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  • Bitcoin Developer Plans to ‘Reassign’ Coins Linked to Satoshi Nakamoto in Hard Fork

    Bitcoin Developer Plans to ‘Reassign’ Coins Linked to Satoshi Nakamoto in Hard Fork

    In brief

    • LayerTwo Labs CEO Paul Sztorc has proposed a Bitcoin hard fork called eCash.
    • The fork would clone and “reassign” coins linked to Bitcoin creator Satoshi Nakamoto and give them to eCash investors.
    • Previous Bitcoin and Ethereum hard forks have been far less successful than the originals long-term.

    Bitcoin developer Paul Sztorc has proposed a hard fork that would reassign some of the earliest coins on the original crypto network—widely believed to belong to pseudonymous creator Satoshi Nakamoto—to investors in a new project.

    The co-founder and CEO of LayerTwo Labs, Sztorc announced the project, called eCash, on Friday. The plan would “manually reassign” about 500,000 of the roughly 1.1 million Bitcoin associated with the so-called “Patoshi pattern,” a mining pattern some researchers believe is linked to Nakamoto.

    “This will no doubt be a controversial decision,” Sztorc wrote on X. “But I think it is necessary, and in fact, ideal.”

    Sztorc would not (and could not) move the Satoshi-linked coins on Bitcoin itself. Instead, eCash would create a separate blockchain that copies Bitcoin’s history and changes the ledger to assign all but 600K of those coins to new owners. Current on-chain Bitcoin (BTC) holders would also receive coins on the eCash network equivalent to their holdings at the time of the fork.

    “Your coins will split. For example, if you have 4.19 BTC, then you will get 4.19 eCash,” he wrote on X. “You may sell your eCash—or keep it. Or ignore it!”

    Named after the original eCash, cryptographer David Chaum’s early digital money project, the new fork is a callback to one of crypto’s earliest ideas. The original eCash used cryptographic “blind signatures” to let people make private electronic payments, but DigiCash, Chaum’s company developing the project, filed for bankruptcy in 1998 after the project failed to gain widespread adoption.

    “It’s not Satoshi’s Bitcoin, it’s just [unspent transaction outputs] that are presumed to belong to Satoshi that are being cloned and modified onto a completely different network,” Bitcoin developer and Casa Chief Security Officer Jameson Lopp told Decrypt.

    Lopp dismissed the move as a publicity stunt, calling it “clever outrage marketing.”

    According to Loop, such a reassignment could only happen on Bitcoin itself if the broader network of developers agreed to adopt the fork.

    “If the entire Bitcoin ecosystem decided to migrate to a hard fork that reassigned Satoshi’s coins to keys that other people controlled, then sure, it’s theoretically possible,” Lopp said.

    Sztorc has said the reassignment would allow early supporters to invest in the project before its planned August launch. He has argued the move is needed to keep the chain from becoming a “zombie” project without enough capital or contributors.

    Bitcoin has split before. Bitcoin Cash launched in 2017 after a dispute over scaling, splitting off and creating a new network. Ethereum split in 2016 after the DAO hack, with most network backers choosing to reverse the transactions with stolen funds while Ethereum Classic kept the original chain. Both Bitcoin Cash (BCH) and Ethereum Classic (ETC) have been far less valuable and popular than their respective original coins and networks.

    The eCash website says the chain is expected to launch in about 119 days and will include “Drivechain” scaling network support, with seven sidechains in development.

    “The upside is enormous: global scalability, privacy, competition, rapid improvement, and adoption,” Sztorc wrote on the eCash website. “In fact, it may be a matter of life or death for Bitcoin. The downside is small: some drama, plus every Bitcoiner gets some free money.”

    Sztorc did not immediately respond to a request for comment by Decrypt.

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  • ‘The Devil Wears Prada 2’ First Reactions Say the Sequel Is ‘Charming,’ ‘Genuinely Heartwarming’ and Destined to ‘Be a Massive Hit’

    ‘The Devil Wears Prada 2’ First Reactions Say the Sequel Is ‘Charming,’ ‘Genuinely Heartwarming’ and Destined to ‘Be a Massive Hit’

    Gird your loins, because “The Devil Wears Prada 2” has finally been unveiled to members of the film press and first reactions are trickling in for highly-anticipated sequel. The movie, which marks the return of Meryl Streep to her Oscar-nominated role of fashion magazine powerhouse Miranda Priestly, is being called “charming and fun” and destined to be a “massive hit.”

    Entertainment journalist Daniel Baptista wrote on X that “The Devil Wears Prada 2” is a “fun and fierce sequel” that ushers a natural return for stars Streep and Anne Hathaway, adding: “It feels familiar in the best way, timely in the right ways, and is well worth the wait.”

