Indie distributor Cinema Guild has acquired North American distribution rights for documentary “For The Moon” (“Car la Lune”), directed by Éric Baudelaire, that will premiere in the Currents section of the upcoming New York Film Festival.
The film is a collaborative work created with five visually impaired students at the National Institute for the Young Blind in Paris.
Shot at the institute, “For the Moon” “moves between observational cinema and collective invention, questioning the very notion of the gaze and the construction of images when our perception of the world relies on senses other than sight,” according to the synopsis.
The doc, created in collaboration with Mèï Jendoubi, Jade Ebara Ossebi, Iris Fontanella, Crystal Lau Chang, and Kadiatou Diakite, “gradually unfolds an expanded experience of perception and redefines the idea of the visible through those who do not ‘see,’ yet teach us how to see anew,” the synopsis points out.
U.S.-born Éric Baudelaire is an artist and filmmaker based in Paris whose previous features comprise “The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images” (2011); “Letters to Max” (2014); and “A Flower in the Mouth” (2022). His works have circulated widely on the film festival circuit including at Locarno, Toronto, New York, and Rotterdam.
“Eric and his collaborators once again beautifully capture the joy of filmmaking in all its forms,” said Cinema Guild President Peter Kelly, in a statement. “We are honored to bring this work to theaters and beyond.”
Cinema Guild’s upcoming releases include Hong Sangsoo’s “The Day She Returns” and “Nowhere to Lay My Eyes.” Recent releases include several Otar Iosseliani restorations, Kamal Aljafari’s “With Hasan in Gaza,” and Aleksandre Koberidze’s “Dry Leaf.”
Since moving on from their playing days in the NFL and NBA to running the production company Mortal Media, they’re about to add a few more jobs to their resumes: co-owners of a Mexican-league football team and co-stars of a new unscripted series that follows the team. “We Are Osos” began Aug. 3 on YouTube.
Kalil, who played for the Carolina Panthers, credits their retirements as pro athletes with a renewed focus they’re bringing to their second acts as TV producers. “Us being able to now be done with our respective sports careers, we’ve been able to kind of sit down and build more structure and road map out” the future of Mortal, he said on the latest episode of Variety‘s “Strictly Business” podcast.
In January 2025, Griffin and Kalil announced they were joining a group of other former NFL vets including Christian McCaffrey and George Kittle in taking control of the Monterrey Osos, a football team in Mexico’s Liga de Fútbol Americano Profesional (LFA). The “Osos” series documents not only their new adventures in ownership but the lives of the players on and off the field.
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“It doesn’t feel like you’re watching football in a different country with a different culture,” said Griffin, who currently has yet another job as an on-air analyst with Prime Video’s NBA coverage after playing pro basketball for 14 years.
As if they weren’t busy enough running Mortal Media, which also produced scripted series including Apple TV’s “Hello Tomorrow” and the Hulu reboot of “White Men Can’t Jump,” the “Osos” production marked their foray into self-distribution.
“We have a ton of stuff that we’ve set up at major studios and networks and streamers, but this one it’s been kind of a beast, but it’s been really fun,” said Kalil. “We do feel like this going to be the future moving forward.”
“Strictly Business” is Variety’s weekly podcast featuring conversations with industry leaders about the business of media and entertainment. (Please click here to subscribe to our free newsletter.) New episodes debut every Wednesday and can be downloaded at Apple Podcasts, Amazon Music, Spotify, Google Play, SoundCloud and more.
Ireland published its first National Anti-Money Laundering Strategy on Thursday, with crypto-asset rules among the reforms it sets out.
The final elements of the EU Transfer of Funds Regulation will bring enhanced checks on transfers involving private crypto wallets and stricter due diligence on overseas crypto firms.
The strategy builds on a 30-point action plan published in June that promised enhanced safeguards around crypto-assets and digital finance.
Most of the EU Transfer of Funds Regulation has already been implemented in Ireland, with the Department of Finance saying that the remaining elements introduce new obligations for crypto-asset service providers, requiring “enhanced checks” on transfers involving private crypto wallets and stricter due diligence when dealing with overseas crypto firms.
That mechanism is the FATF travel rule, under which information on the originator and the beneficiary must accompany a transaction. The strategy document records that it arrived alongside MiCA, which created crypto-asset service providers as a category of regulated entity across the bloc.
