👻 AWAKENED — dormant 15+ years
8.54 BTC ($538K) untouched since first received 2011-06-13 (15.1y ago) — just moved in block 962770Address: 1EmiMJfyBYNYfeFZWEoXxJ9cZ7pF9xTWVt
💰 Realized PnL: +$538K (+461,981% gain) – basis ~$14 avg – held 15.1y
🕐 2026-08-16 18:42 UTC
TXID:…— Galaxy Research (@glxyresearch) August 17, 2026
Start every day with the top news stories right now, plus original features, a podcast, videos and more.
Digital media veteran Adam Boorstin has joined Beast Industries‘ WatchTime Studios as general manager overseeing the production of original content in a range of genres for various platforms.
Boorstin joined the company earlier this month after a 10-year run with Studio71, a cutting-edge digital services provider that helps creators scale their content across disparate platforms. WatchTime Studios is part of the larger effort by creator superstar MrBeast (aka Jimmy Donaldson) to capitalize on his social media muscle to build out businesses with original content. He is based in Los Angeles.
Boorstin joined Studio71 in December 2015. He climbed the ranks and rose to co-CEO in 2020. The company was acquired in April by Fixated, another leading-edge creator services firm. The two combined create a distribution network of more than 1,000 prominent creators — part of a mushrooming effort across the creator economy for larger players coming in to bring scale to what is a massively decentralized sector of the digital content marketplace.
But that’s changing thanks to the exponential demand from marketers for the targeted audiences of motivated buyers that influencers and creators can muster. Donaldson emerged one of YouTube’s most popular personalities, and he has since sought to expand his zany MrBeast brand with a game show for Amazon Prime Video, among other ventures.
Beast Industries also has a busy consumer products division and a philanthropic arm.
“MrBeast is redefining what’s possible in the industry,” Boorstin wrote on LinkedIn.
It’s no time warp — Madonna leads all other divas in nominations for the 2026 MTV Video Music Awards, with 11 nods, it was announced Tuesday morning. She’s followed by Taylor Swift, with nine nominations, and Ariana Grande and Sabrina Carpenter, with seven each.
Others with multiple shots at a Moon Person (as the awards have been non-gender-specifically known for many years now) include Bruno Mars, Zara Larsson and PinkPantheress with five nominations each. Blackpink’s Lisa with four, and Tate McRae and Shakira, tied with three each.
The VMAs will take place this year at the Peacock Theatre in Los Angeles, marking the first time the show has been held on the west coast in nine years. The show was last broadcast from L.A. in 2017, when it was hosted by Katy Perry from the pre-Kia Forum.
The two-hour show will air Sept. 27 on CBS, MTV and Paramount+. It will air live on both coasts at 7:30-9:30 p.m. ET/4:30-6:30 PT. A host has not yet been revealed.
Fan voting in 13 categories is now open at vote.mtv.com through Sept. 25. One additional category, best new artists, will remain open for fan votes all the way into the live telecast.
Artist of the year is a contest between Madonna, Swift, Grande, Carpenter, Mars and Morgan Wallen. The six candidates for video of the year are Madonna’s “Confessions II – The Film,” Swift’s “The Fate of Ophelia,” Carpenter’s “Tears,” Grande’s “Hate That I Made You Love Me,” Mars’ “I Just Might” and Gener8ion’s “Storm Starring Yung Lean.”
The best new artist nominees are SIenna Spiro, Stella Lefty, Malcolmn Todd, Bella Kay, Cortis, Myles Smith and Magnus Ferrell. Scroll down for a full list of 2026 nominees.
Some of the year’s most prominent superstars were limited to two nominations apiece, including Olivia Rodrigo, BTS, Ella Langley, Harry Styles, Katseye, Charli xcx and Harry Styles. Although Wallen, who has had the biggest selling album of the year, received a nomination in a top category, artist of the year, that represents his sole nomination.
