The Suite Life of Zack & Cody star Dylan Sprouse and his wife, Barbara Palvin, encountered an alleged trespasser at their Hollywood Hills home early Friday.
According to the Los Angeles Times, Palvin called 911 around 12:30 a.m. after she noticed a man on their property and reported a possible burglary. Sprouse then tackled the suspect on the lawn and held him at gunpoint until police arrived, TMZreported.
Authorities took the man, whose identity has not yet been revealed, into custody on outstanding warrants. He did not enter the couple’s home, and no injuries were reported, the L.A. Times said.
The Hollywood Reporter reached out to reps for Sprouse and Palvin but did not receive a response.
Sprouse is best known for his roles as a child actor on Disney Channel. There, he starred alongside his twin brother and Riverdale star, Cole Sprouse, in The Suite Life of Zack & Cody, from 2005 to 2008, as well as the spinoff series, The Suite Life on Deck, from 2008 to 2011. Following Disney, his credits include Dismissed, Force Grey, After We Collided, Beautiful Wedding, Under Fire and Surrender.
As for Palvin, the Hungarian supermodel and actress is best known as being a Victoria’s Secret Angel and working with brands such as Prada and Chanel. She’s also accumulated acting credits in Hercules, Tyger Tyger and Love Advent.
The couple met at a party in 2017 and began dating a year later. They announced their engagement in June 2023 and tied the knot the following month.
From Universal and Illumination, Super Mario — which will cross the $350 million mark sometime on Sunday — will top the chart in is third weekend with an estimated haul of $30 million. While the sequel is running about $60 million behind the first Super Mario, it is already the top-grossing Hollywood film of the year so far and is on the verge of jumping $700 million in worldwide ticket sales.
The landscape will change dramatically next weekend when Michael, Sony’s Michael Jackson biopic opens, followed a week later by The Devil Wears Prada 2, which marks the official start of the summer box office.
Amazon MGM Studios’ Hail Mary continues its remarkable journey, falling only 23 percent in its fifth weekend to an estimated $18.5 million for a domestic cume of $283 million. The sleeper hit is returning to Imax and other premium large format screens this weekend, several days after and star/producer Ryan Gosling and directors Phil Lord and Christopher Miller showed up at CinemaCon to thank theater owners and announce that Amazon MGM is extending the film’s exclusive run in cinemas.
Produced by Jason Blum’s Blumhouse and James Wan’s Atomic Monster, The Mummy is Cronin’s an R-rated reimagining of Universal’s all-audience franchise. The film has divided critics, but audience exits are solid-to-decent. Also, the pic ended up having to share Imax screens with Hail Mary.
Jack Reynor, Laia Costa, May Calamawy, Natalie Grace and Veronica Falcón star in the pic, which Cronin wrote and directed. The story centers on a family who has been grieving the disappearance of their daughter eight years earlier in Cairo. Suddenly, they get a call from Egyptian officials revealing she has been found after spending the past eight years in a 3,000-year-old sarcophagus and has been transformed into a living mummy-like creature.
Cronin is celebrated forreviving the Evil Dead franchise with Evil Dead Rise, which grossed $147 million globally in 2023. He came on the scene with the 2019 feature The Hole in the Ground, which bowed at Sundance.
James Wan, Jason Blum and John Keville produced The Mummy alongside Cronin.
New openers at the specialty box office include the Anne Hathaway-led music industry drama Mother Mary from a24, and Morgan Neville’s Lorne Michael biopic Lorne.
Mother Mary, playing in only five locations, is eyeing a promising per location average of $35,000-plus before expanding nationwide next weekend.
Speaking to Entertainment Tonight, the brothers said they are open to revisiting the comedy, which they co-wrote and starred in. “I’ll put it this way; we’re game,” Marlon Wayans said, while Shawn Wayans added that a sequel “can happen” if audiences turn out for “Scary Movie 6,” set for theatrical release June 5.
Released in 2004, “White Chicks” followed two FBI agents who go undercover as wealthy socialites, transforming themselves from African-American men into a pair of blonde, white women. The film grossed more than $110 million worldwide and developed a strong cult following over time, becoming a staple of early 2000s studio comedies.
The Wayans brothers are returning to the “Scary Movie” franchise with its sixth installment after being absent from the previous three entries. The original “Scary Movie,” which they co-wrote with Keenen Ivory Wayans, launched a successful parody series that went on to generate multiple sequels and significant global box office revenue.
“Scary Movie 6” will feature a mix of returning and new cast members as the franchise looks to reestablish itself with audiences.
Now on its 22nd edition, the Guadalajara Film Festival (FICG) Co-Production Meeting program has grown from strength to strength, luring a wide range of directors and producers from Spain and Latin America, both new and established. There are quite a number of projects from Argentina, which has leaned more heavily on co-productions given the plunge in federal support at home. In 2024, Argentina’s right-wing populist government moved to scrap funding for the national Film-TV body, INCAA, as part of sweeping austerity measures aimed at curbing the country’s runaway inflation.
Taking place April 20–22 this year, the program requires projects in development – across fiction, documentary and animation – to have a completed screenplay and at least 20% of their financing secured.