Ireland gave crypto firms less room to adjust than most member states, allowing a 12-month grandfathering window against the 18 months the regulation permits, according to ESMA’s list. That closed at the end of December 2025, so the new obligations land on firms already holding full authorization. MiCA came fully into force across the bloc on July 1, and Brussels is preparing to reopen the rulebook in 2027 to cover non-EU stablecoin issuers.
Tánaiste and Minister for Finance Simon Harris said criminal organizations are exploiting new technologies, crypto-assets and complex international financial networks to conceal profits, and that the launch sends the message that “Ireland will not be a safe place to launder criminal proceeds.” The strategy runs to 2030.
Thursday’s document builds on a 30-point action plan the government published in June alongside its National Risk Assessment, which named crypto-asset misuse among Ireland’s evolving financial-crime threats and promised “enhanced safeguards around crypto-assets and digital finance.”
A crypto standard for gambling operators
The most concrete domestic crypto measure was set out in that June plan, which tasked the Gambling Regulatory Authority of Ireland with establishing an industry standard for accepting crypto-related activities as a source of funds, with due diligence to verify the money is legitimate. It is slated for the second quarter of 2027.
Ireland’s measures arrive inside a wider EU timetable that tightens further. The bloc’s Anti-Money Laundering Regulation bars crypto-asset service providers from providing or holding anonymous crypto-asset accounts, or accounts allowing transactions to be anonymized or further obscured, including through anonymity-enhancing coins. That prohibition stops short of self-hosted wallets, exempting providers of hardware, software and self-hosted wallets that hold no access to or control over them. The rules apply from July 2027, policed by the Anti-Money Laundering Authority in Frankfurt.
Outside the bloc, the UK has been reworking its own regime, with HM Treasury publishing draft reforms in September 2025 that would lower the change-in-control notification threshold for crypto firms from 25% to 10%.
The travel rule Ireland is finishing transposing comes from the Paris-based body whose recommendations grade national frameworks, and which has been pressing members harder on crypto. In a July report, the FATF said that DeFi platforms with identifiable controllers already fall within its rules and should be supervised like other financial firms, and found nearly 93% of surveyed jurisdictions had yet to apply the standards to any qualifying arrangement.
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Bitcoin has fallen by 1.4% in the last 24 hours, dropping to around $62,000. This has also affected altcoins, with other major altcoins like Ethereum and XRP also showing a decline.
According to CoinMarketCap data, Velvet (VELVET) was the top-performing altcoin in the last 24 hours with a 38% gain. It was followed by Ether.fi (ETHFI), Cosmos (ATOM), and MemeCore (M).
In contrast, altcoins such as Venice Token (VVV), LayerZero (ZRO), and Lighter (LIT) were among the biggest losers.
While the altcoin market experienced both rises and falls, whale activity continued.
According to Lookonchain, a cryptocurrency analysis platform, a whale with the address 0x117f traded in the altcoin $ASTER. Specifically, the whale opened a 4x long position of 7.2 million $ASTER ($4.33 million) and staked 4.02 million $ASTER ($2.42 million) for four years.
Another whale, with the address 19pFLW, bought another 300 Bitcoin (worth $19.03 million) approximately five hours ago, increasing his Bitcoin holdings to 1,120 (worth $70.43 million).
According to Lookonchain’s report, another whale traded in the altcoin $HYPE. This whale, who had previously sold $HYPE, this time sold 923,743 $HYPE (worth $53.02 million). Initially holding 2.93 million $HYPE (worth $163.37 million), this whale had sold 1.03 million $HYPE (worth $57.44 million) approximately two weeks ago. With this latest sale, they still hold 969,595 $HYPE (worth $55.5 million).
Finally, Lookonchain reported that address 0x66f8, known as the largest on-chain BTC bear, closed its $136 million short position, making a profit of $1.65 million. Following this profit-taking, this whale moved into a long position in Bitcoin with 40x leverage.
Not everyone wants to climb aboard the Hogwarts Express, it transpires.
Top TV director Ally Pankiw has posted on Instagram a screenshot from a text exchange with a rep in which she scoffed at the notion that she would consider enrolling with HBO’s forthcoming series adaptation of J.K. Rowling‘s “Harry Potter” novels.
The reason? Rowling’s views on trans persons’ rights, which many have alleged are transphobic.
