As Shiba Inu gradually recovers from recent bearish pressure, on-chain data now signals the potential emergence of a fresh downside risk.
Despite Shiba Inu’s recent price rebound, underlying metrics point to a fragile technical structure. These developments suggest that $SHIB may soon experience selling pressure.
Key Points
On-chain data signals the potential emergence of fresh downside risk.
A death cross has formed on the one-hour chart.
Despite these bearish signals, $SHIB has climbed over 5% in the past day, supported by a strong rebound in trading volume and rising exchange outflows.
A golden cross on the 4-hour chart, formed on March 19, remains intact, offering some technical optimism.
Weak Technicals
$SHIB’s technical outlook remains bearish. The asset remains below key resistance levels, particularly around $0.0000065. Adding to the concern, $SHIB recently formed a death cross on the 1-hour chart after failing to establish a golden cross on the same timeframe.
In this case, the 200-period simple moving average crossed above the 50-period SMA, reinforcing short-term bearish momentum.
Shiba Inu Soars 5%, Maintains Golden Cross on 4-Hour Timeframe
Despite these negative indicators, $SHIB has posted a notable short-term recovery. The token has surged by more than 5% over the past day and is currently trading above $0.0000060.
Currently trading at $0.000006116, $SHIB is up 5.81% in the last 24 hours and 0.43% over the past week, although it remains down 1.72% on the 30-day timeframe. In the meantime, the broader picture presents a mixed outlook.
Shiba Inu previously formed a golden cross on the 4-hour chart on March 19 and has maintained it since then. In addition, trading activity has rebounded sharply after an earlier dip, with volume surging 69.35% in the past 24 hours to $188.21 million.
Rising Exchange Outflows
Meanwhile, Shiba Inu exchange outflows have trended upward in recent days, according to data from CryptoQuant. The metric shows that outflows rose from 163 billion tokens on March 21 to 185 billion on March 22. Subsequently, the figure surged sharply to approximately 497.75 billion tokens yesterday, March 23.
Shiba Inu Exchange Outflows
Notably, rising outflows typically signal strong accumulation, as investors move $SHIB from exchanges into private wallets for long-term holding, thereby reducing immediate selling pressure.
Conversely, declining outflows, such as the dip observed between March 21 and 22, indicate weaker accumulation. In such cases, more tokens remain on exchanges, where they remain liquid and readily available for potential selling.
While short-term momentum appears to be improving, the underlying technical signal suggests that caution remains warranted as bearish pressure could re-emerge.
Apple TV’s long-running sci-fi show For All Mankind has just been renewed for a sixth and final season, ahead of this week’s season five premiere. This seems more like the natural endpoint of the story instead of a cancellation, according to remarks made by some of the creators.
“Getting to explore the For All Mankind universe over six seasons has been an amazing privilege, and we’re thrilled to have the opportunity to finish the story the way we’ve always hoped,” co-creators and showrunners Matt Wolpert and Ben Nedivi said. “We’re incredibly proud of what this series has become, and grateful to Apple TV and Sony Pictures Television for helping us see it through to its final chapter.”
The plan for the show has always been to bring it up to the modern day and it looks like the creators will get to do just that. Season five takes place in the 2010s, which gives season six plenty of time to catch up to the 2020s.
For the uninitiated, For All Mankind is an alt-history series that started in the 1960s with Russia beating America to the moon. The show absolutely loves time jumps, with each season covering a decade or two.
That initial discrepancy with our reality has ballooned into all kinds of butterfly effect-type stuff. For instance, humanity quickly moved beyond the moon to occupy Mars. Al Gore also got to be president in that timeline.
Despite the numerous time jumps, several of the show’s original cast members are still on board. Joel Kinnaman’s character, astronaut Ed Baldwin, is quite literally in his 80s at this point. The actor must be getting tired of all of those fake wrinkles.