    Variety‘s senior artisans editor Jazz Tangcay echoed the praise, writing on X that “‘The Devil Wears Prada 2’ is “phenomenal” and “the perfect sequel that exceeded all expectations. Aline Brosh McKenna’s script is sharp and witty. We’ll be quoting this for years to come. Meryl Streep, Anne Hathaway and Emily Blunt are still great. Stunning costumes, and that soundtrack slaps hard.”

    THR senior editor Alex Werpin called the sequel a “biting media parody wrapped up in high fashion,” adding: “Every journalist who sees it will cringe from recognition.”

    “‘The Devil Wears Prada 2’ has no right to be as good as it is,” adds Awards Watch’s Erik Anderson. “Just the right kind and number of callbacks and earned nostalgia, Anne Hathaway continues to be our most vibrant star. It’s funny and deeper, and we get the return of ‘Vogue.’”

    Meryl Streep returns for “The Devil Wears Prada 2” alongside original cast members Anne Hathaway, Emily Blunt and Stanley Tucci, plus director David Frankel and screenwriter Aline Brosh McKenna. New cast members include Kenneth Branagh, who is set to play Miranda Priestly’s husband, as well as Simone Ashley, Lucy Liu, Justin Theroux, B.J. Novak and more.

    While plot details for the sequel have remained under wraps, trailers for “The Devil Wears Prada 2” have revealed that Hathaway’s Andy Sachs returns to Runway to be the magazine’s features editor. In the original, which opened in 2006 and grossed $326 million worldwide, Hathaway’s Andy is an aspiring journalist who becomes the personal assistant to Streep’s Miranda.

    The film’s popularity has only skyrocketed in the 20 years since its release, so much so that filming “The Devil Wears Prada 2” on the streets of New York City proved difficult for the cast and crew as fans and paparazzi stormed the shot to follow their every move. Streep told Harper’s Bazaar that she “unnerved” while the filming because of what a sensation it caused.

    “Even though we were aware of the impact of the first film two decades ago, I think none of us were prepared for the ambush of both goodwill and avid attention that engulfed us,” Streep said. “We needed police barriers and crowd control. Buses of fans turned up, and paparazzi swarmed and in one case kept jumping in front of the camera and the shot and got in a kerfuffle with crew. Annie kept her cool, but I was unnerved.”

    “The Devil Wears Prada 2” kicks off this year’s summer movie season when it opens in theaters May 1 from 20th Century Studios and Disney.

  • Indie Sales Scores Multiple Deals for ‘Brave Cat’ Ahead of Premiere at Annecy (EXCLUSIVE)

    Indie Sales Scores Multiple Deals for ‘Brave Cat’ Ahead of Premiere at Annecy (EXCLUSIVE)

    Paris-based sales company Indie Sales has concluded multiple deals for animated feature “Brave Cat,” which will world premiere at Annecy Film Festival in June in the Annecy Presents section.

    The film has been acquired by Gebeka (recently acquired by KMBO) for France, Cine Canibal for Latin America, Green Narae for South Korea, Distri 7 for Benelux and Kino Pavasaris for the Baltic States.

    “Brave Cat” is the first feature-length project from the Chilean studio Punk Robot. It is directed by Gabriel Osorio and produced by Pato Escala, both co-founders of the studio. Their short film “Bear Story” won an Oscar for Best Animated Short Film in 2016 and was Chile’s first-ever Academy Award.

    “Brave Cat” tells the story of Kona, a teenage forest cat, who decides to face her fears and search for her missing mother, who was kidnapped by dogs working for humans. Along with Colin, an abandoned guard dog puppy, and Bernard, a runaway old circus bear, she embarks on a cross-country search for their lost families. Despite their differences, Kona, Colin and Bernard stick together on a wild journey that changes them forever.

    Based in Santiago de Chile, Punkrobot has been creating content since 2008 for television, advertising and film. The studio recently collaborated with Lucas Films on the “Star Wars: Visions” episode “In the Stars.”

    The film is supported by the Ministry of Cultures, Arts and Heritage of Chile and Universidad de las Américas (UDLA)

    Indie Sales has handled high-profile animated films such as “My Life as a Zucchini” – an Oscar, BAFTA and Golden Globe nominee – followed by the commercial hit “Richard the Stork 2” and more recently Michel Gondry’s Berlinale Crystal Bear winner “Maya, Give Me a Title.” It also has Cannes 2026 silent animation “Dandelion’s Odyssey.”

    Indie Sales’ Cannes lineup includes “Quo Vadis, Aida? The Missing Part” by Jasmila Žbanić and “All the Little Live Things” by Carine Tardieu.

