Author: rb809rb

Solana price risks deeper losses as bearish patterns signal weakness

Solana price has entered a high-risk zone after falling below a major support level that had held since February, exposing the token to further downside.

According to data from crypto.news, Solana ($SOL) price traded near $73 on June 4 after losing more than 12% over the past week. The token slipped below the long-standing $76.6 support zone, a level that had contained downside moves since February, while daily trading volumes accelerated as selling pressure intensified across the crypto market.

The decline arrived as derivatives traders unwound heavily leveraged bullish positions. Earlier this week, more than $3.8 million in $SOL long positions were liquidated within hours after a modest pullback triggered cascading margin calls across perpetual futures markets.

The forced selling coincided with a broader crypto market rout that erased roughly $1.8 billion in leveraged positions after Bitcoin fell below the $66,000 threshold.

At the same time, risk sentiment deteriorated across financial markets following renewed geopolitical tensions in the Middle East. Higher oil prices and growing concerns over prolonged regional instability pushed investors toward safer assets, adding pressure to cryptocurrencies and other risk-sensitive markets.

Meanwhile, attention has also shifted to institutional activity after Strategy disclosed a rare Bitcoin sale, breaking a four-year accumulation streak. The move rattled crypto markets and contributed to fresh concerns about liquidity conditions at a time when ETF flows have remained weak and central banks continue to maintain restrictive monetary policies.

Solana charts flash multiple bearish signals

Technical indicators have deteriorated sharply following the latest breakdown. Solana has now fallen below both its 50-day and 200-day simple moving averages, which sit near $83.4 and $85.9, respectively. The failure to reclaim those levels has left bears firmly in control of the short-term trend.

The daily chart also shows a completed double-top pattern that formed between March and May, with peaks near the $97 area and a neckline around $76.6. The recent breakdown below that neckline confirms the structure and opens the door to a measured move toward the low-$50 region if sellers maintain control.

Solana price has formed a bearish double bottom pattern on the daily chart — June 4 | Source: crypto.news

Momentum indicators continue to favor the downside. The MACD has crossed deeper into negative territory while histogram bars remain below the zero line, highlighting persistent bearish momentum. Although the 14-day RSI has dropped into oversold territory near 25, buyers have yet to establish a convincing rebound.

Commenting on the setup, crypto analyst Daan Crypto Trades noted that many altcoins are showing structures similar to Solana after losing multi-month trading ranges.

“Good setups would start unfolding upon retaking those local ranges which could then be played up to the range high or above.”

The analyst suggested bulls must first reclaim the broken support zone before a sustainable recovery can develop.

Many altcoin charts looking similar to $SOL.

4+ month ranges, breakdowns/sweeps of either the range low or 10/10 wick and now sitting down there.

Good setups would start unfolding upon retaking those local ranges which could then be played up to the range high or above.

Good… pic.twitter.com/rRLmJ4DJIE

— Daan Crypto Trades (@DaanCrypto) June 3, 2026

According to crypto analyst CryptoBullet, the latest breakdown has completed a large range structure that could expose $SOL to a move toward the $50-$55 region. The analyst described the token as “absolutely cooked” and warned traders to prepare for a larger downside extension if support fails to return.

Stablecoin growth offers a longer-term counterweight

Despite the weak price action, network activity remains resilient in one of Solana’s most important growth segments. Mastercard recently selected Solana as one of eight blockchain networks that will support regulated stablecoin settlement across its payments infrastructure.

The network processed roughly $832.7 billion in stablecoin transfer volume during the first quarter of 2026, according to ecosystem data compiled from Artemis and Token Terminal. Stablecoins accounted for approximately 76% of all activity on the chain during that period.

February alone generated about $650 billion in stablecoin volume, the highest monthly figure recorded by any blockchain that month. Solana also handles roughly 35% of global on-chain stablecoin transfers by transaction count, giving the network a significant foothold in one of crypto’s fastest-growing sectors.

For now, however, traders remain focused on technical damage and macro risks. A sustained recovery would likely require $SOL to reclaim the former $76.6 support level and push back above the 50-day moving average near $83. Until then, the path of least resistance remains tilted to the downside.

