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  • Blockchain Association sees leadership shift shortly after crypto Clarity Act fizzles

    Blockchain Association sees leadership shift shortly after crypto Clarity Act fizzles

    Summer Mersinger is leaving the helm of the Blockchain Association, one of the crypto industry’s leading advocacy groups, a week after the sector weathered a major legislative setback in the loss of the Digital Asset Market Clarity Act.

    Mersinger will be replaced — for now — by Kristin Smith, the organization’s original CEO who ran the association from its launch in 2018 until 15 months ago, according to a Friday statement. The handover is set for October 16, closing a tumultuous era that saw major crypto wins in Washington and a significant defeat last week, when the U.S. Senate failed to advance the Clarity Act in a wide loss in which all the Senate’s Democrats and some Republicans declined to support it.

    “I’m proud of how far we’ve come together, from the $GENIUS Act to real regulatory clarity at the SEC and CFTC,” said Mersinger, who’d taken the job after leaving her post as a member of the Commodity Futures Trading Commission, in a statement. “Kristin built this association from the ground up, and BA is in good hands. I’ll be cheering them on.”

  • Margaret Qualley and Sabrina Carpenter Join Tom Holland in Fred Astaire Biopic as Adele Astaire, Ginger Rogers

    Margaret Qualley and Sabrina Carpenter Join Tom Holland in Fred Astaire Biopic as Adele Astaire, Ginger Rogers

    Tom Holland has found his dance partners for Sony’s yet-to-be-titled Fred Astaire biopic: Margaret Qualley and Sabrina Carpenter.

    As previously announced, Holland will play the debonair dancer in the upcoming Sony film, directed by Paul King, with Amy Pascal producing. Qualley will star as Adele Astaire and Carpenter will portray as Ginger Rogers. Fred and Adele were major stars on Broadway and London’s West End before Fred went on to be one of cinema’s greatest stars, with co-star and dance partner Ginger Rogers.

    Holland revealed he’s already started rehearsing for the part, which was first announced five years ago.

    Speaking about getting the script from Pascal, he previously told reporters, “She FaceTimed me earlier. I was in the bath,” he said with a laugh. “And we had a lovely FaceTime, but I will be playing Fred Astaire.”

    Holland shared further details earlier this summer when he appeared on “Good Morning America.” After starring in the back-to-back blockbusters “Spider-Man: Brand New Day” and “The Odyssey,” Holland teased, “I’m diving back into the dance studio.”

    Holland began his acting career on the London stage, playing the title role in Billy Elliot the Musical on the West End from 2008 to 2010. With that background, Holland also said that he intended to do all of the dancing himself. “I have a desire to use no doubles, to do all of the dancing, to shoot those dances in one shot – how he would have done it.”

    Astaire starred in more than 30 film musicals, in addition to his stage career on Broadway and the West End over the course of a seven-decade career. Astaire is usually remembered for his pairings with Ginger Rogers, who starred in several films with him, including the classics “Swing Time,” “The Gay Divorcee” and “Top Hat.”

  • SEC staff says certain crypto buybacks and staking tokens fall outside securities laws

    SEC staff says certain crypto buybacks and staking tokens fall outside securities laws

    SEC staff issued new guidance Thursday clarifying how token buybacks, staking receipt tokens and ongoing blockchain development may be treated under federal securities laws.

    The FAQs, published by the SEC’s Division of Corporation Finance, build on the Commission’s March interpretation. The guidance does not carry the force of law and has not been approved or disapproved by the Commission.

    One key clarification concerns token buybacks. Staff said that when a crypto network is already functional, announcing a buyback of a non-security crypto asset would not by itself amount to a promise to perform essential managerial efforts under the Howey test.

    The analysis can differ when a network is not yet functional. In that case, a buyback could contribute to an investment contract if it is presented as generating yield or returns for token holders.

    The FAQs also address liquid staking. A staking receipt token representing a digital commodity that is not subject to an investment contract can be treated as a “digital tool” because it serves as a receipt for the underlying asset.

    In some cases, a staking receipt token issued by a protocol-based liquid staking provider may instead be classified as a digital commodity when its value is tied to the operation of a functional crypto system and market supply and demand.