The 2026 VMAs are being produced by Gunpowder & Sky, with MTV veteran Van Toffler as lead producer. Jesse Ignjatovic of Den of Thieves, Barbara Bialkowski, Bruce Gillmer, Barry Barclay and Floris Bauer are the show’s executive producers. Melanie Block is co-executive producer and Gary Lanvy is co-producer.
The full list of nominations:
VIDEO OF THE YEAR
Ariana Grande – “Hate That I Made You Love Me” – Republic Records
Bruno Mars – “I Just Might” – Atlantic Records
GENER8ION – “Storm Starring Yung Lean” – Iconoclast Music
Madonna – “Confessions II – The Film” – Warner Records
Sabrina Carpenter – “Tears”- Island
Taylor Swift – “The Fate of Ophelia” – Republic Records
ARTIST OF THE YEAR
Ariana Grande – Republic Records
Bruno Mars – Atlantic Records
Madonna – Warner Records
Morgan Wallen – Big Loud/Mercury Records
Sabrina Carpenter – Island
Taylor Swift – Republic Records
SONG OF THE YEAR
BTS – “Swim” – BIGHIT MUSIC
Ella Langley – “Choosin’ Texas” – Columbia Records
HUNTR/X: Ejae, Audrey Nuna, Rei Ami – “Golden” – Republic Records/Visva Records
Madonna & Sabrina Carpenter – “Bring Your Love” – Warner Records
Olivia Dean – “Man I Need” – Island
PinkPantheress – “Stateside + Zara Larsson” – Warner Records UK/Atlantic Records
Raye – “Where Is My Husband!!” – Human Re Sources
BEST NEW ARTIST
Bella Kay – Atlantic Records
Cortis – BIGHIT MUSIC
Magnus Ferrell -Visva Records/Republic Records
Malcolm Todd – Columbia Records
Myles Smith – RCA Records
Sienna Spiro – Capitol Records
Stella Lefty – Sandlot/Atlantic Outpost
BEST COLLABORATION
Clipse, Kendrick Lamar, Pusha T, Malice – “Chains & Whips” – Roc Nation Distribution
French Montana x Max B – “Ever Since U Left Me” – Coke Boys Records
Madonna & Sabrina Carpenter – “Bring Your Love” – Warner Records
PinkPantheress – “Stateside + Zara Larsson” – Warner Records UK/Atlantic Records
Shakira & Burna Boy – “Dai Dai” – Sony Music US Latin
Teyana Taylor & Lucky Daye – “Hard Part” – Def Jam Recordings
BEST POP
Ariana Grande – “Hate That I Made You Love Me” – Republic Records
Charli xcx – “SS26” – Atlantic Records
Lisa – “Dream feat. Kentaro Sakaguchi” – Lloud Co./RCA Records
Olivia Rodrigo – “Drop Dead” – Geffen Records
Sabrina Carpenter – “House Tour” – Island
Tate McRae – “Nobody’s Girl” – RCA Records
Taylor Swift – “The Fate of Ophelia” – Republic Records
BEST HIP-HOP
Cardi B ft. Kehlani – “Safe” – Atlantic Records
Don Toliver – “E85” – Cactus Jack/ Atlantic Records
Drake – “Janice STFU” – OVO/Republic Records
Megan Thee Stallion – “LOVER GIRL” – Hot Girl Productions
Travis Scott – “DUMBO” – Cactus Jack/Epic Records
Tyler, the Creator – “SUGAR ON MY TONGUE” – Columbia Records
BEST R&B
Bruno Mars – “I Just Might” – Atlantic Records
Chris Brown – “It Depends/Obvious” – RCA Records
Dave & Tems – “Raindance” – Neighbourhood Recordings/Capitol Records
Justin Bieber – “YUKON” – Def Jam Recordings
Kehlani – “Folded” – Atlantic Records
Mariah the Scientist & Kali Uchis – “Is It a Crime” – Epic Records
BEST ALTERNATIVE
Geese – “Taxes” – Partisan Records/Play It Again Sam
MGK & Fred Durst – “Fix Ur Face” – EST 19XX LLC/Interscope Records
Noah Kahan – “The Great Divide” – Mercury Records
Olivia Rodrigo – “The Cure” – Geffen Records
Sombr – “Homewrecker” – SMB Music/Warner Records
Tame Impala – “Dracula” – Columbia Records
Twenty One Pilots – “Drag Path” – Fueled By Ramen
BEST DANCE