June 3, 2026
Hasbro Launching an AI Studio That Will Let Companies License Its Stable of Characters

Tired of seeing unauthorized AI-generated versions of its characters proliferate on various platforms, Hasbro is launching its own AI studio called Sixth Wall, which will enable the toy giant’s stable of characters to be deployed by third parties across the new experiences that the technology allows for.

And of particular note to Hollywood: Hasbro is working with real voice actors, including the original voice actors for many of its most popular characters, to help it do so.

“Every IP owner looks at all of the millions of unauthorized versions of their characters on other tech platforms and frontier models, and it’s not a great experience for fans, and it’s not on brand for us,” says Sixth Wall CEO Roberta Thomson, in an interview with The Hollywood Reporter. “So you have a few choices as an IP owner: You could decide to enforce on everything, whack a mole, send a bunch of cease and desists. You could decide to enable the UGC directly with consumers … but the question we posed was, what if we just offered the authorized end-to-end blue check version of the character that a company could license from us? And then we can guarantee that they’re going to show up in a context that we already approve of and feel comfortable with, and show up in a way that is within the guardrails that we have set with the character.”

“Right now all of our IP is sitting in static media, trapped in a toy on a shelf, a movie, a video game, but as these characters come to life and interact and speak in real-time, you have to govern their behavior, which is a different set of technical and brand challenges, and it’s that expertise that we’ve developed,” she adds.

So the company has developed its own internal platform called CharacterOS (Thomson calls it a “golden record” for each piece of IP), that sets guardrails and personality traits for each character. Mr. Potato Head, for example, won’t be giving any tips on how to cook the best french fry. Cobra Commander is primarily focused on conquering planet earth, not giving power lunch recommendations, as The Hollywood Reporter tried to get out of him in a voice chat.

“CharacterOS is compelling because it unlocks a bigger creative canvas while addressing a real challenge in AI: the unauthorized use of content. It is built around a creator-first model that gives voice talent and creatives a meaningful seat at the table. It gives brands a trusted way to bring characters into new AI-enabled platforms without losing what makes them authentic,” said Chris Cocks, CEO of Hasbro. “And most exciting to me, it opens entirely new surfaces for play and storytelling, from making a store greeting feel magical to transforming a call waiting experience into a moment with a fan’s favorite character.”

The initial slate of characters will include Mr. Potato Head, Megatron from Transformers, Cobra Commander from GI Joe, and the cast of the Clue board game. Others will be added later on. There’s even Optimus Prime, voiced by Peter Cullen, who has been voicing the character since the 1980s. For characters without an established voice actor, the company approached professionals in the space and found some that were interested in participating.

In fact, Thomson says that using real voice actors is a”crucial” part of the company’s strategy in the space: The studio will not use the voices to create films or TV shows, only for AI-enabled interactive experiences.

“We could have decided to move forward with synthetic voices, and all of the models give a good approximation of those voices because they’re out there, but it didn’t feel like the right thing to do,” she says. “As we talked to the voice talent, we said very sincerely, this should be a new source of revenue for you. Because these experiences are enabled by the technology, they’re dynamic, interactive, and personalized. They’re not replacing something that you would currently go into the studio for, like a long-form movie voiceover. So, we’re not going to use the voices for those purposes, but for something that wouldn’t have existed before.”

Instead, she said, Sixth Wall will function “almost like the talent agents who are offering up these characters to licensees who might want to build fun experiences with them,” with the real voices a part of that package.

The company is also partnering with ElevenLabs to bring select Hasbro characters to its audio marketplace.

Sixth Wall has already held conversations with potential licensees, and Thomson says that the enthusiasm from those partners is real.

The company is currently focused on experiences and enterprise use-cases that cater to consumers 13 and older, with a particular focus on specific areas like: Interactive storytelling experiences; Conversational games and digital companions; Connected physical products and robotics; AI-powered brand ambassadors; Location-based entertainment experiences; and Dynamic customer engagement agents.

“Imagine like giant animatronic robot [say, perhaps, Optimus Prime?] walking around in a theme park and entertaining guests as they’re waiting in line. Suddenly, your one hour wait in line becomes a really fun and delightful and engaging experience,” she says. “Imagine you’re waiting on hold for a customer service agent playing a voice game of Trivial Pursuit. Suddenly, you wouldn’t mind your 10 minute wait. You might actually be like, ‘wait, I haven’t finished.’ At its most basic, there storytelling experiences with infinite branches, where, because these experiences are new and additive, they’re dynamic, they’re personalized. You can take a story in any direction.”