The Canadian filmmaker, who’s helmed multiple episodes of “Black Mirror” and “The Great,” and was a writer on “Schitt’s Creek,” commented on the post, “It simply is this easy to say no to funding transphobia!,” adding, “Also this was for directing, not acting… obviously lol.”
In the screenshot of the text messages, a representative for Pankiw (who is repped by talent agency WME), asks: “I have an instinct on the answer but I feel compelled to ask ‘Harry Potter? Hard no?’”
Pankiw shoots back, “Absolutely f—ing not! Lol.” And she adds, politely, “But thank you for asking.”
The representative responds, “Of course 🙂 I assumed as much (And agree).”
Another leading TV director, Kate Herron, whose credits include Marvel Studios’ “Loki” and Netflix’s “Sex Education,” shared that she had a similar experience.
Commenting on Pankiw’s Instagram post, preceded by three hearts, the British filmmaker says, “Yeah thank you exactly! Respect and love to you Ally. They’ve asked me twice and I’ve had to explain my answer is never gonna change from a no.”
That said, the roll call of actors joining the show grows ever longer. This week Nicholas Hoult signed on to play Gilderoy Lockhart.
Other cast members include John Lithgow, who plays Hogwarts headmaster Dumbledore, Janet McTeer, who is Professor McGonagall, Paapa Essiedu plays Snape, Bel Powley is Aunt Petunia, and Nick Frost has been cast as Rubeus Hagrid.
Powley, for her part, recently spoke of her disagreement with Rowling’s views on trans rights. “I strongly disagree with J.K. Rowling’s views on gender,” Powley told The Telegraph. “I think that the trans community deserve safety and dignity and respect and total acceptance.”
The series is due to debut on Dec. 25 on HBO and HBO Max, with the first season adapting the first book in the novel series, “Harry Potter and the Philosopher’s Stone.” The show has already been renewed for a second season, which will be based on “Harry Potter and the Chamber of Secrets.”
Variety reached out to reps for Rowling, who declined to comment, Pankiw and Herron, as well as HBO.
Bank Leumi, Israel’s largest bank, will offer cryptocurrency trading to customers from early 2027 becoming the first Israeli bank to announce such a service.
Customers of Leumi and its mobile banking unit, Pepper, will be able to buy, hold and sell bitcoin BTC$62,880.24, ether ETH$1,875.38 and solana (SOL) through a section of the Leumi Trade app, according to a Friday announcement.
Galaxy Digital (GLXY) will provide trading and services through GalaxyOne Institutional, its platform for banks and asset managers. Leumi has also signed an agreement to use Galaxy’s custody infrastructure, formerly known as GK8, to support the offering.
The tie-up gives Galaxy a banking partner in Israel and places Leumi among a growing group of financial institutions bringing crypto access inside customer platforms. By embedding trading within its capital-markets app, the bank is betting that clients will favor a regulated banking interface over standalone crypto exchanges.
Maya Ravia, Leumi’s head of strategy, described digital assets as an increasingly integral part of the global financial system. Galaxy Israel CEO Lior Lamesh said early movers among banks would help define finance’s shift toward open, programmable infrastructure.
The companies did not disclose commercial terms, fees or customer eligibility requirements. CoinDesk has reached out to Bank Leumi for further comments.
Strategy (MSTR) has pushed back against MSCI’s proposed methodology for identifying “non-operating companies,” which could result in the largest bitcoin treasury company being removed from the index provider’s global equity indexes.
Strategy said on X, “Digital assets are assets. Index providers should measure markets, not decide which assets companies are allowed to own,” Strategy said. “MSCI’s proposal puts it out of step with regulators, markets, and its own customers. Bitcoin doesn’t need MSCI. Neither does Strategy.”
The latest consultation replaces an earlier proposal focused specifically on companies with significant digital asset holdings. Applying the new financial-ratio screen using May 2026 data would have resulted in the removal of Strategy, Metaplanet and uranium holder Yellow Cake from the MSCI ACWI IMI.
The response follows Strategy’s formal objection in December 2025 to MSCI’s previous proposal, which would have excluded companies whose digital assets represented at least 50% of total assets.
Strategy argued at the time that it is an operating company, not an investment fund or passive bitcoin vehicle, pointing to its software business, active treasury operations and bitcoin-backed credit instruments. It described the 50% threshold as arbitrary and urged MSCI to maintain neutral index standards.
MSTR is lower by 4.3% on Friday as bitcoin dips to $62,600.