Its primary objective is to link the participants, 19 in this edition, with industry professionals, funding bodies, producers, buyers and international distributors in order to facilitate their completion.
The selection committee this year included Peruvian filmmaker-producer Joanna Lombardi; Argentine screenwriter Juan Manuel Dartizio, Pato Portillo, creative director of content development company Real Tellers, Mexico-based Bolivian producer Gabriela Maire (“The Good Girls”) and Mexican filmmaker Samuel Sosa.
“Cinema allows us to tell our stories and preserve them in images, narratives and words, so that in the future people can understand who we were through these films, rather than only through the works that receive the most attention or likes. This is very important for us,” said FICG Industry head Ximena Urrutia.
Among the standouts in this crop are Daniela Schneider’s “The Infinite Night,” produced by Fernanda López, Amat Escalante and Daniela Romo. It forms part of a highly diverse selection of works from different countries.
The lineup also features the Argentine project “The Other Voice,” a documentary directed by Agustina Pérez Rial, with a strong producer backing of Nicolas Gil Lavedra, Emiliano Torres and Felicitas Raffo. There’s even a U.S.-Mexico co-production “All Other Parts,” directed by Cristina Ibarra, who hails from in Los Angeles. “As neighbors, the U.S. and our community share deep ties – especially within the Latino community—grounded in common roots and an ongoing dialogue. Sustaining and strengthening that exchange is vital, particularly in the current context,” said Urrutia.
The lineup:
“All Other Parts,” (“Las partes que faltan”) Cristina Ibarra, U.S.
Developed by U.S.-based All Other Parts LLC, a documentary/hybrid production company, the project is in production. Produced by Vanessa Perez, Cristina Ibarra and Heather Courtney, it centers on cross-border surveillance themes. The film follows a man returning to El Paso after 20 years in exile, whose homecoming becomes digital confinement under ICE monitoring. The film traces how a life once defined by movement across the U.S.–Mexico border is transformed into one of enforced stillness and constant observation. As Ibarra states, it explores the shift from physical borders to invisible systems of surveillance over bodies, homes and data.
“Germaín, The Black Angel” (“Germaín, el Ángel Negro”), Tomás Alzamora Muñoz, Chile
Developed by Santiago-based Equeco, an auteur-driven Chilean production company founded in 2016 (“Denominación de origen,” “History and Geography”) the project is in development, with a slate expanding through international co-productions led by “Il Cileno” and “Hijas únicas.” Produced by Pablo Calisto, pic follows Germaín, a 16-year-old in 1967 Chile whose abandonment and nocturnal excess become the emotional engine for forming Los Ángeles Negros, one of Latin America’s most influential bands. As Alzamora states, the project reflects on “who stands behind musical phenomena and what drives them to create.”
‘Germaine, The Black Angel’ Courtesy of FICG
“Her Ocean” (“El Mar La Mar”), Julian Amaru, Perú, México
Developed by Lima-based Final Abierto alongside Mexico’s Apapacho Films, the project is in pre-production for a 2027 shoot, positioning itself within a Peru–Mexico co-production pipeline focused on emerging Latin American auteur cinema. Produced by Maria Paz Barragán and Ruben Rojo, with writing by Julian Amaru and Christopher Vasquez, the coming-of-age magical realist drama follows Ray, a young fisherman fleeing homophobia and family rupture as he journeys to Iquitos in search of his mother, navigating desire, friendship and identity in the Peruvian jungle. As Amaru states, it is “a story of love and courage.”
“Here Is Not Like That” (“Aquí no es así”), Sebastian Molina Ruiz, Mexico
From Calle Calandria, the Mexican indie production outfit behind festival titles ‘Mostro” and “Todos los incendios” is developing the hybrid documentary, now in pre-production and expected to draw industry attention ahead of the 2026 World Cup. The film explores Mexico City beyond global spectacle. As Molina Ruiz states, “Here Is Not Like That” seeks to reveal “hidden mechanisms… marked by precariousness, exclusion and everyday resistance,” signaling strong auteur-driven nonfiction trends today. Diandra Arriaga (“Mostro”) and Gabriela Maldonado (“Ricochet”) produce.
“Kid” Anna Lu Machado, Brazil
Developed by Rio de Janeiro-based Raccord Produções, founded in 1993 and led by Clélia Bessa, with over 23 titles in partnership with Disney and Globo Filmes and festival presence in Venice, Cannes, and Rotterdam (“Madalena,” “The Little Prince’s Rap Against the Wicked Souls”) in co-production with Baracoa Filmes and Casa Latina Films. Produced by Bessa and executive produced by Gregorio Rodríguez, it follows a filmmaker reconstructing her father’s memory through a Cuban boxer myth, turning cinema into a space where absence becomes dialogue. Machado says: “It is “a hybrid documentary that transforms intimate loss into a universal reflection on memory and bonds.”