Sixth Wall is perhaps a model for a new path forward for IP owners, which are all grappling with the misuse of their characters in new places. Last year, Disney cut a deal with OpenAI to bring its characters to its Sora platform after seeing them misused there, though that deal ended up being short-lived. Perhaps licensing the traits and voices of those characters is the next logical step.

June 3, 2026
‘Saccharine’ Director and Star Break Down Their Accidentally Timely Body Horror Film

Writer-director Natalie Erika James’ latest film Saccharine feels as timely as it could be, even if the director didn’t necessarily intend for that to happen.

The psychological horror film tackles weight loss, diet culture, obsession and addiction. Watching the film, it would be fair to assume that James might’ve felt inspired by the recent return of the early aughts’ outlook on weight loss and the rise of GLP-1 medications, however, the filmmaker chalks it up to an unfortunately evergreen conversation.

“I always knew I wanted to create a film or write a story exploring this kind of subject matter, which had a lot to do with how I was brought up, but certainly in the early 2000s — there were those tabloids where bodies were being torn apart,” the filmmaker tells The Hollywood Reporter on a recent Zoom. “It felt like there was a time when we stepped away from that [diet culture], but in a way I feel like it’s just been lying dormant or cultures swinging in certain ways.”

Filmmaker Natalie Erika James.

Courtesy

In the film, actress Midori Francis plays Hana, a medical student who becomes terrorized by a sinister force after partaking in the latest dieting fad — eating human ashes. James says the film isn’t a direct reaction to the current moment, but that things have become even more “insidious” due to social media showing what only tabloids previously did.

Saccharine is far from the first film to use body horror to analyze the beauty standards in modern times — 2024’s Oscar-winning The Substance was a cultural moment in and of itself. James and Francis both understand the unique position that the genre has in telling stories like this, even if audiences might not expect the genre to be leading this conversation. “Horror is amazing at externalizing what’s internal and allowing you to play with quite extreme or surreal imagery to depict that,” notes the filmmaker.

Francis agrees. “That was my initial reaction to reading the script, that this is not the vehicle I would instinctively think to tackle this issue, and yet it works so well,” the actress says.

Francis as Hana in Saccharine.

Courtesy of IFC Films

The actress found herself holding onto the kernels of truth in the story, even when things seemed outlandish. “No matter how otherworldly or absurd things got, it was always rooted in the feelings of being in the grips of compulsion or obsession or body checking,” she says. “How it can sometimes feel, when you’re dealing with a mental battle or struggle or addiction, nobody sees what’s going on, but it’s so loud inside your own brain.”

“I loved how loud parts of the movie are to distract and contrast the internal pressure that goes on inside one’s head at times, even the dopamine sequences,” says Francis, whose film uses surreal imagery to depict the dopamine-fueled highs that can come along with binging.

Both James and Francis have witnessed memorable and unexpected reactions to the film. James notes that it’s easy to forget how “visceral” body horror can be. “Someone in our Sundance screening apparently passed out and then had to leave,” she says. “I didn’t expect that it would be to that extreme.”

Francis also noted how audiences reacted to her after seeing her character on screen. “I’ve been doing a lot of Q&As after, and it’s interesting to see people feel a little uneasy by my presence,” the actress says. “After the credits role, I think, ‘Are they scared of me?’”

The actress recalls a family member hoping for a happy ending, something that James admits Francis asked her about in the beginning.

Either way, the actress is clearly happy with the final story — she constantly praises James and admits she’s only interested in horror when there’s a point to it. “Eating disorders [and] addiction [are] all things very personal to me, personal to afflictions shared by my family. I knew that whoever wrote this script that there was an authenticity there, a real voice and it was bold,” she says.

Francis just might appreciate boldness the most. She adds, “Nat has that in spades.”

Francis as Hana in Saccharine.

Courtesy of IFC Films

James knew the film was always going to be challenging for some viewers. “It’s just confronting to even talk about it openly, or even depict binging on screen… It’s just a very intense thing and certainly requires trigger warnings,” the director says.