Bebe Rexha & Faithless – “New Religion” – Bebe Rexha Music LLC/EMPIRE
Harry Styles – “Aperture” – Columbia Records
Lady Gaga & Doechii – “Runaway” – Lil Monsters/Top Dawg Entertainment/Interscope Records/Capitol Records
Madonna – “Confessions II – The Film” – Warner Records
PinkPantheress – “Stateside + Zara Larsson” – Warner Records UK/Atlantic Records
Slayyyter – “Dance…” – RECORDS/Columbia Records
Tate McRae – “Nobody’s Girl” – RCA Records
BEST LATIN
Anitta with Shakira – “Choka Choka” – Republic Records/UMLE
Bad Bunny – “NUEVAYoL” – Rimas Entertainment
Fuerza Regida – “TU SANCHO” – Rancho Humilde/Street Mob Records/Sony Music US Latin
Karol G – “Papasito” – Bichota Records/Interscope Records
Rosalía ft. Yahritza Y Su Esencia – “La Perla” – Columbia Records
Ryan Castro, Kapo & Gangsta- “LA VILLA” – AWOO Corp./ Sony Music US Latin
Shakira & Burna Boy – “Dai Dai” – Sony Music US Latin
BEST K-POP
Blackpink – “Jump” – YG Entertainment
BTS – “Swim” – BIGHIT MUSIC
Cortis – “REDRED” – BIGHIT MUSIC
Katseye – “Pinky Up” – HYBE x Geffen Records
LE SSERAFIM (feat. J-Hope of BTS) – “SPAGHETTI” – SOURCE MUSIC
Lisa- “Dream feat. Kentaro Sakaguchi” – Lloud Co./ RCA Records
BEST COUNTRY
Ella Langley – “Choosin’ Texas” – Columbia Records
Kacey Musgraves – “Dry Spell” – Lost Highway/Interscope Records
Lainey Wilson – “Somewhere Over Laredo” – Broken Bow Records
Luke Combs – “Back in the Saddle” – Columbia Nashville
Shaboozey – “Cowgirl” – American Dogwood/EMPIRE
Stella Lefty – “Boston” – Sandlot/Atlantic Outpost
Tucker Wetmore – “Brunette” – Back Blocks Music/Mercury Records
BEST DIRECTION
Ariana Grande – “Hate That I Made You Love Me” – Republic Records
Bruno Mars – “I Just Might” – Atlantic Records
GENER8ION – “STORM starring Yung Lean” – Iconoclast Music
Madonna – “Confessions II – The Film” – Warner Records
Sabrina Carpenter – “House Tour” – Island
Taylor Swift – “Opalite” – Republic Records
BEST ART DIRECTION
Charli xcx – “SS26” – Atlantic Records
Lady Gaga & Doechii – “Runaway” – Lil Monsters/Top Dawg Entertainment/Interscope Records/Capitol Records
Madonna – “Confessions II – The Film” – Warner Records
PinkPantheress – “Stateside + Zara Larsson” – Warner Records UK/Atlantic Records
Sombr – “My Body Isn’t Ready” – SMB Music/Warner Records
Taylor Swift – “The Fate of Ophelia” – Republic Records
BEST CINEMATOGRAPHY
A$AP Rocky – “Punk Rocky” – A$AP Worldwide/RCA Records
Ariana Grande – “Hate That I Made You Love Me” – Republic Records
Lisa – “Dream feat. Kentaro Sakaguchi” – Lloud Co./ RCA Records
Madonna – “Confessions II – The Film” – Warner Records
Shaboozey – “Cowgirl” – American Dogwood/EMPIRE
Taylor Swift – “The Fate of Ophelia” – Republic Records
BEST EDITING
Ariana Grande – “Hate That I Made You Love Me” – Republic Records
Bruno Mars – “I Just Might” – Atlantic Records
Lisa – “Dream feat. Kentaro Sakaguchi” – Lloud Co./ RCA Records
Madonna – “Confessions II – The Film” – Warner Records
Sabrina Carpenter – “House Tour” – Island
Taylor Swift – “The Fate of Ophelia” – Republic Records
BEST CHOREOGRAPHY
GENER8ION – “Storm starring Yung Lean” – Iconoclast Music
Harry Styles – “Dance No More” – Columbia Records
Katseye – “PINKY UP” – HYBE x Geffen Records
Madonna – “Confessions II – The Film” – Warner Records
Tate McRae – “Nobody’s Girl” – RCA Records
Taylor Swift – “The Fate of Ophelia” – Republic Records
