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What gas price shock? Pokémon cards and Needoh tell another story

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Rising gas prices might not be hurting consumer spending as much as feared. Look at Pokémon card sales.

Average gas prices in the US passed $4 a gallon last week, increasing more than a dollar over one month after the US and Israel began a war with Iran that disrupted oil shipments through the Strait of Hormuz.

“If there was ever a time for a gas price shock, this is it,” Mizuho analyst David Bellinger wrote in a note to clients on Monday.

A slew of economic and spending data, from Pokémon cards to movie tickets, suggests that gas prices aren’t causing consumers to pull back spending elsewhere yet, Bellinger wrote.

Higher gas prices are coinciding with tax season, and many shoppers are receiving tax refunds that could be boosting their spending power. Bellinger wrote that data from the Internal Revenue Service suggests the average tax refund is up by double digits over last year.

Then, there’s what shoppers are spending money on. Box office returns over the Easter weekend broke records, Bellinger wrote, and shoppers are still spending on toys such as Needoh sensory toys — an item that few consumers would consider essential.

Trading cards, including Pokémon, are subject to purchasing limits at some retailers, which Bellinger said shows “a clear uptick in the category.”

And JPMorgan CEO Jamie Dimon said in the bank’s annual shareholder letter on Monday that consumers are “still earning and spending.”

“For now, spending seems to be in a good place,” Bellinger wrote.

That could change if fuel prices keep rising. Gas prices could hit $5 a gallon this month if the war with Iran continues, analysts at JPMorgan said on Monday.

Other parts of the economy are feeling the pinch of higher fuel prices, too.

Wholesale prices for many kinds of fresh produce have increased over the past month, for example, as diesel prices have risen. Prices for temperature-sensitive produce, such as raspberries, and produce that has to travel long distances to get to market, such as limes from Mexico, have jumped the most.

Dimon also warned in his letter on Monday that “inflation slowly going up” could pull down markets and consumer sentiment this year.

Do you have a story to share about rising prices? Contact this reporter at abitter@businessinsider.com or via encrypted messaging app Signal at 808-854-4501. Use a personal email address, a nonwork WiFi network, and a nonwork device; here’s our guide to sharing information securely.




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Photos show how ‘Love Story’ recreated Carolyn Bessette-Kennedy’s iconic style

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  • “Love Story” follows the doomed love story of JFK Jr. and Carolyn Bessette-Kennedy.
  • The show recreates several of Bessette-Kennedy’s iconic looks and timeless style.
  • The show’s costume designer was replaced after initial backlash to how star Sarah Pidgeon was styled.

The iconic style of Carolyn Bessette-Kennedy has been often imitated but never replicated — until now.

“Love Story,” which is produced by Ryan Murphy for FX, chronicles the fated relationship between John F. Kennedy Jr. and Carolyn Bessette-Kennedy, who died in a plane crash off the coast of Martha’s Vineyard in July 1999.

The series has drawn praise for its striking casting — with Sarah Pidgeon bearing an uncanny resemblance to Carolyn Bessette-Kennedy and Paul Anthony Kelly closely capturing the look of John F. Kennedy Jr. — as well as for its thoughtful costume design, which carefully recreates and honors Bessette-Kennedy’s real-life style.

Here’s a look at how the show recreated and paid homage to Carolyn Bessette-Kennedy’s style.

The series recreated an early Carolyn Bessette-Kennedy look down to the leather loafers.

Jenny Landy and Carolyn Bessette-Kennedy in New York City in 1995; Sarah Pidgeon filming “Love Story” in New York City.

Patrick McMullan/Patrick McMullan/Getty Images; TheStewartofNY/GC Images

In this scene, before she meets John F. Kennedy Jr. for the first time, Carolyn (played by Sarah Pidgeon) wears a simple black turtleneck, flared black capri pants, and black leather loafers.

In both the show and real life, Bessette-Kennedy worked as a showroom assistant for Calvin Klein before rising the ranks to become head of publicity for the fashion house.

Despite marrying into American royalty, Bessette-Kennedy knew how to perfect a casual look.


JFK Jr. and Carolyn Bessette in New York City, and Paul Kelly and Sarah Pidgeon are seen on the set of

JFK Jr. and Carolyn Bessette in New York City, and Paul Anthony Kelly and Sarah Pidgeon are seen on the set of “Love Story.”

Mitchell Gerber/Corbis/VCG via Getty Images; Jose Perez/Bauer-Griffin/GC Images/Getty Images

She was often seen wearing loose Levi’s 517 jeans, her hair slicked back into a bun, with a simple monochromatic coat over the top.

When it came to recreating the New York City icon’s style, the series didn’t always nail it. Early leaked images from the set were criticized online for being too modern, fast-fashion-looking, and different from Kennedy-Bessette’s more upscale style.

In response to the backlash, the show brought in a new costume designer, Rudy Mance, who dedicated himself to making the costumes as accurate as possible.

“I get it. I’m protective of [John and Carolyn] as well. We all just wanted to be as precise and accurate as possible,” Mance told Variety.