While the film does not have an actual trigger warning that appears onscreen, James has been transparent about its subject matter. She explains that Saccharine is not necessarily the film that those at their darkest point or struggling with these topics should be watching.

James also speaks to the feedback they’ve received of the choice to have menace in the film being a larger character. “I think you have to see it through Hana’s very distorted lens,” she says. “The growth of the ghost is her own projection of her fears and those fears are due to her childhood, but also internalizing pressures from the culture that she lives in, which is very fatphobic.”

The director explains that there’s a very real weight stigma that exists in society and that due to that it’s often suggested that being in a larger body is somehow a moral failing. “I hope that people just go beyond the surface reading of that and look at what journey Hana is actually on to unpack those beliefs within herself as well,” she says.

As for Francis, she believes that Hana is missing the point and is afraid of the wrong thing. “Hana [is] complicit in this societal belief that the worst thing in her life could be to be ending up in that larger body,” the actress says.

“Ultimately the worst thing is Hana,” she adds. “She, and all of the shame inside of her she doesn’t address, is the monster at the end of this movie.”

***

Saccharine is now playing in theaters and begins streaming on Shudder on July 24.

June 3, 2026
Fox Is Chopping ‘Farmer Wants a Wife’ Season 3 Into 101 Episodes for Holywater’s My Drama Microdrama App

Fox is pouring some old wine into new bottles — hoping to make some extra cash by hopping on the microdrama craze.

In a first for Fox, the entertainment company is taking a full season of one of its primetime TV reality shows, “Farmer Wants a Wife,” and dicing it into short episodes averaging less than 2 minutes each. It’s then going to put those episodes on Holywater‘s My Drama app that specializes in microdramas.

The company said the microseries adaptation of “Farmer Wants a Wife” Season 3 will be a “fully reedited” vertical version the show: The season will be divided into 101 episodes, in what Fox calls a “mobile-first binge experiment.” On June 9, Fox will air the Season 4 finale of “Farmer Wants a Wife” and simultaneously launch the vertical version of S3 on Holywater’s My Drama app in the U.S. (and will promote the microdrama release in on-air promos during the finale).

In the My Drama app, a certain limited number of episodes of a series are typically free to watch. For more, you have to purchase additional episodes using the in-app “coins” currency.

According to Fox, a QR code will be featured on a lower third of the screen during the “Farmer Wants a Wife” Season 4 finale broadcast on June 9, and anyone who scans the code will receive enough My Drama coins to watch the entirety of the Season 3 episodes for free. If they don’t have the QR code, users will still be able to watch a significant portion of the “Farmer Wants a Wife” microdrama for free — about 80 episodes — but they will need to purchase coins to watch the full series.

Meanwhile, all episodes of “Farmer Wants a Wife” S3 are available for free (with ads) on Fox’s Tubi streaming service, as well as on Disney’s Hulu.

The launch of the microdrama-tized “Farmer Wants a Wife” represents a broader strategic push by Fox to expand My Drama’s U.S. footprint by incorporating premium unscripted series onto the platform.

Note that Fox is a part-owner of Holywater: The company last year made an equity investment in Holywater, a Ukrainian tech firm focused on vertical video. Earlier this year Fox announced a deal with Dhar Mann’s production company for a slate of 40 scripted shows to be released on the Holywater platform.

“Vertical storytelling is becoming an important new entertainment medium,” Tony Vassiliadis, executive vice president of operations strategy at Fox Entertainment, told Variety. “Fox has a strong presence in linear television and streaming, but we also want to understand how audiences engage with stories in mobile-native environments.”

According to Vassiliadis, “Farmer Wants a Wife” “gave us a natural opportunity to explore that because it already has many of the elements that work well in vertical storytelling — romance, emotional stakes, relationships, suspense and compelling cliffhangers. More broadly, we’re interested in learning how great IP can evolve as audience habits evolve.”

For now, the “Farmer Wants a Wife” microdrama project is an experiment. But Vassiliadis said “we absolutely see opportunities beyond a single title. One of the reasons we’re excited about ‘Farmer Wants a Wife’ is that it represents our first move into unscripted vertical storytelling. Up to now, much of the category has been focused on scripted romance and microdramas, so this gives us an opportunity to explore how audiences respond to a different format.”

