Jamie Foxx Net Worth 2026: The $170M Comeback Fortune

Jamie Foxx‘s net worth is estimated at $150 million–$170 million as of November 2026. The headline figure most outlets now use is $170 million — Celebrity Net Worth raised its estimate from $150 million to $170 million in its October 2026 update — and the money behind it comes from three separate careers stacked on top of each other: an Oscar-winning film career with fees reported as high as $12 million per picture, a platinum R&B catalogue led by a Grammy-winning single, and a television hosting run on Beat Shazam reported at about $3 million a year. The number also carries a comeback story no other profile in his pay bracket has: a brain bleed and stroke in April 2023 that left him unable to remember roughly 20 days, followed by a 2024 Netflix special, a 2025 action film with Cameron Diaz, and a Netflix slate for 2026 and 2027 that keeps the cheques coming.

Early Life and Background

Jamie Foxx was born Eric Marlon Bishop on December 13, 1967, in Terrell, Texas, a small town about 30 miles east of Dallas. His parents were young — his father, Darrell Bishop, was a stockbroker who later changed his name to Shahid Abdula, and his mother, Louise Annette Talley Dixon, worked as a domestic worker — and when Foxx was seven months old he was taken in by his mother’s adoptive parents, Estelle Marie Talley and Mark Talley. His grandmother ran a nursery school, and the strict Baptist household she kept shaped the first two decades of his life. He has said in interviews that his grandmother’s discipline and her insistence on church and piano practice gave him the two skills that later paid his bills: performing in front of people and playing music.

The piano came first. Foxx started lessons at five, played in his church choir, and by his teens was the pianist and choir leader at Terrell’s New Hope Baptist Church. He was also a serious athlete — quarterback of the Terrell High School football team — and the combination of sport, church music and a quick tongue made him a local figure before he ever left Texas. Friends from Terrell remember him doing impressions of teachers and preachers, a habit that turned into a party trick and then into a career. The town itself mattered to the economics of his story: Foxx has returned to Terrell repeatedly, performed benefit shows there, and spoken about growing up in a place where a career in show business looked impossible. The distance he travelled — from a nursery-school grandson in east Texas to a $170 million fortune — is the frame every later paycheque hangs on.

One detail from those years explains a surprising amount about his earning power. Foxx learned to read a room before he learned to read a script. Church gave him timing, football gave him competitiveness, and the piano gave him a second income stream he could fall back on whenever acting work dried up. That triple skill set — comedy, acting, music — is rare in Hollywood, and it is the reason his income never depended on a single studio or a single format. When film roles slowed, music and hosting filled the gap; when music cooled, television paid. The 2023 health crisis tested that model, and the comeback that followed proved it still works.

Education

Foxx attended Terrell High School, where he played football and performed in school productions, and after graduating he won a scholarship to study classical piano and composition at the United States International University in San Diego. The scholarship is one of the most concrete facts in his early biography: a working-class kid from Terrell did not pay his own way through college on talent alone, but on a formal music award that recognised his piano playing. He studied there in the late 1980s before leaving to chase stand-up comedy, and the classical training stayed with him — it is audible in the piano work on his albums and visible in the way he plays piano live, including the celebrated scene in Ray where he plays Ray Charles’s music himself rather than miming to a recording.

The move to Los Angeles followed the scholarship years. Foxx arrived with comedy-club ambitions and a name problem: as Eric Bishop, he kept getting passed over at open-mic nights where female comics were called first. He picked “Jamie” because it read as gender-neutral and would get him on stage earlier, and “Foxx” as a tribute to comedian Redd Foxx. The stage name was a business decision as much as a creative one — it got him stage time, and stage time was the only currency a new comic had. Open mics led to paid club dates, paid club dates led to television, and within two years of arriving in Los Angeles he was a regular on the stand-up circuit. The education that mattered most, in the end, was not the degree he left behind but the piano scholarship that got him out of Terrell and the open-mic circuit that taught him to hold a room.

Career Journey

Foxx’s professional break came in 1991, when he joined the cast of the Fox sketch-comedy series In Living Color. He stayed with the show until 1994, playing characters such as the flamboyant Wanda and the preacher Deacon Jones, and the exposure turned a club comic into a television face. His first film role followed in 1992 with a small part in Toys, and through the mid-1990s he stacked supporting film work — The Truth About Cats & Dogs (1996), The Great White Hype (1996), Booty Call (1997) — while recording his debut album, Peep This, in 1994. The album peaked at No. 78 on the Billboard 200, a modest start that nonetheless proved he could sell records as well as jokes.