  • Dubai VASP License Secured: Amber Premium Gains Institutional Crypto Approval in a Landmark Move

    Dubai VASP License Secured: Amber Premium Gains Institutional Crypto Approval in a Landmark Move

    Amber Premium, a subsidiary of Amber International, has officially secured a Virtual Asset Service Provider (VASP) license in Dubai. This regulatory approval marks a significant step for the institutional crypto service provider, which operates under the umbrella of the market maker Amber Group. The license empowers Amber Premium to deliver brokerage, asset management, and virtual asset lending services to institutional and accredited investors in the region.

    Dubai VASP License: A Gateway for Institutional Crypto Services

    The Dubai VASP license positions Amber Premium within a rapidly evolving regulatory landscape. Dubai’s Virtual Assets Regulatory Authority (VARA) oversees these licenses, creating a structured environment for digital asset firms. This approval allows Amber Premium to legally offer a suite of services that cater specifically to high-net-worth individuals and institutional clients.

    Institutional investors now have a regulated pathway to access crypto markets. Brokerage services enable efficient trade execution. Asset management offers professional portfolio handling. Virtual asset lending provides liquidity options. These services address critical needs in the institutional crypto sector.

    Amber International has built a reputation as a reliable market maker. The firm provides liquidity and risk management solutions across multiple exchanges. The Dubai VASP license expands its operational footprint into the Middle East, a region actively embracing digital asset innovation.

    Strategic Importance of the Dubai Crypto License

    Dubai has emerged as a global hub for cryptocurrency regulation. VARA’s framework offers clarity and compliance standards that attract international firms. For Amber Premium, this license provides a competitive edge. It signals trustworthiness and adherence to strict regulatory requirements.

    The license covers three core service categories. First, brokerage services allow clients to buy and sell virtual assets through a regulated intermediary. Second, asset management involves professional handling of crypto portfolios. Third, virtual asset lending offers borrowing and lending services backed by digital assets. These services target sophisticated investors seeking secure and compliant access.

    Amber Group’s Market Position and Experience

    Amber Group brings years of experience in digital asset trading and market making. The firm has managed billions in trading volume across spot and derivatives markets. This expertise translates into robust infrastructure for institutional clients. The Dubai VASP license builds on this foundation, adding a regulated layer to its service offerings.

    The company operates globally, with offices in Hong Kong, Singapore, and now Dubai. This geographic diversification helps mitigate regulatory risks. It also allows the firm to tap into regional capital flows. Institutional investors in the Middle East increasingly seek regulated crypto exposure.

    Impact on Institutional Crypto Adoption in the UAE

    The UAE continues to position itself as a leader in digital asset regulation. VARA’s licensing regime provides a clear legal framework. This clarity reduces uncertainty for institutional investors. Amber Premium’s entry into the market reinforces this trend.

    Key benefits for institutional investors include:

    • Regulatory compliance: Services operate under VARA oversight, ensuring legal protection.
    • Professional execution: Brokerage services offer efficient trade execution with minimal slippage.
    • Asset safety: Licensed custodians and lending protocols protect client assets.
    • Portfolio diversification: Asset management strategies incorporate digital assets alongside traditional holdings.

    These advantages encourage more institutional capital to flow into crypto markets. The Dubai VASP license serves as a catalyst for broader adoption.

    Timeline of Regulatory Milestones for Amber Premium

    Amber Premium’s journey to the Dubai VASP license involved several steps. The firm initially established a presence in Dubai’s financial free zone. It then engaged with VARA to understand licensing requirements. The application process included detailed documentation of operational procedures, compliance frameworks, and financial stability.

    VARA conducted thorough due diligence before granting approval. This process ensures that only qualified firms receive licenses. Amber Premium’s successful application reflects its commitment to regulatory standards. The license now allows the firm to commence operations immediately.

    Broader Implications for the Crypto Industry

    The Dubai VASP license sets a precedent for other jurisdictions. Regulators worldwide watch VARA’s approach closely. Clear licensing frameworks reduce the risk of regulatory arbitrage. They also foster innovation within a controlled environment.

    Other crypto firms may follow Amber Premium’s lead. The UAE offers a favorable tax regime and a pro-business environment. These factors attract global talent and capital. The region’s strategic location bridges Eastern and Western markets.

    Industry experts note that regulated services build trust. Institutional investors require compliance and transparency. The Dubai VASP license delivers both. This development strengthens the overall crypto ecosystem.

