Author: rb809rb

  • Strive’s SATA recovers most of June decline, trades within 3% of par

    Strive’s SATA recovers most of June decline, trades within 3% of par

    Strive’s SATA preferred shares have rebounded from a June low of $83.30 to about $97, recovering most of the selloff and moving back within roughly 3% of their $100 par value, according to Yahoo Finance data.

    Strive introduced SATA in November 2025 as part of its strategy to finance the expansion of its Bitcoin treasury through preferred equity. The variable-rate perpetual preferred stock is intended to trade near its $100 par value by adjusting its dividend rate, allowing Strive to raise capital for its Bitcoin ($BTC) treasury without issuing additional common shares.

    SATA is one of a growing number of preferred-share products tied to Bitcoin treasury strategies, an emerging segment that companies such as Strategy describe as “digital credit.”

    Strategy’s STRC, launched in 2025 with a similar objective of maintaining a $100 share price through a variable dividend, also fell sharply during the late-June selloff before recovering, though it continues to trade below par at around $87.

    SATA year-to-date price chart. Source: Yahoo Finance

    While Strategy remains the world’s largest public corporate Bitcoin holder with 843,775 $BTC, Strive has climbed to seventh place with 19,921 $BTC, according to BitcoinTreasuries.NET.

    Top 10 Bitcoin treasury companies. Source: BitcoinTreasuries.NET

    SATA recovery could help lift Strategy’s STRC, says Mow

    Jan3 founder and CEO Samson Mow told Cointelegraph that recent adjustments by Bitcoin treasury companies are beginning to restore confidence in preferred-share products, supporting his view that Bitcoin has already found its bottom.

    “I think every action that Strategy has undertaken to strengthen their balance sheet and encourage STRC to go back to par is also working,” Mow said, adding:

    But everything sort of works in tandem. I think as SATA returns to par, you’re going to see STRC return to par too, because people say, ‘OK, this model’s not broken.’ Everyone is capitalized for three or more years of dividend payments… there was no reason to panic all along.

    Mow said the improving performance of preferred-share products is part of a broader shift in the Bitcoin treasury sector, where companies have continued refining their capital-raising strategies.

    He pointed to Lyn Alden’s Orange Juice treasury company, which launched on July 15 with plans to operate a Bitcoin treasury, as another example of firms entering the market with different approaches and a lower Bitcoin cost basis.

    Samson Mow interview with Cointelegraph. Source: Cointelegraph

  • Strategy Demands Corporate Bitcoin Transparency with MSTR-BTC Dashboard Revealing $54.88B in Holdings

    Strategy Demands Corporate Bitcoin Transparency with MSTR-BTC Dashboard Revealing $54.88B in Holdings

    Michael Saylor didn’t just announce a dashboard. He published a balance sheet with an address. Strategy’s new MSTR-$BTC interface, unveiled Thursday, is less a tool for shareholders and more a declaration: corporate Bitcoin holders no longer get to hide behind opaque treasury disclosures. The numbers, pulled straight from the blockchain, are unambiguous. The company holds 843,775 $BTC valued at $54.88 billion, priced at $65,035 per coin, according to the original report.

    This isn’t a marketing splash. It’s a structural shift in how public companies can verify digital asset reserves. The dashboard doesn’t rely on quarterly attestations or delayed SEC filings. It ties the treasury directly to on-chain data and capital structure metrics, displaying gross reserves of $58.1 billion, net reserves of $35.88 billion, and a market-based net asset value (mNAV) ratio of exactly 1.00x. For CFOs watching from the sidelines, that level of granularity changes the conversation.

    A Corporate Treasury Built on Public Verification

    Strategy’s move arrives at a moment when institutional Bitcoin adoption is accelerating, yet regulatory uncertainty still hangs over how companies account for digital assets. The dashboard’s numbers tell a specific story: year-to-date $BTC yield sits at 5.8%, representing a gain of 39,325 $BTC — roughly $2.56 billion in dollar terms since January. That’s not paper profit from a rising price; it’s net Bitcoin accumulation relative to diluted shares outstanding.

