Author: rb809rb

  • 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.

    Recommended Stories

    list of 4 itemsend of list

    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.”

    Daily Debrief Newsletter

    Start every day with the top news stories right now, plus original features, a podcast, videos and more.

  • Paris and Lyon prepare as Nice mayor opposes 2030 Olympics ice hockey venue

    Paris and Lyon prepare as Nice mayor opposes 2030 Olympics ice hockey venue

    Far-right mayor opposes plan for football team to lose stadium access due to 2030 Winter Games’ ice hockey.

    French organisers of the 2030 Winter Olympics are looking at alternative locations for ice hockey outside of Nice, including Paris and Lyon, because of a political deadlock involving the coastal city’s new mayor.

    Like the Milan Cortina Olympics, the French Alps project has split snow sports in storied mountain resorts and skating in a snow-free city, the Mediterranean resort of Nice.

    Recommended Stories

    list of 4 itemsend of list

    Nice was to turn the city’s football stadium, Allianz Arena, into a temporary hockey rink.

    But Nice’s newly elected far-right mayor, Eric Ciotti, opposes the plan, refusing to allow the resident football club to lose access to its stadium for months because of the games. Ciotti, a former conservative allied with the National Rally party of Marine Le Pen, was elected last month.

    The 2030 Games organisers said on Tuesday they have worked with officials from Nice and its wider region, as well as the French government, to find solutions for placing ice hockey within the Olympic hub in Nice. A temporary ice rink, intended as a replacement for the originally planned Allianz Riviera stadium, was studied at other stadiums, mainly for men’s hockey matches.

    “Technical, scheduling, and financial analyses highlighted the limitations of these options, particularly due to their very high cost and impact,” organisers added.

    “With a focus on efficiency and budget optimisation, the (organising committee) has decided to broaden its investigations by examining the use of existing facilities in other major metropolitan areas such as Lyon or Paris, particularly those offering a minimum seating capacity of 10,000,” they added.

    Results of their explorations will be presented to the organising committee’s executive board on May 11. The final venues are expected to be confirmed in June when the International Olympic Committee (IOC) decides the list of sports and events.

    “The analyses carried out are leading us to turn towards existing facilities that are better suited and more sustainable. Several options are being studied to ensure hosting conditions that fully meet our requirements,” said Edgar Grospiron, the former Olympic champion freestyle skier who leads the organising committee.

    The Paris Entertainment Company, which operates Adidas Arena and Accor Arena in the French capital, said last week it submitted a bid to host ice hockey. Both venues were used during the 2024 Paris Summer Games.

    French Alps Games organisers said a second competition ice rink for skating is still planned at Nice’s exhibition centre, and other ice events scheduled in Nice remain unchanged.

  • How the US-Israeli war is collapsing the sanctions regime on Iran

    How the US-Israeli war is collapsing the sanctions regime on Iran

    For years, sociologists and political scientists have warned that sanctions do not work. They do not topple targeted governments; instead, they hurt their citizens. And yet, the use of sanctions has only expanded, with the US leading the charge. As a result, there is now increasing evidence that this over-reliance on such punitive measures has led to their growing ineffectiveness. The US-Israel war on Iran has made that all the more obvious.

    The conflict carries the potential to push further the process of weakening the effect of US sanctions, which had already been ongoing, and reshape the preferences of both regional and global actors through different mechanisms, including de-dollarisation, alternative trading methods such as barter, and informal transfer networks like hawala.

    The US relies on the dominance of its currency in global trade to leverage the sanctions it imposes. Sanctioned states are unable to carry out sanctioned trade because buyers and sellers process payments in dollars.

    The spread of cryptocurrency as an alternative payment method across the world has provided a way to circumvent this problem. Over the past few years, Iran has come to heavily rely on cryptocurrency for financial transactions.

