation metric comparing a company’s current share price to its expected future earnings per share. Enterprise value to EBITDA: A valuation ratio comparing a company’s total value (enterprise value) to its earnings before interest, taxes, depreciation, and amortization. Stake: The ownership interest or share held by an investor in a company. Holding: A security or asset owned by an investor or fund. Buy activity: The act of purchasing additional shares or assets, increasing an investor’s or fund’s position. Therapeutic areas: Specific categories of diseases or medical conditions targeted by pharmaceutical products. Strategic collaborations: Partnerships between companies to achieve shared business or research goals.
Jake Lerch has positions in Alphabet. The Motley Fool has positions in and recommends Alphabet, Apple, and Microsoft. 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.
At the time, a source toldPage Six: “Harry’s loving Montecito, Meghan bought him surfing lessons for his birthday and he’s having the best time.”
Princess Diana documentary on long list of shows Netflix could produce with Harry and Meghan as part of new deal
The Prince showed off his skills in 2024, when he was videoed at Kelly Slater’s Surf Ranch in Leemore.
The latest surfing video comes after the couple announced a new deal with Netflix, which gives the streaming giant first refusal over their suggestions for new programmes.
Their original deal was worth £100 million and ran out this year.
The show would mark the 30th anniversary of Diana’s death, after she tragically died in Paris on August 31, 1997.
An industry source said: “If Harry wants to do it then Netflix will bite his hand off.”
The Prince has spoken candidly about losing his mother in the press, as well as in his autobiography Spare.
In the book, Harry also revealed he had visited a medium, who told him that “your mother is with you”.
The psychic said: “Your mother says, ‘You’re living the life she couldn’t.
“You’re living the life she wanted for you’.”
Harry gave his daughter Lilibet – named after the late Queen Elizabeth II – the middle name Diana in a reference to his mother.
Meghan Markle’s ventures after stepping down as a working royal
THE Duchess of Sussex has kept busy since stepping down as a senior working royal in 2020 and relocating to California. Here are some of her business ventures…
Archewell Foundation – A nonprofit supporting charitable initiatives.
Netflix Deal – Producing content like Harry & Meghan and With Love, Meghan.
Archetypes Podcast – Former Spotify show on female stereotypes.
Clevr Blends – Investment in a women-owned wellness latte brand.
Cesta Collective – Minority stake in a handbag brand supporting Rwandan artisans.
As Ever – Previously known as American Riviera Orchard lifestyle brand selling jam.
ShopMy Page – Online store featuring her curated fashion and beauty items.
New Podcast – Confessions of a Female Founder focusing on entrepreneurship.
Diana Ross returned to the Hollywood Bowl on Friday night for the first of two weekend concerts — her fifth engagement at the hillside amphitheater since 2013 and her second gig in her adopted hometown of Los Angeles in less than a year (following her performance at last August’s old-school Fool in Love festival). In other words, it’s not exactly hard to catch the 81-year-old pop legend onstage these days — which isn’t to say that it’s not worth doing. Here are nine moments that made me glad I showed up Friday:
1. After coming out to — what else? — “I’m Coming Out,” Ross zipped through a frisky Motown medley linking some of the 12 No. 1 hits she and the Supremes scored in the 1960s. Would I have liked to have heard full versions of “You Can’t Hurry Love,” “Baby Love” and “Stop! In the Name of Love”? Sure. But hearing these all-timers stacked up in rapid succession was a thrill of its own — a reminder of the blend of efficiency and ingenuity attained on a daily basis at Hitsville, U.S.A.
2. Ross was backed by more than a dozen musicians at the Bowl, including four horn players and four backing vocalists, and they were cooking from the get-go: crisply propulsive in the Motown stuff; tight and gliding in “Upside Down”; lush yet down-home in Ross’ take on Billie Holiday’s “Don’t Explain,” from her 1972 Holiday biopic “Lady Sings the Blues.”
3. Two wardrobe changes meant that we beheld three glittering gowns in all, beginning with the fluffy canary-yellow number she emerged in. About halfway through the show, Ross slipped into a pipe-and-drape dressing room at the rear of the stage then slipped back out wearing bedazzled ruby red; later, she changed into a shimmering gold look. Each dress came accompanied by a matching shawl that Ross would eventually toss to the stage to be retrieved by a waiting assistant who seemed to know precisely when it would happen.