Mance said he and his team studied for months throughout filming, comparing old paparazzi photos of the couple with the new looks he was creating for the show and pulling in as many archival and vintage pieces as possible to accurately recreate the look.

Part of Bessette-Kennedy’s enduring appeal was her dedication to a minimalist, understated style that felt polished yet effortlessly cool.


Carolyn Kennedy in 1996; Sarah Pidgeon seen on the set of

Carolyn Bessette-Kennedy in New York City; Sarah Pidgeon on the set of “Love Story.”

Lawrence Schwartzwald/Sygma/Getty Images; Jose Perez/Bauer-Griffin/GC Images/Getty Images

“There’s so much mystery about Carolyn. My familiarity with her was through paparazzi images,” lead actor Sarah Pidgeon told Vogue.

Mance said that recreating Kennedy’s style before she was thrust into the public eye was the most challenging.

“Everybody knows what they wore from 1996 to 1999, but we were telling the story of how they met,” he said, according to Glamour.

Her formal looks remained simple but added a sexy edge, a balance “Love Story” tried to recreate.


Carolyn Bessette-Kennedy and JFK Jr. in 1998; Sarah Pidgeon in

Carolyn Bessette-Kennedy and JFK Jr. in 1998; Sarah Pidgeon in “Love Story.”

Steve Eichner/Penske Media/Getty Images; FX Networks

Bessette-Kennedy often looked effortlessly sexy when she stepped out on red carpets, like in the strapless black Yohji Yamamoto gown photographed above. Pidgeon wears a similar dress for her meet-cute with Kelly in episode one of the series.

It was delicate work for Pidgeon to strike the same balance, especially when fans reacted strongly to early images of her in the role. However, the actor told Vogue she was ultimately grateful for the public feedback about her portrayal.

“The online conversations at the beginning of the process served as a reminder of how important it was to get our portrayal of Carolyn correct. She grew even more important to me,” Pidgeon told Vogue. “People really, really love Carolyn, and my priority every single day on set was doing justice to her legacy.”

And even when they were recreating simple outfits, the “Love Story” team ensured the fit was similar to what Carolyn would have worn.


Carolyn Bessette Kennedy poses for a picture at a gala in 1999; Sarah Pidgeon in

Carolyn Bessette-Kennedy poses for a picture at a gala in 1999; Sarah Pidgeon in “Love Story.”

Evan Agostini/Liaison/Getty Images; FX Networks

Although Bessette-Kennedy’s simple outfits could be recreated with off-brand designers — like the white blouse and floor-length black skirt by Yohji Yamamoto that she wore in 1999 — Mance was dedicated to finding archival pieces. Pidgeon was wearing true recreations of Bessette-Kennedy’s looks whenever possible.

He also ensured the pieces would fit Pidgeon similarly to how they fit Bessette-Kennedy, as Pidgeon told Vogue.

“We found her Prada and Valentino coats, and fitted some Levi’s so that they looked exactly how they fit Carolyn,” Pidgeon told Vogue.

By recreating the magic of Bessette-Kennedy’s wardrobe, the “Love Story” team offered a window into her world.


Carolyn Bessette Kennedy in 1999; Sarah Pidgeon on the set of

Carolyn Bessette-Kennedy in 1999; Sarah Pidgeon on the set of “Love Story.”

Justin Ide/Getty Images; Jose Perez/Bauer-Griffin/GC Images/Getty Images

Kennedy’s clothes were always going to play a central part in her on-screen portrayal since style was so critical to her identity. However, Pidgeon said she hoped the clothes she wears offer a jumping-off point for the total woman she hopes to portray.

“She is known as this minimalist fashion icon, but I learned that she was also vivacious, funny, and had a wildness about her,” she told Vogue.




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Amanda Goh

The newest villain in ‘Toy Story’ isn’t a toy — it’s screen time

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When “Toy Story” premiered in 1995, the enemy was plastic. In its latest chapter, it’s pixels.

More than 30 years after Woody worried about being replaced by Buzz Lightyear, the franchise is ready to take on a bigger threat: the screen.

The official trailer for “Toy Story 5” was released on Thursday and shows the toys vying for Bonnie’s attention against a frog-themed tablet named Lilypad. Bonnie is the young girl to whom Andy gave his toys when he left for college at the end of “Toy Story 3.”

In the clip, Bonnie receives the device in a package and is almost instantly absorbed, scrolling and tapping with a glazed look as her analog toys watch from the sidelines.

It all builds to a face-off between Jessie the cowgirl doll and Lilypad. Jessie says, “You’re not even listening to me,” only for the tablet to coolly reply, “I’m always listening.”

Jessie, voiced by Joan Cusack, has been in charge since Woody left at the end of “Toy Story 4.” Now, as Bonnie’s attention drifts elsewhere, the gang brings their old — and now balding — leader back.

“I don’t know, Jessie,” Woody says in the trailer. “Toys are for play, but tech is for everything.”

The film is set to be released on June 19, with Tom Hanks and Tim Allen returning to voice Woody and Buzz, respectively.

The storyline taps into a broader debate playing out in real life, as parents and experts wrestle with how screens are reshaping childhood.