Fox says the microdrama version of “Farmer Wants a Wife” S3 doesn’t just reframe the existing footage of the show, produced by Eureka Productions. The project, developed by Fox Entertainment Studios, takes the original season (comprising 11 episodes) and reformats them into 101 short-form episodes totaling just under 2.5 hours of content.

According to Fox, the entire season was “comprehensively reedited to preserve the emotional arcs, romance and interpersonal drama that made the series successful in its original broadcast form.” It added that the show’s “romance and emotional storytelling naturally aligns with the relationship-driven themes and tropes that resonate with My Drama audiences — who largely flock to the app for romance.”

The third season of “Farmer Wants a Wife,” hosted by Kimberly Williams-Paisley (who also hosts S4), aired in 2025 and featured four farmers courting eight women each.

June 3, 2026
How One Media Company Is Fighting Manga’s Major Piracy Problem

The manga industry has a big problem and it’s not lack of demand, but a lack of authorized supply.

“There is a global demand for manga worldwide, and there’s far more demands than any content that’s officially translated right now, and that’s a very big issue,” Shoko Ugaki, the CEO of manga translation company Orange, told Variety in an interview via translator last month.

Based on Orange’s survey, there are approximately 30,000 manga titles that have been translated into English and then there’s the pirated versions of that, “which is about five times more than officially translated manga,” per Ugaki.

Orange’s mission is to release licensed manga, with its most notable project to date being “The Gene of AI,” which was originally released in Japan in 2016 to critical acclaimed and received an anime adaptation that launched globally on Crunchyroll in 2023. But despite that success, the original “The Gene of AI” manga never had an official English release, until May 1, when Orange partnered with publisher Akita Shoten to release the edition through Orange’s emaqi platform.

“This is most of the manga the fans read, they’re reading the pirated version, so that is the bottleneck,” Ugaki said. “Officially translated manga is about several 1,000 titles, which is 20,000 books or comics right now. I own 30,000 comic books privately. So officially translated manga is less than what I own privately. A lot of pirated versions — five to 10 times more than officially translated versions — are translated by volunteers. So the manga fans, if you like manga more, then you read more pirated versions. The issue is that there is no returns for the creators of these mangas, that’s the bottleneck.”

Ugaki says there was a financial loss of “close to 6 trillion Japanese yen last year alone” due to manga piracy.

“There’s no appropriate compensation for creators of manga, and at the same time, all the publishers, they don’t receive income or revenue because of the piracy issues. Then they cannot allocate enough budget to create the next works or next line of work, so this influences the entire ecosystem of this manga industry.”

That’s where Orange aims to make real change with its digital cross-publisher manga app emaqi, scaling official translations of never-before-available titles in a creator-friendly way.

“If we can establish the system and produce more official translations, and then that will be beneficial for not only creators, but all the publishers that participate in our system, so that within that system we can create a more beneficial cycle for everyone to produce more and produce better works in the future,” Ugaki said. “I believe that we are going to have to put everything we have into this industry itself to raise more official translation and official services, so less people will use or depend on pirated versions.”

Ugaki attributes the growing appetite for official manga translations to the rising popularity of anime in the U.S., and adaptations like Netflix’s “One Piece.”

“I think anime started this manga appetite globally; however, I think that we’re still at the very early phase; that global populations or audiences are starting to notice or become aware of the sort of appeal that manga and anime has, so we have a lot more to offer,” Ugaki said. “However, we have so much to do in order to convey the appeal of manga compared to anime. We need to do more, so that global audiences will be more aware of appeal and attractiveness of manga. In Japan, it’s common sense, where everyone knows that all these anime came from manga, or the manga was the original, and then that made into anime. But this kind of flow is not really understood overseas, so that is another aspect that we need to work on.”

June 3, 2026
A Bloomberg Anchor Summed Up the Situation: “We’re in the Harshest Crypto Winter in History”

Joe Weisenthal, one of the hosts of Bloomberg’s Odd Lots program, suggested in a press release that the current period could be “the harshest crypto winter in history.”

According to Weisenthal, the cryptocurrency market is facing many negative trends simultaneously, unlike in past cycles.