4. Each dress also came with a bulky mic pack that — in an endearingly peculiar costuming choice — Ross opted to wear on her waist instead of hiding it around back.
5. “I have an album out, a current album — the title of the album is called ‘Thank You,’” Ross told the crowd as she began to introduce a tune from her not-bad 2021 LP. Then she turned her head stage-left toward a sound engineer in the wings: “Who’s talking in the mic? I can hear a mic.” She returned to the audience. “Anyway, the title of the album is called ‘Thank You.’ Each song was specially written so that I could say ‘thank you’ to you for all the wonderful years, all the…” Another glance left. “Somebody’s talking in the microphone.” Another turn back. “We’re gonna start with this one — ‘Tomorrow,’ OK? We’ll start that if I can out-talk whoever’s talking over here.”
6. Ross’ daughter Rhonda joined her mom to sing another new-ish tune, “Count on Me” — “She’s been practicing,” Diana said proudly (if somewhat shadily) — then stuck around to do a mini-set of her own self-help-ish soul-folk songs, one of which beseeched us all to “stop gaslighting ourselves.”
7. Half a century after “The Wiz” debuted on Broadway in 1975, Ross sang her two big numbers from the Black retelling of the “The Wizard of Oz,” which she helped cement as a cultural landmark with her role as Dorothy in a fondly remembered movie adaptation. Here, “Home” was wistful yet determined, while “Ease on Down the Road” got even the high-rollers in the Bowl’s box seats moving.
8. During “Reach Out and Touch (Somebody’s Hand),” Ross led the crowd in a call-and-response recitation of what she called “my mantra”: ”I’m so grateful / For all the blessings in my life / For there are many / All is well / I’m resilient / Thank you, thank you, thank you.”
9. More of Ross’ children appeared onstage at the end of the show to join her for a rowdy “I Will Survive” — and to plug their latest commercial endeavors. “Can I say one thing?” Tracee Ellis Ross asked. “‘Solo Traveling with Tracee Ellis Ross’ on Roku streams today, so check out the show.” Diana Ross reclaimed the microphone and gestured toward her son Ross Naess. “This is my son — he’s doing a line of caviar called Arne Reserve.” She looked around. “Chudney, what’s happening with you?”
The tennis match was the BBC’s third-highest ratings for any non-final contest in the last three years, with over five million people watching the Wimbledon match
Wimbledon breaks TV record for BBC as millions tune in for Emma Raducanu(Image: Marleen Fouchier/Getty Images)
A record number of viewers tuned in to watch Emma Raducanu’s match with Aryna Sabalenka on BBC One on Friday. The tennis match was the BBC’s third-highest ratings for any non-final contest in the last three years, with over five million people watching the Wimbledon match.
The 22-year-old had the ultimate challenge in the third round of the Grand Slam as she came up against world No. 1 Sabalenka on Friday. Despite a spirited display where she broke the serve of the Belarusian powerhouse on more than one occasion, she ultimately came up short and lost 7-6 (6) 6-4 in just under two hours 7-6 (6) 6-4.
Emma Raducanu’s match brought in millions of viewers(Image: Dan Istitene/Getty Images)
The intense match was watched by 5.32million people, and her third round received over 1.2million streaming requests on iPlayer.
In comparison, the most-watched non-final match from the last four years at Wimbledon Championships was Raducanu’s fourth round with Lulu Sun in 2024 – which had 5.47 million viewers.
Andy Murray’s tennis match with John Isner in 2022 came in second, with 5.34 million viewers.
The intense match was watched by 5.32million people(Image: Victoria Jones/Shutterstock)
Over the five days of the sporting event, the Been got over 31 million online streaming requests from eager tennis fans, which was over a 50% increase from 2024.
Meanwhile, Cameron Norrie was recently left shocked when a bold reporter asked him whether he was dating Raducanu.
The 29-year-old progressed into the round of 16 by beating Mattia Bellucci 7-6 (7-5), 6-4, 6-3. Jack Draper’s shock exit to Marin Cillic means Norrie is the only Brit left in the men’s singles.
In his post-match press conference, he was questioned on his love life, which baffled the tennis star. The reporter first praised Norrie, telling him: “Congratulations again on your win.
“Apart from everyone here loving tennis, some of the gossip has been about who Emma Raducanu is dating. Can I ask if you’re dating her? Can we get to the bottom of this, please?”