    A report by blockchain data platform Chainanalysis shows that cryptocurrency flows to sanctioned entities went up remarkably in 2025, with their value rising 694 percent to a record $154bn – up from $59bn in 2024. In the final quarter of the year, the Islamic Revolutionary Guard Corps (IRGC) alone accounted for 50 percent of value received – a total of $3bn.

    Iran converts cryptocurrency holdings into renminbi, which is then used to buy Russian goods or conduct trade across Asian markets – embedding itself further into an alternative financial architecture that strengthens the renminbi.

    The war on Iran may now expand the pool of economic actors willing to use cryptocurrency to deal with the Iranian state and entities. When Tehran took control over the Strait of Hormuz, a chokepoint through which approximately 20 percent of the world’s oil and LNG passes, it began demanding transit tolls from vessels navigating the strait.

    The fees, typically starting at $1 per barrel, were payable in Bitcoin or renminbi, and reports have shown that a number of vessels and companies paid. Unlike stablecoins such as USDT, Bitcoin is fully decentralised and cannot be frozen by any issuer.

    With approximately 175 million barrels currently loaded onto tankers in the Gulf, even partial toll collection could make considerable revenue if the strait reopens.

    The use of renminbi is also significant. China is the biggest buyer of Iranian oil, and it pays in its own currency. But other countries have also started using the renminbi. In 2024, 30 percent of China’s external merchandise trade was paid for in its currency.

    The toll mechanism is particularly significant in encouraging more companies to use the renminbi precisely because it has made the costs of dollar dependence impossible to ignore. Countries that have long endured the inconvenience of dollar-denominated trade are now facing its geopolitical risk in real time – watching the US weaponise the dollar access against allies and adversaries alike through secondary sanctions, waivers granted and suspended at will, and a blockade that disrupts global energy markets regardless of a country’s relationship with the US.

    However, de-dollarisation via cryptocurrency and renminbi represents only one layer of the alternative financial architecture that the war is accelerating. Beneath the on-chain economy lies a more informal but equally significant set of mechanisms – hawala networks and barter arrangements – that the war and blockade may push further into the mainstream of regional and global trade.

    Hawala is an informal transfer system that has existed for centuries. It operates through a network of brokers who enable payments in different locations without the physical movement of money. In the case of Iran, hawala works through trusted intermediaries – often shell companies established in various countries – that facilitate transactions on behalf of Iranian entities without directly linking deals to Iran, allowing for continued import and export activity.

    The system produces shared benefits – commercial activity, transaction fees, employment, and demand for legal and logistics services – that give host countries a direct economic stake in its continuation. Beyond material advantage, these arrangements strengthen bilateral ties that host governments regard as strategically valuable amid mounting energy security concerns. Hawala, therefore, does not only help Iran evade sanctions – it quietly recruits regional economies as stakeholders in that evasion, embedding circumvention into the normal functioning of regional commerce.

    The war is likely to enhance the appeal of already existing barter arrangements and attract a wider range of regional and global actors. In 2021, for example, Iran and Sri Lanka signed an agreement for the latter to repay its debt in the form of tea exports. A barter agreement also exists between Iran and Pakistan. India is now considering oil for rice swaps, and there is the potential for expanding exchanges of industrial goods with Russia. Each of these bypasses conventional banking channels, removing exposure to secondary sanctions and dollar-denominated settlement.

    Most notably, Iran may now extend this model to the Strait of Hormuz itself, turning transit toll revenues into commodities traded across regional, Asian, and European markets and transforming a wartime chokepoint into a node within a broader barter-based alternative economy.

    Nevertheless, dollar dominance is unlikely to unravel overnight. About 80 percent of global oil transactions remain dollar-settled, and the currency still makes up about 57 percent of global foreign exchange reserves – against just 2 percent for the renminbi, whose tight capital controls limit its convertibility and hinder its viability as a true reserve currency.

    What the US-Israeli war is accelerating is not immediate substitution but gradual erosion – a slow-motion shift whose endpoint remains uncertain but whose direction is increasingly difficult to reverse.

