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  • Amélie Hoeferle on Sisterhood, ‘Sterling Point’ and How She Found Her Love for Acting

    Amélie Hoeferle on Sisterhood, ‘Sterling Point’ and How She Found Her Love for Acting

    Amélie Hoeferle was a 14-year-old girl waiting for her mom at a Cleveland, Tennessee, coffee shop, when a woman in her 20s approached her for a conversation that would change the trajectory of her life and career.

    She’d just finished her homework up and was nearing the exit when the young woman stopped her. “She said, ‘I know this is going to sound really weird, and it’s really freaking me out. I’m writing a screenplay right now and you look exactly how I imagine this character to be,’” a present-day Hoeferle tells The Hollywood Reporter.

    Neither Hoeferle or her mother knew what to make of it, but Hoeferle was never afraid of the woman nor scared of the situation. That 20-something woman, writer-director Erica Scoggins, it turns out, was a family friend, so a meeting was set to talk about the script. They spent hours talking and ended up making a short film together.

    “That was my introduction to film,” says Hoferle. “We went to a couple film festivals with it and flew to France. Erica’s really the main reason why I thought it would even be an option for me in life to do this.”

    Hoeferle, now 24, still regularly keeps in touch with Scoggins. The pair saw each other just weeks before the premiere of the actress’ Prime Video series Sterling Point.

    Hoeferle plays Ramona in the Megan Park-created coming-of-age series, which premiered Aug. 5. Sisterhood, something Hoeferle feels deeply about, plays a major factor in Ramona’s story. She and Sterling Point’s other lead character, Ella Rubin’s Annie, spend much of the series navigating their newfound relationship after meeting in the series premiere.

    “The concept of finding out you have a sister, but you don’t obviously have a relationship with her, really interested me,” Hoeferle says. The actress has a sister herself — she clarifies they’ve had a more conventional sibling relationship since birth and recently moved in together — so shooting Sterling Point really hit home.

    What initially drew her into the project was the complicated relationship between Ramona and Annie. It’s the heart of the story in Sterling Point, and it’s something that Hoeferle and Rubin talked about at length. “Sisterhood between two sisters is so raw, and it’s complicated. It’s a complicated relationship. When it’s good, it’s so good,” she says.

    “It feels like you are the luckiest person on earth to get this. I’m going to cry,” she adds, tearing up. Hoeferle admits she’s thinking of her real sister, who she’s thanked her parents for giving her.

    On the other hand, “When it’s bad, it’s earth-shattering. It’s like the rug is being pulled out underneath you,” she says.

    Hoeferle has a supportive and loving family, but she nonetheless relates to Ramona’s feelings of not having any family outside of Annie. “In those very rare moments where my sister and I don’t get along, it feels like my life is being really challenged, and my stability is being challenged because so much of who I am as a person, I am because of her,” she says.

    The feelings are easy to analyze after the fact, sometimes less so on set in front of cameras and a room full of people. Hoeferle found that the days where she and Rubin’s character had tension in their scenes could be particularly hard, because she couldn’t always access what it was like to be in such a fraught situation.

    “In those moments, my sympathetic nervous system might be a bit more on fire, and I have less access to what I’m saying, what I’m doing,” she says. “There’s a dolly all around you, and I felt so much internal pressure that day to portraying this in an honest way,” she says. Of one particular scene between Ramona and Annie, she says, “I couldn’t seem to access what that honest way would be because I feel like I almost suppress the memories of me fighting with my sister.”

    Those days were exceptions while making Sterling Point, however. “I was very thankful that I got to play a sister and explore that in a different world with different circumstances than my own,” she says.

    A big part of what made the experience, and the show itself, work was her chemistry with Rubin. “I wish I had an interesting answer for you, but it was very natural,” she says.

    Hoeferle had a feeling from the minute she met Rubin during the audition process that the pair clicked, but she wasn’t always sure of the future. “I wouldn’t even say I had a feeling it was going to be the two of us because I did not have that confidence with myself,” she says.

    When the pair met, Hoeferle had pneumonia. She wasn’t feeling the most confident and was soldiering through antibiotics, but she could still feel something special was happening.

    “You know when meet someone and you just feel a certain air between the two of you? There was something there with her in the room and it felt right,” she says. “We’re on the same railroad tracks right now. We have the same goal in mind, and that really translated onto set and into the scenes.”

    Hoeferle also liked that her character was sad, as odd as that might sound. She was able to show a “real” and “raw” portrayal of depression in a young woman, which enticed her to the role. “[Ramona’s] a sad person, and she has every reason to be,” she says. “She’s gone through things that I have never gone through. She’s gone through more than most 16- or 17-year-olds do.”

    Park gave Hoeferle and the rest of the cast much more freedom than most creatives would in finding their own characters. “I’ve done barely anything, so to be in a scene and for Megan to go, ‘Yeah, this is the script, but just go and play,’ was really disarming in the best way,” she says. “There’s just a level of understanding. I felt very trusted.”