    Saylor has spent years framing Bitcoin as a superior treasury reserve asset. Now the company is proving the thesis with data that anyone can audit. The dashboard scrubs away the vagueness that once made corporate Bitcoin holdings a black box. If more firms follow this model, the market’s understanding of treasury risk shifts from trust-me filings to verifiable on-chain proof.

    But this transparency cuts both ways. A 1.00x mNAV tells investors the market values Strategy’s Bitcoin holdings at their spot price, with zero premium for the operating business or future acquisitions. That’s a signal the market is pricing the company purely as a levered Bitcoin play — not a software firm. For longtime bulls, that’s validating; for those waiting for a diversification narrative, it’s a reality check.

    The Transparency Standard Nobody Asked For

    Corporate Bitcoin treasuries are still a niche. Tesla, Block, and a handful of public miners hold significant positions, but none publish a live dashboard with this level of detail. Strategy is essentially setting the benchmark without any regulatory mandate, creating a market expectation that could pressure other firms to follow. If a company holds over $1 billion in Bitcoin and doesn’t provide comparable on-chain verification, that silence might start to look strategic.

    This dynamic parallels what happened with stablecoin reserves a few years ago. Transparency became a competitive advantage, then a baseline requirement. In the corporate treasury arena, Strategy is doing the same. The dashboard’s timing also matters. A recent push for clearer crypto accounting rules in the U.S. has been stalled by banking interests, a conflict detailed in our coverage of the biggest crypto bill facing Senate resistance. Until legislation resolves, voluntary transparency becomes the strongest signal.

    The dashboard doesn’t just list holdings; it connects debt structure to Bitcoin assets. Net reserves subtract obligations, giving bondholders and equity investors a clearer view of leverage. That’s especially relevant as tokenized real-world assets expand, with on-chain RWA markets crossing $20 billion and blurring the line between traditional finance and crypto collateral. When a corporate Bitcoin treasury is that transparent, using it as collateral becomes easier — and more dangerous if over-leveraged.

    The Parts the Dashboard Can’t Show

    What’s missing from the MSTR-$BTC interface is a volatility adjustment for the underlying asset. Bitcoin’s price at $65,035 gives a clean valuation, but anyone who watched the 2022 drawdown knows that $54.88 billion can quickly become $35 billion without any change in Strategy’s conduct. The dashboard’s elegance might obscure the fact that the reserve value is a moving target, not a stable number.

    There’s also a governance question. The dashboard assumes Bitcoin is a permanent treasury asset, but strategy shifts happen. If a future board decides to sell part of the stack, the real-time nature of the interface could amplify market panic. Transparency is a double-edged sword when the underlying asset is that volatile and that liquid.

    Still, for an asset class still fighting for legitimacy among corporate treasurers, Strategy’s move is aggressively normalizing. It’s borrowing the language of public company investor relations and applying it to an asset that many still dismiss. And it’s happening while institutions are quietly building out infrastructure — from institutional staking surges on networks like Sui to tier-one banks testing tokenized settlement. The dashboard fits into that larger picture, whether regulators are ready or not.

    Strategy didn’t invent corporate Bitcoin holding. But with one interface, it just made holding it quietly look like a decision not to be transparent. That might be the dashboard’s biggest impact: not the data it shows, but the standard it imposes on everyone else.

  • Paramount Agrees To Not Close Warner Bros. Discovery Transaction Until Next Year Or Until Lawsuit Merits Are Resolved

    Paramount Agrees To Not Close Warner Bros. Discovery Transaction Until Next Year Or Until Lawsuit Merits Are Resolved

    Paramount has agreed not to close its proposed merger with Warner Bros. Discovery until June 1, 2027, or until shortly after the merits of lawsuits brought by state attorneys general and the Writers Guild of America are resolved.

    The agreement is an extraordinary new development in the merger transaction, which has won regulatory approval from the federal government and European regulators.

    After a court filing spelling out the agreement came during the last hour of trading on Wall Street, shares in Paramount added to what was already a lackluster day. They fell 3.3% on the day to finish at $8.21 after touching a 52-week low of $8.17. The stock slid another penny in after-hours trading.

    Read Paramount’s agreement not to close the transaction as legal proceedings take place.