The WB sitcom The Jamie Foxx Show, which ran from 1996 to 2001, gave him his first steady television paycheque and his first producing credit. He co-created the show, starred as Jamie King, an aspiring actor and musician from Terrell working at a Los Angeles hotel, and used it as a shop window for all three of his skills at once: comedy, acting and music, with his character’s piano playing written into the show. Sitcom money in the late 1990s was solid rather than spectacular, but five seasons of it gave him the financial base to be selective about films — and selectivity, for an actor, is where the big fees start.

The film career stepped up in 1999 with Any Given Sunday, Oliver Stone’s football drama, in which Foxx played quarterback Willie Beamen opposite Al Pacino. The role showed he could carry dramatic weight, and it set up the run that made his fortune: Ali (2001), where he played cornerman Drew “Bundini” Brown opposite Will Smith; Collateral (2004), Michael Mann’s thriller, where he played cab driver Max Durocher opposite Tom Cruise; and Ray (2004), the Ray Charles biopic that won him the Academy Award for Best Actor. Collateral and Ray arrived in the same year, and Foxx became only the third man in history — after Barry Fitzgerald and Al Pacino — to receive two acting Oscar nominations in the same year for two different films. That double nomination is the single most important date in his earning history: before it he was a working actor; after it he was an Oscar winner who could command eight-figure fees.

The post-Oscar years brought the biggest paydays. Jarhead (2005), Miami Vice (2006), Dreamgirls (2006), The Kingdom (2007), Law Abiding Citizen (2009), Horrible Bosses (2011), Django Unchained (2012), White House Down (2013), Annie (2014), Baby Driver (2017), Just Mercy (2019), Soul (2020, voice), Day Shift (2022), They Cloned Tyrone (2023) and Back in Action (2025) form a run of nearly three decades in which he has rarely gone a year without a major release. Django Unchained grossed about $425 million worldwide, the biggest box-office hit of his career as a lead, while Spider-Man: No Way Home (2021), in which he reprised his Electro role from The Amazing Spider-Man 2 (2014), grossed more than $1.9 billion worldwide. His work in the actors category sits alongside the biggest commercial names in Hollywood, and the box-office record is the bargaining power behind every fee negotiation that followed.

Rise to Fame

Foxx’s rise was not a single breakout but a ladder: stand-up clubs, then sketch television, then a sitcom, then supporting film roles, then the double Oscar year. Each rung raised his price. The In Living Color years (1991–1994) made him recognisable. The Jamie Foxx Show (1996–2001) made him a household name in Black American television. Any Given Sunday (1999) made casting directors take him seriously as a dramatic actor. And 2004 made him undeniable: two Oscar nominations, one win, a BAFTA and a Golden Globe, all in a single awards season.

The Ray performance deserves a closer look because it changed his market value in a way few roles do. Foxx lost weight, wore prosthetic eyelids that left him effectively blind on set, learned to play Charles’s piano parts, and studied the musician’s movements until the imitation became a performance of its own. The film grossed about $124 million worldwide on a $40 million budget, and the awards season that followed put Foxx on magazine covers, talk-show couches and — most importantly for his bank balance — at the top of studio shortlists for leading-man roles. Parade reports he was paid a reported $5 million for Ray; within two years, the reported figure for Miami Vice was $10 million. That doubling is the cleanest measure of what an Oscar is worth to an actor’s fee.

Music ran alongside the acting rise and gave it a second engine. After Ray, Foxx returned to recording with a new audience: people who had just watched him play Ray Charles wanted to hear him sing. Unpredictable, released in December 2005, debuted at No. 2 and then hit No. 1 on the Billboard 200 in January 2006, eventually selling about 2 million copies in the United States and earning a 2× Platinum certification from the RIAA. The single “Unpredictable” and the follow-up album Intuition (2008), led by the T-Pain collaboration “Blame It”, turned a film star’s side project into a genuine chart career. Few actors have ever held a No. 1 album and an Oscar at the same time; Foxx did both within 13 months.

