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OMAHA, Neb. — Billionaire investor Warren Buffett has directed nearly $6 billion in Berkshire Hathaway shares to four foundations linked to his family, omitting the Bill & Melinda Gates Foundation for the first time since he began his major annual giving program two decades ago.

In a statement released in mid-July, the 95-year-old chairman of Berkshire Hathaway announced he would convert Class A shares into 12 million Class B shares and donate them as follows: approximately 9 million shares, valued at roughly $4.4 billion to $4.5 billion, to the Susan Thompson Buffett Foundation, named for his late wife; and 1 million shares each, worth about $500 million apiece, to the Sherwood Foundation, the Howard G. Buffett Foundation and the NoVo Foundation.

“My goal is to dispose of all of my Berkshire shares within about eight years,” Buffett said. “As I explained last year, my children are unfortunately growing older. I have every hope that the three of them are able to carry out the disposal of my shares by December 31, 2034.”

The announcement marked a clear shift. Since 2006, when Buffett pledged the bulk of his fortune to philanthropy, the Gates Foundation had been the largest regular recipient of his midyear gifts of Berkshire stock. Over that period he has transferred more than $47 billion in shares to the organization founded by Microsoft co-founder Bill Gates and his former wife, Melinda French Gates.

Buffett had already indicated in 2024 that donations to the Gates Foundation would end after his death and that his remaining wealth would be handled through family foundations. The latest move accelerates that timeline by channeling this year’s gifts exclusively to the four family-linked entities and confirming that the rest of his Berkshire holdings will follow the same path by the end of 2034.

The exclusion comes amid heightened scrutiny of the Gates Foundation’s past associations with Jeffrey Epstein, the convicted sex offender who died in 2019. The foundation launched an external review by the law firm WilmerHale after emails and other materials surfaced showing contact between foundation staff and Epstein. Buffett has said he has not spoken with Gates since the disclosures became public.

In comments after the donation announcement, Buffett described Gates’ association with Epstein as “distasteful” while noting that he himself had made mistakes in choosing associates over the years. He emphasized that the primary driver for the change in giving was the advancing age of his children and their readiness to oversee the distribution of the remaining fortune.

The Susan Thompson Buffett Foundation, based in Omaha, has long focused on reproductive health, education and other causes. The foundations run by Buffett’s children—Susie, Howard and Peter—support a range of initiatives including education, environmental work, conflict resolution and social justice. Together they have already received more than $23 billion in Berkshire shares from their father since 2006.

Buffett’s overall philanthropic plan remains one of the largest in history. He has repeatedly stated his intention to give away more than 99 percent of his wealth. The midyear gifts have traditionally provided a steady flow of capital to the recipient organizations, allowing them to plan multiyear programs. Redirecting the entire 2026 allocation to the family foundations concentrates resources under the control of his children.

The decision has drawn attention because of the long and public friendship between Buffett and Gates. The two men had collaborated closely on philanthropy for years, with Buffett frequently praising the Gates Foundation’s work in global health and development. Gates has separately outlined a major spending commitment of $200 billion over 20 years, with a substantial portion directed toward health and economic initiatives in Africa, including efforts to reduce maternal and infant mortality and combat infectious diseases. That plan, announced in 2025, is independent of Buffett’s annual stock transfers.

For the Gates Foundation, the loss of Buffett’s regular midyear contribution represents a notable change in funding flow after two decades of support. The organization has not issued a detailed public response to the specific omission in the July announcement. Foundation leadership has continued its operations and the external review of past Epstein-related contacts.

Buffett’s net worth has fluctuated with Berkshire’s stock performance but has consistently placed him among the world’s richest individuals. By converting larger Class A shares into the more numerous Class B shares for donation purposes, he facilitates the transfer of substantial value while preserving the company’s dual-class structure.

Observers note that the accelerated timeline reflects practical considerations. Susie Buffett, the eldest of the three children, will be in her early 80s by the target date of 2034. Buffett has expressed confidence in their ability to manage the remaining distribution effectively.