    U.S. District Judge Araceli Martinez-Olguin this week granted the states a temporary restraining order pausing the transaction for 14 days to hold a hearing on whether to grant a lengthier preliminary injunction. She later extended the TRO by another 14 days, through Aug. 17. Now both sides have indicated that they want to schedule a trial.

    California Attorney General Rob Bonta, in a statement on social media, called the agreement “a major victory for a free and fair economy, for the entertainment industry, for workers, for consumers, and for affordability.” He planned to share additional thoughts with the media at a Friday afternoon press briefing.

    Hanging over the legal proceedings has been the prospect that Paramount would be on the hook to pay a $7 million-per-day “ticking fee” to Warner Bros. Discovery for every day that the transaction does not close past Sept. 30. The agreement opens the very real possibility that legal proceedings will extend well beyond that date. There is a $7 billion breakup fee if the deal falls apart.

    In their filing in federal court on Friday, the attorneys for the parties wrote, “The transaction at issue in State of California and Writers Guild shall not close, be consummated, or otherwise be completed and Defendants will not take any steps, directly or indirectly, to integrate or consolidate their operations pursuant to the Transaction until the earlier of (1) five days after the merits determination in these matters, or (2) June 1, 2027. This stipulation and order extends to Defendants’ agents, officers, servants, employees, attorneys, and other persons who are in active concert or participation with Defendants.”

    A Paramount spokesperson said, “Today’s agreement is a significant win because the result is exactly what we have sought from the outset: a direct path to a trial based on the evidence. This is the fastest and clearest way to prove that this transaction is good for competition, good for consumers, and good for creators, a conclusion dozens of competition authorities around the world have already reached. Plaintiffs’ market definitions bear no relationship to the realities of today’s marketplace and cannot withstand scrutiny. We look forward to proving our case at trial.”

    The judge still has to sign off on the plan, but she had asked attorneys for the plaintiffs and defendants to meet to try to agree to a schedule.

    In a joint statement on the agreement, the WGA West and WGA East said, “Paramount and Warner Bros. Discovery today agreed to what the state Attorneys General and the WGA both sought from the court: the merger will be put on hold pending the outcome of the states’ and the WGA’s cases or until June 1, 2027, whichever comes first. It remains our view that this merger is unlawful, and we will continue the fight to block it.  

    New York Attorney General Letitia James, representing one of a dozen seeking to block the transaction, said in a statement, “From the workers and artists who bring stories to life to the families who buy tickets at the box office, Paramount’s illegal takeover of Warner Bros. is a bad deal for all those who count on a competitive entertainment industry. Halting this merger while our case proceeds is a critical victory in our efforts to uphold the law and protect the film and television industries. I look forward to continuing our case to stop this illegal merger.”

    The sides also agreed to scrap the current briefing schedule, as well as an Aug 3 hearing on the motion for a preliminary injunction. They also agreed to file a joint statement regarding the scheduling of a trial by July 31.

    The state attorneys general sued on July 13 to block the transaction, claiming that it would stifle competition for wide release theatrical film distribution, anticipated big budget blockbusters, and basic cable television channel licensing. The WGA filed its own suit a day later, contending that the merger would illegally limit competition for writers services.

    Paramount called the state AGs lawsuit a “flawed application of the antitrust laws and is wrong on both the facts and the law. We will vigorously defend the transaction and demonstrate that this challenge is inconsistent with sound competition policy and the competitive realities of the media marketplace.”

  • Donald Trump Says LeBron James Is “Maybe A Racist” After 76ers Move & Prefers Michael Jordan: “I Only Like People Who Like Me”

    Donald Trump Says LeBron James Is “Maybe A Racist” After 76ers Move & Prefers Michael Jordan: “I Only Like People Who Like Me”

    Donald Trump is weighing in on LeBron James signing with the Philadelphia 76ers as he continues his NBA career after leaving the Los Angeles Lakers.

    During a press conference Friday at the White House, a reporter asked Trump where he stood on the James versus Michael Jordan debate.

    “Well, Michael Jordan is a guy who is a friend of mine — play golf with him. He’s a really good guy,” Trump said.