BEST VISUAL EFFECTS
Ariana Grande – “Hate That I Made You Love Me” – Republic Records
Jisoo X Zayn – “Eyes Closed” – Warner Records
Madonna – “Confessions II – The Film” – Warner Records
PinkPantheress – “Stateside + Zara Larsson” – Warner Records UK/Atlantic Records
Raye ft. Hans Zimmer – “Click Clack Symphony.” – Human Re Sources
Taylor Swift – “The Fate of Ophelia” – Republic Records
Toyota’s finance arm is launching a tokenized bond that retail investors can buy directly through the Japanese carmaker’s mobile payment app, Toyota Wallet.
Toyota Finance said Tuesday that applications have opened for the one-year bond, with investments starting at 100,000 Japanese yen ($676). The new bond will be distributed directly by Toyota Finance, allowing investors to buy it without opening a securities account.
The 1 billion yen bond carries a 1.72% annual interest rate and will be managed on blockchain infrastructure provided by Japanese security-token firm BOOSTRY.
The carmaker said the direct distribution model will allow it to integrate applications, communications with bondholders and investor benefits within the same ecosystem.
Investors may also receive Toyota Wallet balances and qualify for benefits including Fuji Speedway tickets and test-drive experiences, including in Lexus and selected classic Toyota vehicles.
The offering is Toyota Finance’s second security token bond following its debut issuance in March 2025, which was sold through securities companies.
Nonprofit production venture Waterwell, co-founded by “Succession” player Arian Moayed, and nonprofit Nimruz has doubled the funding for their program of Unseen Iran Grants now in its second cycle.
Funding for the grant program has grown to $100,000 to supporting 10 artists representing the Iranian diaspora with TV, film, theater and creative projects in other disciplines that explore Iranian identity and cultural connectivity. The program has taken on greater urgency since its inaugural edition amid the global strife of the U.S.-Israel war against Iran as well as the fundamentalist state’s internal domestic crackdowns on rights and privileges for women and minority groups.
Per Waterwell, “the initiative continues to foster dialogue around contemporary Iran while building solidarity across the diaspora.”
Unseen Iran grantees will receive individual awards ranging from $5,000 to $20,000 depending on the needs of the project. Artists have six to 12 months to produce their finished products and will also receive mentorship throughout the process. Applications will accepted through Sept. 30 through the Nimruz website. The 10 projects selected will be unveiled in December.
“This past year has been one of profound upheaval for our community, from the crackdowns that followed last January’s protests to the toll of the war between the U.S., Israel and Iran,” said Moayed. “In moments like this, Iranian resilience starts to shine and the stories told by Iranians matter more than ever.”
Waterwell’s inaugural cycle last year received nearly 500 submissions. The final selections included writer-director Pegah Ahangarani, whose documentary “Rehearsals for a Revolution” went on to win the top doc prize at this year’s Cannes Film Festival, and it was picked up for distribution by prestige specialty label Sony Pictures Classics. Nimruz became an investor in the project.