“Menarche,” (“Menarquia”) Jairo Gamaliel Ramos Alvarado, Panama, Spain, Peru
Developed by Panama-based Infocus Video Factory Cine & TV, “Menarche” is in preproduction as a Spain–Peru–Panama co-production with Cine y TV Teleandes SRL and Marco Antonio Toledo Oval. Reflecting industry interest in inclusive, community-driven storytelling, the film follows an androgynous pre-teen who, after their father’s death, takes on farm duties while confronting identity through her first menstruation. As Ramos notes, it portrays “ancestral rural knowledge with dignity.” Written by Elisa Puerto Aubel and Ramos, it stars Wendy Jaramillo and Christhian Esquivel Palomino.
“Name and Surname” (“Nombre y Apellidos”), Duván Duque Vargas, Colombia, France
Evidencia Films, founded by Franco Lolli (“Gente de Bien”) and behind Cannes-selected “La Perra,” partners with Continente Pictures and France’s Srab Films (“Les Misérables”) on the project, currently in advanced development and recently shortlisted for Torino Film Lab’s FeatureLab. Produced by Duque Vargas, Capucine Mahé, Franco Lolli, Christophe Barral,and Toufik Ayadi, it reflects a strong Colombia–France co-production model targeting international festivals. Drama follows a teenager drawn back into his father’s violent loan-sharking world, where escape turns into inheritance. As Mahé says, it marks “the culmination of this quest.”
“Not a River” (“No es un río”), Diego Martinez Ulansoky, Mexico, Argentina
Developed by Mexico City-based Caponeto, whose credits include “My Tender Matador” and “The Virgin of the Quarry Lake,” film is in advanced development with Argentina’s Ajimolido Films and currently seeking co-production partners and funding, reflecting ongoing industry demand for cross-border Latin American collaborations. The drama follows Tilo, who travels to a remote island after his father’s death, where buried tensions and unresolved pasts surface. As Ulansoky states, it explores “a territory where the real and the ghostly coexist,” focusing on memory and what remains unspoken.
‘Not a River’ Courtesy of FICG
“Our Lady of Whispers” (“El Camino Amarillo”), Ale García & Carla Sierra, México, Chile
Developed by Mexico-based El Camino Amarillo in co-production with Chile’s La Palma de Oro and La Vieja Rara, the project in development seeks additional financing and international co-production partners. Positioned within Mexico–Chile elevated horror collaborations, the drama follows a grieving mother who invokes La Susurradora after a brutal family loss, gaining destructive powers that reveal revenge as self-consumption. As Sierra states: “Rather than representing horror, we aim for the viewer to inhabit it –uncomfortable, intimate and impossible to look away from.”
“Plaster Virgins” (“Vírgenes de yeso”) Katherina Harder, Chile
Developed by northern Chile-based Volcánica Films alongside Cyan prods (“Medea,” “Delirio” by Alexandra Latishev), the project is produced by Cynthia García Calvo and written by Harder and Elisa Eliash, it reflects a focus on identity-driven narratives within culturally rooted settings. The coming-of-age LGBTQ+ drama follows Rosario, a 14-year-old girl in La Tirana who, amid a vibrant religious festival, experiences a personal awakening through her connection with an older dancer. As García Calvo states, it explores gender roles and social expectations within a unique visual and sonic universe.
“Talia After Talia” (“Talia después de Talia”), Pedro Speroni, Argentina, France, Switzerland
Developed by Argentina-based El Ojo Silva, “Talia After Talia” is in advanced development as a co-production with Les Films de l’Œil Sauvage and Alva Films, with support from the CNC Enhanced Development Grant and Stichting Connected Foundation, reflecting ongoing industry support for international co-productions. The documentary follows Talia, 27, returning to Buenos Aires’ Fuerte Apache after nine years in prison, navigating survival, stigma and autonomy. As Speroni states, the film gives her “a dignified and resonant voice.” “Talia after Talia” completes the trilogy that Speroni began with “Rancho” and “Los Bilbao,” delving into the prison universe.
“That I Die Because I Do Not Die” (“Que Muero Porque No Muero”) Felipe Carmona, Chile, Argentina
Developed by Chile-based El Otro Film, known for Queer Lyon awardee “The Prince” and “The Reborn,” the project is in advanced development with Argentina’s Le Tiro, currently seeking financing, reflecting ongoing interest in auteur-driven Chilean–Argentine co-productions with strong festival positioning. Fronted by Pablo Larraín star Alfredo Castro and Laura Paredes, drama is set in 1970s Chile follows Anglés, a priest and literary critic leading a double life between academia, clandestine Marxist instruction and secret artistic circles, until a liaison with a writer and her CIA-linked husband pulls him into a surreal spiral of political and spiritual collapse. As Carmona states, it explores “the contradiction between culture and barbarism.”
‘That I Die Because I Do Not Die’ Courtesy of FICG
“The Friends of My Parents” (“Los amigos de mis papás”), Romina Tamburello, Argentina
Developed by Argentina-based Pez Cine in co-production with Imval Producciones and El Cielo Cine, and Tamburello’s follow-up to hit “Vera and the Pleasure of Others,” the project is in advanced development. Produced by Santiago King, it follows a standard independent Argentine feature structure focused on character-driven comedy with regional co-production collaboration. The film follows a daughter who tries to help her parents become swingers, leading to an exploration of family boundaries and intimacy dynamics.
