This Barbie is going to be a mother. And Margot Robbie has no problem putting her burgeoning baby bump on full display. In fact, the Barbie star, who is pregnant with her Tom Ackerley’s first baby, debuted recently her bump while vacationing on Italy’s Lake Como with her husband July 7. For the outing, Margot donned a black blazer over a white tee that was cropped above her stomach, showing off a sweet baby bump. She finished off the look with low-rise black trousers, black platform sandals and a summery straw bag. For his part, Tom—whom Margot wed in a 2016 ceremony in her native Australia—wore olive green trousers and a cream-colored button-down shirt and tan sneakers. The couple were photographed waiting on a dock in Lake Como before they hopped in a boat and sailed off into a literal sunset. While Margot and Tom, both 34, haven’t spoken publicly about their upcoming bundle of joy, the I, Tonya alum has previously expressed hope to have a big family one day. As she told Porter in 2018, “If I'm looking into my future 30 years from now, I want to see a big Christmas dinner with tons of kids there.” Tom and Margot’s new chapter comes over ten years after their love story first began on the set of 2014's Suite Française, in which Margot starred while Tom worked as a third assistant director. But while she was immediately smitten, Margot was convinced her love would go unrequited. "I was always in love with him, but I thought, ‘Oh, he would never love me back,'" she admitted to Vogue in 2016. "'Don't make it weird, Margot. Don't be stupid and tell him that you like him.' And then it happened, and I was like, ‘Of course we're together. This makes so much sense, the way nothing has ever made sense before.'"

The UAE insurance sector continued to grow in Q4-2023, as reflected by increase in the gross written premiums. As of year-end, the number of licensed insurance companies in the UAE remained at 60, according to the Central Bank of the UAE's (CBUAE) Quarterly Economic Review (Q4-2023). The insurance sector comprised 23 traditional national companies, 10 Takaful national and 27 foreign companies, while the number of insurance related professions remained at 491. The review on insurance sector structure and activity showed that the gross written premium increased by 12.7% Y-o-Y in Q4 2023 to AED 53.2 billion, mostly due to an increase in health insurance premiums by 16.5% Y-o-Y and an increase in property and liability insurance premiums by 18.9% Y-o-Y, while the insurance of persons and fund accumulation premiums decreased by 12.4% Y-o-Y, resulting primarily from decrease in individual life premiums. Gross paid claims of all types of insurance plans increased by 12.8% Y-o-Y to AED 31.1 billion at the end of 2023. This was mainly driven by the increase in claims paid in health insurance by 16.9% Y-o-Y and increase in paid claims in property and liability insurance by 10.9% Y-o-Y, partially offset by the decline in claims paid in insurance of persons and fund accumulation by 2.8% Y-o-Y. The total technical provisions of all types of insurance increased by 8.4% Y-o-Y to AED 74.4 billion in Q4 2023 compared to AED68.6 billion in Q4 2022. The volume of invested assets in the insurance sector amounted to AED 76 billion (60.4% of total assets) in Q4 2023 compared to AED 71.4 billion (59.4% of total assets) in Q4 2022. The retention ratio of written insurance premiums for all types of insurance was 52.9 % (AED 28.1 billion) in Q4 2023, compared to 54.9% (AED 25.9 billion) at the end of 2022. The UAE insurance sector remained well capitalized in terms of early warning ratios and risk assessment. Own funds to minimum capital requirement ratio increased to 335.7% in Q4 2023, compared to 309.3% at the end of 2022, due to an increase in own funds eligible to meet the minimum capital requirements. Also, own funds to solvency capital requirement ratio rose to 221% in Q4 2023 compared to 208.5% in Q4 2022, due to an increase in own funds eligible to meet solvency capital requirements. Finally, own funds to minimum guarantee fund ratio reached to 316.3% at the end of 2023 down from 314.6% a year earlier, due to higher eligible funds to meet minimum guarantee funds. In terms of profitability, the net total profit to net written premiums increased to 6.5% in Q4 2023, compared to 2.9% at the end of 2022. The return on average assets increased to 0.3% in Q4 2023 compared to the 0.1% at the of the previous year.

July 8 (Reuters) - Microsoft (MSFT.O), opens new tab intends to offer Apple's (AAPL.O), opens new tab iOS-based devices to its employees in China to access authentication apps, a company spokesperson said on Monday, citing absence of Google's (GOOGL.O), opens new tab Android services in the country. Microsoft has been under increased scrutiny after a series of security breaches, the latest being that of Russian hackers who spied and accessed emails of the company's employees and customers earlier this year. The development was first reported by Bloomberg News, which, citing an internal memo, said the Windows OS-maker instructed its employees in China to use Apple devices at workplace from September. As a part of Microsoft's global Secure Future Initiative, the move to switch to iOS-devices stems from the lack of availability of Google Play Store in China that limits its employees' access to security apps such as Microsoft Authenticator and Identity Pass, the report added. "Due to the lack of availability of Google Mobile Services in this region, we look to offer employees a means of accessing these required apps, such as an iOS device," a company spokesperson told Reuters in an email. Microsoft is among those U.S. companies that have a strong presence in China. It entered the Chinese market in 1992 and also operates a large research and development center in the country. The company will provide iPhone 15 models to employees, currently using Android handsets across China, including Hong Kong, the Bloomberg report said.