“In year one, we saw firsthand how much extraordinary work is out there, far more than $50,000 or even $100,000 could reach,” said Sepanta Mohseni, executive director of Nimruz. “The talent and the need are both undeniable. Doubling the fund is us responding to that. We have a long way to go, but this is a real step toward the kind of infrastructure our community’s artists deserve.”
Nimruz describes itself as an arts-focused nonprofit devoted to “championing a flourishing Iranian spirit through arts and education programming, building a global Iranian community rooted in solidarity and shared cultural heritage.” It has backed a number of documentary and narrative projects featured at Sundance, SXSW, Toronto and DOC NYC.
(Pictured: “Rehearsals For a Revolution”)
New developments continue to emerge regarding planned regulations for the US cryptocurrency market. First, a meeting scheduled for Friday by the SEC, where a new regulatory framework for initial public offerings of crypto assets was to be discussed, was canceled at the last minute. The SEC was expected to initiate the formal rule-making process for this new framework, dubbed “Regulation Crypto Assets,” at that meeting.
One of the first to announce the cancellation of this meeting was American journalist Eleanor Terrett, who stated in her post that the SEC’s official reason was “an unforeseen programming problem.”
While speculation continues in the market about why the meeting was canceled, some sources are now pointing the finger at Wall Street.
According to Decrypt, Wall Street played a role in the cancellation of the SEC’s Friday meeting. Sources say that pressure from the Securities Industry and Financial Markets Association (SIFMA), a major Wall Street organization, was instrumental in the cancellation.
According to sources who spoke to Decrypt, SIFMA opposed the SEC’s creation of a framework that could provide crypto companies and tokenization firms with broad exemptions from existing securities regulations.
The report states that SIFMA’s main objection centers on whether the SEC can create such a broad regulatory framework using its existing statutory powers.
Sources also reported that SIFMA signaled that it could take legal action if the SEC took such a step. This is said to have influenced the SEC’s decision to postpone the planned meeting.
At this point, sources indicate that the real debate behind the scenes is the SEC’s regulatory authority over the cryptocurrency market and Wall Street’s objections to that regulation.
It is noteworthy that these developments come immediately after the US Senate failed to make progress on the CLARITY Act before going on recess in August, and the CLARITY Act was postponed until September.
According to experts, the SEC’s independent efforts to develop comprehensive regulations for the cryptocurrency market, coupled with Congress’s attempt to create a legal framework through the Clarity Act, make the debate over which institution and under what authority will shape cryptocurrency regulations in the US even more significant.
It remains unclear when the SEC will reschedule the meeting and whether the “Regulation Crypto Assets” process will continue.
*This is not investment advice.
UPDATED: ABC filed an unprecedented First Amendment lawsuit against the FCC on Tuesday, claiming that its investigations and regulatory actions are part of a Trump administration “retaliatory campaign” to curb the network’s free speech.
The lawsuit, filed in federal court in Washington, D.C., also seeks to halt a proceeding in which the agency and its chairman, Brendan Carr, demanded that it put its eight stations up for early license renewal. That followed Donald Trump‘s attacks on the network, including its late night host, Jimmy Kimmel.
“Acting through the Federal Communications Commission, the Administration has waged a retaliatory campaign against ABC for a single reason: it disapproves of what ABC broadcasts,” the lawsuit stated.
The lawsuit is heavy in references to Trump’s attacks on the network and calls for it to lose its licenses, including his complaints over the way that ABC News moderated the 2024 presidential debate, during an attack on a news reporter who asked about releasing the Jeffrey Epstein files, and in a Truth Social post in which the president complained about late-night shows being “100% negative” to him.
The lawsuit also cited Carr’s warning to ABC last September, after Kimmel made a joke tied to the investigation into the assassination of Charlie Kirk. On a podcast, Carr said that “we can do this the easy way or the hard way,” adding that companies could take action “or there is going to be additional work for the FCC ahead.” Two major station groups with network affiliates said that they would not air the show, and ABC pulled Kimmel from the air for several days before restoring him to the air.