Main Sources of Income

Foxx’s income splits into six streams, and the split is the story. Film salaries are the largest single source: a lead role in a studio picture has reportedly paid him as much as $12 million, and he has taken those fees across three decades, from the $5 million reported for Ray to the $10 million reported for Miami Vice. Streaming has added a second film economy in recent years — Netflix has become his most consistent employer, with Project Power (2020), Day Shift (2022), They Cloned Tyrone (2023), the stand-up special What Had Happened Was… (2024) and Back in Action (2025) all landing on the platform. Netflix does not publish what it pays its stars, so no figure in this article claims to know his streaming fees; the volume of the relationship — six major projects, with Fight for ’84 to come — is itself the evidence that the money is substantial.

Television hosting is the steadiest stream. Beat Shazam, the Fox music-guessing game show Foxx has hosted and executive-produced since 2017, was reported by Business Insider to pay him $3 million for the 2018 season, and Market Realist reported the same figure as the show’s going rate. A game-show hosting fee is not a film fee, but it repeats every year, it comes with an executive-producer credit, and it keeps him on broadcast television between film projects. His daughter Corinne Foxx worked on the show with him as DJ, which turned a hosting job into a family business — and a family business is harder for a network to replace than a hired presenter.

Music royalties form the third stream. Five studio albums, four of them Top 10 on the Billboard 200, generate a long tail of streaming and licensing income. Unpredictable sold about 2 million copies in the United States; Intuition passed a million; “Blame It” went Platinum and reached No. 2 on the Hot 100; and his guest spots on two Hot 100 No. 1 singles — Twista’s “Slow Jamz” (2004) and Kanye West’s “Gold Digger” (2005) — still earn. Music money for a legacy artist is slow money, paid in small amounts over decades, but it is also the most reliable kind: a hit from 2005 still pays in 2026, long after the film that made him famous has left cinemas.

Producing is the fourth stream, and it is the one with the most upside. Foxx’s production company, Foxxhole Productions, has an agreement with Fox, and Foxx has executive-produced Beat Shazam, co-created the Netflix sitcom Dad Stop Embarrassing Me! (2021), and produced on his recent Netflix films including Fight for ’84. A producer’s fee is smaller than a star’s fee, but producing changes the maths: a producer owns a piece of the project rather than renting out his time, and ownership is how entertainers turn high income into lasting wealth. Stand-up comedy is the fifth stream — live dates and the 2024 Netflix special, which he filmed in Atlanta after his recovery — and endorsements and real estate, covered in their own sections below, make up the sixth.

What competitors miss is the interaction between these streams. A film fee is a one-off payment; a hosting fee repeats; a royalty pays forever; a producing credit builds equity. Foxx’s $170 million estimate is best understood as the sum of those four different kinds of money, accumulated over 35 years, rather than as a single pile of cash. That is also why the estimate survived a health crisis that stopped him working for more than a year: the royalties kept paying, the property kept its value, and the producing pipeline kept moving while he recovered.

Salary and Earnings

The public record on Foxx’s pay is unusually good for a celebrity, because several of his fees have been reported by name. Parade, drawing on the reporting around his career, puts his per-film fee as high as $12 million and his annual income at roughly $16.67 million in a typical working year — a figure that should be read as an average across busy years rather than a salary, since an actor’s income swings wildly with the number of projects. The same reporting gives the two anchor numbers every other estimate relies on: a reported $5 million for Ray (2004) and a reported $10 million for Miami Vice (2006), the latter confirmed by Celebrity Net Worth’s profile of him.

The Miami Vice negotiation is worth telling in full because it shows how an Oscar converts into cash. Foxx signed for the film before his Oscar win, then used the win — and the bargaining power it gave him — to renegotiate. Reporting at the time, including the production history recorded on Wikipedia, describes him demanding top billing, a higher salary than co-star Colin Farrell, a private jet rather than commercial flights, and contract terms that kept him off boats and planes during filming. Universal raised his salary and cut Farrell’s to settle it. The episode made him a reputation for hard bargaining, and in Hollywood a reputation for hard bargaining is itself an asset: studios offer more, earlier, to actors they expect to fight for it.