“The Infinite Night” (“La Noche Infinita”), Daniela Schneider, México
Developed by Mexico-based Cárcava Cine (“Lost in the Night,” Cannes 2024; “Robe of Gems,” Berlinale Jury Prize 2023; “The Untamed,” Venice Best Director 2018), in co-production with Peluca Films, Cárcava Cine and El Estudio, the project is in development and structured for international financing, with early discussions with French sales agent Luxbox. Produced by Daniela Maung, Fernanda de la Peza, Amat Escalante and Pablo Cruz, it is positioned within a festival-driven auteur slate. The film follows Bertha, a young mother whose family secret destabilizes her life as she becomes obsessed with a woman from a century earlier, where inherited memory, desire and domestic histories collapse across generations.
“The Other Side” (“Del otro lado”), José Luis Rugeles Gracia, Colombia, Brazil, France
Developed by Colombia-based Rhayuela Films, producers of “El Páramo,” “Alias María” and “Rebelión,” “The Other Side” is in development as a co-production with Capuri TV (Brazil) and Promenades (France). The project, starring Claudio Cataño (“One Hundred Years of Solitude”), reflects ongoing industry interest in character-driven Latin American–European collaborations. Drama follows Miguel, a doctor who loses his son and abandons his life, drifting through the streets where he forms fragile bonds with a street dog and a young sex worker. As Rugeles states, it explores “depression, addiction and solitude” shaped by “human fragility.”
‘The Other Side’ Courtesy of FICG
“The Other Voice” (“La otra voz”), Agustina Pérez Rial, Argentina
Gaman Cine, founded by Nicolas Gil Lavedra, behind acclaimed titles “Eami” and “Ls83,” is finalizing development on the documentary, co-produced with Fiord Estudio and Lorolo. The film reconstructs the exile of iconic singer Mercedes Sosa between 1979 and 1982 through unpublished letters and archival material, reflecting a broader industry trend toward archive-driven music documentaries. As Pérez Rial explains, the project reveals “an intimate and little-known dimension… where Mercedes emerges through her own public and private words.” Gil Lavedra, Felicitas Raffo and Emiliano Torres produce.
“The Valley of the Echoes” (“El Valle de los Huesos”), Adán Ruiz, México
Travesía Cine, a Mexico City-based studio focused on auteur-driven cinema, is advancing the documentary in development with co-producer Avalancha Studio, while in discussions for Mexican distribution. Produced by Yuli Rodríguez and Ruiz, it’s set in an industrial town where multiple lives intersect around a skeleton built from found bones, reflecting systemic violence. As Ruiz states, it depicts violence as a social sickness embedded in everyday life. “Using scavenged bones as a narrative bridge, the film connects three fractured lives to reflect on the macabre intersection of industrial exploitation and necropolitics.”
“The Whisperer” (“La Susurradora”), Ale García & Carla Sierra, México
Developed by Mexico-based La Palma de Oro Films and La Vieja Rara, the project is in development. Produced by Antonio Urdapilleta and Valentina Vio and written by Ale García and Carla Sierra, the film follows Alba, who returns to Catemaco after the lynching of her husband and son, and summons La Susurradora, an ancient deity that grants her destructive power in exchange for bodily sacrifice. As she carries out her revenge, she becomes increasingly consumed by the force she invokes.
‘The Whisperer’ Courtesy of FICG
“Why Did You Come Back Every Summer” (“Por qué volvías cada verano”), Lorena Muñoz, Argentina
Developed by Argentina-based Mostra Cine alongside Cindy Teperman SRL and Atrece Creaciones, the project is in advanced development, positioning itself within a strong wave of Latin American films addressing institutional abuse and memory. Produced by Valeria Bistagnino, Tomás Eloy Muñoz Lázaro, Cindy Teperman, Delfina Montecchia and Ana Saura, it focuses on socially driven storytelling. Drama follows Lourdes, 20, who decides to report her uncle, a local police commissioner, for childhood sexual abuse during the summers she spent in his town.
The Artemis II astronauts are settling back into life on Earth, but we’re not quite tired yet of hearing about their amazing journey. There’s a new PBS documentary now streaming on YouTube that dives into the Artemis program and the latest efforts to send humans to the moon again. Also this week, NASA shared some awesome images of a comet flying into the sun, the nonprofit American Rivers released its annual report on the most endangered rivers in the US and ESA posted a throwback image of Mars to highlight some interesting changes down on the surface. Here are the science stories that caught our attention this week.
A comet grazes too close to the sun
Earlier this month, a recently discovered comet made a close approach to the sun — but it couldn’t handle the heat. NASA has shared incredible images of the encounter that took place on April 4, showing the comet exploding into dust as it swings around our star. As NASA notes in a social media post, this was “its first and last observed flyby of the Sun.”
The comet, C/2026 A1 (also known as MAPS) was first spotted on January 13 of this year. As it neared the sun, it was observed by a slew of instruments: NASA and ESA’s SOHO (Solar and Heliospheric Observatory) spacecraft, NASA’s STEREO (Solar Terrestrial Relations Observatory) and NASA’s PUNCH (Polarimeter to Unify the Corona and Heliosphere). This allowed for views of its passage from multiple angles. Seen in a narrow-field coronagraph view captured by SOHO, the comet appears to plunge directly into the sun. But, the wide view from NASA’s STEREO shows it actually swinging closely around the sun before breaking apart.