A slouching Norrie quickly straightened up and widened his eyes befire asking: “Sorry?” Repeating his question, he said: “We’re trying to find out who is dating Emma Raducanu. It seems to be going round all the men’s singles. I was just wondering if you are dating her, please?”
With a confused look on his face, Norrie replied: “I’m not, no. You can ask her, though. You can ask her. I don’t know,” before he swiftly turned away.
Rhiannon Giddens is down at the river, carrying a flame of heritage, and she’s inviting anyone who wants to join her to come down and light their own wicks.
Rivers are traditionally sites of salvation, as well as play. Last summer, Giddens was making her new album of traditional banjo and fiddle tunes with Justin Robinson, “What Did the Blackbird Say to the Crow,” and they were recording a few songs at Mill Prong House in Red Springs, N.C. Stepping inside the house, built on a plantation in 1795, Giddens recoiled at the intensity she felt.
“I knew who was working these fields,” she says. “I knew who was serving in this house — and it was people who looked like me. And then seeing up on the wall, like, a reunion photo of these old white dudes who went to Chapel Hill, at the end of the Civil War, and one of them had my Black family’s last name from Mebane [N.C.] … I was just like: I can’t right now. I had to run out to the river.”
In a moment captured by a photographer, she was crouching by the water just before it started to rain, “and I’m thinking: how many people have come down to this river for respite? How many people in the history of this plantation — turned manor house, turned private property — have come to exactly this spot, distressed over whatever reason?”
Giddens carries the weight of this on her shoulders — of the distress, but also of the joyful culture and music-making of her ancestors — and she extends an open invitation to audiences to share and learn their stories and their culture. She did so at her inaugural Biscuits & Banjos Festival in her native North Carolina, and she’s doing it in her current Old-Time Revue tour — which will make a special blockbuster stop at the Hollywood Bowl [on June 18].
The program will feature Giddens playing with Hollywood banjoists Steve Martin and Ed Helms, along with a reunion of the all-female banjo supergroup Our Native Daughters. “So many banjos,” she says. “This evening is going to be amazing. I wanted to call it a ‘Banjo Jamboree,’ but they wouldn’t let me,” she laughs, speaking to The Times via Zoom.
Balancing laughter and sorrow seems to come easily to Giddens, 48, who has been on a serious mission to rekindle the legacy of the banjo and string band traditions as authentically Black creations ever since she met fiddle player Joe Thompson in 2004 and became a disciple. She’s referred to as an “elder” in the “Blackbird” liner notes, which doesn’t bother her: “To an 18-year-old, I am an elder,” she says. “I’m almost 50, and we are the half generation. We’re the point five, because our parents didn’t pick this up.”
From the Carolina Chocolate Drops to her solo music, from composing the Pulitzer-winning opera “Omar” to helming the Silkroad Ensemble, Giddens is at the fore of a movement of Black artists — including Beyoncé, whose country album “Cowboy Carter” features Giddens on banjo — reclaiming their cultural heritage and making it sing again.
Rhiannon Giddens
(Rick Loomis / for the Los Angeles Times)
A river (of sorts) played a role in another piece of Black Southern iconography this year — in the climax of “Sinners.” Giddens was a musical consultant on Ryan Coogler’s blockbuster film and contributed her banjo to the song “Old Corn Liquor” on its soundtrack. She was also meant to appear onscreen in the central juke joint — her Chocolate Drops bandmate, Justin Robinson, does — but she couldn’t make it work with her busy schedule. She admittedly hasn’t seen the film (“I don’t like horror movies, so I actually don’t want to see it”) but she’s still a fan.
“I think what they’ve opened up with the whole conceit behind it is super important,” Giddens says.
In a way, “Sinners” is a vampiric, IMAX-sized version of her own project, in that it’s about how so much of our popular musical culture was invented by Black folks in the South and co-opted by white performers (whether Elvis, the Rolling Stones or the country and folk music industries) — but also about how music can be a time machine, a way to seance with people up the river of history.
“Beyoncé, ‘Sinners,’ and then, in its own small way, Biscuits & Banjos is like this little triangle of a cultural movement,” Giddens says, “which I didn’t see coming, and I’m just super grateful. Because it’s been a desert. … We’re all toiling in our corners, on our own, and it kind of feels like we’re carrying all of this on our own.”
Her Durham festival, which took place in April, drew musical legends — Taj Mahal, Christian McBride, the Legendary Ingramettes — and basically “most of my favorite people making music right now,” says Giddens. She also judged a biscuit competition and participated in contra dances, which is what got her into this music in the first place.