  • California Pledged $750 Million a Year to Hollywood. But a New Law Has a Big Catch

    California Pledged $750 Million a Year to Hollywood. But a New Law Has a Big Catch

    The entertainment industry in California won a crucial lifeline when Gov. Gavin Newsom signed a $420 million boost to the state’s film and TV tax incentives program into law in 2025.

    Now, stakeholders claim that win is in jeopardy thanks to language in a recent state budget bill that was signed into law on June 29. And they’re racing to pass a solution by the end of the legislative session.

    “Budget bill SB 122 puts our program at risk by retroactively changing the rules and threatening the recovery efforts of our already fragile industry throughout California,” reads one letter that entertainment unions are encouraging their members to send to legislators. “Changing the rules after the fact creates uncertainty and instability, further disrupting our struggling industry.”

    The letter calls for the legislature to exempt the entertainment industry from the bill in question, SB 122. So far, around 350,000 such messages have been sent to legislators from union members, a spokesperson for the Entertainment Union Coalition tell The Hollywood Reporter.

    SB 122 extends temporary caps on the use of business tax credits over $5 million in a given tax year and, starting in 2030, enshrines a permanent tax credit cap of 70 percent of a taxpayer’s liability or $5 million, whichever is greater. Practically speaking, that means that if a major studio has earned tens of millions in tax credits in a single year by locating their productions in the state, it could take years to realize the full value of those credits.

    For instance Paramount nabbed $37.7 million in tax credits, including for Viola Davis thriller Ascent and a sequel series to the film Clueless, from the California Film Commission in its latest round of incentives. As the studio puts these projects into production, however, it will need to keep in mind that for now SB 122 is capping the amount of credits it can get back in a year to $5 million, with rules slightly modified starting in 2030. Same scenario for Disney, which received $45 million from California to shoot a big as-of-now untitled detective series in the state. Disney can only get back a fraction of the tax credits it earns in California annually.

    Critics say this slow payout process will diminish the value of California’s film and television tax credit program which, along with the uncertainty created by this sudden change in policy, could persuade skittish productions to take their business elsewhere.

    Legislators including State Assemblymember Rick Chavez Zbur and Senator Ben Allen — who both carried bills realizing 2025’s tax credit boost — are working on finding a legislative solution. “I am confident that we all can work together to make some changes to SB 122 that continues to allow the film tax credit program to achieve its goals, which is to preserve and grow the film and television industry in California,” Zbur said in an interview.

    Sources tell THR that entertainment organizations were blindsided by finding themselves exposed to the tax credit cap. Some were allegedly told that the industry would be carved out from the bill, only to later learn that they weren’t.

    To Zbur, it was a matter of simple confusion. “When we were voting on SB 122, I think there was confusion about the details of it. I think members believed that the film and TV tax credit was exempt from the program,” he said. “As it turns out, the exemption that was in the bill was an exemption only to the refundability aspects of the program, which basically meant that the program was not exempt in the end.”

    Since the $750 million tax credit was signed into law last year, Los Angeles hasn’t yet experienced a significant recovery in production levels. Still, advocates believe they may soon see a turnaround as projects that earned credits — like the nine TV shows recently awarded $145.5 million to film in California — get going. The budget trailer bill, they claim, will dampen a return to form that has barely gotten started.

    “Amending SB 122 is essential to helping to ensure that the next production happens in California rather than in the United Kingdom, Australia, Georgia, Vancouver or Saudi Arabia,” Brigitta Romanov, the president of the California IATSE Council, said in a statement to The Hollywood Reporter. “For IATSE members, this legislation is about helping to ensure the entertainment industry continues to fuel jobs that feed families and our state’s economy.”

    Also threatening momentum for production in California is the Paramount-Skydance Warner Bros. megamerger hanging in the balance. Amid legal fights over the legality of the deal, Paramount Skydance CEO David Ellison has threatened to move one or, if he succeeds in merging the companies, two studios out of California if the parties don’t come to a settlement by Oct. 1. The relocation threat may be an unrealistic bargaining tactic, but it’s not calming any nerves about production levels in California.

    Within this delicate environment, the fight against SB 122 has become a last-minute scramble, with advocates trying to get an amendment in motion before the legislative session adjourns on August 31. Some kind of solution to resolve industry concerns is expected to be proposed within the next week. 

    “Our success in last year’s fight was a direct reflection of the engagement and voices of our members,” at least a couple of entertainment unions have said in messages to members, referencing the 2025 tax credit increase. “We are now asking our members to once again use their voice to raise the concerns about our fragile industry and call for an urgent solution.”

  • Matthew McConaughey on the Time He Helped Catch a Murderer

    Matthew McConaughey on the Time He Helped Catch a Murderer

    Matthew McConaughey is officially back.

    On Friday afternoon, the revered actor descended upon Filmland, an annual film festival in Little Rock, Arkansas, to receive the Variety Legend & Groundbreaker Award as well as present a screening of his latest film, “The Rivals of Amziah King,” wherein he stars as a honey-maker who finds himself roped into a criminal plot. Directed by Andrew Patterson, and marking the stellar debut of co-star Angelina LookingGlass, “The Rivals of Amziah King” is the first film McConaughey shot in five years, and our critic said it marks a welcome return for the actor, with the role fitting him “like a glove” while also being “different from anything he’s every done.”