    SEC staff also said promoting a network’s current utility or capabilities would generally not, on its own, amount to a promise of essential managerial efforts. Aspirational statements about future features may also fall outside that analysis when they do not promote potential profits.

    The guidance further says developers can continue maintaining, securing and improving a functional network without those activities necessarily constituting essential managerial efforts under Howey.

    Staff also clarified that operating a secondary market for a crypto asset does not automatically make a trading platform a promoter. The platform would still have to meet the definition of a promoter under Securities Act Rule 405.

  • Taylor Swift sheds light on an unhealthy relationship: Star sings about escaping toxic love

    Taylor Swift sheds light on an unhealthy relationship: Star sings about escaping toxic love

    Taylor Swift is looking back at a damaging relationship from the other side of it. The 36-year-old superstar released her new single, “Patient Zero,” on Friday, September 25, offering a sharp account of recognizing unhealthy relationship patterns, walking away, and eventually being able to help someone else going through a similar experience.

    The track appears on The Life of a Showgirl: The Encore, an expanded edition of Swift’s 2025 album featuring four new songs. “Patient Zero” serves as the project’s lead single.

    Taylor Swift’s new single “Patient Zero” explores escaping a toxic relationship, healing afterward, and helping another woman recognize the same warning signs.
© Getty Images
    Taylor Swift’s new single “Patient Zero” explores escaping a toxic relationship, healing afterward, and helping another woman recognize the same warning signs.

    Swift frames the relationship as an illness. She casts herself as the first person who survived the emotional fallout and can now recognize the symptoms when another woman encounters the same man.

    What Taylor Swift’s ‘Patient Zero’ Is About

    Swift explained that the concept came from a conversation with friends about an experience that turned out to be surprisingly familiar.

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    “The story behind me writing the song ‘Patient Zero’ is that I was hanging out with a bunch of friends,” Swift said, explaining that one friend revealed she had been contacted by the new girlfriend of an ex who wanted to know whether she had experienced the same troubling behavior.

    The conversation quickly became bigger than one relationship. According to Swift, the other women began responding, “‘Oh, I’ve been through that too,’” and sharing similar stories about being contacted by a former partner’s new girlfriend.

    Taylor Swift on August 23, 2019© GC Images
    Taylor Swift on August 23, 2019

    That gave Swift the idea to write from the perspective of the ex who has already made it out.

    ‘I Was Patient Zero’

    Swift makes that concept unmistakable in the chorus, describing an apparently charming man with a much darker side. She sings about the “devil on his shoulder under his halo” before delivering the song’s central declaration: “I was patient zero.”

    One of the song’s most pointed moments arrives when Swift describes herself as “someone who had him and walked away.”

    Taylor Swift is now married to Travis Kelce© GC Images
    Taylor Swift is now married to Travis Kelce

    By the outro, she describes having “done the healing,” reinforcing the idea that “Patient Zero” is as much about recovery as it is about the relationship itself.

    Is Taylor Swift’s ‘Patient Zero’ About Joe Alwyn?

    Swift does not identify the man in “Patient Zero,” and there is currently no confirmation that the song is about any specific former boyfriend.

    Still, listeners have begun drawing connections between the new track and Swift’s previous relationship with Joe Alwyn, whom she dated for approximately six years before their 2023 breakup. Some of that speculation centers on the song’s medical metaphors, which recall imagery Swift previously used in “You’re Losing Me,” a breakup track widely associated with the end of that relationship.

     Musician Taylor Swift poses at the Wonderwall portrait studio during the 2013 CMT Music Awards at Bridgestone Arena on June 5, 2013 in Nashville, Tennessee.  © Christopher Polk
    Musician Taylor Swift

    Other listeners have suggested “Patient Zero” may intentionally combine details or themes associated with multiple relationships rather than documenting one particular romance.

    ‘Patient Zero’ Music Video Stars Dakota Johnson and Colin Farrell

    The song is also getting a major visual treatment. Swift directed the official “Patient Zero” music video, which stars Dakota Johnson and Colin Farrell. The video is scheduled to make its world premiere during the 2026 MTV Video Music Awards on Sunday, September 27.