    Taken together, de-dollarisation, hawala networks, and barter arrangements divulge a structural paradox at the heart of the US-Israeli war strategy towards Iran. The war has generated an outcome its architects did not anticipate: Rather than dismantling Iran’s resistance infrastructure, it has internationalised it, expanding what analysts describe as an “axis of evasion”. If this trajectory is maintained, the long-term casualty may not be the Iranian state but the sanctions regime itself – and with it, the dollar’s hegemonic role as the tool of Western geopolitical imperialism.

    The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

  • Zoe Saldaña Boards Animated Feature ‘Julián,’ From Cartoon Saloon, Ahead of Annecy Premiere (EXCLUSIVE)

    Zoe Saldaña Boards Animated Feature ‘Julián,’ From Cartoon Saloon, Ahead of Annecy Premiere (EXCLUSIVE)

    Zoe Saldaña, who won an Oscar with “Emilia Pérez,” her sisters Cisely and Mariel Saldaña and their production company Cinestar Pictures have joined forces with five-time Academy Award nominated studio Cartoon Saloon, Melusine Studio, Aircraft Pictures and Sun Creature on the animated feature “Julián,” which is set to have its world premiere at the Annecy Festival this June. The Saldañas will also serve as executive producers on the film.

    “Julián”

    Courtesy of Cartoon Saloon

    New Europe Film Sales has boarded the film as its international sales agent, alongside CAA Media Finance, which will handle sales in the U.S.

    “Julián” is described as a “joyful, visually rich animated adventure” about a 7-year-old boy who spends a transformative summer with his estranged grandmother in Brooklyn. Inspired by her magical storytelling and the world around him, Julián dreams of becoming a mermaid – sparking a dazzling journey from the borough’s sunlit streets to the mystical depths of the sea.

    Adapted from the bestselling picture book “Julián Is a Mermaid” by Jessica Love (over 600,000 copies sold worldwide), the film is the feature directorial debut of Academy Award nominee Louise Bagnall, known for her acclaimed short “Late Afternoon.”

    Bagnall previously held key creative roles on Cartoon Saloon’s major features, including “The Breadwinner,” “Wolfwalkers” and “My Father’s Dragon.” It is written by Juliany Taveras, a Dominican-American writer from Brooklyn.

    Cinestar Pictures was founded by Zoe, Mariel and Cisely Saldaña with an eye toward “reshaping the American storytelling landscape with a commitment to diverse, character-driven narratives that reflect the authentic fabric of contemporary society,” according to a statement. “Championing honest portrayals of women and a true depiction of today’s America, Cinestar produces compelling, multicultural stories for a global audience.”

    “Cisely, Mariel and I were deeply moved by the story of ‘Julián’ and its gentle, powerful message about self-expression and acceptance,” Zoe Saldaña said. “Louise Bagnall’s remarkable adaptation is a celebration of individuality, imagination and the courage to be exactly who you are. We’re so excited to help share this heart-warming film with audiences around the world.”

    “Julián” is brought to life through hand-drawn 2D animation at 12 frames per second, crafted by over 150 artists across Ireland, Luxembourg, Denmark, and Canada.

    The film is produced by Cartoon Saloon (Ireland), Aircraft Pictures (Canada), Melusine Studio (Luxembourg) and Sun Creature (Denmark) in association with Wychwood Media, Crave, Guru Studio and BCP Asset Management.

    “Julián” is produced with the support of Screen Ireland, Film Fund Luxembourg, Telefilm Canada, the Canada Media Fund, Danish Film Institute, West Danish Film Fund, Coimisiún na Meán, Ontario Creates, Viborg Kommune, RTÉ, DR, Elevation Pictures, Elysian Films, Wildcard Distribution, Angel Films, Folklets and Arthaus.