    Prior to the screening, the Oscar-winning actor sat down for a conversation with filmmaker Jeff Nichols, a Little Rock native and co-founder of both the Arkansas Cinema Society and its film festival, Filmland, as well as the man who directed McConaughey in 2012’s “Mud,” which marked the beginning of what became known as the “McConaissance.”

    McConaughey, 56, was his usual charming, gregarious self, regaling the crowd at the Arkansas Museum of Fine Arts with tales from the set, including his unforgettable film debut in Richard Linklater’s 1993 cult classic “Dazed and Confused” and working with Christopher Nolan on 2014’s “Interstellar.”

    “Christopher Nolan came to me because of ‘Mud,’” McConaughey told Nichols, since Nolan apparently got to screen an early cut of “Mud,” owing to a relationship with one of its producers, Aaron Ryder.

    And McConaughey had nothing but glowing praise for “The Odyssey” director concerning their time together working on “Interstellar.”

    “He’s an absolute general, but he’s first there and last to leave, and literally first up the mountain and last down the mountain. It’s hard, it’s long, it’s a full commitment,” said McConaughey, adding, “You don’t see a phone on that set. There’s no checking out with the outside world. You are consumed.” But he was also quick to note that Nolan “has a great sense of humor… without trying to be funny.”

    One of the most surprising revelations concerned McConaughey’s screen debut in an episode of “Unsolved Mysteries” that aired Dec. 2, 1992. McConaughey played Larry Dean Dickens, a Marine in Pasadena, Texas, who confronted a man, Edward Harold Bell, who was exposing himself to children. During the confrontation, which occurred back in August of 1978, Bell shot Dickens with a pistol, and then went back to his truck, grabbed a rifle, and shot him in the forehead, killing him. Bell then escaped to Mexico and Central America, where he was on the run for 14 years.

    Viewers recognized Bell from the reenactment in the “Unsolved Mysteries” episode and, on Feb. 14, 1993, a joint operation between the FBI and Panamanian National Police led to the capture of Bell in Panama City. Bell admitted to committing 11 murders, but was only convicted of Dickens’. He died in a Texas prison in 2019 at the age of 79.  

    Cue McConaughey, who cracked: “I’m gonna toot my own horn a little bit. The ‘Unsolved Mysteries’ episode I did? They caught the guy weeks later — based on what I did.”

  • Adam Scott Says Daughter Had to Watch His ‘Office’ Audition Tape in Acting Class: “What Not to Do”

    Adam Scott Says Daughter Had to Watch His ‘Office’ Audition Tape in Acting Class: “What Not to Do”

    Adam Scott‘s audition tape for The Office is now part of the curriculum in a prestigious acting class, he revealed during an appearance on The Tonight Show Starring Jimmy Fallon. But it’s not all good news for the actor, as he joked his audition is an example of “what not to do.”

    On Thursday night’s episode, Scott shared that his daughter participated in an acting program over the summer in New York while he and his family were in town as Scott films the third season of Severance.

    On the first day, Scott recalled, the teacher showed Scott’s Office audition and John Krasinski’s Office audition.

    “And then he put it to the class like, ‘OK. Let’s discuss why he got the job, and he didn’t,’” Scott said.

    Scott added that the teacher “had no idea” his daughter was in the class and that she was “mortified” by the experience.

    But Scott has found a silver lining to what happened.

    “I’m just happy to know that, like, in a prestigious acting class, I’m the subject of what not to do,” he joked to Fallon.

    Ultimately, the teacher realized who Scott’s daughter is: “When she was walking out, the teacher stopped her,” he recalled. “He’s like, ‘Hey, um, do you know one of them? Like, what…’ and then he kind of put two and two together with her last name, and he felt terrible.”

    Though Scott didn’t land the Jim Halpert role on The Office, he went on to work with Office writers Mike Schur and Greg Daniels on fellow NBC comedy Parks and Recreation.

    Scott told Fallon that he was currently filming the third season of Severance, noting that it had been almost two years since they finished shooting the second season of the acclaimed Apple TV workplace drama.

    But Scott was light on additional details, saying he can’t share anything about what happens in the new season, and he doesn’t even know when it will premiere.

  • HBAR price breaks $0.065 support — Is a 35% drop to $0.042 next?

    HBAR price breaks $0.065 support — Is a 35% drop to $0.042 next?

    The Hedera [$HBAR] token price has slipped below a local low at $0.065 and continued its bearish descent. Throughout 2026, the token has only seen a bearish side to its price action.

    Bounces, such as the 34.2% move toward the end of May, were quickly sold off. It appeared likely that the price would plunge another 35% in the coming weeks.

    In other news, Hedera highlighted the Web3 platform Kabila built for content creators, natively on Hedera. This will help target a problem in Web3, which is creators generating value while platforms control monetization.