    Academy Award-winning cinematographer Emmanuel Lubezki, whose credits include The Revenant, Birdman and Gravity, served as cinematographer on the project.

    Taylor Swift attends the 2024 MTV Video Music Awards© WireImage
    Taylor Swift attends the 2024 MTV Video Music Awards

    The premiere comes during another significant VMAs weekend for Swift. She is set to receive the inaugural MTV VMA Artist Director Honors, recognizing her work behind the camera and contribution to music-video storytelling.

  • Wall Street’s Interest in This Altcoin Is Growing: The Fund’s Size Has Reached $1 Billion

    The rise in Zcash price has also rapidly increased the size of Grayscale’s $ZEC-focused exchange-traded product.

    Grayscale Zcash ETF, ZCSH, has approached the $1 billion mark in assets under management. This increase in fund size is driven by both new investor inflows and a rise in the market value of $ZEC tokens held in the fund.

    ZCSH, the first exchange-traded product in the US to provide direct exposure to the $ZEC price, began trading on the NYSE Arca on August 25. The fund’s assets surpassed the $500 million mark in early September.

    However, it should not be assumed that the entire increase in fund size is due to cash inflows. The rise in the $ZEC price also increases the dollar-denominated value of existing assets. Net inflow data also needs to be monitored to assess the fund’s true investor demand.

    $ZEC recently entered a rapid growth cycle and distinguished itself from other altcoins with its privacy-focused structure.

    *This is not investment advice.

  • Jerusalem Daily: What was Netanyahu’s UNGA speech really about?

    Jerusalem Daily: What was Netanyahu’s UNGA speech really about?

    Israeli Prime Minister Benjamin Netanyahu’s speech at the UNGA was filled with bold claims about Israel’s policies. But as delegates walked out and with Israeli elections weeks away, was his real audience at the UN, or back home?

    Al Jazeera’s Mohammad Saleh has the latest.

  • Which countries walked out of Netanyahu’s UNGA speech?

    Which countries walked out of Netanyahu’s UNGA speech?

    Dozens of countries’ delegations walked out of or were absent for Israeli Prime Minister Benjamin Netanyahu’s UN General Assembly speech in protest over Israel’s war in Gaza. Here’s which countries’ seats were visibly empty — and which delegations remained.

  • Lawmakers Introduce Site-Blocking Legislation To Curb Foreign-Digital Piracy

    Lawmakers Introduce Site-Blocking Legislation To Curb Foreign-Digital Piracy

    UPDATED: House and Senate lawmakers are again turning their attention to major anti-piracy legislation, introducing a bill in which content owners can seek a court order to require that internet providers prevent access to foreign digital piracy sites.

    The , or DEFEND IP Act, was introduced by lawmakers of both parties in Congress on Thursday. Key sponsors include Rep. Zoe Lofgren (D-CA) and Rep. Ben Cline (R-VA) in the House, and Sen. Thom Tillis (R-NC), Sen. Chris Coons (D-DE), Sen. Marsha Blackburn (R-TN) and Sen. Adam Schiff in the Senate.

    Read the anti-piracy legislation.

    The legislation would leave it to a judge to decide whether a a site should be designated as one dedicated to foreign digital piracy, with such an order subject to renewal after 360 days. The bill defines such as site as one that has “no commercially significant purpose or use other than committing a violation of copyright.” The bill also applies to transmission of live events from foreign locations that violate copyright.

    After that designation, content owners could then seek a further order to prevent, or block, access to the site. Per the legislation, the order would “direct service providers to take reasonable measures to prevent users in the United States from using the system or network of those service providers to access the foreign digital piracy site.” The bill sets out a series of criteria, including that such measures would not interfere with access to legal content at other online locations, and that it would be “technically feasible and effective.” Those seeking such orders would have to show that they are “likely to suffer irreparable harm” from the piracy.

    It’s been nearly 15 years since the entertainment industry sought passage of a previous effort to curb access to online piracy, with the Stop Online Piracy Act, or SOPA. That generated a backlash, with Google and other tech giants opposed, and Wikipedia and others staging a daylong “blackout.” The bill was sidelined, and left lawmakers shellshocked at the scale of the outcry.