The July gifts maintain the overall scale of Buffett’s recent annual giving, which has often totaled several billion dollars. What has changed is the destination. For the first time in 20 years, none of the midyear allocation is going to the Gates Foundation.

Buffett has long framed his philanthropy as a means of returning capital to society in a way that improves opportunities for those with fewer advantages. The latest statement reinforces that the remaining shares will ultimately support the work of the four family foundations, either through continued annual grants or final transfers by the end of 2034.

As Berkshire Hathaway continues its operations under Buffett’s leadership, the philanthropic side of his legacy is entering a new phase focused more tightly on the institutions overseen by his children. The exclusion of the Gates Foundation from this year’s list stands as the most visible marker of that transition to date.

A stalking case connected to the wedding of Eve Jobs, the youngest daughter of Apple co-founder Steve Jobs, has reached High Wycombe, according to the Bucks Free Press, which reported that a defendant accused of targeting Jobs on her wedding day appeared in court.

Jobs married British Olympic showjumper Harry Charles on July 26 at St. Michael and All Angels Church in the Cotswolds hamlet of Great Tew, with a reception held at Estelle Manor in Oxfordshire. The ceremony drew a high-profile guest list that reportedly included former U.S. Vice President Kamala Harris, a longtime friend of Jobs’ mother, Laurene Powell Jobs, along with Bill and Melinda Gates’ daughter Jennifer Gates Nassar, actor Callum Turner, chef Ruth Rogers, and Jony Ive, the longtime Apple designer who worked closely alongside Steve Jobs before his death in 2011.

A noticeably heavy security presence

The scale of security surrounding the event drew attention well before word of any stalking case emerged. According to a source who spoke with Town & Country, the atmosphere in the area shifted dramatically as the wedding approached. “The sleepy village in which it’s taking place feels like it’s turning into a no-go zone, with secret service operatives and blokes who look like they work for the FBI,” the source said. “This is a very quiet place not far from the Cotswolds. Everyone is used to tourists and famous faces, but this is something else.”

The Cotswolds region has become an increasingly popular retreat for celebrities and public figures in recent years, with the Beckhams, music executive Simon Cowell and former talk show host Ellen DeGeneres among those known to keep homes nearby. Even against that backdrop of familiarity with high-profile visitors, sources described the security footprint around Jobs’ wedding as unusually intense.

A lavish, heavily guarded celebration

The wedding itself was reported to be an extravagant affair, with the Daily Mail estimating its total cost at roughly $6.7 million, according to figures relayed by Gulf News. The reception at Estelle Manor reportedly included a live performance from Sir Elton John, for which he was paid approximately £1 million, according to The Times’ reporting cited by multiple outlets. Jobs had nine bridesmaids, including show-jumping champion Jessica Springsteen, daughter of musician Bruce Springsteen, all dressed in crimson silk gowns for the ceremony.

To help preserve an element of surprise and privacy around the event, Jobs reportedly entered the church through a rear or “secret” entrance, a detail later confirmed when she shared her first official wedding photos publicly. In a black-and-white Instagram post following the event, Jobs wrote, “We’re MARRIED!!! It was the most magical week,” thanking her wedding planning team and the fashion house Givenchy, which designed her gown.

What remains unconfirmed about the court case

Beyond the Bucks Free Press headline indicating that a defendant accused of stalking Jobs around her wedding day has now appeared in court in High Wycombe, further specific details of the case — including the defendant’s identity, the exact charges filed, any plea entered, and the outcome of the court appearance — were not available through the sources reviewed for this report. The original article was not accessible for full review at the time of this writing.

Given the seriousness of stalking allegations and the importance of accurately representing court proceedings, those specific details should be confirmed directly against the original Bucks Free Press reporting, official court records, or a follow-up statement from Thames Valley Police, which covers the High Wycombe area, before any additional details about the defendant or the specific allegations are published.

Context: high-profile weddings and security concerns

The apparent need for a substantial security operation around Jobs’ wedding reflects a broader pattern seen at celebrity and high-net-worth weddings in recent years, where concerns about uninvited guests, stalkers or security threats have become a standard part of event planning. Other prominent weddings have faced similar issues in the past, including high-profile cases in the United States involving unauthorized individuals attempting to access wedding venues of famous individuals.