The Spider-Man films show the other side of the record — the part where the numbers conflict. Foxx played Electro in The Amazing Spider-Man 2 (2014) and reprised the role in Spider-Man: No Way Home (2021). Parade reports that his fee for the return has been quoted anywhere from $550,000 to $12 million, and notes that a figure in the $5 million–$10 million range fits his market rate at the time. Some outlets have repeated the $550,000 figure as fact; others have repeated the $12 million figure as fact. Both cannot be right, and neither has a named source strong enough to settle it, so this article reports the conflict rather than picking a side. The honest range is $550,000–$12 million, with the middle of that range the most plausible. That uncertainty is a reminder of how the whole $170 million estimate works: it is built from dozens of reported figures, some solid and some soft, and the range we publish reflects that.

Television money is better documented. Business Insider reported in 2018 that Foxx earned $3 million for hosting Beat Shazam, a figure Market Realist also reported, and the show has run for eight seasons since 2017. If the fee held roughly steady, hosting alone accounts for something in the region of $20 million-plus across the run — a conservative way of putting it, since the fee may have risen with the show’s success, and Foxx’s executive-producer credit would add further income on top. His Netflix special, What Had Happened Was…, released in December 2024, came with a payday that has not been publicly reported; Netflix specials for stars of Foxx’s standing have been reported in the eight-figure range for the biggest names, but no outlet has attached a number to his, so we do not guess one.

Music earnings are easier to count than film fees. Unpredictable sold about 2 million copies in the United States, which at typical artist royalty rates of the mid-2000s represents several million dollars in royalties before the label’s recoupment, and the album’s 2× Platinum certification is a matter of RIAA record. Intuition passed a million copies and a Platinum certification. Streaming has since replaced physical sales, and a catalogue with two Hot 100 No. 1 features and a Grammy-winning single earns steadily on Spotify, Apple Music and radio licensing. Nobody outside Foxx’s own accountants can put a precise annual number on the music catalogue, and this article does not pretend to; the point is that it is a real, permanent income stream, not a memory.

Set against his peers, Foxx’s figure sits in the middle of the comedian-actor bracket. Kevin Hart’s net worth is estimated higher on the back of a production and touring empire, while Chris Rock’s net worth is estimated lower, reflecting a career built more on stand-up and less on music and hosting. Dave Chappelle’s net worth is also estimated below Foxx’s, despite Chappelle’s record-breaking Netflix stand-up deals — a useful reminder that a fortune built across film, music and television, as Foxx’s is, compounds faster than one built on a single format.

Businesses and Investments

Foxxhole Productions is the centre of Foxx’s business life. Founded as his production banner, it has a multi-year agreement with Fox, and its credits run from The Jamie Foxx Show through Beat Shazam to the Netflix sitcom Dad Stop Embarrassing Me!, which Foxx co-created with his daughter Corinne and starred in for one season in 2021. The company gives him something a pure acting career cannot: a share of the shows he makes, and a reason for networks to call him before they call anyone else. When Fight for ’84 was announced, Foxx was listed as both star and producer alongside Michael W. Abbott for A Move Film Productions — the same dual role he has increasingly taken on his Netflix work.

His investment record outside entertainment is thinner in the public record than his filmography, and this article says so plainly. Some net-worth sites credit Foxx with a stock portfolio and startup investments; none of them names a specific holding, a funding round or a filing, so we do not repeat those claims as facts. What is documented is real estate, covered below, and the steady reinvestment of earnings into his own productions. The most useful way to read his business profile is as a working producer rather than a venture investor: he puts money into projects he controls, not into companies he does not.

One business angle competitors rarely cover is the Netflix relationship itself. Six major projects — Project Power, Day Shift, They Cloned Tyrone, What Had Happened Was…, Back in Action and the forthcoming Fight for ’84 — make Foxx one of Netflix’s most-used leading men of the 2020s. A first-look or repeat-business relationship with a streamer is a business asset: it guarantees a buyer for the next project, it shortens the gap between jobs, and it gives a producer an edge in every other negotiation. What’s on Netflix reported in July 2026 that Fight for ’84 had wrapped production, secured a PG-13 rating and was listed as completed, with a release expected in late 2026 or early 2027. That pipeline is the clearest evidence that his earning power in 2026 is not a legacy figure but a live one.

Brand Deals and Sponsorships

Foxx’s best-documented endorsement is DeWalt power tools. He became the face of the brand’s campaign in 2014, fronting television and print advertising for several years — a deal that fit his image as a hands-on, working performer and that paid a celebrity of his standing a substantial annual fee, though the figure was never publicly disclosed. The campaign ran long enough to become one of the most recognised celebrity-tool partnerships in advertising, and it is the deal his own net-worth profiles cite most often.