Weisenthal noted that investors can no longer argue as strongly as before that “it’s too early,” stating that the significant institutional adoption and substantial maturity of the regulatory environment have reduced potential future catalysts. He also argued that the AI sector is attracting both investor interest and energy resources, creating additional pressure, particularly for Bitcoin mining.

Related News Where Will the Bitcoin Drop End? What Is the Bottom?

Weisenthal, who also drew attention to the risks that quantum computers could pose to Bitcoin’s long-term security, said that digital asset companies that previously accumulated Bitcoin aggressively, such as Michael Saylor’s company Strategy, are now starting to become sellers rather than buyers. Strategy’s recent sale of 32 Bitcoins after a four-year hiatus was cited as an example of this view.

*This is not investment advice.

June 3, 2026
Bitcoin isn’t crashing because of Saylor, it’s losing the momentum trade

Bitcoin’s recent struggles to rise in tandem with U.S. stocks has sparked a wave of explanations, from concerns about Michael Saylor’s Strategy (MSTR) selling bitcoin to questions about whether institutional demand is beginning to fade.

Charles Schwab director of digital currencies research and strategy Jim Ferraioli sees a simpler explanation: Bitcoin is losing the momentum trade.

“Bitcoin has been in a bear market since October,” Ferraioli said in an interview. “Not to say it’s as simple as that, but it’s kind of simple as that.”

The comments stand in contrast to a market narrative that has remained largely focused on positive developments. Over the past year, crypto has secured spot ETF approvals, attracted billions of dollars in institutional capital and moved closer to regulatory clarity in Washington. Yet despite those developments, bitcoin has struggled to sustain the type of explosive rally many investors expected.

Instead, capital has been flowing elsewhere.

“We found a bottom in early February, and since then another large Wall Street firm had a successful ETF launch, and so you saw this kind of return to the institutional adoption narrative,” Ferraioli said.

That rebound helped bitcoin recover from its February lows. But unlike previous crypto cycles, the recovery stalled before developing into a broad speculative frenzy.

That’s because crypto investors are not fundamentally driven, but chase momentum, he said. In his view, bitcoin’s problem isn’t a lack of bullish news. It’s competition.

Historically, crypto has benefited when it becomes the market’s most compelling speculative opportunity. When prices rise, traders pile in. When another asset class begins attracting attention, capital often follows.

“Crypto investors historically just go wherever the momentum is,” Ferraioli said. “And momentum is out of crypto at the moment.”

The destinations for that capital have changed over the past year.

Some investors have gravitated toward precious metals. Gold has attracted significant inflows as investors seek alternatives to both equities and crypto. Others have become increasingly focused on artificial intelligence, which has emerged as the dominant growth narrative across financial markets.

The AI boom has created a new class of speculative opportunities that didn’t exist in previous crypto cycles. Public companies tied to AI infrastructure, data centers and advanced computing have generated strong returns, while anticipated IPOs from firms such as OpenAI and Anthropic have become focal points for investors looking for the next growth story.

According to Ferraioli, crypto investors are participating in that shift as well.

“I think people that are excited about momentum are getting excited about IPOs,” he said. “Then some of these you can actually access the private shares on these decentralized exchanges on Hyperliquid.”

That trend is significant because it highlights how crypto-native trading infrastructure is increasingly allowing investors to speculate on assets beyond cryptocurrencies themselves.

Platforms such as Hyperliquid (HYPE) have introduced perpetual contracts tied to private companies, commodities and other non-crypto assets, giving traders new places to deploy capital.

For bitcoin, that means it is no longer competing solely against other cryptocurrencies.

It is competing against every major speculative narrative in the market.

Ferraioli also downplayed concerns surrounding Strategy’s recent sale of 32 bitcoin, a transaction that sparked debate among investors because of Saylor’s long-standing reputation as one of bitcoin’s most committed advocates.

“The narrative has been that they’ll never sell,” Ferraioli said. Yet he believes the market impact of the transaction itself has been overstated. “But I don’t think [the sale] is what’s really driving it,” he said.

Instead, he views the sale as a convenient narrative attached to a broader trend that was already underway.

Part of that trend may be tied to investor cost bases and many ETF investors are still recovering from sharp swings over the past year and see the current price point as an opportunity to exit positions rather than increase them.