Phoebe Bridgers tends to stand out in a crowd, and not just because of her celebrity or natural star quality, but because of the hair; other women around L.A. may go for the platinum blonde look, but not quite that platinum. So it was fairly easy to pick her out for the entirety of the 10 minutes or so she spent skating with her fans Tuesday night at the Moonlight Rollerway in Glendale, California. But she was easy to spot, in this instance, from head to toe, as she was the only skater on the floor in brightly strobing light-up skates… an equipment option that the Moonlight was not able to offer any of the couple hundred fans who joined her. At this very action-packed listening party for her. The beaming Bridgers had earned the right to wear skates that special; this was not her first rodeo, clearly, when it came to making dozens of laps around a rink and outpacing a crowd.
As one fan commented on Reddit after the YouTube-sponsored event: “She was skating right with everyone, and if you could match her speed then you could say hello, but she is FAST so it may have been a bit difficult.”
Of all the albums that could be previewed with an evening out at an old-school roller rink, “Lost Weekend,” the singer’s long-awaited third solo album, would not jump out as the most obvious candidate… even if Bridgers is hell on wheels, as it turns out. The 16-track record has as many hushed passages as you’d expect from a Bridgers album, and it does not sound at all designed to inspire extended bouts of cardiovascular activity. And Bridgers did use the word “weird” in characterizing the juxtaposition when she spoke about her reasons for hosting the event there in a brief Q&A she did with fans at the event after the skating wound down. Yet, for her, it was an aspiration being realized.
“I’ve had this idea forever” she said to the crowd of about 200 sitting on the rink’s floor. “I always thought it would be cool to do like a Grouper Moonlight night… You always kind of skate to ABBA or something. I thought it would be interesting to listen to sad and slow songs and skate.”
Phoebe Bridgers skates at the Moonlight Rollerway in Glendale, California during a YouTube release party for ‘Lost Weekend.’
@linusandhiscamera
She’s had the same impulse at amusement parks, she pointed out. “I always thought about that at Six Flags,” she said saying that, while waiting in line for rides, she’d wished she could take the typical revved-up theme-park soundtrack and “catapult it somewhere” and replace it with music that was “30 bpm or something.” To her mind, slowcore and Tatsu might be the perfect fit.
Anyway, Bridgers’ promotional campaign for “Lost Weekend” has been unusual enough that a rollerskating listening party almost — almost — doesn’t stand out as that unusual. ,The singer-songwriter first began teasing “Lost Weekend” a few months ago with a series of pop-up gigs in small towns and middle American cities, places like Roswell, New Mexico, before the album was announced or even widely known to be in production. WIth the moment of release finally at hand, her team booked planetariums across the country and even in Europe for Spotify-sponsored listening parties where fans could experience the album for the first time this week with trippy visuals, if sore necks — a way of getting “Lost” in space, sort of. (And no phones allowed, as with virtually every pre-release event for the record.)
Another fairy unusual element of the promo campaign: no interviews. She hasn’t done a single one for “Lost Weekend,” so the roughly six minutes she spent answering fan questions at the Moonlight Rollerway may have constituted as much talking about the record as she plans to do, at least right away. Bridgers didn’t exactly talk anyone’s ear off in her quick, friendly response to the fan queries, but the answers still offered glimpses of insight as to where she’s coming from with this album and its attendant cycle of events and touring.
One of the first hands that went up from the crowd was to ask whether she’d been inspired by any other artistic media while making the record. “Well, there’s a movie called ‘Lost Weekend’ that’s about alcoholics’ kind of fugue state,” she said, referencing the harrowing 1945 Billy Wilder drama that some of her younger fans might not know. “That probably goes well (with the album), unfortunately.” She hesitated while trying to think of another example, then did come up with a musical reference point. “Do you guys know ‘The Lemon of Pink’ by the Books?” (Not everyone did — the Books are not exactly a household name — but some murmured their assent for the 2003 album, which has a strong following as a seminal indie-oughts cult record.)
Phoebe Bridgers does a Q&A with fans at the Moonlight Rollerway in Glendale, California during a YouTube release party for ‘Lost Weekend.’