In any event, season five of For All Mankind premieres on March 27. The mainline show is coming to a close, but there’s still a spin-off to look forward to. Star City premieres on May 29. This looks to be a take on the events of the original show from the perspective of Russia.
David Schwartz, former CTO of Ripple, recently argued that Bitcoin’s decentralization does not come from its use of the PoW mechanism.
Schwartz’s latest comments followed a recent event where a single mining entity showed significant control. This led to discussions about how secure and balanced Bitcoin’s network truly is with the Proof-of-Work consensus mechanism.
Key Points
Foundry USA, the largest Bitcoin mining pool, recently mined 7 consecutive Bitcoin blocks, leading to a chain reorganization and raising concerns about mining concentration.
Vet, an XRPL validator, noted that Foundry USA’s hashrate is near the profitability threshold for selfish mining, suggesting large miners could exploit the system.
David Schwartz argued that Proof-of-Work is itself a centralizing force, and Bitcoin must continuously work to maintain decentralization.
Schwartz explained that changing the mining algorithm could weaken trust in Bitcoin’s immutability, but leaving it unchanged could rely too much on miner behavior.
He stressed that the Bitcoin community may choose to live with the issue for now, as fixing it prematurely could lead to even bigger problems.
Schwartz Speaks on Growing Concerns in Bitcoin Mining
Schwartz’s recent comments came in response to concerns raised by Vet, an XRPL validator. Notably, Bitcoin proponents still see PoW as a force of decentralization, but recent events show that mining power may be becoming more concentrated.
Specifically, Vet pointed out in a recent post that Foundry USA, the largest Bitcoin mining pool in the world, mined 7 Bitcoin blocks in a row, which raised concerns about how much control one mining group could have.
This led to a quick blockchain reorganization involving Antpool and ViaBTC, something that can happen when competing chains briefly exist.Some network participants suggested this dominance could result in a possible case of selfish mining, where a miner tries to gain an advantage by holding back blocks.
Responding to these concerns, Schwartz argued that Bitcoin’s decentralization does not come directly from PoW. Instead, he said PoW can actually push the system toward centralization, meaning the network must keep working to stay decentralized.
It really demonstrates a point that I’ve made several times which is that bitcoin’s decentralization doesn’t come from its use of PoW, rather PoW is a centralizing force bitcoin has to keep fighting against.
— David ‘JoelKatz’ Schwartz (@JoelKatz) March 23, 2026
“Bitcoin’s decentralization doesn’t come from its use of PoW,” the former Ripple CTO said, “rather, PoW is a centralizing force bitcoin has to keep fighting against.”
Concerns Around Selfish Mining
Vet also showed concerns about how Bitcoin handles these situations. He explained that chain reorganizations are a major weakness, as they show that transactions do not have absolute finality. He said, in contrast, the $XRP Ledger does not face the same type of reorganization risks, boasting true final settlement.
Further, the XRPL validator noted that Foundry USA’s hashrate is close to the level where selfish mining could become profitable, based on several academic studies. This raises the risk that large miners could take advantage of the system if it becomes beneficial for them. As a result, he stressed that the Bitcoin network needs to spread mining power more evenly.
Notably, Schwartz suggested that the issue presented a conundrum for the community. He explained that changing the mining algorithm could show that Bitcoin’s rules are not as fixed as many believe. At the same time, leaving things unchanged could mean the network depends too much on large players acting in good faith.
Bitcoin and XRPL Consensus Mechanisms
For context, Bitcoin uses the PoW mechanism, where miners compete to solve complex problems, and the longest chain becomes the valid one. While this method is slow, costly, and energy-intensive, Bitcoin proponents insist that it remains secure and decentralized.
On the other hand, the $XRP Ledger uses the Ripple Protocol Consensus Algorithm. In this system, trusted validators agree on transactions within seconds using a supermajority vote. This allows for faster and more efficient processing. However, the Bitcoin community argues that relying on a set of validators can also lead to centralization.