In the lawsuit, the network said that it anticipated the FCC taking action soon following a public comment proceeding on whether to renew the stations licenses. Bloomberg reported that the FCC may issue a hearing designation order this month, a regulatory move that would kick off an agency adjudication process to determine the fate of the licenses.
ABC stated in the lawsuit, “Any FCC adjudication would be a charade. The Commission cannot lawfully grant renewal this early in the license terms—the only outcomes on the table are adverse to Plaintiffs. At one extreme, the Commission may intentionally prolong the adjudicative process, miring ABC in years of costly litigation, with the threat of adverse action ever present and with every editorial judgment shadowed by the prospect of provoking the Administration into further retaliation.”
The network’s legal team added, “At another extreme, the Commission may use the hearing to deny license renewal or immediately revoke the Stations’ licenses, forcing Plaintiffs off the air entirely, as the President has repeatedly demanded. In either scenario, the Administration accomplishes its goal of eliminating a perceived media critic: either it gets Plaintiffs to fall in line, or it silences them if they refuse.”
An FCC spokesperson did not immediately return a request for comment. In ordering the early renewal of broadcast licenses, the agency and Carr cited an ongoing investigation of The Walt Disney Co.’s diversity, equity and inclusion policies. The network called the investigation “pretextual,” arguing that it has cooperated but that “simply begat increasingly aggressive demands.”
ABC also cited more recent comments from Carr, including that the network’s decision not to air a primetime address from Trump last month would be part of the review of the broadcast licenses.
“The Commission’s true target is not the Stations’ employment practices or their carriage of a single presidential address; it is the content of Plaintiffs’ programming—and thus their speech,” the lawsuit stated. “Because the Commission cannot regulate that content directly, it has used its review of the Stations’ licenses as an instrument to the same end.”
The FCC under Carr has launched a series of investigations against the networks, including Comcast and NBCUniversal over its DEI practices, and CBS over the way that 60 Minutes edited an interview with Kamala Harris.
Up to now, no network had directly challenged the FCC via litigation, amid warnings that the agency under Trump was overstepping its authority by delving into content and editorial choices. The lawsuit cited the recent warning from Sen. John Kennedy (R-LA), who told an FCC official that the agency “scares me right now” and is “getting into the foothills of violating the First Amendment.”
ABC’s legal team wrote that the network was the “the visible target and suffers the most immediate harm, but the message is addressed to every broadcaster in the country, and the ultimate cost is borne by the press as a whole.” The lawsuit warned that “news organizations throughout the country are also watching and waiting to see the extent to which ABC and the Stations will be punished, as promised, for coverage that the Administration has deemed unfavorable—because if it happens to ABC, they could be next.”
After the suit was filed, Gigi Sohn, former counselor to FCC Chairman Tom Wheeler, wrote on X, “People need to understand what a big deal this is. Disney is doing what many of us had urged for many months – taking on the FCC’s weaponization of its regulatory power.”
The lawsuit names the FCC, Carr and its two commissioners, Olivia Trusty and Anna Gomez. The inclusion of Gomez, the sole Democrat, appears to be for litigation reasons, as the complaint also cites her criticisms of the Republican-controlled agency as waging a “sustained, coordinated campaign of censorship and control.”
The network is seeking a temporary restraining order and preliminary injunction to halt further action on the early license renewals, as well as an order that the FCC be prohibited from taking actions “to coerce or threaten” the network “with sanctions in an effort to alter their exercise of editorial discretion.”
Its lead attorney on the complaint is Beth Wilkinson, who is also representing Paramount in its defense against an antitrust lawsuit brought by state attorneys general challenging its proposed merger with Warner Bros. Discovery.
Also cited by the network is a separate FCC investigation into The View. The agency is reviewing whether the show should be exempt from equal time rules, which require that broadcasters who feature presidential candidates provide comparable time to rivals, if requested. The network has argued that the FCC signaled back in 2002 that it fell under an exemption for news programming, only to have Carr threaten to reverse course earlier this year.