    For years since then, with many on Capitol Hill skittish, the entertainment industry instead set its sites on voluntary commitments from those in the internet ecosystem.

    Circumstances have changed. Since then, tech has seen its own backlash against it, albeit little significant legislation has passed Congress. Supporters of site-blocking measures, meanwhile, have pointed to its use in almost 60 countries.

    Backers of the DEFEND IP Act noted that the bill differs from past legislation. It does not mandate specific technical measures for preventing access, leaving it up to internet providers to take “reasonable measures.” The bill also contains legal immunity for ISPs, and applies to large-scale foreign sites.

    Still, after the DEFEND IP Act was introduced, the Common Sense Copyright Coalition, which AT&T, Charter, Comcast, Cox and Verizon, expressed its opposition.

    A spokesperson for the group said the legislation “would impose substantial new responsibilities on broadband providers without adequately addressing the legal and operational risks they create, including threats to lawful content online. This is particularly troubling given the Supreme Court’s unanimous decision in Cox v Sony this year that rejected holding an ISP broadly liable for copyright infringement occurring over its network.”

    In Cox vs. Sony, the Supreme Court ruled in March that an ISPs was not liable “for merely providing a service to the general public with knowledge that it will be used by some to infringe copyrights.”

    Among other things, the argued that piracy sites can still put up “mirror sites” and users can turn to VPNs. They also expressed concerns over the live event provision, arguing that it is based on “predicted infringement.”

    Yet after years of calls for tech and ISPs to take a greater responsibility to curb infringement, the legislation would be a new tool for studios, producers and other content creators to curb piracy.

    In a statement, Lofgren said that foreign piracy operations “exploit a loophole in our law, hurting workers and businesses in California and across the country while putting consumers at risk.” She called the bill a “smart, targeted approach to crack down on foreign piracy while protecting Americans’ free speech and access to a free and open internet.”

    Tillis said, “Foreign piracy continues to threaten American creators, putting well-paying jobs at risk, while exposing consumers to malware, identity theft, and other serious online harms.” He called the bill “a targeted, commonsense tool to shut down these foreign, criminal operations at the source while protecting lawful speech and due process.”

  • ‘South Park’ Season 29 Premiere Hits 4.2 Million Viewers in Three Days and Jumps 33% in Rating After Renaming to ‘South America’ (EXCLUSIVE)

    ‘South Park’ Season 29 Premiere Hits 4.2 Million Viewers in Three Days and Jumps 33% in Rating After Renaming to ‘South America’ (EXCLUSIVE)

    Trey Parker and Matt Stone’s latest stunt has paid off. The Season 29 premiere of “South America” — renamed from “South Park” as a parody of Donald Trump’s controversial initiatives to rename major landmarks — hit 4.2 million viewers in three days.

    That total accounts for viewership across Comedy Central and Paramount+ in the U.S. alone. The episode’s audience was relatively even with the previous season premiere, which reached 4.3 million viewers in three days, while making strong improvements among viewers age 18-49. In that demographic, the episode scored a 0.97 rating after three days, up 33% from Season 28’s 0.73 rating, and a share of 4.77, up from 20% from last year’s 3.96. Between Monday and Friday, the “South America” premiere was the most-watched cable telecast of the week among adults 18-49, excluding sports programming.

    Unsurprisingly, the first episode since renaming to “South America” drove conversation on social media. On the day of its premiere, the series ranked as the No. 1 most social cable comedy, and went on to generate 11 million views and one million engagements in three days. It garnered 63,000 online mentions in three days, a 40% increase from what the Season 28 premiere achieved in the same amount of time.

    In a statement earlier this month, Parker and Stone said, “Inspired by the bravery and patriotism of Apple and Google, we are changing the name of ‘South Park’ to ‘South America,’” referencing the fact that the tech companies have honored Trump’s name changes on their maps. “We especially want to thank our parent company Paramount — a Skydance Capitulation.”