Beyond DeWalt, Foxx has fronted campaigns for Verizon and appeared in Super Bowl advertising, and his voice and likeness have been used across game-show and streaming promotion for his own projects — work that is closer to self-promotion than to a third-party endorsement and is not counted separately here. What he has not done, so far as the public record shows, is the kind of long-term equity endorsement deal that has enriched some of his peers — no tequila brand, no headphones line, no fashion label with his name on it. That absence is a genuine gap in his wealth story: an actor with his fame and his music audience could plausibly have built a consumer brand, and the fact that he has not is one reason his estimate sits at $170 million rather than the $300 million-plus figures attached to actors who did. It is also a future opportunity — the 2025–2027 comeback has put him back in front of brands that want a redemption story, and a well-chosen partnership in the next two years could move the number.

Houses, Cars and Other Assets

The centrepiece of Foxx’s property portfolio is the Hidden Valley estate in Thousand Oaks, California, which he bought in 2007 for $10.5 million. The Mediterranean-style mansion spans about 17,000 square feet on more than 40 acres, with 10 bedrooms and 12 bathrooms, an Olympic-sized swimming pool, a professional basketball court, a recording studio and a home theatre. Celebrity Net Worth lists the $10.5 million purchase price, and MoneyMade reports the property is now worth more than $20 million — a figure that should be read as an estimate based on the local market rather than a sale price, since Foxx has not sold it. The estate is also where he recovered after his 2023 stroke, and reports in 2023 noted construction work under way at the property during his rehabilitation.

His earlier property history shows the same instinct for buying well. In 1997 he bought a home in Tarzana, California, for $930,000 and sold it more than a decade later for $2.23 million, according to MoneyMade — a return of roughly 2.4 times his purchase price. In 2019 he bought a five-bedroom, five-bathroom home in Agoura Hills for $1.69 million for Kristin Grannis, the mother of his second daughter, a purchase Variety reported at the time. The three purchases together show a pattern: buy substantial houses in stable Los Angeles-area markets, hold them for years, and use them for family as much as for investment. Property is the most verifiable part of his wealth — deeds and sale prices are public records, unlike film fees — and it anchors the $170 million estimate in a way no salary report can.

On cars, the honest answer is that no verified inventory exists. Foxx has been photographed with luxury vehicles over the years, and profiles of his spending mention high-end cars, but no outlet has published a list of models, values or purchase dates that can be checked. This article does not invent one. A celebrity car collection is often the least valuable part of a fortune in any case — cars lose value, houses usually do not — and the absence of a documented collection is not evidence of anything except that Foxx has kept that part of his life private.

Awards and Achievements

Foxx’s trophy shelf is one of the strongest of any actor of his generation, and it is the foundation of his fee. The headline is the Academy Award for Best Actor for Ray (2004), won alongside a second nomination the same year for Best Supporting Actor in Collateral. He also won the BAFTA Award for Best Actor in a Leading Role and the Golden Globe Award for Best Actor in a Motion Picture Drama for Ray, and he was invited to join the Academy of Motion Picture Arts and Sciences in 2005. The Grammy came in 2010, when “Blame It” with T-Pain won Best R&B Performance by a Duo or Group with Vocals at the 52nd Grammy Awards — his first Grammy as a lead artist, after earlier nominations. He received a star on the Hollywood Walk of Fame in 2007.

The awards matter to the money because they are the reason his name still opens doors at 58. A studio paying $12 million for a lead wants a name that sells tickets overseas, and an Oscar winner with a Grammy and a No. 1 album is a safer bet than a younger actor with a single hit. His filmography backs the bet up: Django Unchained at about $425 million worldwide, Spider-Man: No Way Home at more than $1.9 billion, Soul — in which he voiced Joe Gardner — winning the Academy Award for Best Animated Feature, and Just Mercy (2019), in which he played Walter McMillian, earning some of the best reviews of his career. The 2024 Netflix special added a different kind of achievement: a comeback performance, delivered in Atlanta, in which he told the story of his stroke on stage for the first time.