  • Israel clears first shekel-backed stablecoin after two-year review

    Israel clears first shekel-backed stablecoin after two-year review

    Israel’s Capital Market Authority, the governing body that licenses and supervises financial innovators, has cleared the launch of a shekel-backed stablecoin issued by Bits of Gold, a licensed Israeli crypto operator, according to a LinkedIn announcement.

    Branded as BILS, the stablecoin is fully backed and pegged 1:1 to the Israeli new shekel, operating on the Solana blockchain after a multi-year regulatory pilot. It is the first government-approved fiat-backed stablecoin in the Middle East.

    BILS is built to support real time payments, on-chain trading and programmable finance with local currency exposure instead of reliance on dollar pegged tokens. Development also involved Fireblocks, with auditing provided by EY.

    The dollar monoculture

    The global stablecoin market has ballooned past $316 billion in total capitalization, per CoinGecko. Over 99% of that is pegged to the US dollar. USDT and USDC dominate so thoroughly that stablecoins are essentially a dollar monoculture.

    The approval to launch BILS reflects the rising global adoption of regulated stablecoins as the sector expands rapidly. By bringing the shekel onto the blockchain rails, Israel seeks to strengthen its currency’s role in digital payments and counterbalance the influence of dollar-pegged tokens.

    Restricted rollout

    Israel’s regulators are restricting the early offering to a predetermined scale, likely institutional and qualified participants first. The Capital Market Authority is also imposing strict conditions around technology risk management, information security, business continuity, and ongoing reporting.

    Israel’s regulators are simultaneously preparing a broader Stablecoin Law, expected to be circulated for public comment soon, that would formalize the entire regulatory framework for digital currency issuance.

    The Bank of Israel has been exploring a central bank digital currency, but that decision isn’t expected until after 2026 at the earliest. BILS is a private-sector product operating under government supervision.

    Israel’s crypto trajectory

    Israel’s regulatory posture toward crypto has shifted gradually from outright skepticism to cautious engagement. The country has deep bench strength in cybersecurity and blockchain development, a natural byproduct of its tech-heavy economy and mandatory military service that funnels talent through intelligence units like 8200.

    According to Bits of Gold’s announcement, the token enables holders to hold a digital shekel in a private wallet, transfer shekels instantly at any hour, and trade digital assets against the shekel around the clock.

  • Crypto Detective ZachXBT Severely Criticizes This Altcoin and Its Founder! “Compared It to FTX and SBF!”

    Crypto Detective ZachXBT Severely Criticizes This Altcoin and Its Founder! “Compared It to FTX and SBF!”

    ZachXBT, a crypto detective who has recently issued warnings for many altcoins, has now criticized Worldcoin.

    Accordingly, leading blockchain researcher ZachXBT harshly criticizes Sam Altman’s altcoin project Worldcoin ($WLD) (now World) and compares its practices to Sam Bankman-Fried’s FTX scam.

    ZachXBT’s statements coincide with the start of the trial in the lawsuit filed by Tesla CEO Elon Musk against OpenAI.

    ZachXBT responded to a post by Elon Musk calling OpenAI CEO Sam Altman “Altman the Swindler,” criticizing Altman, Worldcoin’s token economy, and insider selling.

    FTX Analogy!

    ZachXBT described $WLD as a “predatory, low-volume cryptocurrency.” He also compared its implementation and the $WLD token to the fraudulent tactics of Sam Bankman-Fried and FTX.

    Altman and his company argued that, similar to companies linked to SBF and FTX, they launched with a low circulating supply of $WLD tokens.

    ZachXBT stated that Worldcoin collects biometric data from people in low-income countries in exchange for small amounts of $WLD. He added that this authentication technology has created a black market for verified accounts.

    ZachXBT also noted that the token supply is increasing at an unsustainable rate, is artificially inflated, and that insiders are regularly selling their $WLD tokens through over-the-counter transactions.

    *This is not investment advice.