Too much screentime has been linked to delays in social skills development, as well as problems with attention and behavior. Those concerns have prompted some governments to move toward banning social media use for children under 16.

The last installment in the Pixar franchise, “Toy Story 4,” was released in 2019. It surpassed $1 billion at the global box office and won an Oscar for best animated feature.




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Karoline Leavitt called her age-gap marriage an ‘atypical love story.’ Here’s what to know about her life and career.

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Leavitt was introduced to Riccio, a real-estate developer, at a campaign event by a mutual friend during her 2022 run for Congress.

They announced their engagement on Christmas in 2023 and welcomed a son, Niko, on July 10, 2024.

Leavitt and Riccio wed on January 4, 2025, days before Trump’s second inauguration. Leavitt spoke about their 32-year age gap in a February 2025 interview on The Megyn Kelly Show.

“I mean, it’s a very atypical love story, but he’s incredible,” she said of Riccio, adding, “He’s the father of my child, and he’s the best dad I could ever ask for. And he is so supportive, especially during a very chaotic period of life.”

In a November interview with Miranda Devine on the podcast “Pod Force One,” Leavitt spoke about her parents’ reaction to her “unusual” relationship with Riccio, who is older than her mother.

“It’s definitely a challenging conversation to have at first,” she said. “But then, of course, once they got to know him and saw who he is as a man and his character and how much he adores me, I think it became quite easy for them.”

On December 26, Leavitt announced that she and Riccio are expecting a baby girl in May, making her the first-ever pregnant White House press secretary.

“My husband and I are thrilled to grow our family and can’t wait to watch our son become a big brother,” she wrote in an Instagram post.




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Peter Kafka

Donald Trump’s shadow hangs over the call to kill a ’60 Minutes’ story

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Ever since Bari Weiss arrived as the head of CBS News, people inside and outside the company have been waiting to see whether her politics — and those of CBS owner David Ellison — would show up in the journalism.

This weekend, they may have gotten their answer. Or they may not have.

And that uncertainty is the problem.

It’s possible Weiss had legitimate editorial concerns about a “60 Minutes” segment on the Trump administration’s use of El Salvador’s notorious CECOT prison. CBS pulled the segment abruptly before it was scheduled to air on Sunday evening. News organizations do periodically delay or spike stories.

But the reported details around this decision make it hard to take the explanation entirely at face value. And Weiss’s position — and the politics surrounding her appointment — mean that editorial calls like this one will always be read for hints of political bias.

The segment, reported by Sharyn Alfonsi, had been promoted by CBS ahead of Sunday’s broadcast and, according to multiple accounts, had cleared the network’s standard internal processes. A few hours before airtime, CBS News announced that the segment needed additional reporting and editorial work.

Alfonsi saw it differently.

“In my view, pulling it now — after every rigorous internal check has been met is not an editorial decision, it is a political one,” she wrote in a note to her co-workers. “We are trading 50 years of ‘Gold Standard’ reputation for a single week of political quiet.”

Weiss, meanwhile, told her staff Monday morning that she held the story because “it did not advance the ball,” and because it didn’t include on-camera comment from the Trump administration, which had sent hundreds of Venezuelans to the prison, where many were reportedly tortured. She had previously sent a memo to “60 Minutes” producers complaining that the report they’d made didn’t provide viewers with “the full context they need to assess the story.”

There are two big problems with those arguments: 1) Making them so late in the process of a long-running investigation, shortly before the air date, is guaranteed to raise eyebrows. And 2) arguing that a story about the Trump administration can’t air without on-camera participation from the Trump administration leads to a chilling endpoint: If the Trump administration doesn’t want a story to run on “60 Minutes,” it can kill it by not showing up on camera.

Now, add in the environment Weiss stepped into. She arrived at CBS News through a deal engineered by Paramount’s owners, the Ellison family, at a moment when the Ellison family is deeply enmeshed with the Trump administration.

David Ellison’s father, Larry, who funded his son’s acquisition of Paramount, controls Oracle — which just got approval to acquire part of the US operations of TikTok, in a deal the Trump administration negotiated with the Chinese government. And the Ellisons are also trying to get Trump to favor their bid to buy Warner Bros. Discovery — a deal that would require approval from the Trump-controlled Department of Justice, as well as other regulators.

Trump, meanwhile, has already been complaining about “60 Minutes” under Ellison’s ownership. “For those people that think I am close with the new owners of CBS, please understand that 60 Minutes has treated me far worse since the so-called ‘takeover,’ than they have ever treated me before,” he posted on his Truth Social platform last week.

None of which proves that politics drove Weiss’ decision. And it’s understandable if the way “60 Minutes” used to work isn’t the way Weiss wants it to work — she’s the new boss, and she has spent much of her career complaining about big media institutions like “60 Minutes.”

But it explains why people are wondering if Weiss’ call was directly, or indirectly, influenced by her owner and his political status. I’ve asked Weiss for comment; a Paramount rep declined to comment.

What we do know is this: The decision was made inside a system where the people who own the newsroom need things from a president who wants leverage over the press.

In that world, suspicion isn’t paranoia. It’s a rational response to how power works. And it’s not something Weiss can fix, explain away, or out-communicate.




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