    Conclusion

    Amber Premium’s acquisition of the Dubai VASP license represents a pivotal moment for institutional crypto services in the Middle East. The license enables brokerage, asset management, and virtual asset lending for accredited investors. This regulatory approval underscores Dubai’s commitment to fostering a secure digital asset environment. As Amber International expands its footprint, the crypto industry gains a trusted, compliant partner for institutional growth.

    FAQs

    Q1: What is a Dubai VASP license?
    A Dubai VASP license is a regulatory approval issued by the Virtual Assets Regulatory Authority (VARA). It allows firms to offer virtual asset services like brokerage, custody, and lending within Dubai’s legal framework.

    Q2: Who can use Amber Premium’s services under this license?
    Only institutional and accredited investors can access Amber Premium’s services. These include professional investors, corporations, and high-net-worth individuals who meet specific financial criteria.

    Q3: What services does the Dubai VASP license cover for Amber Premium?
    The license covers brokerage, asset management, and virtual asset lending. Brokerage involves trading execution. Asset management handles portfolio oversight. Lending provides borrowing and lending services for digital assets.

    Q4: How does this license benefit institutional investors?
    It provides a regulated, compliant pathway to access crypto markets. Investors gain legal protection, professional execution, and asset safety. This reduces risks associated with unregulated platforms.

    Q5: Is Amber Group a well-known firm in the crypto industry?
    Yes, Amber Group is a prominent market maker and institutional crypto service provider. It has managed significant trading volumes and operates globally with offices in Hong Kong, Singapore, and Dubai.

    Q6: Will other crypto firms follow Amber Premium’s example in Dubai?
    Likely yes. Dubai’s clear regulatory framework and pro-business policies attract global crypto firms. The VASP license sets a benchmark, encouraging other companies to seek similar approvals.

  • A Bitcoin (BTC) Move Comes from an American Country! “Investment Opportunity with Just $25!”

    A Bitcoin (BTC) Move Comes from an American Country! “Investment Opportunity with Just $25!”

    The launch of US spot Bitcoin ETFs has increased institutional interest in these products. The latest news in this regard comes from South America.

    Accordingly, Colombia, a South American country, has launched a Bitcoin (BTC) product through its largest pension fund via a spot ETF.

    Porvenir, Colombia’s largest pension fund manager, has launched a product offering indirect investment in Bitcoin through BlackRock’s spot Bitcoin ETF (IBIT).

    At this point, instead of direct purchase, the fund is offering access to Bitcoin through BlackRock’s IBIT ETF, which manages over $50 billion in assets, marking a shift towards more secure and structured access to digital assets.

    According to the announcement, the product is only valid for retirement accounts, and the minimum investment amount is approximately 100,000 Colombian pesos (approximately $25).

    Porvenir’s “Crypto Porvenir Portfolio” is designed for voluntary retirement accounts. Investors can start investing with as little as 100,000 COP (approximately $25), making it accessible to a wide range of users.

    This way, instead of managing their own wallets, investors can invest in Bitcoin through the iShares Bitcoin Trust (IBIT), which tracks the Bitcoin price. This eliminates risks such as cyberattacks or password loss, as users don’t need to directly acquire Bitcoin or manage digital wallets.

    *This is not investment advice.

  • Barry Diller Reveals Layoffs, C-Suite Shake Up and Name Change for IAC

    Barry Diller Reveals Layoffs, C-Suite Shake Up and Name Change for IAC

    Barry Diller is shaking up his company IAC, rebranding the company as People Incorporated as it undergoes a significant shift in strategy.

    Diller will shift to a role as executive chairman in the move, with Neil Vogel set to become the company’s new CEO.

    Diller outlined the changes in a note to IAC shareholders Tuesday, noting that going forward the holding company will focus on its MGM holdings and the People publishing business.

    “We’re transitioning the necessary staff of IAC into the corpus of People,” Diller wrote. “That will significantly reduce our overhead as we concentrate on our two assets: People publishing and our holdings in MGM Resorts.

    “As for me, I plan to continue to do what I have done here for years as Chairman and Senior Executive—be an advisor, instigator, stimulus, and sometimes irritant to the process,” he added. “I will also continue to oversee our MGM investment.”

    The changes will mean staff reductions. In an SEC filing the company said that it expects to incur about $14 million in severance and related expenses, $48 million in non-cash stock-based compensation expense and as much as $1 million in other costs related to the plan. The company expects to see annual run rate savings of around $40 million when the integration is complete.

    You can read Diller’s note, below.

    Dear Shareholders,

    Today’s news is that IAC is changing its corporate name to People Incorporated. 

    Throughout its three decades, this company has always been opportunistic.  That’s the only guidewire I’ve ever followed, and I believe today and tomorrow’s opportunities will best be held in the corpus of this new corporate name.