    He continued, “I think LeBron is… Maybe he’s a racist. Maybe he doesn’t like Trump. I don’t know, but I only like people that like me. So I would say Michael Jordan all the way.”

    James has been open about his political choices, voicing his support for Joe Biden and Kamala Harris in the 2020 election; for the 2024 election, James endorsed Harris in her presidential run. Claims that Jordan endorsed Trump for the last presidential election were debunked by his management team, who said “there is absolutely no truth” that the former NBA star publicly endorsed a candidate.

    James made news earlier in the day after he confirmed he was headed to the 76ers for “a chance at the feeling of winning another championship.”

    “I thought I was done when the season ended. I wasn’t ready to announce it, and I knew I needed some time to really decide, but I was pretty sure I played my last game,” James posted on X. “I was honest at that last press conference when I said I needed to look at myself and decide if I still love this game. I still truly love this game, and I have more to give.”

    ESPN reported that James signed an $8 million, two-year deal with the 76ers. The basketball star made almost $53 million playing with the Lakers last year.

    Watch Trump make the comments about James in the video below.

  • ‘Reacher’ Star Alan Ritchson Appears to Blast Trump on Epstein Files

    ‘Reacher’ Star Alan Ritchson Appears to Blast Trump on Epstein Files

    Alan Ritchson went there.

    The Reacher and War Machine action star seemingly blasted President Trump over the Epstein files during an eye-opening f-bomb filled rant on Happy Sad Confused podcast this week.

    “I think people are a little bit afraid of me because they’re like, ‘He’s a loose cannon,’ and I’m not,” Ritchson began, a bit ironically. “I’m just saying the shit that everybody should say if they give a shit about humanity. Everybody else should feel like I feel.”

    “The world is on fire,” encouraged host Josh Horowitz.

    “Yeah, about the way things are and the abuses that are happening — the Epstein files, the fucking Epstein files!” Ritchson continued, angrily but with a smile. “Goddamn it! Where are they? It’s a fucking law, bitch. Show it. You fucking pedophiles! I shouldn’t say ‘fuck’ because I’m a Christian, and people are gonna be like, ‘How can you say fuck?’ Because that is something that should make you want to say ‘fuck.’”

    “Sorry, God, I’m sweating now,” he continued. “This is my fucking politics, dude. I would fucking railroad these fuckers. I would get those Epstein files out in two seconds. Fucking move out of the way. I don’t care what room they’re in, bitch move. Give me the fucking manila envelope. I will get you the Epstein files.”

    “You got my vote,” Horowitz said. “Whatever you want to run for, you got it.”

    “Don’t you want to see what’s in there so that we can hold people accountable?” Ritchson asked. “These fucking rapists. We’re just cool with it. That bitch has the keys to the nuclear codes. He’s like all up into 13-year-olds. Like dude, what? Go to jail.”

    The Trump administration has released 3.5 million pages related to the late disgraced Jeffrey Epstein, though whether more files exist remains under scrutiny. Trump was directly mentioned roughly 1,000 times in the files released so far, though references in themselves do not equate to wrongdoing. The Epstein files contain an allegation that Trump sexually assaulted a minor, but the releases do not establish that the allegation was true, and Trump has not been criminally charged or found civilly liable for any Epstein-related abuse. Trump was separately found civilly liable for sexually abusing E. Jean Carroll.

    While Ritchson has become one of the hottest action stars in Hollywood and has two major releases coming this year — the action thriller Runner, which is released Sept. 11, and the holiday film The Man With the Bag, co-starring with Arnold Schwarzenegger.

  • Editor’s Letter: Eyes on the Prize(s)

    Editor’s Letter: Eyes on the Prize(s)

    Awards have always been a bedrock of our coverage at The Hollywood Reporter. We devote an enormous amount of time, energy and ink to the Oscars, the Emmys and the many other statuettes that crowd the Hollywood calendar each year.

    When I first arrived at THR a few years ago, fresh to the trades, I was struck by the money, manpower and near-religious fervor Hollywood devotes to awards. Was this simply another symptom of an industry endlessly fascinated with itself?

    I’m no longer so sure.