    The long-term $HBAR price woes

    Interestingly, the Hedera token had rallied from $0.0417 to $0.4015 in November 2024 to January 2025. It has been retracing the move since then and has fallen below the 78.6% retracement level of this bullish move.

    This meant that, despite the persistent 18 months of bearish price action, the $HBAR long-term bias was bullish.

    That would be little solace to underwater investors and swing traders, though. As things stand, they can maintain a bearish bias for the coming weeks.

    Source: $HBAR/USDT on TradingView

    The price has slipped below the July low at $0.0653. The Stochastic RSI was in the bearish depths even on the daily timeframe, and the RSI was well below neutral 50. The RSI has been below neutral 50 for the majority of 2026, highlighting persistent downward momentum.

    The OBV was also in a slow decline, showing sellers have the upper hand.

    Seller dominance is evident on the price charts, too. As the daily timeframe highlighted, the $0.118 level, the 78.6% Fibonacci retracement on the HTF, was ceded very early in the year.

    Hence, a 35% move down to the $0.0417 area can be anticipated.

    Traders’ call to action- Sell

    The $HBAR price has slipped below July’s low, and further drawdown is likely, the technical indicators showed.

    Source: CoinGlass

    The 1-month liquidation map showed that the cluster of long liquidations around $0.065 has been hunted down for the most part. This can set up a potential price bounce toward a magnetic zone to the north.

    In this case, the $0.070-$0.073 area would be a target in case of a bounce.

    Yet, from a $HBAR price action perspective, the $0.0665-$0.0685 area represented a challenging supply zone. A bounce to either of these two regions would represent a selling opportunity.


    Final Summary

    • The $HBAR price action has been bearish throughout 2026.
    • The recent drop below the July swing low meant that a 35% slide can be expected in the coming weeks and months.

  • Music Industry Moves: Megan Thee Stallion Announces Partnership With Interscope Records

    Music Industry Moves: Megan Thee Stallion Announces Partnership With Interscope Records

    Megan Thee Stallion has announced a new partnership with Interscope Records, which will handle the global distribution of her music, among other strategic support.

    As part of the newly inked deal, the rapper will continue on as an independent artist in complete control and ownership of her masters and publishing. Interscope will provide global distribution and strategic support for her upcoming releases through her own entertainment shingle, Hot Girl Productions.

    “I’ve always wanted to create music on my terms while building a legacy that extends beyond the industry,” said Megan in a statement. “This distribution partnership with Interscope allows me to stay true to my creative vision while also increasing my global reach. I’m excited for this next chapter of growth and the expansion of my Hot Girl Productions empire.”

    “From the moment Megan emerged, it was clear she was a singular artist with an unmistakable voice and an extraordinary ability to shape culture on her own terms,” adds Steve Berman, vice chairman of Interscope Capitol. “She has consistently redefined what it means to be a global superstar—combining creative excellence, entrepreneurial vision and an uncompromising authenticity. We’re honored to welcome Megan to the Interscope family and excited to partner with Roc Nation as we support her next chapter.”

    “Megan has always approached her career with a focus on ownership, creative freedom and long-term impact,” says Roc Nation CEO Desiree Perez. “The ability to maintain her independence and own her masters is a testament to the vision that has guided her career from the beginning. We look forward to working together with Interscope’s team and tapping into their global resources to further elevate this new era of her career.”

    Megan had previously signed a deal with Warner Music Group in February 2024 to release music through her Hot Girl Productions shingle. Much like her agreement with Interscope, the Warner deal allowed for her to remain an indie artist while being able to access the company’s promotional resources.

    + 1916 Enterprises has signed Grammy-nominated artist-songwriter-producer MNEK for management, the company has announced. The partnership comes in advance of MNEK forthcoming album “Bulldozer!!,” due September 18, and a headline U.K. and European tour this fall. He also recently inked a new publishing deal with Sony Music.

    Over the past decade MNEK (born Uzoechi Emenike) has developed a formidable catalog as a hit songwriter, with tracks for Beyoncé (“Hold Up” and “Sorry”), Dua Lipa (“IDGAF”), Selena Gomez (“A Sweeter Place”) and Zara Larsson (“Never Forget You” and “Ain’t My Fault”). 

    “We’re so excited to welcome MNEK to 1916,” said Ruchir Mohan, Partner at 1916 Enterprises. “He’s a creative force whose influence on pop music is undeniable, but what really excites us is where he’s headed next. We truly believe this next era has the potential to be his biggest yet and we’re honored to be part of that journey.”

    + The independent distribution platform UnitedMasters, which has enjoyed hits with Brent Faiyaz, BigXthaPlug, FloyyMenor and more, has appointed Todd L. Perry II as VP and head of artist and label marketing, Luca Zanello as head of brand & sync, Goldie Harris as head of commerce and Jason Peerless as VP of artist & label operations.

    Perry II joins from Warner Records, where he served as VP / head of artist and label marketing; Zanello was previously with the Orchard, Roc Nation, and MSM Group; Peerless joins after 12 years at Universal Music Group, including 10 years at Def Jam Recordings.