Sandy Liang and her eponymous fashion label has signed with Lighthouse Management + Media for representation.
Lighthouse will handle all areas of representation, including brand strategy, partnerships, media, and long-term business development.
“Known for blending nostalgic femininity with downtown New York sensibility, Liang has cultivated a fiercely loyal global following through collections that fuse romance, playfulness, and cultural authenticity,” read the signing announcement.
In addition to her own bow-laden label, the New York-based fashion designer has had numerous collaborations with brands that include Gap, Target, Baggu and Beats by Dre. These partnerships, like ones with Vans and Solomons, sell out quickly and become fodder for social media, as well as breathless coverage at legacy publications, including Vogue and the New York Times.
“One of Sandy Liang’s most valuable traits as a designer is her ability to create not just clothes, but also a fantasy,” reads the Vogue coverage of Liang’s Spring 2026 ready-to-wear show.
Started in 2014 after Liang graduated from Parsons School of Design, the Sandy Liang label broke out in the early 2020s, becoming synonymous with subversive ultrafeminine attire. The brand, with a flagship store of the Lower East Side, has been recognized by the Council of Fashion Designers of America, and regularly shows during New York Fashion Week to both critical and commercial success.
MoonPay has introduced the Open Wallet Standard (OWS), an open-source framework for AI agents to manage funds across blockchains.
Contributors include PayPal, Ethereum Foundation, Solana Foundation, Ripple, OKX, Tron, and TON Foundation, among others.
The standard addresses wallet and key management fragmentation challenges while enhancing security for AI developers.
Crypto payments infrastructure company MoonPay has launched an open-source wallet standard designed for AI agents to manage funds and execute transactions across multiple blockchains, addressing key infrastructure challenges that have limited AI-crypto integration.
The Open Wallet Standard (OWS), announced Monday, was developed with contributions from PayPal, the Ethereum Foundation, the Solana Foundation, Ripple, OKX, Tron, TON Foundation, and Base, among other companies.
“The agent economy has payment rails. It didn’t have a wallet standard. We built one, open-sourced it, and now the full stack exists,” said MoonPay co-founder and CEO Ivan Soto-Wright in a statement.
The framework aims to solve fragmentation issues in wallet and key management that have complicated financial operations for autonomous AI systems, according to MoonPay, which is an investor in Decrypt’s sister company Myriad.
OWS supports the x402 open payment protocol developed by Coinbase, along with Stripe and Tempo’s Machine Payments Protocol (MPP) for session-based micropayments. It also builds on MoonPay’s earlier collaboration with Ledger that enables hardware wallet signing for MoonPay Agents transactions.
“On-chain payments originate from wallet addresses, and every chain represents them a bit differently,” said Mysten Labs co-founder and CTO Sam Blackshear in a statement, explaining that a “unified representation” streamlines processes and enables agents to focus on high-level tasks instead of details.
According to MoonPay, OWS is designed in such a way that a wallet’s private key is never exposed to agents, the LLM context or parent applications when transacting.
The launch comes as AI agents increasingly require sophisticated financial capabilities to operate autonomously, and forms part of a “deliberate shift” at MoonPay towards AI-native infrastructure.
In the first two minutes of his new special “Silly Silly Fun Boy,” Pete Holmes quips about his “big, dumb Mormon face” (despite the fact that he is not Mormon) and admits to sticking Q-tips deep into his “ear G-spot” (despite the warnings on the package).
Right off the bat the humor is, as the title suggests, silly. But like with all of his sets, Holmes imbues wisdom in even the most juvenile of jokes. “It’s your resistance that creates the suffering,” he says later, sounding like a pull quote from a philosophy book. (It’s a punchline about pooping one’s pants while driving.)
Holmes has been a prominent name in stand-up for two decades now, and while his playful brand of comedy hasn’t changed, the “Crashing” creator and “You Made It Weird” host has seen the industry transform rapidly around him.