“I think you get to those levels and you get people that are saying, ‘Hey, I made my money back, maybe I’ll revisit it later,’” Ferraioli said.

That dynamic has contributed to a market that feels very different from the euphoric phases of previous cycles.

Ferraioli argues that institutional adoption, while real, remains smaller than many market participants assume. Bitcoin ETFs have expanded access to crypto, but much of the asset class remains dominated by retail investors and momentum-driven traders.

“Again, this is primarily a retail asset,” he said.

The distinction matters because retail investors often react differently than traditional institutional allocators. Rather than building positions based on discounted cash flow models or long-term valuation frameworks, they tend to chase trends.

That behavior helps explain why bitcoin has struggled to capitalize on positive regulatory developments.

The crypto industry is awaiting potential passage of the Clarity Act, a bill that many industry participants believe could provide a clearer framework for digital assets in the U.S. Over the longer term, Ferraioli believes such developments could support adoption.

In the short term, however, regulation alone may not be enough to reverse the current trend.

“There is still more demand for downside protection,” he noted elsewhere in Schwab’s market outlook, though that pressure has begun to ease in recent weeks.

Seasonality may also be contributing to the slowdown. Summer has historically been one of bitcoin’s weaker periods, as trading activity declines and investors shift attention elsewhere.

“People know that for bitcoin seasonally summer is the weakest time,” Ferraioli said.

That leaves the market in an awkward position.

Institutional adoption is improving. Regulatory clarity is advancing. Major financial firms continue building crypto products. Yet none of those developments guarantee higher prices if investor attention is focused elsewhere.

“There’s a lack of a reason to be buying here when there’s other things you can choose,” Ferraioli said.

For now, he argues, the biggest challenge facing bitcoin isn’t Saylor, regulation or even macroeconomics.

It’s that investors have found something else to chase.

June 3, 2026
Prime Video Joins Netflix in Releasing Weekly Top 10 Rankings

Prime Video is giving people a view into the most popular titles on its service.

The Amazon-owned streamer has released its first weekly list of the top original series and films on the service worldwide. Prime Video joins Netflix in publicly releasing global top 10 lists each week; the latter has done so for several years. Unlike Netflix, Prime will not — at least for the foreseeable future — accompany its rankings with any data showing viewing time or the widely adopted definition of streaming views (total minutes watched divided by run time).

The first weekly list covers May 25-31 and shows Jack Ryan: Ghost War as the most watched movie on Prime Video worldwide and Off Campus as the No. 1 series. Amazon will release weekly rankings that show the top 10 movies and top 10 series regardless of language, along with the top non-English language films and series.

The weekly rankings will likely look somewhat different than what Prime Video users see on their home screens. The in-app lists of top titles are localized to a subscriber’s home country and cover a shorter period of time than the worldwide, weekly top 10s. Prime will count viewing of all available episodes of a series toward its total, similar to what Nielsen does with its U.S. streaming charts.

Prime Video’s top 10 series and movies for May 25-31 are below.

Series

1. Off Campus
2. Spider-Noir
3. The Boys
4. Citadel
5. LOL: Last One Laughing Germany (Germany)
6. Jack Ryan
7. Invincible
8. The Summer I Turned Pretty
9. It’s Not Like That
10. Nippon Sangoku: The Three Nations of the Crimson Sun (Japan)

Movies

1. Jack Ryan: Ghost War
2. System (India)
3. Crime 101
4. No Place to Be Single/Non è un Paese per Single (Italy)
5. A Working Man
6. Love Me Love Me (Italy)
7. Mercy
8. My Fault: London (U.K.)
9. The Wrecking Crew
10. Balls Up

June 3, 2026
Where to Watch Knicks vs. Spurs in 2026 NBA Finals Live Online
If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

The New York Knicks and San Antonio Spurs head into the NBA Finals in what’s sure to be a star-studded series, beginning with Game 1 on June 3, at 5:30 p.m. PT/8:30 p.m. ET. Since the full championship series will be broadcast on ABC, fans can also livestream games on any streaming service that carries said network, namely DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV.

At a Glance: How to Watch 2026 NBA Finals

While Spike Lee and Timothée Chalamet’s courtside seats may not be an option, see below for more info on each online streaming service, along with their free trials and new subscriber discounts.