The first of the eight ABC stations were not set to face license renewal until 2028. As Carr opened proceedings in which the public could comment on The View investigation and the station licenses, the network launched an on-air campaign to elicit filings. More than 78,000 have commented so far on The View and more than 153,000 in the license renewal proceeding. The network said an analysis showed that the comments overwhelming supported its side.
If you post or watch videos on YouTube, you’re about to notice a surge in the number of views for each video.
The Google-owned platform announced on Monday that it is changing the way it counts a view. Starting Aug. 24, a view will be counted the moment a video starts playing, from the very first frame, YouTube said in a Community post.
YouTube never officially revealed how it previously counted views. The general understanding was that a user had to watch for at least 30 seconds to add a view to a long-form video. For YouTube Shorts, the company adopted its new first-frame policy last year.
“Historically, we’ve used multiple view counting systems across different formats. However, we’ve heard that creators want to eliminate this metric confusion and accurately understand their true exposure, which is why we’re making this update,” YouTube says.
This Tweet is currently unavailable. It might be loading or has been removed.
The new policy will apply to both Shorts and long-form videos across the globe. It’s unclear whether previews that play while hovering over a thumbnail count as a view; we’ve reached out to YouTube to learn more.
While the new system boosts numbers for creators, it may not necessarily boost their income. “This change will not impact creators’ earnings or how they become eligible for the YouTube Partner Program (YPP),” YouTube said, meaning you’ll still need 1,000 subscribers and 4,000 watch hours in the last 12 months to start making money from long-form videos. For Shorts, the number shifts to 10 million views over the last 90 days.
Starting Jan. 31, 2027, the eligibility threshold for monetization will be raised even further. As announced by YouTube earlier this month, you’ll need 8,000 watch hours from long videos and 20 million views from Shorts to qualify for its Partner Program. To remain part of the program, creators must meet channel activity requirements: 1,000 watch hours in the past 365 days, 1 million Shorts views in the last 90 days, or uploading either at least two long-form videos or five Shorts every 90 days.
Experience
Jibin is a tech news writer based out of Ahmedabad, India. Previously, he served as the editor of iGeeksBlog and is a self-proclaimed tech enthusiast who loves breaking down complex information for a broader audience.
Former creative collaborators continue to react to the sudden death of Hayden Panettiere at 36, with Tim Fywell (Happy Valley, The No. 1 Ladies’ Detective Agency), the British director of the 2005 Disney movie Ice Princess, on Tuesday paying tribute to her.
“It was really upsetting to hear yesterday of the death of Hayden Panettiere at the age of 36,” the director shared in a statement received by The Hollywood Reporter. “I worked with her 21 years ago when she played Kim Cattrall’s daughter in the Disney movie Ice Princess, which I directed. I remember a brave, sparky, dedicated young actress who lit up the set in rehearsals and then the screen with her vibrant talent.”
The movie, also featuring Joan Cusack, of course, starred Panettiere opposite Michelle Trachtenberg, who died last year at age 39. Video compilations of Trachtenberg and Panettiere’s characters, Casey Carlyle and Gen Harwood, respectively, started circulating on social media on Monday, with fans noting the film’s comforting feel of nostalgia amid the tragic deaths of its stars.
Ice Princess follows Casey (Trachtenberg), a brainy high school student, who gives up her path to Harvard to pursue her dream of becoming a professional figure skater. Panettiere plays Casey’s main rival-turned-supportive ally.
In his statement following Panettiere’s death, Fywell lauded the young duo. “Michelle Trachtenberg, Hayden’s co-star in the movie, and she were an amazing pair. Two very different personalities,” he emphasized. “Michelle – kooky, fun, with an infectious laugh and her brilliant sad-funny comic timing. Hayden – plucky and determined and perfectionist, spending hours practicing her skating and utterly focused on getting every acting take spot-on and truthful. Which she did.”
Concluded Fywell: “In what was often a tough and technically complicated shoot, and my first Hollywood movie, they were delightful to work with and great to have around. I remember them both with huge affection, how they were 20-odd years ago, at that relatively uncomplicated time of their lives, two shining talents, gone far too soon.”