    At a moment of profound uncertainty — for Hollywood and for journalism — recognition from your readers and your peers can mean more than another trophy for the shelf. It can be a sign that the work is connecting, that it matters and that somebody out there is still paying attention.

    Over the past few years, we’ve worked to make THR newsier, sharper and more ambitious: breaking the daily news of Hollywood while going deeper on the people and institutions reshaping it. We’ve launched popular newsletters devoted to style and the London entertainment industry, opened our pages to provocative new columnists and brought rigor, wit and urgency to everything from boardroom upheavals to the Taylor Swift nuptials.

    The work is paying off. While AI and the collapse of social and search referrals have battered digital media, THR has bucked the trend, posting year-over-year audience growth in six months this year and replacing fleeting traffic from Google, Facebook and Instagram with something far more valuable: readers who seek us out and come to us directly.

    Team THR’s Award Winners, clockwise from top left: Jackie Strause; Tony Maglio, Julian Sancton, David Rooney, Caitlin Huston, Laura Tucker, Lexi Carson, Alex Weprin, Erik Hayden, Kevin Dolak and Hilary Lewis; Gary Baum and Seth Abramovitch; Aaron Couch, Ryan Gajewski, Seija Rankin, Scott Feinberg, Katie Kilkenny, Nicole Fell, Darah Head, Mary Franz, Alison Edmond, Kirsten Hageleit and Ash Barhamand; Lexy Perez; Jason Rovou, Tiffany Taylor and Harry Buerkle; Abid Rahman; Carly Thomas and McKinley Franklin; Kimberly Nordyke

    Our peers have noticed, too. THR won the Webby People’s Voice Award for best website and an ASME for our “Stuck” cover. And just last month, we enjoyed a record night at the Los Angeles Press Club’s Southern California Journalism Awards, taking home 44 prizes — including 20 first-place honors, more than any other publication.

    The honors reflected the remarkable range of the newsroom. Gary Baum was named print journalist of the year, Seth Abramovitch entertainment journalist of the year, David Rooney best film critic and Scott Feinberg best audio host. THR was also named best website, while creative director Ada Guerin took first place for cover art. Our video team won for both its Actresses Roundtable and a feature on the video-store owner defying the streaming era — and, just recently, Off Script With The Hollywood Reporter received a Daytime Emmy nomination.

    And we’re not done. New video franchises, a provocative slate of podcasts and newsletters devoted to Canada, AI and music are all coming soon. Of course, none of this would have been possible without the extraordinary staff pictured here: journalists who are curious, experienced, fiercely competitive and, despite everything, still excited by the work. None of this happens without them.

    After decades as a journalist, I still think there’s nothing more fun and rewarding than being first on a story, scoring that impossible interview, producing the cover that everyone’s talking about. But posing with 20 first-place prizes at the Biltmore ain’t so bad, either. It’s the kind of fun you can brag about to your mom or (tastefully!) show off in your office. And even a staff full of skeptics will find it hard to be blasé about that.

    This story appeared in the July 22 issue of The Hollywood Reporter magazine. Click here to subscribe.

  • Jon Bon Jovi Abruptly Ends Madison Square Garden Concert Due to Sinus Infection

    Jon Bon Jovi Abruptly Ends Madison Square Garden Concert Due to Sinus Infection

    Bon Jovi abruptly ended their sold out Madison Square Garden concert 90 minutes in Thursday night, as frontman Jon Bon Jovi has been dealing with a sinus infection.

    The rocker indicated he was OK and would try to reschedule the show.

    “Don’t throw away your ticket stubs I’m going to figure something out, OK? Don’t [fear],” Bon Jovi told the audience, according to People and fan videos from the show. “Just hang onto it, I’m going to figure out how to reschedule.”

    “I’m gonna have to cool it for a night,” he added, before exiting the stage, People reported. “I feel great, I’ll see you again soon, bye bye.” He had previously brought out Train singer Pat Monahan to join him on “Livin’ on a Prayer,” which was the last song of the shortened show.

    A rep for Bon Jovi said in a statement, “Jon Bon Jovi spoke from stage and told fans he has been battling a sinus infection which led to the show’s early ending. As part of the Bon Jovi residency at Madison Square Garden, Jon has said numerous times that it has been a joy to return to live shows for the band. Updated information will be available shortly.”