    Some backgrounding will be helpful in explaining why.

    I bought into little Silver King Communications in 1995.  It had about $40 million in sales, and as it evolved over the next decades, we became HSN, then USA Networks, and finally, in 2003, IAC/InterActiveCorp, and then even more simply, IAC Inc.  

    Those name changes were the result of our changing business model.  We began as a string of small television stations, then merged with HSN, a home shopping channel, and a few years later bought the USA Networks and Universal Television.  At HSN, we gained some expertise in ecommerce and interactive models in the primitive convergence of television screens, computers, and phones.  And then came the internet revolution in 1995 and out of that a unique business model—buying, building and creating interactive business.  Over the years, that has resulted in our owning and operating more than 200 companies and overseeing well over 100 minority investments.

    By then we were the definition of a conglomerate.  As we evolved, I came to believe that operating all these disparate entities wasn’t the optimum method and began a process of spinning them out into their own independent companies.  Once we felt they were of sufficient size and success I thought they’d be better off on their own and sought to become a sort of anti-conglomerate, ‘spinning out’ 11 public entities. 

    All this activity over these past three decades has resulted in creating over $144 billion of value at peak equity prices.  

    In the last few years, ecommerce and interactivity valuations soared, new opportunities became fewer, and we began to scale down our acquisition activities to concentrate on the one sector we felt had the most potential in such a fast changing environment, that of the publishing businesses we’d built and acquired over the last 14 years.  It was, as usual for us, a contrarian move but as I outline below, a most successful one.

    As all sorts of potential disintermediation loomed in media and ecommerce we also began to search for businesses that couldn’t be disintermediated.  Out of that process we began to accumulate shares in MGM Resorts, believing that there was no technology that was going to displace a customer from going to Las Vegas or any of MGM’s other physical properties.  Our original 12% stake in MGM has now grown to 26%.  MGM Resorts is an extraordinary operation powered by a compelling mix of iconic resort destinations, scalable digital platforms, premium brands, an expanding global presence, and, under its CEO Bill Hornbuckle, an outstanding management team.  MGM owns 40% of the Las Vegas Strip—an entertainment nucleus that simply cannot be replicated anywhere in the world.  MGM’s leadership position in Macau remains the envy of the industry, and its mega resort abuilding in Japan is a giant future opportunity.  Its digital businesses are growing profitably, and its stock continues to be wildly undervalued. 

    Our major continuing operating business is now our publishing operations.  We are unlike most publishers in that we began as a native digital publisher and spent a decade developing the expertise to grow into a thriving digital business anchored online.  We were leaning into digital publishing with all our might when our competitors were downsizing their operations because of that digital disruption.  In late 2021, we then acquired Meredith.  The earlier combination of Meredith and Time Inc. boasted 30+ brands such as the iconic PEOPLE, Food + Wine, Southern Living, and Travel & Leisure, all of which had incredible heritage but lacked digital reach.  We brought our digital expertise to Meredith’s brands, aiming to modernize these iconic assets and unlock their true potential. 

    We are now some years into that process, and the results have been excellent.  As against most publishers, we are thriving. The first quarter of 2026 represents our 10th straight quarter of digital revenue growth, our EBITDA margins remain strong, and our audiences are growing rapidly across so many platforms, including social channels, Apple News, and our own live events.

    We have succeeded by leveraging our knowledge and experience from across the breadth of IAC’s digital businesses and applying them to People, trying new things, not being captive to old models or a legacy approach and not being dependent on others who could disrupt our business.

    We’ve built our own extremely effective AI ad targeting product based on our first party data named D/Cipher.

    We recognized the coming reality of zero search traffic years ago, successfully transitioning out of depending upon search engines for our traffic to create our own ecosystem which has resulted in a broad diversity in audience sources.

    We have also begun a process called INVERSION, which to us means taking each of our properties and their intellectual capital and turning them into opportunities to play a direct role in creating new products and services that we own directly, rather than the traditional publishing model of licensing brands.  We have literally 19 separate initiatives operating now that are exclusive of the traditional publishing model.  I intend for us to be the principal, rather than the licensor, wherever we can in the products and services that will be birthed out of our enormous reservoir of content.  

    I do believe we have an unlimited opportunity to build a unique new day publishing model that has no equal in its ability to grow into a large enterprise.  Under Neil Vogel’s leadership, People’s outstanding editorial and business staff and 3,500 employees, we deliver the most diversified expertise across our 40+ brands and the six ‘books’ we continue to publish in print.  And publish, in the old sense we still do, and profitably, to the tune of shipping 250 million magazines a year. 

    So, there we are and that’s why we’re changing IAC’s name to People Incorporated. 