“It’s so funny how comedians have become little businessmen,” he tells Variety over the phone, driving across Los Angeles to a podcast appearance. “We’re supposed to be eating loaded potato skins and being drunk in a green room, and now we’re talking about long-term benefits as opposed to taking a big advance.”
Out March 24 at 5 p.m. PT, “Silly Silly Fun Boy” is Holmes’ sixth special and first to be released directly on YouTube, following a brief exclusive window on 800 Pound Gorilla. He’s explaining why the video streaming site has recently become a favorite distributor for comics, but a passing truck derails his train of thought into a nascent bit.
“Can we take a moment to appreciate that Bryan Cranston and Aaron Paul have a mezcal together?” he asks, referring to the “Breaking Bad” duo’s brand Dos Hombres. “They had a show where they were drug dealers, and now they’re like, ‘Remember us? We’re the meth guys. Drink our mezcal!’”
“We’re so stupid,” Holmes says, cracking up. “We’re such a stupid group. ‘Hey, wanna get high? Remember? The people in their underwear cooking in a camper?’ We just don’t see alcohol as a drug. Anyway… what were we saying?”
I love a comedy special that drops you right into the set. How did you decide there wouldn’t be a walkout?
I haven’t been asked that before, and to be honest I kind of wanted to be asked, because there’s a lot of consideration that goes into making a special that often goes unnoticed. When I performed this hour, there’s probably 10 or 12 minutes before the first actual joke of the special. My wife is always like, “Pete, you could just skip this.”
When it’s live, there’s more consideration around meeting the audience where they are — how are they feeling, what’s the vibe, all of that. But when you’re watching a special on TV, people are much more capable of just jumping in. So it wasn’t a fear-based decision — like “We have to start fast because nobody has an attention span” — it was more about how do we make this as lean as possible.
When taping a special, Bill Burr told me he enjoys picking crowds that will be a bit “hostile” toward him. What factors did you consider when picking Portland?
Bill — who’s one of my favorites — his ideal show is one where people actively disagree with him, because that’s his art. I’ve sat with my wife Valerie watching him do a joke where we both disagree with his point, and by the end we’re both laughing anyway. That really is his magic. My offering is a little different. I’m looking for crowds that are playful, silly and open — and it’s a real plus if they’re not just comedy-savvy, but live-performance-savvy in general.
Brian Regan has this great quote I say all the time: “Comedians are like musicians, and their instrument is the audience.” So I’m not doing comedy at them — the sound I can make is 100% reliant on them. I’m looking for silliness and openness more than I’m looking for the uphill challenge. Portland is an incredibly liberal place, and I have some jokes about gender identity that I knew they’d be on board with. But I actually love doing those jokes in rooms where it’s a little iffy. So it’s not about aligning with them on every value.
You joke about how the type of people who are unwilling to use one’s preferred pronouns are the same people who would get mad if their truck was misidentified as a “car.” Was it different performing those gender jokes from city to city?
Yeah, it was. Every joke has something underneath it, and if there is a message, it’s that we do all sorts of things to accommodate people’s feelings. It was fun to do it in front of crowds where I sensed they might not be so sympathetic to the idea. I’ll tell you, the joke never got silence. It might have gotten a little tense, but more often it was actually the liberal crowds who’d get worried I was going somewhere offensive — because comedians tend to take the side of [mocking trans people].
When I’m doing a joke like that and I see genderfluid or queer people in the audience, I can feel that kinship beaming back at me. And that’s meaningful to me. It’s not why I started comedy, but after 25 years, I’m starting to see the potential of: We’re actually saying something. Even when we’re saying nothing, we’re saying something with our nothing.
Pete Holmes at the Moontower Comedy Festival in Austin, Texas
Getty Images
Is it a trope now that every comedian has a trans joke?