@linusandhiscamera
Someone else wondered: Why the small-town pop-up tour? And what was her takeaway from what seemed like it might be an experiment? “I just wanted everything with this album to feel like it’s happening in real life,” she explained. “Like, I didn’t live through a time where I didn’t find out about something on the internet. Even cool pop-up shows and stuff, it was all kind of phone-based. So I just liked the idea of plastering a small town (with flyers)… It was so fun.” Her answer to the second part of the question: “The biggest takeaway was like, yeah, the internet’s not real. It’s all a fake,” she said, to laughter.
Another question: How did she decide it was time to come back? — the unspoken assumption being that six years between albums counts as a lot, even if there was a monumental Boygenius album and tour in between that came to feel like a very viable separate career.
“I mean, I didn’t love all parts of being away,” she said, with a chuckle, noting that while she knew she needed to pull away for a bit, it wasn’t necessarily a plan to wait this long. “I kept booking studio time and then putting it off… and booking studio time and putting it off, and putting it off… I really wanted to be making something,” she allowed, but the album was not yet ready to take shape. “So I just started going in and then taking six months off and then going (back). So this album took forever. Which is great!,” she added, harboring no regrets about leaving anyone in suspense.
After those and a few other questions, it was time for her to sign the big stack of posters commemorating the event. Prior to the Q&A, meanwhile, Bridgers premiered a rough cut of the second video for the album, for the song “I Can’t Wait,” which she said was nearly done, except for some drone footage that was shot during this very event that will be folded in.
Phoebe Bridgers signs posters for fans at the Moonlight Rollerway in Glendale, California during a YouTube release party for ‘Lost Weekend.’
@linusandhiscamera
There was a no-phones policy, but there were also no NDAs, so fans freely shared their experiences on Reddit and other forums after the event… including their impressions about Phoebe Bridgers being as good at skating as at music.
“I ate shit 3 times out there and got a sore ass today,” wrote one fan. “It was even more embarrassing because she was shredding around the rink.”
Others spoke of approaching Bo Burnham or Bridgers’ mother, Jamie Bridgers, for off-rink convos. But when it came to meeting the star attraction, some found her intimidating, despite her best efforts to be a fairly unassuming skatergrl. Some agonized afterward about not having found the right words when they made it to the front of the signing line. One spoke of becoming tongue-tied, but “I was towards the end of the line and it had been almost 2 hours at that point. She probably did appreciate our efficiency lol!!” Another wrote, “I just said ‘Yo this album fucking rips,’ and she laughed and said thanks.” One person who admitted being unable to do anything but blurt out their name said that as they left the signing table, Bridgers politely called out, “It was nice to meet you.”
Phoebe Bridgers skates at the Moonlight Rollerway in Glendale, California during a YouTube release party for ‘Lost Weekend.’
@linusandhiscamera
What will she do for an encore? That’s obvious: do sold-out two- and three-nighters at the nation’s biggest arenas, like the three-night stand she has upcoming at the Intuit Dome Oct. 30-31 and Nov. 1. Between now and then, there is much parsing of the 16-track album’s rich content to be done, with millions of words of formal and informal think-pieces to come. (Read Variety‘s own take on the album here.)
While fans who didn’t make it to the Moonlight Rollerway may have a lingering case of FOMO, it may still be possible to replicate the feel that Bridgers was going for, as she’s longed to marry slow sounds with frenetic action. You could go to Magic Mountain and do X2 while listening to “Lost Weekend” on earbuds; we can now be certain the author would approve.
The Moonlight Rollerway in Glendale, California during a YouTube release party for Phoebe Bridgers’ ‘Lost Weekend.’
The Bitcoin Red Team is using Chinese AI models to search Bitcoin projects for security flaws.
Calle said developers have confirmed numerous critical and high-severity vulnerabilities.
They warned that unmaintained projects should not be trusted.
The Bitcoin Red Team is using Chinese AI models to search nearly the entire Bitcoin open-source ecosystem for security flaws, according to pseudonymous developer and Red Team lead Calle.
The volunteer group combines AI tools with human review to examine wallets, Lightning applications, software libraries, and other Bitcoin projects. Researchers privately report credible findings to developers so the flaws can be fixed before details are released.
“We’re experiencing a massive collision between decades of human open source slop against 2 weeks of Kimi K3,” Calle wrote Thursday on X. “Everything is broken, Bitcoin is burning.”
Kimi K3 is an AI model from Chinese startup Moonshot AI that developers can download and run on their own systems. It can analyze large codebases and complete lengthy software tasks with little supervision.