    We’re transitioning the necessary staff of IAC into the corpus of People.  That will significantly reduce our overhead as we concentrate on our two assets: People publishing and our holdings in MGM Resorts.

    As for me, I plan to continue to do what I have done here for years as Chairman and Senior Executive—be an advisor, instigator, stimulus, and sometimes irritant to the process.  I will also continue to oversee our MGM investment.  

    We have an excellent balance sheet with plenty of cash to pursue opportunities.  It’s possible we’ll find new arenas, that’s always an option, but for now we’ll concentrate on the two we have in front of us.  Each cycle over the last 30 years, we downsized to a smaller company—I like that.  It gives us room and energy to be agile and opportunistic.

    The corpus of People Incorporated will include the assets of a mostly virtual media business together with the very hard assets of MGM Resorts—if you like, a perfect hedge in a world that is changing so unpredictively fast.    

    We’ve gone through four cycles since our founding more than 30 years ago, each one seeing opportunity in the dark.  I can’t tell you where the next journey will take us but can say with confidence that the base from which we start is square on solid, and…from there…we will proceed.

    I’d say THANK YOU FOR YOUR ATTENTION TO THIS MATTER, but that would be more than presumptuous.

    Barry Diller 

  • Amnesty calls for US strike on Yemen to be investigated as war crime

    Amnesty calls for US strike on Yemen to be investigated as war crime

    The attack last year on a migrant detention facility killed at least 68 people.

    Amnesty International has called for a United States air strike on a migrant detention centre in Yemen to be investigated as a possible war crime.

    In a report released on Tuesday, the rights group said the strike on April 28, 2025, hit a detention facility in Saada in northwestern Yemen, killing at least 68 detainees and injuring 47.

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    The detention centre had operated for years as part of a larger prison complex and had previously been visited by representatives of the International Committee of the Red Cross and the United Nations, who found no evidence the compound was being used for military purposes.

    “The Trump administration’s approach to its air strikes in Yemen from March to May 2025 should have set off alarm bells in the USA and around the world,” said Nadia Dar, director of Amnesty International USA.

    “Instead, the US administration has systematically weakened safeguards … while simultaneously displaying a dangerous disregard for the lives of civilians endangered by armed conflicts,” she added.

    Survivors say they remain without support

    Amnesty said survivors interviewed nearly one year after the strike were still suffering serious physical and psychological harm and many were unable to afford treatment.

    The organisation spoke to six Ethiopian men wounded in the attack. It said five were unable to work because of their injuries while most now depended on financial support from relatives.

    Four remain in Yemen, and two have returned to Ethiopia. One survivor, identified as Jirata, 30, said he lost one of his legs in the strike and had a metal rod inserted in the other.

    “I have lost hope, and I have nothing left that keeps me going,” he said in testimony published by Amnesty.

    “The US government caused all this, and as a result [of the air strike], I can no longer work and support myself. I want them to provide any type of reparation that will help with our life in any way possible, something that will revive my hope.”

    No public findings released

    After the strike, a US defence official said the military was assessing reports of civilian casualties.

    Amnesty said that a year later, the US military’s Central Command had not publicly released the findings of any investigation or announced whether accountability measures would be taken.

    Amnesty said the Yemen attack was among the deadliest civilian incidents linked to a US strike that it had documented in recent years.

    The group also cited a US strike on a school in Minab, Iran, on March 16, which it said killed 156 people, including more than 120 children. US Defense Secretary Pete Hegseth said a separate investigation into another US strike in Minab was continuing.

    Amnesty said its investigation found the US had failed to take all feasible precautions to avoid civilian harm.

    The organisation urged Washington to carry out prompt, transparent and independent investigations into strikes in Yemen and Iran and called on the US Congress to increase oversight of military operations and ensure reparations for civilians harmed.

  • Higher Expenses Cut Into TelevisaUnivision Q1 Operating Income

    Higher Expenses Cut Into TelevisaUnivision Q1 Operating Income

    Spanish-language media giant TelevisaUnivision said higher operating expenses tied to Mexican broadcasts of the Winter Olympics cut into its cash flow in the first quarter, while efforts to generate more advertising in the U.S. met with headwinds.

    The company has been working to bolster its balance sheet since Wade Davis, the former Viacom CFO who orchestrated a buyout of Univision in 2020 before merging it with Mexico’s Grupo Televisa in 2022, ceded his CEO role to Daniel Alegre, a former senior executive at Activision Blizzard.  Since Alegre joined in 2024, TelevisaUnivision has worked to streamline operations that had previously been siloed by geographic region. The company owns media assets in both the United States and Mexico.