Yeah. I think it’s directly because Chappelle made a lot of noise with his trans stuff. If you have a trans joke, it’s like having a Michael Jackson joke — it’s so well-trodden that you better make sure it’s good. It can’t just be a cheap laugh, because a lot of times the joke is really just being disrespectful or irreverent, which is by definition titillating — it’s shocking or upsetting, or you might find it hilarious. I didn’t feel like I had to do a trans joke, I just had something to say about it… even though it’s probably easier and safer to say nothing.
When you first started, were there any taboos in comedy that audiences have warmed up to in the years since?
The big thing for me is religion and spirituality. It’s been exciting for me that by just mentioning God, people don’t automatically assume you mean an old man in the sky who’s mad that you masturbate. It used to be if you said “I believe in God,” it meant you don’t say “fuck, shit, piss, cunt,” you don’t do drugs and you obscure your sexuality. Now it’s so wonderful to be able to say, “Can we talk about what we’re all doing here?” and not have anyone in the crowd bristle because the guy swears or acknowledges the existence of sex or psychedelics. I grew up in a time where there was comedy and there was faith comedy, music and faith music, and that line has been so delightfully blurred and has removed that taboo.
I want to ask about the business of comedy. In your HBO show “Crashing,” we see the humiliating lengths comics had to go in order to get just a couple minutes of stage time. These days, many young comics are skipping the club scene and building an audience online. Is the industry you came up in a bygone era?
It is. When I made “Crashing,” I was talking to people older than me — Artie Lange, Bill Burr… that’s where the wisdom is. But if I was starting in the scene now, doing a 2020s version of the show, I’d be talking to people younger than me, like Gianmarco Soresi. He is a brilliant comedian who totally figured out YouTube. Not just how to market himself, but how to find his fans and build his base. And now he can tour. It’s incredible — not only can he tour, but he can actually make money just from the videos. I get so excited for young people because of that.
I’ll talk out of the other side of my face in a moment, but if you can skip going to a club called The Chuckle Conglomerate at some horrible rest stop where you make $300 eating shit in front of a crowd you shouldn’t even want to do well for, and instead just hone your craft, find your fans, and align with them, I think that’s beautiful. That’s what “Crashing” would have been about now: how do I make a TikTok, how do I get on YouTube, how do I release my own special? Look at Shane Gillis — he put his first special on YouTube and it goes viral because it’s good.
So to talk out of the other side of my face: I have appreciation for the way young comics are doing it, and I don’t think they’re missing out on anything. But I do think there’s a quality to letting the world test you — being a little frightened and then persevering, in whatever form that takes. There’s nothing like walking into a bar that smells like blood and beer and doing well. It toughens you up and builds muscle. I don’t think that’s unique to comedians; I think that’s what your 20s and 30s are for. Let’s go grow, let’s go be scared.
And you can do both.
Comedians doing both are in the best position. Sorry to keep mentioning Gianmarco, but what he’s done with his YouTube is remarkable, and the guy tours, the guy does sets, he’s up there at one in the morning, he knows what it is to scrap. It’s good to do both: One is cardio and the other is weights, and you need both for a healthy artistic body.
Speaking of YouTube, this is your first special released on the platform. It seems like there used to be a stigma around YouTube, that it was where you went if you couldn’t sell your special to a network or streamer. But now some comedians are turning down offers from Netflix to release directly on YouTube.
The comics I talk to, including the younger ones, say there is Netflix and there is YouTube. That’s not to say you can’t have a special elsewhere — Roy Wood Jr. has a great Hulu special, and maybe my favorite special of all time, from Chris Fleming, is on HBO. But it’s like musicians with albums. They put out a record so they can tour. In the past, comedians have understandably gone for the payday. You make $100,000 to sell your special to Comedy Central or whatever. Now, you make your money touring, so you want to reach the largest number of people, and that’s why people are going to YouTube. But, you know, we submitted the special to Netflix and — my feelings aren’t hurt — they did pass. It gave us a moment to go, “OK, what is the path of most fans as opposed to the most money?”