    “We’re excited to welcome this exceptional group to UnitedMasters as we continue redefining what independence looks like,” said CEO Steve Stoute. “These hires reflect our continued investment in the infrastructure, partnerships, and talent needed to help artists build sustainable careers on their own terms, especially this year as we are achieving milestones within the global music sector of the business.”

    + Seeker Music, the creator-led music rights, publishing and record company led by songwriter-executive Evan Bogart, is relaunching its record label imprint Music Is Fun as what it describes as the industry’s first-ever label built entirely around catalog flips. Its inaugural release, “Vacation” by Flo Rida featuring Sage the Gemini, is out today. The new track reimagines the Go-Go’s classic of the same name co-written by Charlotte Caffey, whose catalog is represented by Seeker, as are songs by Joan Jett, Christopher Cross, Run the Jewels, Jay Sean, Jon Bellion, and more.

    “The label will bring together contemporary artists, songwriters and producers to sample, interpolate, remix and reinvent songs across the portfolio, with Seeker identifying concepts, assembling collaborators and releasing the resulting music from start to finish,” the announcement states.

    Bogart said: “At Seeker, we believe celebrating great music isn’t just about preserving legacy. It’s about extending it by introducing the songs we love to new generations. In the six years since we formed the company, we’ve shown through hits with Shaboozey, Pop Smoke, Coco Jones, Drake, and more, that we know how to successfully take an incredible song and re-invent it.”

    + AEG Presents has entered into a strategic partnership with Creativeman Productions, a leading Japanese concert promotion and live events company. The two companies will work together to create new opportunities for artists to connect with audiences throughout Japan. In addition, this partnership provides a platform for expansion across the region for AXS, AEG Presents’ ticketing company.

    Founded in 1990, Creativeman Productions promotes concerts, tours, and destination events under the leadership of CEO Naoki Shimizu. In addition to concert promotion, Creativeman owns and operates a diverse portfolio of festivals that span multiple genres, including its signature festival Summer Sonic, which launched in 2000 and has featured Radiohead, Oasis, Metallica, Linkin Park, Daft Punk, and the Red Hot Chili Peppers along with top Japanese acts.

    “Over the past 37 years, Creativeman has grown from a company with just 2 staff members to become the largest independent music promoter in Asia,” commented Shimizu. “This strategic partnership with AEG Presents will propel our growth as we expand our festivals and artists from Japan to Asia and the rest of the world.”

    Shawn Trell, Executive Vice President and Chief Operating Officer of AEG Presents, added, “Creativeman is an important presence in Japan and across the region. The company’s vision and business strategy align perfectly with ours, and we’re thrilled to be entering into this partnership together.”

    + Warner Chappell Music has signed Kurdish rapper Fat Papi and New Zealand-born producer Prodshushy to worldwide publishing deals. The two agreements will encompass the two artists’ entire catalogue and future works, including their hit “Fraked Out.”

    Fat Papi shares: “I’m excited to join Warner Chappell Music, home to so many legends and icons. I’m also really proud to represent both my Kurdish and New Zealand people with my music on the international stage”. prodshushy continues: “It’s a privilege and an honour to be represented by Warner Chappell Music for publishing. I’m looking forward to working with the team and building connections with their fantastic roster of writers.”

    Warner Chappell’s Nashville division has also partnered with Twelve6 Entertainment for a global publishing deal with rising singer-songwriter Lucas Ball. The signing comes on the heels of his breakout single, “You Only Call When It’s Raining.”

    Ball shared: “I’m so happy to be a part of the fantastic Warner Chappell and Twelve6 teams. I never thought I’d be in this position in life. Everyone has been so welcoming to me, and I’m excited to see where this road leads. God Bless Country Music.”

    + Influence Media Partners has announced a strategic investment supporting the launch of IPNation as the first investment platform dedicated exclusively to Arabic music catalogs and entertainment intellectual property. With a target investment size of $100 million, IPNation will focus on acquiring, developing and growing iconic music and entertainment intellectual property across the Middle East and North Africa (MENA) region.

    The company was founded by Eddy Maroun, co-founder of Anghami, and Jose Maria Dot, former Chief Investment Officer of Multiply Group (now 2PointZero) and Managing Director at FTI Capital Advisors. Backed by Influence Media Partners, IPNation aims to build and grow a portfolio of iconic Arabic music and entertainment IP.

    Headquartered in the UAE, IPNation invests in music masters and publishing rights, artist brands, Name, Image and Likeness, and entertainment intellectual property originating from the Arab world. Beyond acquisitions, the company will actively develop acquired intellectual property into multi-format entertainment franchises spanning immersive experiences, live shows, film, documentaries, merchandise, gaming, licensing, AI-powered derivatives, and next-generation fan engagement.

    + Make Wake Artists has announced a partnership with One Twenty One Management, founded by Adam Hale and home to Muscadine Bloodline, Ben Chapman and Josh Weathers. Joining Hale in the partnership is Ivan “Churro” Haro, who serves as Day-To-Day manager for Muscadine Bloodline, Josh Weathers and Ben Chapman.