Kris Jenner is opening up about her health. The reality star shared plans to have her ovaries surgically removed after she was diagnosed with a tumor on one of the organs. “I went to the doctor and I had my scan," she tearfully told daughters Kim Kardashian, Khloe Kardashian and Kendall Jenner on the July 4 episode of The Kardashians. "They found a cyst.” Kris continued, "They said I gotta have my ovaries taken out." While the 68-year-old—who is also mom to kids Kourtney Kardashian, Rob Kardashian and Kylie Jenner—wasn't nervous about the procedure, she did feel very emotional over having to part with her ovaries because, as she put it, "that’s where all my kids were conceived." "It’s also a thing about getting older," Kris noted. "It’s a sign of 'we’re done with this part of your life.' It’s a whole chapter that’s just closed.” She added in a separate confessional, “People often ask me what is the best job you’ve ever had, and I always say mom. The biggest blessing in my life was being able to give birth to six beautiful kids.” And in true Kardashian fashion, Kris' family quickly rallied behind her. After Kourtney called in to check on Kris, the Poosh founder said in a confessional, "I totally understand how my mom is feeling because I would feel the same way." "It’s your womanly power," Kourtney continued. "It doesn’t mean it’s taking away who she is or what she’s experienced, but I would feel this sentimental feeling of what it’s created.” Likewise, Kim empathized with Kris, saying that she feels "really sad for her." "To have a surgery and remove your ovaries is a really big deal," the SKIMS mogul shared. "I couldn’t even imagine being in that situation.” Kris' longtime boyfriend Corey Gamble also showed his support, surprising the momager with a special gift to “help your energy."

According to Chinese movie ticketing platform Taopiaopiao, the box office for the 2024 Spring Festival holidays surpassed last year's 6.766 billion yuan and entered the top two in the history of Chinese Spring Festival holidays box office. I recently watched three movies, and I think they are all good. However, their overall level is not higher than the movies from last Spring Festival holidays. The higher box office compared to last year reflects the strong potential for movie consumption in Chinese society. Our filmmakers need to make further efforts. The current development of Chinese movies has many advantages. People often complain that our film creation faces various "restricted areas," but in terms of societal topics, the space for Chinese film creation is relatively large and relaxed. For example, Zhang Yimou's film Article 20 shows protest scenes and boldly explores the issue of judicial injustice in depth. A few years ago, the film I Am Not Madame Bovary specifically discussed the sensitive issue of petitioning. Another film, Johnny Keep Walking! which was aired last year, also touches on serious social issues. The breadth and depth of these films' topics lay the foundation for their attractiveness. The improvement of China's basic film production level has played a role in boosting their success, resulting in Hollywood films being collectively pushed off the Chinese box office charts. Now, almost any domestic film can be considered "watchable." The next step is to produce world-class masterpieces and promote the collective advancement of Chinese films on the global stage. The three movies that I watched are YOLO, directed, written and starring Jia Ling, a representative of the new generation of female Chinese directors, Pegasus 2, directed by Han Han and Article 20. They are all realistic-themed films, and the actors who play the main characters have some overlap. Although each of them is good, as mentioned earlier, I personally feel that their overall quality is not as good as films screened during last year's Spring Festival holidays. So I have a feeling that Chinese movies have been spinning in place for a year in such a good market environment. Of course, I am not an expert, so what I say may not be correct, or it may be biased. The production level of Chinese films, in terms of technology, has caught up. Domestic films have surpassed Hollywood in the domestic market through competition, which is a great achievement. However, I hope that this does not mark the beginning of a "decoupling" between Chinese movies and the rest of the world, but rather a turning point for Chinese films to reach a higher level domestically and to go global. This requires Chinese realistic films to not only be loved by domestic audiences but also become increasingly "understandable" to foreigners, allowing them to empathize with us through these films. If Chinese films can gradually go global through market-oriented approaches, it will be a new process for the international community to re-recognize and understand China, and to establish common values between us. The earliest understanding of the US by the Chinese people came entirely from the shaping of news propaganda. Later, American films and TV works entered China, showcasing the rich American society. Now, Western media's portrayal of China is completely stereotyped. If Chinese films and other popular culture do not go global, and if a large number of secular elements from China do not appear on the global internet, the outside world's perception of China is likely to be dictated by Western media for a long time. So I hope that China's excellent film market can incubate outstanding works that are loved and enjoyed globally. Not only should our cultural policies provide greater space, but our internet public opinion should also be more tolerant of the interweaving and mutually influencing between Chinese and Western cultural elements. We should not restrict those elements in Chinese films that can resonate with both Chinese and foreign audiences. For example, comedies should not only make Chinese people laugh, but also be understandable to foreigners. Chinese films need to establish their own big stars, including top-tier female stars. In the past, Bruce Lee and Jackie Chan became famous in the West, but they were primarily seen as "Hollywood stars." It is a more challenging journey for Chinese stars to gain international recognition through their own films. The success of Chinese films and Chinese stars worldwide is definitely a complementary process. The backgrounds of our film stories should also be carefully selected and more diverse, enhancing the visual quality and international appeal of the films. Feng Xiaogang's film Be There or Be Square was entirely set in the US, and later, there was another film called Lost in Thailand, both of which achieved good results. Choosing such backgrounds should be encouraged as one of the approaches. In conclusion, I am delighted by the comprehensive recovery of the Chinese film market, and I also hope that the films nurtured by this market will continue to progress. To achieve this, we need to keep introducing the world's best films and collaboratively cultivate the aesthetic taste of the Chinese people alongside Chinese films. Chinese films have already stood up, but they should not monopolize this vast market. Instead, the Chinese market should serve as the stage for them to expand globally.