  • Liza Soberano and H.E.R. on Why Dreamworks Animation’s ‘Forgotten Island’ Story of Friendship Resonated With Them

    Dreamworks Animation knows how to tell stories about friendships, whether it’s between a boy and a dragon in “How to Train Your Dragon” or Donkey and Ogre in “Shrek” or a robot and bird in “The Wild Robot.” Its latest feature, “Forgotten Island,” anchors its story in two best friends who face being separated when one has to go abroad to college. One final night together puts their friendship to the test.

    Liza Soberano and H.E.R. lead the voice cast as Raissa and Jo, who find themselves stranded in the mystical world of the forgotten island of Nakali. They come to find that their only way home might come at the expense of a lifetime of memories and emotions. Written and directed by Joel Crawford and Januel Mercado, the film is produced by Mark Swift.

    “Forgotten Island,” out now in theaters, centers around Filipino folklore, but its beating heart is the universal story of two teenage best friends who share memories and experiences.

    Speaking with Variety, Soberano says the story was one that hit home. Growing up in the Philippines, she understood the theme of “losing” a family member or a friend who needed to go overseas for a better quality of life and to make a better living for themselves. Soberano explains, “I’ve seen all the different permutations of how that could affect family and loved ones that you’re leaving behind.”

    The story struck a deeper chord when she left a successful career in the Philippines to make it in America. “I also went through that journey and that experience three years ago,” she says. She was particularly torn about leaving behind her little sister. “It was really heartbreaking because I was afraid of, I was afraid of us not being close anymore — not just in proximity, but in the relationship itself. I was afraid that we would grow apart. But through this, I actually discovered that there are so many reasons to not grow apart. You have to really fight for the relationship and fight for the closeness, no matter how far you physically are from one another. I find a lot of comfort in that, and this movie has taught me so much about it.”

    Similarly, H.E.R., who grew up near Vallejo, California, also found the story relatable. “I left when I was 17 to move to New York and it wasn’t as far away — just across the country. But it felt super far. My sister was eight at the time, and I was 17 and she wanted her big sister around.”

    While friendship is the beating heart of the film, “Forgotten Island” also captures the Filipino experience through cultural details that resonated deeply with its cast.

    H.E.R. recalls seeing the Filipino elements in the film for the first time. “Seeing the Filipino sun for the first time — even before seeing the full film — made us so emotional. I remember that day very well. I remember seeing ‘pasalubong’ written on the screen, and I thought, oh my gosh, this is as Filipino as it gets. The petroleum jelly, all those little details, just really made me feel like, wow, I’m so proud to be Filipino. This is reminding me of home right now.”

    Soberano agrees, saying, “It was the despedida — the farewell party. That was such an accurate depiction of what it’s like to be at a Filipino house party. There’s so much chaos going on. You have the lolas and the lolos being grumpy at everyone, telling them to either eat, sit down or go sing — and not to be ‘magulo.’ Then you have the little kids doing their own thing, hiding under the tables and creating chaos everywhere. And, of course, you have the titos and titas either playing mahjong on the side or singing karaoke. I thought that was such a beautiful depiction of Filipino energy, but you also feel the love coming from everyone at the party.”

    Aside from starring in the film, the pair also lend their voices to the film’s soundtrack. Their voices capture the nostalgia, warmth and joy that radiate from their characters and the movie as a whole.

    Angela Leus, senior vice president of Film Music at Universal Pictures, previously told Variety that neither she nor the filmmakers wanted to assume that H.E.R. would create an original song. “Everything needed to come from an organic place,” Leus says. “But when H.E.R. saw the film, she was so inspired that she decided to write something — and she was even more inspired to bring in Liza.”

    Speaking about the song, Soberano admits she felt “major impostor syndrome being there.” She asked herself, “What did I do in my life to deserve this?” She adds, “I just felt so honored and blessed to be part of it.”

    H.E.R. echoes the sentiment, saying, “She killed it. There was no need to be nervous because it was just fun. The fact that we were singing as Jo and Raissa just wraps it all up. Then we shot the video in Manila and made it kind of like a travel vlog, continuing that love letter to the Philippines. I’m just grateful to be in this process, especially with Liza. I love these characters. I love this film. I’m forever grateful for it.”