The Bitcoin Red Team has also used Chinese developer Z.ai’s GLM 5.2, as well as models from OpenAI and Anthropic. American models, though, come with limitations, and developers frequently run up against restrictions imposed by OpenAI and Anthropic when doing security research. “Red team rugged by OpenAI cyber again,” Calle posted earlier this week. “Don’t like asking for permission. Loading up Kiimi K3.”
Nevertheless, the developer noted that the team is making progress, even if slow and painful.
“We’ve basically completed a basic scan of virtually the entirety of Bitcoin open source,” Calle wrote. “The low hanging fruit is done.”
In August, the group reported filing 4,962 findings across 390 projects, including 85 rated critical and 635 rated high severity. Calle said developers had confirmed “a ton of real critical and high vulnerabilities,” though the group has not named the affected projects or released technical details.
“Response speed is very different across projects and shows how healthy each project is,” they wrote. “I recommend acting fast these days.”
Lightning software, which supports faster and cheaper Bitcoin payments, was particularly difficult to review because of its complexity, Calle said, calling it “more broken than the average.”
“Those projects that started AI audits months ago are in a completely different position than those who didn’t,” he wrote. “Projects need their own AI audit pipeline going into the future.”
Calle also warned against relying on unmaintained projects and said AI has made it more stressful for developers to keep their software secure.
The Bitcoin Red Team is not alone. Last month, Hugging Face used China’s GLM 5.2 to investigate a breach after OpenAI models hacked into its systems and U.S. commercial models refused to analyze the attack logs.
Despite saying Bitcoin is “burning,” Calle argued that the audits are making its software stronger.
“Bitcoin is the obvious first target, but the rest of the world will follow shortly,” Calle wrote. “Sometimes old things need to burn so new things can grow on healthy soil.”
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Anne Kelly, a former official at the U.S. Securities and Exchange Commission (SEC), has stated that the agency does not need to wait for the passage of the CLARITY Act to begin rulemaking for digital assets. In a post on X, Kelly emphasized that the SEC can initiate rulemaking proactively, and if the CLARITY Act is later enacted, its provisions can be incorporated through additional rule proposals.
Understanding the CLARITY Act and Its Timeline
The CLARITY Act, which aims to clarify the regulatory status of digital assets, has been a topic of debate in Congress. However, even if the bill were to pass immediately, it would still take several months for the SEC and the Commodity Futures Trading Commission (CFTC) to draft detailed implementation rules. Kelly’s remarks highlight a pragmatic approach: rather than waiting for legislative action, regulators can begin the process now, ensuring a smoother transition once the law is finalized.
Implications for the Crypto Industry
For the cryptocurrency industry, this signals a potential acceleration in regulatory clarity. Market participants have long sought clear guidelines on how digital assets are classified and regulated. By starting rulemaking earlier, the SEC could provide much-needed direction, reducing uncertainty for businesses and investors. Kelly’s perspective underscores that Congress and regulators are partners in this effort, not adversaries, and that collaboration can lead to more effective oversight.
Why This Matters
The timeline for crypto regulation has been a point of contention, with industry advocates pushing for faster action and regulators emphasizing the need for thorough deliberation. Kelly’s comments suggest that a proactive approach could bridge this gap, allowing the SEC to address key issues while Congress continues its work. For stakeholders, this could mean earlier clarity on compliance requirements, potentially fostering innovation while ensuring investor protection.
Conclusion
As the debate over crypto regulation continues, the possibility of the SEC moving forward with rulemaking independent of the CLARITY Act offers a constructive path forward. While the legislative process is essential, regulators have the tools to begin shaping the framework now. This development could mark a significant step toward a more defined regulatory environment for digital assets in the United States.
FAQs
Q1: What is the CLARITY Act? The CLARITY Act is a proposed U.S. law designed to clarify the regulatory status of digital assets, determining which are securities and which are commodities, and assigning oversight to the SEC or CFTC accordingly.
Q2: Can the SEC really start rulemaking before the CLARITY Act passes? Yes, according to former SEC official Anne Kelly. The SEC has existing authority to propose rules for digital assets, and any later legislative changes can be incorporated through additional rulemaking.
Q3: How long would implementation take after the CLARITY Act passes? Even if passed immediately, it would likely take several months for the SEC and CFTC to draft and finalize detailed rules, given the complexity of the subject and the need for public comment periods.