Pete Holmes and Stephen Colbert on “The Late Show with Stephen Colbert”
CBS via Getty Images
As someone who hosted a late-night show, what do you think of the state of late-night? Is the format on its deathbed?
It’s so funny, I’m driving past Warner Bros. right now, which is where we filmed my talk show. I always drive by and remember parking there. It was such a sweet time of my life. Anyway, it’s so obviously podcasts. In one sense, everything’s changing, but in another sense, absolutely nothing is. I was just in New York promoting my kids’ book and this special, and I go to Barstool Sports, I go to all these podcasts — and they’re all talk shows. And then I did Colbert.
What we’re losing with Colbert is… I don’t put on a suit to do a podcast. Colbert is in the Ed Sullivan Theater, for fuck’s sake. It’s where Letterman was, where Ed Sullivan was. It’s got a band and a shiny floor and it’s on CBS. So on one hand I’m like “Nothing’s changing,” but it is valid to mourn the loss there. And the real loss isn’t people making jokes in a chair talking to a host. The real loss is the specialness. It’s like going to a fancy dinner where you dress up and there’s a maître d’ and a sommelier. You’re still just eating a meal, but the ritual and the history make it feel so much more special. That’s what’s being lost.
Do you have a dream guest for “You Made It Weird”?
I’d like to get Jim Carrey. I know he’s in the news for his red carpet thing, but that’s not why. I think he and I would have an interesting conversation about spirituality.
The live music discovery platform Bandsintown’s partnership with Apple goes way back, but iOS 26.4 brings the deepest integration between the two companies to date. Concert listings from Bandsintown will now appear in Apple Music, allowing you to find out when either a band you already love, or one you’re discovering for the first time, is next playing live.
Artists who use Bandsintown to advertise their tour dates can promote upcoming shows in a number of ways through Apple’s app. A new Concerts tab will live within Search, allowing subscribers to search for shows by their genre, location and date, while participating artists can also connect their Bandsintown dashboard to their Apple Music artist page. By doing this, their tour dates will automatically appear in an “Upcoming Concerts” section within 48 hours of connecting the two services.
Apple Music users can tap listed events to see more details about a show and will be able to buy tickets through direct links to sellers. If you follow artists, you can also set up push notifications for their announced shows.
Bandsintown’s platform is already built into a number of other Apple apps and services, with the likes of Shazam, Apple Maps, Photos and Spotlight Search all able to pull through live event data. The new Apple Music features will be available on devices running iOS 26.4 when it leaves beta.
iOS and iPadOS 26.4 are here, with a surprising number of new features for a point release. Chief among them is a new AI playlist generator, similar to one Spotify launched in 2024.
Playlist Playground is Apple’s branding for the song list generator. It works as you’d expect: Type a prompt, and it spits out tracks that match it. As MacRumorsnoted, your prompts can relate to mood, feelings, activities and more.
Also new in iOS 26.4, an ambient music widget puts background sounds on your home screen. Like the corresponding Control Center tool, it brings up (Apple-curated) sounds for sleep, chill, productivity or well-being. Yet another music feature is Bandsintown integration: upcoming concert dates in your area will appear in the Apple Music app.
Unicode’s latest emoji characters arrive in the update, too. This includes “Hairy Creature,” also known as Bigfoot. Another fun one is fight cloud. (Think old-timey cartoons beating each other up inside a puff of vapor.) Also onboard are a trombone, a treasure chest, a distorted face, an apple core, an orca, ballet dancers and a landslide.
The update also has fixes for some of iOS 26’s nagging bugs. In Apple’s latest attempt to stem the tide of complaints about Liquid Glass, there’s a new “Reduce Bright Effects” setting. There’s also a fix for a keyboard bug that caused errors when typing rapidly.
According to breaking news, the bill, which also determines the critical cryptocurrency taxation process, has been postponed until tomorrow in the Turkish Grand National Assembly due to the lack of a sufficient majority.
The discussions will begin tomorrow at 2 PM (UTC+3).