MAPS was one of a family of comets aptly called Kreutz sungrazing comets, and according to Karl Battams, the principal investigator for SOHO’s coronagraph, its destruction occurred likely several hours before what would have been its closest approach.
Potomac named most endangered river in the US
The nonprofit conservation organization American Rivers has released its 2026 report on the most endangered rivers in the country, and data centers play a major role in the status of its top pick. According to American Rivers, the Potomac River is the most endangered in the US due both to the threat of sewage pollution from aging pipe systems and the “unprecedented surge in data center development” in its vicinity.
The Potomac River basin spans parts of Pennsylvania, Maryland, Virginia, West Virginia and Washington, DC. In January, the catastrophic failure of the Potomac Interceptor wastewater pipe in Montgomery County, Maryland dumped hundreds of millions of gallons of untreated sewage into the Potomac River and the Chesapeake and Ohio (C&O) Canal, causing bacteria levels to hit over 4,000 times the safe recreational limit at sites closest to the incident, according to the report. The Potomac Interceptor is over 60 years old, and is just one of many in the region that is at or past the 50-year service life, American Rivers notes.
On top of that, data center development in places like Virginia and Maryland has skyrocketed, which could put a strain on local water and energy sources. Data centers also have potential to cause further pollution to the river.
“The region currently has over 300 data centers and is on track to have a total of about 1,000 centers occupying roughly 200 million square feet of buildings — enough to cover 3,472 football fields — on an estimated 20,000 acres of land,” the report explains. “These facilities pose a significant and growing threat to both water quality and water quantity, yet are being approved without meaningful transparency, regulatory review, and assessment of cumulative impacts.”
The organization is calling for Congress to reauthorize infrastructure funding bills so aging systems can be upgraded, and for regulators in these states to require transparency about data centers’ resource use, along with comprehensive environmental assessments before development plans are approved.
Mars ash: then vs now
ESA/DLR/FU Berlin
The European Space Agency this week shared a look at how a region on Mars has changed since it was observed by NASA’s Viking orbiters way back in 1976. New images captured by ESA’s Mars Express spacecraft show how dark volcanic ash has encroached upon a swath of land in an area known as the Utopia Planitia basin. If you visit the blog post, you’ll find a side by side comparison of images from the two time periods.
It’s a rare example of an observable change on the surface of the red planet that’s occurred over such a short period of time, ESA notes. The agency explains, “The spread of the ash over the last 50 years has two possible explanations: either it has been picked up and moved about by martian winds, or the ochre dust that previously covered the dark ash has been blown away.”
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The US Department of Justice is siding with X, as the social media platform owned by Elon Musk navigates a criminal investigation unfolding in France. As first reported by The Wall Street Journal, the Justice Department characterized the French probe as “an effort to entangle the United States in a politically charged criminal proceeding aimed at wrongfully regulating through prosecution the business activities of a social media platform.”
France launched its investigation into X in July, accusing the platform of manipulating its algorithm and “fraudulent data extraction.” Months later, French authorities raided X’s office in Paris and issued summonses to Musk and Linda Yaccarino, the former CEO of X, to appear for interviews on April 20 as part of the probe. According to WSJ, French officials are also investigating X for other charges, including disseminating CSAM and Holocaust denial. However, France’s latest move to ask the Department of Justice for assistance has been stonewalled.
“This investigation seeks to use the criminal legal system in France to regulate a public square for the free expression of ideas and opinions in a manner contrary to the First Amendment of the United States Constitution,” the DOJ wrote in letter, as seen by WSJ.
An xAI official told WSJ that it’s “grateful to the Justice Department for rejecting this effort by a prosecutor in Paris to compel our CEO and several employees to sit for interviews.” The company spokesperson also said there was “no wrongdoing” and that it was a “baseless investigation.”
As diplomatic talks continue regarding a possible agreement in the ongoing conflict between Iran and the US, noteworthy new statements have emerged from Tehran.
Iranian Parliament Speaker Mohammad Bagher Ghalibaf strongly criticized the US administration’s rhetoric and sent clear messages regarding the ongoing disputes over the Strait of Hormuz.
Ghalibaf intensified his criticism of Washington, arguing that all seven claims made by US President Trump in a short period of time were “false.” The Iranian official explicitly stated that the Strait of Hormuz would not remain open if the current naval blockade continued.
Ghalibaf also stated that passage through the strait would not be entirely free, arguing that ship traffic would only take place via “designated routes” and “with Iran’s permission.”
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On the other hand, developments throughout the day increased uncertainty on the ground. Although Iranian Foreign Ministry officials stated that the strait was open, it was reported that 10 to 20 ships attempted to pass through, but the vast majority turned back. The Iranian Revolutionary Guard Corps (IRGC) reportedly maintained that the strait was still closed.
According to diplomatic sources, the Tehran administration informed mediators that it would restrict ship passage and impose certain fees during the ceasefire process. Iran also categorically denied allegations that it would transfer enriched uranium to the United States.