    “Kappy and I first met years ago in the UK while I was tour managing Kip Moore and he was helping build Luke Combs’ career,” Hale says. “I’ve admired how he’s grown Make Wake with a fan-first mindset, and I believe that philosophy pairs naturally with my artist-first approach built on integrity, communication and execution. On top of that, Jarrod Holley has been one of my closest friends for more than 20 years. We talk every single day, bouncing ideas off each other and helping each other navigate this business, so at some point it just made sense to be working under the same roof.”

    “I’ve always believed that the best partnerships are built on shared values before shared success,” adds Chris Kappy, Founder of Make Wake Artists. “Adam Hale and the Muscadine Bloodline team have built something authentic by staying true to who they are, and that’s exactly the kind of artist and people we want to be in business with.”

    + Virgin Music Group has appointed Syaheed MSBI to the position of Vice President of the AMEA region at the company. Syaheed will oversee the company’s activities in Africa, Middle East, and Asia (AMEA). He joins Virgin after more than 13 years at Believe, where he was most recently Global Artist Success & International Director. He was also instrumental in building out the company’s team and offices in Singapore and Malaysia. He got his start by establishing his own independent music company, Bedsty, in 2002.

    “Syaheed has built his reputation as a fierce advocate for artists first as a founder of his own independent music company and later as a seasoned exec building a robust business in support of independent labels and artists,” said Michael Roe, Virgin Music Group’s Managing Director of AMEA. “With his deep connections on the ground across AMEA, we’re looking forward to having him come in to lead and inspire our great team.”

    + Merlin, the global digital music licensing partner for the world’s leading independent labels and distributors, has named Jon Glass as General Counsel.

    Based in New York, Glass joins Merlin following nearly two decades in senior business & legal affairs leadership roles across the global recorded music business, most recently serving as Senior Vice President, Head of Digital Legal Affairs at Warner Music Group. Prior to Warner, he worked in digital business & legal affairs at Sony Music Entertainment and practiced law at several firms, including Morrison & Foerster LLP.

    Glass will report to Merlin CEO Charlie Lexton and will lead Merlin’s Business & Legal Affairs function while also assuming responsibility for the organization’s partnerships team.

    Lexton said, “Jon is one of the most respected legal executives in the digital music business. He brings an exceptional combination of legal expertise and commercial judgement with a highly developed understanding of the opportunities and complexities facing Merlin. As the digital playing field continues to evolve, we need to ensure we are coordinated in the way we think about the relationships we build with our partners. Bringing our Business & Legal Affairs and Partnerships teams together under Jon’s leadership is designed to do exactly that and will help us deliver even greater value for our members.”

    + Independent publishing company Tape Room Music has promoted Caroline Hodson to vice president of A&R. A graduate of Belmont University, Hodson joined Tape Room as an intern in 2020 and has advanced through the company’s A&R department.

    “Caroline is one of the best young executives in our business,” shares Tape Room Music COO and President, Business Affairs Blain Rhodes. “She is a fierce champion of songwriters and the ultimate teammate. She has been vital in the success of our writers and entirely deserving of this promotion.”

  • France Tax Data Leak Could Fuel Scams, Attacks Targeting Bitcoin Holders

    France Tax Data Leak Could Fuel Scams, Attacks Targeting Bitcoin Holders

    In brief

    • A reported breach of France’s tax authority exposed data tied to 678,437 people and businesses.
    • The records allegedly include income figures, addresses, tax identifiers, and family information.
    • The data could help criminals craft targeted scams against wealthy taxpayers and Bitcoin holders.

    A hacker is selling a trove of French tax records that could expose more than 678,000 people and businesses, including Bitcoin holders, to phishing, identity theft, and targeted attacks.

    According to a report by French cybersecurity outlet FrenchBreaches, a hacker is selling records allegedly stolen from France’s tax authority, the DGFiP, during a June breach for several thousand euros.

    Myriad: Bitcoin's next move? Click to make your prediction.
    Myriad: Bitcoin’s next move? Click to make your prediction.

    “More bad news for Bitcoiners living in the leading country for wrench attacks,” Chief Security Officer at Bitcoin security platform Casa Jameson Loop wrote on X. “The French tax authority has been hacked, and 678K records leaked.”

    FrenchBreaches said the database contains records on 392,867 individuals and 285,570 professionals, including 26,805 people with reference tax income of at least $116,000, 386 above $1.16 million, and eight above $11.6 million; the hacker is reportedly offering the file for several thousand dollars.

    FrenchBreaches said a sample of the leaked data included names, birth details, home and email addresses, phone numbers, income figures, withholding tax rates, family status, dependents, and tax-share information.

    “There DGFiP officially confirms the intrusion in its information system,” FrenchBreaches wrote in an update. Stolen credentials were used in late June to access and extract taxpayer data, and the number of people affected remains under investigation, the firm added.