Net Worth Growth Over the Years

Foxx’s wealth grew in steps, not in a straight line, and the steps map onto his career. The first step was television: In Living Color and The Jamie Foxx Show gave him steady income through the 1990s. The second was the double Oscar year of 2004, which doubled his reported film fee. The third was music: Unpredictable hitting No. 1 in 2006 and “Blame It” winning a Grammy in 2010 added a second income stream that still pays today. The fourth was hosting: Beat Shazam from 2017 gave him a repeating annual fee. The fifth, and the most recent, is streaming: the Netflix run from 2020 onwards, and the 2024–2025 comeback that turned a health crisis into a new wave of work.

Two things about this table are deliberate. First, the early years say “not published” rather than inventing a number: no reliable outlet published a Foxx net-worth estimate for 2004 or 2006, and a year-by-year figure for those years would be guesswork dressed as data. Several competitor articles do publish such tables, with neat round numbers for every year; those numbers have no source, and this article does not copy them. Second, the only movement in the published record is the step from $150 million to $170 million — a rise that coincides with the comeback, the Netflix slate and the general rise in top-end acting fees, rather than with any single paycheque. Readers should treat the $170 million figure as the current best estimate, not as a bank balance, and the $150 million–$170 million range as the honest statement of what the public record supports.

Social Media Presence

Foxx is active on Instagram, where he has tens of millions of followers and where he posted his first public message after the 2023 hospitalisation — a short video in July 2023 in which he said he had “been to hell and back” — and on X (formerly Twitter), where he posts about his projects, his daughters and his music. Social media is not a major income stream for him in the way it is for influencers: he does not run a sponsored-post business, and his following is an audience for his work rather than a product in itself. Its value to his fortune is indirect. The July 2023 video, and the steady stream of recovery updates that followed, kept his name in the news during a year when he could not work, and the announcement of the Netflix special in 2024 reached an audience he had already built. A social following that size also matters to studios and streamers, who treat it as free marketing for every project he joins.

Personal Life

Foxx has never married. He has two daughters: Corinne Foxx, born in 1994 to Connie Kline, and Anelise Bishop, born in 2009 to Kristin Grannis. Corinne has become a public figure in her own right — she worked as the DJ on Beat Shazam alongside her father, co-created Dad Stop Embarrassing Me! with him, and was the person who announced his hospitalisation in April 2023 and managed his affairs while he was unable to do so himself. In August 2025, appearing with Corinne on Keke Palmer’s podcast, Foxx said his doctor had told him that without his daughter he would not be alive — a statement reported by People and Entertainment Weekly that gives the family story a weight no tabloid detail can match.

His most widely reported relationship was with actress Katie Holmes, with whom he was linked from 2013 until their split was reported in 2019. He keeps his current private life out of the press, and this article does not speculate about it. What matters to the wealth story is the family structure around him: two daughters, a sister, Deidra Dixon, who drove him to hospital in April 2023 when an earlier doctor’s visit had sent him home with a cortisone shot, and a household built around the Hidden Valley estate. The 2023 crisis made the point in the starkest possible way — the people who saved his life were family, and the fortune they protected was the one he had spent 35 years building.

The health story itself deserves a full telling, because it is now part of how his career is understood. On April 11, 2023, while filming Back in Action in Atlanta, Foxx developed a severe headache, asked for an aspirin, and lost consciousness before he could take it. He does not remember roughly 20 days. His sister took him to hospital, where doctors found a brain bleed that had led to a stroke; he underwent surgery, and on May 4 he woke in a wheelchair, unable to walk. He was flown to Chicago for rehabilitation. His daughter Corinne’s statement on April 12, 2023, described only a “medical complication”, and the family kept the details private until the Netflix special Jamie Foxx: What Had Happened Was…, released on December 10, 2024, in which Foxx disclosed the brain bleed and the stroke on stage for the first time. Netflix confirmed the account in its own coverage of the special. In 2025 he told Keke Palmer that a nurse at the Atlanta hospital had told him fewer than 3% of patients with his condition walk out — a figure People reported — and that he had returned to the hospital to meet the nurses who cared for him during the weeks he cannot remember. Back in Action, the film he was shooting when he collapsed, was released on January 17, 2025, with Foxx and Cameron Diaz as retired CIA operatives pulled back into the field — a title that, by accident, described his own year.

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Published on 2026-11-12. Last reviewed November 2026. Found an error? See our corrections policy.