    The company on Monday said it had replaced its U.S. ad sales chief Tim Natividad, who had a history in digital media, with a veteran, John Kozack, who had more experience with sports and traditional linear advertising.

    Operating expenses increased 11% to $752 million, due in part top marketing investments and sports costs primarily associated with the Winter Olympics in Mexico.

    “We delivered solid performance this quarter highlighted by the continued expansion of ViX and our linear distribution business, all despite a competitive U.S. sports programming backdrop,” said Daniel Alegre, CEO of TelevisaUnivision, in a statement. “Driven by disciplined financial and operational execution and the strength of our multi-platform content strategy, we made meaningful progress against our strategic priorities and we remain focused on deepening customer engagement and creating long-term value.”

    TelevisaUnivision said revenue in the first quarter rose 5% to $1.1 billion, buoyed by Mexican operations. In the U.S., revenue was flat at $708 million. In Mexico, revenue grew 17% to $367 million.

    The company said overall ad revenue fell 3% to $546 million. In the U.S., advertising revenue dipped 12% to $310 million, owing to “softness in linear networks. In Mexico, advertising revenue increased 13% to $236 million.

    Subscription and licensing revenue increased 15% to $505 million. In the U.S., it grew 12% to $385 million. In Mexico, it grew 28% to $120 million. The company attributed growth in both sectors to subscriptions to its ViX streaming service, as well as a new partnership with Hulu+Live TV.

  • Penny Chapman Uses Hector Crawford Lecture to Warn on AI, Celebrate Matchbox Legacy and Call for Bolder Australian Storytelling at Screen Forever Conference

    Penny Chapman Uses Hector Crawford Lecture to Warn on AI, Celebrate Matchbox Legacy and Call for Bolder Australian Storytelling at Screen Forever Conference

    Penny Chapman, co-founder of Matchbox Pictures and former head of drama at the Australian Broadcasting Corporation (ABC), used the 2026 Hector Crawford Memorial Lecture at the Screen Forever Conference on the Gold Coast on Tuesday to issue a sharp challenge to Australian screen producers: resist the pull of the algorithm, rediscover the courage of genuine storytelling, and engage urgently with the policy debates surrounding artificial intelligence.

    Delivering the annual address to an assembly of producers, commissioners, and writers, Chapman reflected on the cultural conditions that she argued had made story itself “a rickety thing” – politically, socially, and industrially. Drawing on Naomi Klein’s book “Doppelganger,” she described how right-wing operatives had exploited a widespread public sense of narrative dispossession, and suggested parallels in the failure of the 2023 Voice to Parliament referendum. “The story couldn’t find its people,” she said.

    On AI, Chapman was measured but pointed. She cited computer scientist Virginia Dignum’s book “The AI Paradox” for its argument that human imagination is not replicable by machine iteration, while also voicing concern at Ezra Klein’s characterisation of the technology. Klein, she noted, had described AI on Andy Harris’ “The Last Invention” podcast as offering an escape from “the friction of other human beings” – a shift in human experience that she said the industry cannot afford to ignore.

    Screenwriter Craig Mazin, she added, had offered a counterpoint on his “Script Notes” podcast, arguing that the influence of mentally ill artists on culture was precisely the kind of irreducible human variable that AI cannot accommodate.

    Chapman spent a substantial portion of the lecture tracing the founding and evolution of Matchbox Pictures, which she established with Tony Ayres, Michael McMahon, Helen Panckhurst, and Helen Bowden following a conversation at the 2007 SPA Conference – also held on the Gold Coast. She described the company’s founding principles: writers at the centre of the enterprise, a pipeline for emerging talent, “make programs we were really proud of” and what she called creative honesty with each other.

    When NBCUniversal made an acquisition approach in 2009, Chapman recalled the team’s reaction as immediate alarm. The two non-negotiables they secured were the right to choose their own projects and the right to take rejected material elsewhere – a provision that allowed Ayres and McMahon to pre-sell “Nowhere Boys” to the BBC after NBCU passed, sending the show to three series and a feature film.

    Over 18 years, Matchbox generated AUD$1.4 billion ($1 billion) in production across 81 titles, with credits including “My Place,” “The Straits,” “The Slap,” and “Blue Murder.” Chapman named a long roster of alumni – among them Sophie Miller, Hannah Carroll Chapman, Warren Clarke, and Amanda Higgs – who had gone on to careers as commissioning editors, screenwriters, and producers.

    She credited the company’s team dynamic with much of its longevity. Ayres, she said, had instilled the guiding hiring principle that shaped Matchbox’s culture. “‘Never employ anyone you don’t want to have a meal with,’” she quoted him as saying, “and it worked.”