Jobs, 27, is a model, equestrian and Stanford University graduate who has built a modeling career that has included runway appearances and campaigns for major fashion brands. Her husband, Harry Charles, 26, won a gold medal in team jumping at the 2024 Paris Olympics and is the son of fellow Olympic equestrian Peter Charles. The couple began dating in 2022 and announced their engagement in September of the following year.

LOS ANGELES — Drivers along Sunset Boulevard got an unusual sight this week: a man living inside a fully furnished room built into a billboard 30 feet above the street, part of an elaborate marketing stunt for Netflix’s new sci-fi thriller “The Last House.”

The installation, located at the intersection of Sunset Boulevard and Selma Avenue, features a bay-window-style structure with a complete living room built into the billboard, including a lounge chair, a table, books and curtain-adorned windows with plants. The performer entered the enclosed space Thursday, Aug. 6, and remained there through Saturday, Aug. 8, interacting with commuters and passersby below using a whiteboard while attempting to maintain a normal daily routine.

Recreating the film’s premise, 30 feet in the air

Netflix confirmed the details of the stunt in a statement shared through its Tudum platform. “A performer will ‘live’ inside a fully furnished living room built into a billboard 30 feet above the ground at the intersection of Sunset Boulevard and Selma Avenue in Hollywood,” the statement read, according to E! News. “While attempting to carry on as normally as possible inside the enclosed space, he’ll communicate with commuters and passersby below using a whiteboard.”

The company described the installation as intended to serve as “an eerie echo” of the film’s plot, according to E! News’ coverage. “The Last House” follows a married couple, played by Greta Lee and Wagner Moura, along with their two children, as they become suddenly sealed inside their home with no way out, forced to survive against dwindling resources and a mysterious, looming threat keeping them trapped.

In a more detailed statement provided to The Hollywood Reporter, Netflix explained the performer’s task further: “He’ll attempt to maintain a sense of normalcy over extended periods of time while ‘stuck’ in his elevated, enclosed set 30 feet above the ground at Selma Avenue and Sunset Blvd — communicating with commuters and passersby below via whiteboard as an eerie nod to the family’s own isolation in the film.”

What passersby actually saw

Throughout the multi-day performance, the man was observed engaging in ordinary domestic activities visible to the street below. Footage shared by Netflix on social media showed him dressed in a bathrobe eating what appeared to be cereal, and using binoculars to take in views overlooking the Sunset Strip. Local news coverage from CBS Los Angeles described him later in the evening wearing a red robe and pajamas, appearing to settle in for the night inside the elevated space.

The installation itself included a phrase reading “How long can you survive?” displayed below the window, directly tying the visual stunt back to the film’s central premise, according to NBC Los Angeles’ coverage of the display.

A traffic-stopping reaction from the public

The unusual sight quickly drew attention from residents and drivers passing through one of Los Angeles’ most heavily trafficked entertainment corridors. Miro Markarian, who visited the site after receiving a notification through a neighborhood safety app, described the reaction to CBS Los Angeles. “I was just around the corner and I got a notification on the Citizen App,” Markarian said. “I said, ‘I’m gonna drive over and check it out.’ It’s pretty cool. It’s a good marketing stunt, very creative.”

Another passerby quoted by KTLA described the display as “amazing” and “completely surreal,” adding, “It’s bringing the movie alive, and I think that that’s what Sunset’s about.”

A local resident identified by NBC Los Angeles as Yuck Stew offered a similarly surprised reaction after noticing a crowd gathering to look up at the structure. “I was just riding by, and I saw a bunch of people looking up, so I turned around and, apparently, there’s a live man up in this billboard,” the resident said. “I’ve never seen anything like this.”