Another development regarding the negotiations has emerged from Tehran. According to information based on sources close to Iran, the Iranian government has not yet reached an agreement with the US on the next planned round of talks.
Binance and Bitget, two major cryptocurrency exchanges, have opened investigations into trading activity surrounding RaveDAO’s $RAVE token, after onchain sleuth ZachXBT alleged insiders engineered a large short squeeze that drove the token’s rapid rise.
Crypto exchange Bitget’s CEO Gracy Chen said the exchange had “started investigating” the matter, while Binance CEO Richard Teng later said publicly that the platform was also looking into the claims and would “always” do its part to examine signs of market misconduct. Another exchange, Gate, was also mentioned in ZachXBT’s investigation.
ZachXBT has also personally offered a $10,000 bounty to whistleblowers who come forward privately to share evidence about the parties involved.
The little-known project rallied earlier in the week, leading to over $44 million in $RAVE positions, most of which were bearish, getting liquidated in a single day. Those liquidations followed a 4,500% rally over the course of a week.
Still, the short squeeze highlighted the concentration of $RAVE tokens within a small set of wallets. In fact, nearly 90% of its supply was in just three Gnosis Safe wallets at the time.
Investigators also flagged token transfers to exchanges shortly before the rally began. Millions of tokens were moved to exchanges before prices started surging.
RaveDAO presents itself as a Web3 project focused on electronic music events, offering blockchain-based ticketing and community governance. It traces its origins to a 2023 afterparty in Istanbul and has since hosted events across several regions. The project reported about $3 million in revenue in 2025.
That footprint contrasts with the token’s market behavior. $RAVE traded below $0.50 for most of its history before surging in April. It jumped from about $0.30 to over $6 in a single day, then climbed past $27 before starting to recede.
At its peak, the token’s market value briefly exceeded $6 billion, placing it among the largest cryptocurrencies by market cap before dropping. The token is now down more than 50% from its peak and 30% over the last 24 hours.
‘Bait and liquidate’
A separate claim centers on what some describe as a “bait and liquidate” pattern. The idea is that visible transfers suggest selling pressure, drawing traders into short positions.
If those tokens are later withdrawn while prices rise, short sellers may be forced to buy back at higher prices, driving further gains for those on the other side of the trade. These claims remain unproven, but the concentration of supply suggests it’s a real possibility.
Community reports have also linked the project to figures associated with earlier crypto ventures, including ARPA and Bella Protocol, though those connections have not been independently verified. None of the individuals named in these reports has responded publicly.
RaveDAO addressed the situation in a social media thread, stating that the team is “not engaged in, nor responsible for, recent price action.”
In the thread, RaveDAO did not address specific onchain allegations, including supply concentration or the millions transferred to exchanges ahead of the pump, but confirmed it does plan to liquidate portions of unlocked tokens “when appropriate.”
RaveDAO said it was “exploring appropriate models, including price-triggered or performance-triggered locks, that tie team incentives to ecosystem growth.” It stopped short of committing to any specific mechanism or timeline.
Major productions across the stage and screen have been a cornerstone of Danielle Brooks’ career, from her breakout role in Netflix’s Orange is the New Black to her Broadway debut in The Color Purple, for which she earned a Tony Award nomination for best featured actress in 2016, to the 2023 musical film adaptation of Alice Walker’s book which earned her Oscar and Golden Globe nominations. Yet it’s indie projects, the Juilliard grad says, that make her feel most connected to her craft and purpose.
“Independent films are so incredible because I think they reflect the truth of who we are,” Brooks said during the Miami Film Festival, where she received the Art of Light Award following a screening of her latest project, If I Go Will They Miss Me Tuesday night. “It’s not about big blockbuster movies to make a dollar, it’s about the people. And that’s why I got into this, so that I could be a reflection, the light, because there were people in this industry, artists that were that light for me.”
Brooks stars as Lozita Harris, a mother of three trying to hold her family together as her partner, Ant (J. Alphonse Nicholson), struggles to connect with their son when he returns home from prison in the semi-biographical, mythical feature from Walter Thompson-Hernández.
During the Miami film festival, Brooks chatted with The Hollywood Reporter about why she so deeply believed in the project, which, since its Sundance premiere in January, has been acquired by Rich Spirit, shooting in a public housing complex in Watts and how working on the film inspired her to make her own short.
Your connection to If I Go, Will They Miss Me dates back to Walter Thompson-Hernández’s 2022 short of the same name. What drew you to the project?
My team had come to me and said, “Hey, there’s this film that we want you to think about being involved in. There’s this amazing new up-and-coming director, Walter Thompson Hernandez.” And I’m always like, “Ooh, new. I like,” because that means there’s a new energy that’s being put out into the film industry, and that excites me. So they were like, “Come look at the short.” And I looked at the short, and I was like, “Wow, this is different from what I’ve seen before, but it still has this energy, sort of like a Moonlight, that I liked.” And I loved how he shot Black people, but I also knew that there was passion behind it because I could tell that there wasn’t this big budget that he had, that everything that he was putting out there was community-based. …And when I met with him, we sat down at the London hotel, and we talked for over an hour, and I immediately told my team, “Yes, I’m down.” And this truly was a passion project. This is one of those films that you end up spending money to be in it. It wasn’t something that came with a large check, and I knew I wanted to be a part of it because it felt honest and real. It was so different from anything that I’ve ever played before, people like Sophia [in The Color Purple] or Taystee [in Orange Is the New Black] who were bigger-than-life characters; there was a quietness about her that I was drawn to.