    The company’s run came to an end earlier this year when Universal International Studios announced in February that it would close Matchbox, citing shifts in the broader production landscape, with Tony Ayres Productions also folding as part of the wind-down.​​​​​​​​​​​​​​​​

    The lecture’s closing movement turned to the relationship between creators and commissioners, which Chapman argued had become too transactional and too deferential to platform metrics. She singled out the so-called “second screen rule” – the practice of having dialogue repeat plot points for viewers assumed to be distracted by their phones – as both creatively corrosive and self-defeating. She held up “Bluey” and “Heated Rivalry” as examples of storytelling that treats audiences as active, intelligent participants rather than passive consumers.

    “Prosecuting our right to tell Australian stories also comes with responsibility – to make stories that matter,” Chapman said. She invoked the Chinese translator Yang Xianyi’s prediction, made in the 1990s, that Australia would one day wake to its natural and spiritual potential. “It’s 2026 and folks,” she told the conference, “we’re awake.”

    Chapman’s lecture was one of several sessions making up the first day of Screen Forever 40, the three-day industry conference marking the 40th edition of the Screen Producers Australia gathering. SPA CEO Matthew Deaner opened proceedings with a survey of the sector’s policy landscape, citing the introduction of Australia’s new streaming regulation framework among the year’s landmark developments.

    A series of State of Play panels examined theatrical exhibition, broadcast and streaming commissioning, and international sales – the latter drawing executives from Fifth Season, DCD, All3 Media, Boat Rocker Studios and Bankside Films for a candid assessment of what is and isn’t traveling in the global market. The day closed with “Second Act: Reimagining Australia’s Screen Future,” a forward-looking session featuring ABC managing director Hugh Marks alongside producer Tony Ayres, Rachel Perkins and others, moderated by Virginia Trioli.

  • Taylor Swift Seeks Trademarks for Her Voice and Image to Fight AI Fakes

    Taylor Swift Seeks Trademarks for Her Voice and Image to Fight AI Fakes

    In brief

    • Taylor Swift files three trademark applications tied to her voice and likeness.
    • The move could help her challenge AI-generated fakes and unauthorized impersonations.
    • Matthew McConaughey previously used a similar legal strategy.

    Taylor Swift is moving to protect her voice and image from misuse by artificial intelligence through a new legal strategy, according to a report from Variety.

    On Friday, Swift’s company, TAS Rights Management, filed three trademark applications with the U.S. Patent and Trademark Office. Two are sound trademarks covering the phrases “Hey, it’s Taylor Swift” and “Hey, it’s Taylor.” The third is a visual trademark covering a specific image of Swift performing on stage.

    The filings come after AI-generated fakes have repeatedly targeted Swift.

    “Very broadly, trademarks can be used to protect distinctive sounds and visuals and the name, image, and likeness of an individual insofar as it’s used in conjunction with goods or services, meaning that Taylor Swift’s use of trademark law here is fairly normal,” Kirk Sigmon, founding partner at IP and Technology law firm KellDann Law, told Decrypt.

    “The unique thing here is the use to protect against AI misuse. Pragmatically, these efforts might be useful to protect herself against misuse from other identifiable actors, such as companies using AI to falsely suggest she endorses a product or service,” he said.

    In 2024, then-candidate Donald Trump shared fabricated images on Truth Social suggesting Swift and her fans supported his presidential campaign. The incident led to Swift publicly endorsing Kamala Harris for president. In 2025, Elon Musk’s xAI faced backlash after Grok generated nude images of Swift despite the company’s rules banning pornographic depictions of real people.

    Still, Sigmon said, enforcing those rights online may prove more difficult in practice.

    “It might be surprisingly difficult for her to enforce her rights against AI misuse on the internet writ large, because those creating salacious content with her image are likely doing so anonymously, making them harder to track down,” Sigmon said.

    Swift’s move follows a similar action by actor Matthew McConaughey, who secured trademarks from the U.S. Patent and Trademark Office in January, including protections for his signature phrase “alright, alright, alright” from the movie “Dazed and Confused.”

    While trademark law has so far not been used to protect a person’s general likeness, voice, or persona in court, legal experts say the filings reflect growing concern in the entertainment industry over AI tools capable of replicating artists without consent. However, Swift’s level of celebrity may prove to be her greatest asset in getting the trademark approved.

    “Taylor Swift is very recognizable in many ways, including but not limited to her voice and overall image,” Sigmon said. “One might quibble about the amount of distinctiveness she could argue, but that isn’t likely to outright prevent her from a trademark. It’s also likely she’ll have an easy time showing that her [name, image, and likeness] is associated with a good or service—for instance, her music, fan goods, etc.”

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