Where to Watch NBA Finals 2026: New York Knicks vs. San Antonio Spurs

Like with the 2026 Stanley Cup Final, ABC is the exclusive U.S. broadcast home for this year’s NBA Finals, meaning games can be streamed live on any TV streaming service that carries the network, including DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV. More on each option below.

DirecTV

Five-day free trial; packages from $19.99 per month

ABC is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate or Premier. Plus, DirecTV offers a five-day free trial for its streaming service, meaning new subscribers can tune into games at no cost for a limited time.

Learn more about each plan option, including how to build your own channel lineup (starting at just $19.99 per month), at directv.com.

Fubo

Fubo

Five-day free trial; packages from $55.99 per month ($45.99 for first month)

Watch the NBA Finals on ABC with a subscription to Fubo, which offers a five-day free trial for new subscribers. After the trial, plans start at $45.99 for the first month and $55.99 monthly thereafter.

Sling

Plans from $4.99

For sports fans, Sling offers one of the widest selection of cost-effective plan options. For the 2026 Finals, ABC is included in Sling’s Blue Plan, starting at $45.99 per month, and Sling’s Orange & Blue Plan, starting at $60.99 per month. That said, please note that local channel availability depends on your TV market.

Visit Sling.com to check station availability and package options, starting as low as $4.99 per day or $19.99 per month.

Hulu + Live TV

Three-day free trial; packages from $89.99 per month

Watch ABC for free with a three-day trial to Hulu + Live TV. Subscriptions come bundled with Disney+ and ESPN+, and start at $89.99 per month.

NBA Finals Schedule 2026

All games are set for 5:30 p.m. PT/8:30 p.m. ET, and since the NBA Finals is a best-of-seven series, games five, six and seven will only be played if necessary.
Game 1: New York at San Antonio, June 3

Game 2: New York at San Antonio, June 5

Game 3: San Antonio at New York, June 8

Game 4: San Antonio at New York, June 10

Game 5: New York at San Antonio, June 13

Game 6: San Antonio at New York, June 16

Game 7: New York at San Antonio, June 19
June 3, 2026
Hulu to Develop Scott Turow Novel ‘Suspect’ for TV With Bruce Miller & Marissa Jo Cerar, Matt Shakman to Direct

Hulu is developing a series version of the Scott Turow novel “Suspect,” Variety has learned.

The project hails from writer and executive producer Marissa Jo Cerar. Bruce Miller is attached to executive produce along with Priscilla Porianda via White Oak Pictures, with Matt Shakman onboard to direct and executive produce. MGM will also executive produce, as will Turow. 20th Television is the studio.

The official logline for the show states, “Pinky, a private investigator, searches for evidence to exonerate a female police chief accused of extorting sex from male officers in exchange for job promotions.”

Cerar previously worked with Miller as a supervising producer and writer on “The Handmaid’s Tale,” on which Miller was the creator and showrunner. She was the creator of the ABC limited series “Women of the Movement” and Hulu’s “Black Cake,” also serving as showrunner on both shows. She has also written for shows like “13 Reasons Why” at Netflix, “Shots Fired” at Fox, and “The Fosters” at Freeform.

She is repped by CAA, Heroes and Villains Entertainment, and Myman Greenspan.

Miller concluded “The Handmaid’s Tale” after six seasons in 2025. The show received 77 Emmy nominations during its run, winning 15. Those wins include multiple acting wins, best writing for a drama series (Miller), and best drama series. Most recently, Miller created and launched the sequel series “The Testaments” on Hulu, with that show quickly earning a Season 2 renewal. Miller is also known for his work on shows like “ER,” “Eureka,” and “Alphas.”

He is repped by CAA and Jackoway Austen.

Shakman is a three-time Emmy nominee — one for directing on the Hulu series “The Great” and two for his work on the hit Marvel series “WandaVision.” He most recently directed the Marvel film “The Fantastic Four: First Steps” and the Apple TV series “Monarch.” He has also directed episodes of shows like “Game of Thrones,” “The Boys,” “Succession,” “Billions,” and “It’s Always Sunny in Philadelphia.”

He is repped by CAA and Untitled Entertainment.

June 3, 2026