    According to FrenchBreaches, the attacker used stolen VPN credentials and an internal search tool to extract names, contact details, tax identifiers, income figures, withholding rates, and family information before officials cut off access.

    “A scammer with real tax information and knowing of the existence of an old approach to the DGFiP could, for example, construct a fraudulent message that is much more credible than a simple fake generic email,” FrenchBreaches wrote.

    While the FrenchBreaches report focused on the data leak, it comes amid a rise in wrench attacks, in which criminals use violence or threats to steal cryptocurrency.

    In July, CertiK reported 52 attacks worldwide during the first half of 2026, including 33 in France. Earlier this month, Chainalysis reported 46 attacks through June, including 30 in France, with more than $30 million stolen.

    “Criminals have recognized that crypto holders are high-value targets because they possess wealth in an instantly and irreversibly transferable form,” Chainalysis wrote.

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  • Germany’s Crypto Holding Period: Two Tax Models Are on the Table, and €21,100 Separates Them

    Germany’s Crypto Holding Period: Two Tax Models Are on the Table, and €21,100 Separates Them

    The information provided in this article is for informational purposes only and does not constitute financial advice. Cryptocurrency investments carry a high degree of risk.

    Germany’s one-year rule is the best-known crypto tax rule in Europe: hold a coin for more than twelve months, sell it, owe nothing. Since the German cabinet’s 2027 budget decision, one sentence has appeared in almost every report about its future: crypto gains will be taxed like stock gains. That sentence is wrong twice over, and both errors can be checked against documents anyone can download.

    It is wrong first because, as of 12 August 2026, there is no law and not even a ministry draft on crypto taxation. It is wrong second, and this matters far more, because two entirely different models are circulating. On a €100,000 gain held for more than twelve months, the two models are €21,100 apart. Which one ends up in the statute book is genuinely open, so anyone talking about “the” German reform is talking about nothing in particular.

    Key facts at a glance

    • As of 12 August 2026 there is no law and no ministry draft on crypto taxation. The working draft of Germany’s Annual Tax Act 2026, published on 13 July 2026, contains no crypto provision at all.
    • Two models are in circulation: moving crypto into capital income under section 20 of the Income Tax Act (cabinet decision of 6 July 2026), and keeping it in section 23 but deleting the one-year rule (bill 21/5752 of 5 May 2026).
    • On a €100,000 gain that is €26,375 versus up to €47,475, a difference of €21,100.
    • The bill was rejected in the finance committee on 20 May 2026. Only Die Linke voted for it; the conservatives, the AfD and the Social Democrats voted against.
    • Under that bill, gold, antiques, artworks, historic vehicles and foreign currency keep the one-year rule explicitly. Exactly one asset class is carved out.
    • Revenue estimates range from roughly €300 million to €11.4 billion a year. That is a factor of 38.

    How the German rule works today

    Under section 23 of the German Income Tax Act, crypto assets count as “other economic goods”. A private sale is taxable only if fewer than twelve months passed between purchase and disposal. Sell earlier and the gain is added to your ordinary income at rates up to 45% plus the solidarity surcharge. Sell later and the gain is not taxed at all.

    One detail matters for the debate that follows: this is not a preferential crypto regime that someone invented for Bitcoin. It is the general rule for privately held assets such as physical gold or a classic car, and Germany’s Federal Fiscal Court confirmed in February 2023 that crypto falls under it (case IX R 3/22).

    Nothing about that has changed. Whatever comes next, the documentation burden lands on the taxpayer, which is why acquisition records are the practical bottleneck in every scenario. Tools that produce a German-compliant tax report are listed in our crypto tax software comparison.

    Model 1: capital income under section 20

    This is the finance ministry’s line. Crypto would be lifted out of private disposals and treated like interest, dividends and stock gains, at the flat withholding rate of 25% plus the 5.5% solidarity surcharge on that tax, giving 26.375%. Add church tax and the burden lands near 28%, depending on the federal state.

    No legal text exists for this model. Not a draft, not a paragraph. Everything written about it rests on a budget document and on the finance minister’s public statements. That leaves open exactly the questions that decide the real burden: whether the €1,000 saver’s allowance would apply, how losses could be offset, and whether crypto exchanges would become paying agents that withhold tax at source.

    Model 2: staying in section 23, without the deadline

    This model has one advantage over the first: it exists as finished statutory language. The bill from the Green parliamentary group carries the number 21/5752, is dated 5 May 2026, and is titled, in translation, a bill “to close a fairness gap in the taxation of crypto assets”.

    Article 1 number 1 inserts a new sentence into section 23:

    “The one-year deadline in sentence 1 does not apply to disposals of crypto assets.”

    Crypto would remain an “other economic good”. The explanatory memorandum states the consequence plainly: gains would be taxed “regardless of the holding period, on disposal, at the personal income tax rate”. Depending on other income, that is up to 45% plus the solidarity surcharge.