    Bon Jovi is in the midst of their Forever Tour, which kicked off with a nine-show run at Madison Square Garden. The group is slated to play their final MSG show of the tour on Sunday night before heading to the U.K. and Ireland at the end of August.

    The tour, on which the eponymous frontman is joined by original members Tico Torres and David Bryan as well as Hugh McDonald, John Shanks, Phil X and Everett Bradley, is the first for Bon Jovi since the singer had surgery in 2022 to repair a damaged vocal cord, which was documented in the Hulu docuseries Thank You, Goodnight.

    Though in 2024 he had expressed some concern about whether his voice was up to the rigor of performing live night after night, before the tour he told People he was “fully recovered.”

    “It was longer than I’d ever expected, but it had to be right,” he added of his recovery. “We never lost faith.”

    He told People that a doctor had told him the cord was “atrophying.”

  • Genesis House and Gotham Shorts Fellowship Unveils Inaugural Winners, Featuring ‘Dìdi’ and ‘All Dirt Roads Taste of Salt’ Directors as Mentors (EXCLUSIVE)

    Genesis House and Gotham Shorts Fellowship Unveils Inaugural Winners, Featuring ‘Dìdi’ and ‘All Dirt Roads Taste of Salt’ Directors as Mentors (EXCLUSIVE)

    As part of Genesis House and The Gotham Film & Media Institute’s inaugural shorts fellowship program, three emerging New York City-based filmmakers have been chosen to receive $10,000, including  Shanice Brette (“Mumma”), Annie Ning (“The Only Man to Ever Exist”) and April Wen (“A Natural History”).

    In addition to the stipend going toward finishing funds for their narrative shorts, the three chosen filmmakers will receive specialized one-on-one mentorship sessions, access to Genesis House programming and events, industry screenings and panels during Gotham Week, and networking opportunities with established filmmakers.

    “These filmmakers embody the kind of bold creativity and fresh perspective that Genesis House was created to champion,” Genesis Motor North America’s chief operating officer Tedros Mengiste said in a statement. “Through this fellowship, we’re proud to support emerging storytellers at a pivotal moment in their creative journey while fostering a community where ambitious ideas, meaningful collaboration and new voices can thrive.”

    This year’s mentors include “Dìdi” director Sean Wang, “All Dirt Roads Taste of Salt” director Raven Jackson, “Madeline’s Madeline” director Josephine Decker and Authentic Brands Group producer Matthew Gross.

    “By pairing these emerging filmmakers with distinguished mentors, we’re providing additional resources at a pivotal moment in the filmmaking process,” Gotham Film & Media Institute’s executive producer Jeffrey Sharp added in a statement. “We’re proud to partner with Genesis House on an initiative that reflects our shared commitment to expanding opportunity and elevating distinctive voices in film and media.”

    The fellowship recipients were celebrated at a cocktail event on July 22 at Genesis House in Manhattan.

  • LMAX taps Morgan Stanley and KBW for potential $5 billion IPO

    LMAX taps Morgan Stanley and KBW for potential $5 billion IPO

    Institutional crypto trading platform LMAX Group is working with Morgan Stanley and KBW to evaluate strategic options that could include a sale or public listing, according to three people familiar with the matter.

    The London based company could seek a valuation of up to $5 billion. Options under consideration include a sale, SPAC merger, or IPO in the United States or Europe, with a Nasdaq listing currently the preferred route.

    LMAX is reportedly in no rush to complete a transaction as weak crypto markets weigh on the sector, while its foreign exchange business provides some protection from the downturn.

    LMAX operates institutional trading venues for foreign exchange and digital assets, providing execution, liquidity, and market infrastructure to banks, brokers, hedge funds, and asset managers.

    The company has expanded its digital asset operations over the past year. In February, it launched a 24 hour multi asset exchange for foreign exchange, digital assets, commodities, and tokenized securities.

    The launch followed a $150 million strategic investment from Ripple in January to support the adoption of its RLUSD stablecoin across LMAX trading and settlement infrastructure.