“People were just really ready,” she says, “ready to come and feel good, and to celebrate our humanity together.”
For Giddens, the stakes couldn’t be higher. She and Robinson learned their tunes and their art directly from Thompson, who died in 2012; they were playing his music together in Ojai recently “when it just hit me how important it was what we were doing,” she says, “like how complete the sound was together. I said: ‘If one of us gets hit by a bus, this tradition is dead.’ ”
That’s why she wanted to record the tunes they inherited from Thompson, as well as from Etta Baker and other North Carolina string band players — hence the “Blackbird” album. But she also insists that the only way to truly pass the flame is through playing together in person.
Rhiannon Giddens crouching by river near Mill Prong House in Red Springs, N.C.contemplating the historic struggle of her slave ancestors. “I’m thinking: how many people have come down to this river for respite?” she said. “How many people in the history of this plantation — turned manor house, turned private property — have come to exactly this spot, distressed over whatever reason?”
(Karen Cox)
“I know that learning from Joe forms the center of my character as a musician,” she says. “I learned stuff off of recordings, fine, but I have something to go back to that was a living transmission. And I just think you should have something of that, especially in this day and age.”
Giddens has passed her tradition down to many students in the past 20 years, including her nephew Justin “Demeanor” Harrington — who plays banjo and the bones, and also raps, and who is traveling with her Old-Time Revue.
This will be Giddens’ first time at the Bowl; likewise for Amythyst Kiah, a banjo player from Johnson City, Tenn., and one of Our Native Daughters. That project began in 2019 as a one-off album recorded in a small Louisiana studio, of songs inspired by the transatlantic slave trade and the suffering and often unheard voices of Black women.
“Music has a way of disarming,” says Kiah, “so it allows for people to be able to engage with the subject matter in an easier way than just talking about it.”
The fierce foursome — which also includes Allison Russell and Leyla McCalla — toured with their songs before the pandemic, and later brought their banjos to Carnegie Hall in 2022. “Now we’re playing in a stadium,” says Kiah, “which is insane.”
The star-studded Bowl show is “not what I usually do,” says Giddens. “It’s stepping out a little bit for me, not to mention the size of the place, which is kind of freaking me out.”
But really it’s just another river — or rather, the same river Giddens has been inviting folks to join her at for the last 20 years.
Roger Nichols, the songwriter who penned “We’ve Only Just Begun” and other hits for folk-rock duo the Carpenters, has died. He was 84.
Nichols’ death on May 17 was confirmed in a social media post from Nichols’ longtime songwriting partner, Paul Williams. He did not list a cause of death.
“The first song Roger Nichols and I wrote was called ‘It’s hard to say goodbye …’ Sadly, we hit the nail on the head. Roger Nichols passed away peacefully four days ago, at home with his beautiful family,” Williams wrote. “His wife Terry and the daughters he was so proud of, Claire and Caitlin at his side.
“He was as disciplined as he was talented,” Williams continued. “The words were born of the beauty in his completed melodies. I wrote what I heard, note for note …word for word. The lyrics waiting in the emotion already in his music. He made it easy.”
Nichols, a Montana native, released his first solo LP, “Roger Nichols & the Small Circle of Friends,” on A&M Records in 1968. It’s now regarded as a cult classic in the California pop-rock canon, with guest credits from Randy Newman, Van Dyke Parks and Lenny Waronker. However, he earned his big break as a songwriter after he penned an unexpectedly poignant jingle for a Crocker-Citizens National Bank commercial.
Richard Carpenter, who formed the popular duo with his sister Karen, heard the tune on television and asked if Nichols and Williams had a full version of the song. They quickly extended it into a tune that became the duo’s 1970 smash “We’ve Only Just Begun.” The single was nominated for song of the year at the following Grammys.
With Williams (and other lyricists), Nichols co-wrote many of the Carpenters’ most beloved songs, including “Rainy Days and Mondays,” “I Won’t Last a Day Without You,” “Let Me Be the One” and “I Kept on Loving You.” Beyond his hits for the Carpenters, Nichols co-wrote songs that were recorded by the Monkees, Barbra Streisand, Diana Ross, Petula Clark and Art Garfunkel, among many others.
In a comment on Williams’ post, Nichols’ daughter Claire wrote, “My mom, Terri, and my sisters, Caroline and Caitlin, are all so proud of the man he was, and are in awe of the legacy he leaves.”