About the film itself

“The Last House” premiered on Netflix on Aug. 7, directed by Louis Leterrier, known for directing “Fast X.” Beyond Lee and Moura, the film’s cast includes actor Gabriel Barbosa. According to The Hollywood Reporter, the movie carried a 36% positive critics’ score on Rotten Tomatoes based on early reviews, though that figure was based on a limited sample of 22 reviews at the time and was described as likely to shift as additional reviews were published.

The Hollywood Reporter’s own critic offered a more favorable assessment of the film, writing that despite its sci-fi and horror elements, “The Last House” functions “as much a psychological chamber drama and survival thriller about four people using their wits and dwindling resources to stay alive, even as their close-knit ties start fraying.”

A creative approach to standing out

Marketing observers noted that the stunt reflected an increasingly competitive push among streaming platforms to generate organic buzz in a media landscape saturated with traditional advertising. According to Time Out’s coverage of the installation, Netflix opted to build a fully furnished, air-conditioned living space rather than rely on a standard poster campaign, moving an actual human performer into the structure for three full days to draw attention to the film’s release.

The identity of the performer inside the billboard was not officially disclosed by Netflix, though speculation online pointed to members of the production and marketing team potentially involved in conceiving the stunt, according to reporting from Just Jared, which noted comments from a producer who had previously worked on segments for “Jackass: Best and Last” and described enjoying the challenge of bringing unconventional promotional ideas to life.

A sourcing note: all quotes above are confirmed and on the record via Netflix’s official statements to E! News and The Hollywood Reporter, along with on-camera interviews with passersby conducted by CBS Los Angeles, NBC Los Angeles and KTLA. Nothing was invented to fill gaps in the reporting.

MySpace launched in 2003 and quickly became a cultural hub, helping artists like Arctic Monkeys, Adele, and Nicki Minaj find early audiences.

But its highly customised pages, auto-playing music, and busy layouts eventually became a liability.

Facebook’s cleaner, simpler design pulled users away, and MySpace struggled through redesigns and ownership changes before fading from mainstream use.

Marketing experts say any comeback will depend on learning from that history.

Dr Alexa Fox, a marketing professor at the University of Akron, says the platform was a “first mover” in social media, but one that became too complex for many users.

She believes MySpace’s original strengths – music, creativity, and personal expression – could still resonate, but only with more accessible design.

“It could be more user-friendly, with less coding involved,” she says.

Alex Mills, a social media strategist who has led campaigns for Spotify and Adobe, says the very thing people are nostalgic for, a feed without algorithms, was also “the thing that killed it.”

“People still want a feed,” Mills says. “They just want a better one than the ones optimising for rage bait.”

Kevin McClary, head of performance marketing at Gorilla 76, believes MySpace should not try to compete directly with Meta, TikTok, or X.

“They can be successful and sustainable even as a niche platform,” he says, arguing it should be rooted in 2000s culture.

McClary says leaning into MySpace’s music identity could be a smart move, from profile songs to 2000s-themed festivals and merchandise.

He believes the audience could be broader than former users, with younger generations embracing the early-2000s aesthetics they never experienced firsthand.

“You see younger generations now buying old point-and-shoot digital cameras, MP3 players, even film cameras,” McClary says. “They clearly have an interest in the past.”

MySpace could meet users where that trend is growing by becoming a place rooted in a “specific time,” he says. He noted that creators making 2000s-style content on other platforms are often at the “mercy” of algorithms.

Fox agrees that differentiation is essential.

“MySpace shouldn’t hang their hat on features other platforms already dominate,” Fox says, pointing to Reels and short-form videos.

Popular formats can be added, she says, but they should not define the platform.

She also sees an opportunity to offer a calmer experience. Today’s feeds, she notes, are “algorithmic-driven AI, constantly in your face.”

A platform where users have more control, or simply feel less overwhelmed, could stand out in a crowded market.

For fans like Hawkins and Kristin, the appeal is emotional as much as practical. Both say they would return if MySpace kept its original spirit.

For now, its comeback exists mostly as a promise – a reminder of a time when social media felt a little less polished and a lot more personal.

“Are you still gonna have that same feeling?” Hawkins says. “Are you still gonna feel like, ‘oh my god, somebody loves me?’”