    A $5 billion valuation would represent a fivefold increase from 2021, when J.C. Flowers acquired a 30% stake for $300 million, valuing LMAX at approximately $1 billion.

    The potential transaction comes as crypto exchanges and financial infrastructure companies pursue deals to expand institutional trading, custody, settlement, tokenization, and stablecoin services.

  • Eli Roth-Executive Produced ‘Burger Night: Luli, Magda & Lore’ Gets All-Female Cast (EXCLUSIVE)

    Eli Roth-Executive Produced ‘Burger Night: Luli, Magda & Lore’ Gets All-Female Cast (EXCLUSIVE)

    The Argentine spin-off of Joe Begos’ alien horror pic “Jimmy and Stiggs” has found its cast and crew.

    Argentina’s Agostina Palazzolo (“Ciclón), Agustina “Papry” Suásquita (Netflix’s “Envious”) and Maia Tarcic (“Letters to My Ex”) are poised to lead the main cast of “Burger Night: Luli, Magda & Lore.”

    Meanwhile, Grupo Morbido’s Pablo Guisa Koestinger is boarding as a producer alongside executive producers Eli Roth, Begos and Meg Thomson.

    Director Sebastián De Caro, who optioned the spin-off rights to “Jimmy and Stiggs” not long after it was featured at the industry initiative MorbidoGate IP Showcase, at the Cannes Marché du Film’s Fantastic Pavilion, has assembled a crack team to realize his vision.

    “I am thrilled with the cast — these are women of extraordinary talent, true cinema lovers, brave and wild. They are going to surprise everyone. Each one understands her character perfectly and they all fell in love with the original material,” he said.

    Filmed on 16mm over four years, largely inside Begos’ Los Angeles apartment, “Jimmy and Stiggs” follows estranged friends Jimmy—an unemployed filmmaker convinced aliens once abducted him—and Stiggs, his now-sober former collaborator, as they reunite to confront what they believe is an imminent extraterrestrial invasion.

    More a reimagining than a remake, De Caro’s version follows new characters battling the same extraterrestrial threat in Argentina, taking Begos’ universe in a bold new direction.

    Along with co-writer Matías Orta, he is joined by celebrated genre helmer-scribe Ramiro García Bogliano (“Penumbra”) as a creative producer; director of photography Mariano Suárez, best known for his work on Argentine horror hits “When Evil Lurks” and “Terrified”; production designer Catalina Oliva (“A Singular Crime”) and Federico Ricaldoni (“Rooms for Tourists”) as the local producer, working closely with Guisa and De Caro to anchor the production in Argentina.

    “This project was born from two conversations and a cocktail — one with Eli [Roth] over a year ago, and one with Seba [Caro] a few months back. Both were talks between friends who love cinema. Then we presented the IP at the MorbidoGate Showcase and cocktail in Cannes, and today we are announcing the cast and I am boarding as producer. Films are made as a team, but for me genre cinema goes beyond that — it’s made as a family. And in this project, that couldn’t be more true,” said Guisa, who recently attended the Costa Rica Media Market to launch a new initiative supporting Latin American women filmmakers in the genre field, WomanInFan LatAm.

    “I am proud to be part of a national project led by such talented women,” said Palazzolo, known to her 9.4 million TikTok followers as La Ardilla and who has also built a hefty presence in theater and radio.

    For Suásquita, “Burger Night” marks her first venture into genre cinema. “I feel that genre cinema is the most creative and critical genre of our time. As an actress, this is a challenging project, full of adrenaline, that allows me to work for the first time in a different language — one that belongs to the genre, where limits shift and creativity expands.”

    “Everyone grew up watching movies about aliens landing in the United States. But what happens when they land in Argentina? That, for me, is what makes this project most stimulating. Not just being part of a genre film, but participating in a creative challenge that is quite unusual for Argentine cinema,” said Tarcic who brings her varied experience as an actress, director, screenwriter, poet and writer to the project.

    “Jimmy and Stiggs” premiered at Los Angeles’ Beyond Fest in 2024 before rolling out nationwide in U.S. theaters in August 2025 via The Horror Section, Roth’s newly launched genre banner.