Your character, Lozita, and all of the characters in this film are based on real-life people. What did your preparation look like, and is there a difference in how you approach roles that are biographical in nature versus fictional characters?
It’s very different. I enjoy playing people who are real. I got the chance to play Mahalia Jackson in the past, and each character that you play does require something different, but this one was interesting because Lozita was based on a true person, and so was Big Ant. But unfortunately, the person that I played had passed away, so I wasn’t able to speak with her. Everything that I was learning about her was from her partner, who was still alive, and from Walter, the director, who was good friends with her, and pictures. Pictures tell a thousand words. There’s one thing I really wish I could have had, which was her tattoos, because she had all these tattoos, and I felt like they told such a story about who she was, and she wore braids. So I was like, “I’ve got to make sure I have these braids.” And just how she held her mouth. I got to see pictures of her and her husband and how he would hold her, and all of these things that just told me a story.
What did Walter say it was about Lozita and Ant that made him want to make this film?
It’s this thing about life. None of us asked to be here, but we all have to figure out how to survive it. And that’s what we’re watching this family do is figure out how are we going to survive our circumstances, the things that we’ve been through in the past, how are we going to make it through that? And what are we going to pass to our children? We had multiple conversations about it. And there were a lot of times that it felt too real because we’re shooting in Watts, too. We shot in the projects, and so we weren’t in a position to say, “All right, everybody, leave your homes for a while and come back in tomorrow.” We’re in their environment. And sometimes it was really real. Life imitates art, and art imitates life, so there was no moment for me to escape the character. I felt like I was always close to her because I would see kids beautifully playing outside with skates on. This is not a community that has access to iPads and all of that stuff. So the kids are outside watching us, and that was amazing because now I’m asking, “What do you want to be when you grow up?” [and they say] “I want to be an actor,” because they see a reflection. The children are just as chocolate as me or as round-faced as me.
You had an amazing screen partner in J. Alphonse Nicholson, and there’s so much emotion that comes out in the scenes with you two in the bedroom, trying to figure this relationship out. Were you all big on rehearsal? Were you just finding the emotion in the moment?
We did have some rehearsal. We didn’t have much time, though, but let me talk about J. Alphonse. I freaking love that brother. He is one of the best scene partners ever, super talented, and I’m going to take some credit. I was like, Walter, “We need him,” and Walter was like, “OK, let me sit down with him,” and they just hit it off. He brings so much to every character that he plays, but the way that he works, he allows you to be vulnerable. Being in a space with him, having to take my shirt off and have intimate scenes, it was a safety with the way in which he works that I felt comfortable to give all myself to her, no problem. We had some very personal conversations about personal experiences we both have been through, because I’m going to tell you right now, I don’t look like what I’ve been through. I say that because I can really relate to [Lozita] and the same with J. [and his character] so there are moments where it felt like this is too much, but we had each other to be like, “You good?” And that’s important. It’s very important to be able to trust your same partner that way.
What was your reaction when you saw the finished film?
I cried like a baby. It messed me up…it’s like, this is what it is like to say, “I love you, but you’re not good for me. You’re not healing me.” It’s such a beautiful reflection of, again, survival, how tough life can be, but yet we’ve got to push through it. And what does love really look like for my character? Love is getting up out of there. She had to go for her family, for herself, for her kids, and watching Ant, he’s having to take a moment and reflect. He’s trying to do the right thing, but it’s too late.
The overall journey of this film is inspirational, I think, especially for the audience at a film festival like this. Walter made his original short film in 2022 and won the jury award at Sundance; in 2023 it was selected for the Sundance Institute Screenwriters & Directors Lab; in 2025 it got two grants and you all made the feature film, then it had its Sundance premiere in January 2026 and in March it was acquired by Rich Spirit so now we’re looking at a theatrical release this fall. Did you expect to be able to take this project this far? What would you say aspiring filmmakers should take away from this journey?
Did I expect this film to go this far? Yes, because it is good. Like you just know. And there’s something special about this film. I think the hard part is, is it the right timing? And I do feel like it’s the right time — we’re in a crazy time, and we’re trying to figure it out — but I do feel like it’s the right time. What aspiring filmmakers can take is that you can do this thing. I am one of the aspiring filmmakers, and it’s because of the way that I saw [Walter] work that I ended up shooting my own short film. If you have a passion for it, get it done. There are people that will align with that passion. There are people that are trying to figure this thing out, too, and find their community. Just start talking about it and say, “Hey, this is what I want to do.” And it might not be that first person you run into, but somebody will say yes. And one other thing that I want to say while I have the mic is I feel like this is a film that will be successful by word of mouth. So we’re going to need you.
When Kevin (voiced by Jason Schwartzman), star of Amazon’s new animated series Kevin, suffers a bad breakup, he does what any young man in the big city might do.
He moves out of his old place, picks up new friends and new interests, explores his former neighborhood with fresh eyes. He takes time alone to think about what he really wants out of a relationship, or out of life. He considers new potential life partners, and eventually courts one. Occasionally, unhappily, he backslides into contact with his ex.
Kevin
The Bottom Line
An amiable hangout comedy, with a feline twist.
Airdate: Monday, April 20 (Prime Video) Cast: Jason Schwartzman, Amy Sedaris, John Waters, Whoopi Goldberg, Aparna Nancherla, Gil Ozeri, Aubrey Plaza Creators: Aubrey Plaza, Joe Wengert
What makes Kevin’s journey more unexpected than most is that he is no fleece-vested banker or tattooed barista, but a tuxedo cat; his split is not with a lover but with his human owners. The feline twist is enough to make Kevin, created by Joe Wengert and Aubrey Plaza, feel like a fresh spin on the hangout comedy. If it only occasionally lives up to its fullest potential for humor and heart, it eventually finds enough warmth to be worth curling up with.
Doubtless a huge chunk of the target audience for Kevin just read that plot description and prepared to react in much the same way that Seth (Gil Ozeri), a normally milquetoast animal shelter manager, does to an owner who’d dared give up his cat: “Abandoning a furry companion is the ultimate no no!” he screeches. “You belong in the Hague, asshole!” So rest assured that this is no Sarah MacLachlan-soundtracked sob story of abandonment.
It is, instead, Kevin who leaves when the couple who own him announce they’re breaking up, deciding he’d rather take his chances by himself than follow Dana (Plaza) to her new home. Since Kevin is set in a universe that sits somewhere between The Secret Life of Pets and Bojack Horseman on the spectrum of anthropomorphized creatures — animals communicate in English with humans and sit next to them at the bar or on the train, but don’t seem to rent apartments or, for the most part, have steady jobs — Dana has not much choice but to let him go and hope he wants to return someday.
After a disastrous evening in Central Park, during which the squirrels in the trees mock the house cat’s spectacular unsuitability for life in the “wild,” Kevin makes his way to Seth’s Furrever Friends shelter in Astoria, Queens. There, he makes a new home amid a motley crew that also includes an imperious Persian named Armando (an excellent John Waters); a dopey and diseased kitten named Judy (Aparna Nancherla); Seth’s bossy Shih Tzu (a hilariously mean Amy Sedaris); and Cupcake (Whoopi Goldberg), a feral cat with side hustles streaming on an OnlyFans-esque website and selling her vomit on the dark web. (How she’s navigating the banking system and what she needs the money for in the first place are not questions Kevin really gets around to answering. It’s best just not to think about the practicalities too hard.)
Especially in its early going, Kevin is hit or miss as a vehicle for humor. Some of its jokes, like a bit about a duck’s corkscrew-shaped penis, smack of a series trying too hard to declare that it’s Not Your Little Sister’s Animal Cartoon. Others, like a hoary line about cats being baffled by why people are always scooping litter, make no sense in a universe where cats have opposable thumbs and speak human language. At least one subplot, involving an equine Broadway star named Patti LuPony who’s voiced by Patti LuPone, feels like a Bojack Horseman castoff. Lots more punchlines just sort of sit there, neither offensive enough to provoke groans nor clever enough to coax laughs.
But as the series found its groove over its eight half-hours — and, perhaps, as I grew more accustomed to its off-kilter sense of humor — the ratio of hits to misses improves. Kevin eventually falls into the likable rhythms of a New York hangout comedy à la Friends or Seinfeld or, more recently, Adults, albeit with a much higher level of absurdity. The series feels most surprising and most delightful when it gives itself over to full-bore silliness, as with a C-plot in which a colony of ants crown Judy as their new queen, or another in which Kevin meets Rat Pizza — a sentient slice of pizza that drags a dead rat around and bitterly laments how unfavorably he’s treated compared to his celebrity inverse.
Eventually, somewhere amid all the Gen Z-coded kittens and the incestuous cat romances, something more earnest starts to emerge. There’s real sweetness in the way the characters relate to each other, whether it’s Armando reminding Judy to hold out for the right forever home rather than let herself get adopted by a narcissistic nepo baby who sees her only as a prop for her art, or in Cupcake nudging Armando to come to terms with a past heartbreak involving a previous owner.
Kevin’s meandering search to figure out what he wants out of his next human companion (or if, indeed, he wants another human companion at all) will feel relatable to anyone who’s ever gotten out of a long-term relationship unsure who they might be outside of it — if they ever even actually liked Halloween or the band Pavement or the show Say Yes to the Dress, or just assumed they did because their partner did.
But embedded within his quest is also the more pet-specific acknowledgment that though we may take them in and feed them and link our contact addresses to their microchips, our animal companions have interiorities of their own, wants and needs that might coincide with our own or might not. Kevin, which press materials indicate is based on a real cat and a real breakup, becomes a tender love letter to the unknowability of the creatures who’ve deigned to let us share in their lives. Speaking as a proud cat lady, I can’t think of a nicer thing to say about Plaza and Wengert than this: They seem like they must be absolutely wonderful pet owners.