    The bill was rejected in the finance committee on 20 May 2026. Only Die Linke supported it. The Social Democrats, who share the goal, voted against it because they wanted to wait for their own finance minister’s proposal. That makes the text dead as a vehicle but very much alive as a blueprint: it is the only fully drafted statutory language anyone has produced on this question.

    The comparison: €21,100 on the same gain

    The following assumes a sale with a €100,000 gain after more than twelve months, no church tax, and no other private disposals in the same year.

    The gap between the ministry’s model and the drafted bill at the top rate is therefore €21,100 on an identical gain.

    One detail almost every summary omits: the solidarity surcharge behaves differently in the two models. On the flat withholding tax it is levied without any threshold. On assessed income tax it only kicks in above a threshold that most taxpayers no longer cross. At the 42% and 45% marginal rates assumed above the threshold is comfortably exceeded, so the surcharge applies. On smaller gains and lower other income the arithmetic changes, which is precisely why the blanket claim “crypto is about to get more expensive” is worth so little.

    Three ways the bill is worse than stock taxation, not equal to it

    The rate. Stock gains face 25% plus surcharge. The bill applies personal rates up to 45% plus surcharge. That is not parity; it is a penalty of up to 21.1 percentage points.

    Loss offsetting. Losses from private disposals under section 23 may only be netted against gains from other private disposals. They sit in their own narrow bucket and cannot be set against interest or dividends. Under the section 20 model, crypto losses would join the much wider capital-income bucket.

    Withholding. Section 23 has no withholding mechanism by design. Every single disposal has to be declared, with acquisition date, cost basis and proceeds. The section 20 model could in principle withhold at source, but only through a domestic paying agent. How that would work for exchanges based elsewhere in the EU appears in neither document.

    Gold, art and classic cars keep the one-year rule

    The most revealing passage of the bill is not in the statutory text but in the reasoning, where the drafters explain why singling out crypto is justified:

    “The provision is appropriate because other economic goods such as physical gold, antiques, artworks, historic vehicles or foreign currencies are used for speculative gains to a considerably lesser extent.”

    So the bill does not clean up the system. It removes one asset class and justifies that with an assumption about how investors behave. That is where the constitutional exposure sits: Germany’s Article 3 equality clause requires an objective reason for unequal treatment, and whether a behavioural assumption qualifies would be for the courts to decide. The same section states that crypto assets have “not proven themselves as a digital equivalent to gold and other precious metals”.

    The reasoning also contains a claim that does not survive checking. It says Germany is “almost the only country within the European Union” that exempts gains after a short holding period. Portugal exempts after 365 days and taxes shorter holdings at 28%. Czechia has exempted disposals after three years since the 2025 tax year. Luxembourg applies a six-month speculative period. Holding-period exemptions are not the German anomaly the bill describes.

    The cut-off date is already in the past

    The bill’s application clause turns solely on when an asset was acquired. The new rules would first apply to disposals of assets “acquired or created after 31 December 2025”.

    The bill is dated 5 May 2026. The cut-off was therefore more than four months in the past when the text was introduced, and the reasoning says so openly: the new rules apply to crypto acquired from 1 January 2026, because for those assets “the one-year holding period existing until the law enters into force has not yet expired”. The drafters lean on a 2010 ruling of the Federal Constitutional Court, which held that the “mere possibility of collecting gains tax-free at a later date” creates no legally protected position.

    There is also a gap the bill simply does not address. Under the finance ministry’s circular of 6 March 2025, holding periods for identical crypto assets are determined asset by asset where possible and otherwise first-in-first-out, wallet by wallet. The bill writes that consumption order into law only for foreign currency amounts, not for crypto. With an acquisition-based cut-off, the protected older holdings would in case of doubt be consumed first. How that interacts with the political promises of grandfathering is a story of its own, and we will take it apart separately.

    The reform paradox: day traders would pay less

    The argument that turns the debate on its head comes from the conservative side. On 31 July 2026, CDU member of parliament Olav Gutting spelled out what the ministry’s model does to short-term sellers: today, someone selling inside the one-year window pays their personal rate of up to 45%. Under the section 20 model it would be a flat 25% plus surcharge.

    The reform would therefore relieve the high-earning day trader and burden the long-term holder who could previously sell tax-free after twelve months. That is the opposite of the stated intention, and it holds whatever you think of the holding period itself.

    Nobody knows what this raises: estimates differ by a factor of 38

    The distance between the lowest and the highest figure is a factor of 38. That is no longer estimation uncertainty; it means nobody knows the order of magnitude.

    Two qualifications, both important. The Austrian figure first: the Austrian finance ministry reports around €33.84 million of capital gains tax from crypto for 2024, and that is the total collected since service providers began withholding on 1 January 2024. It is not the isolated yield of Austria’s 2022 abolition of its holding period, so it functions as a ceiling on that yield rather than a measurement of it. Scaled to Germany by population it gives the €300 million above, and that stays a ceiling too. Austria also shows what grandfathering looks like in practice, because holdings bought before March 2021 stayed outside the new regime, as we set out in our piece on Austrian pre-2021 holdings.

    Second, the €11.4 billion. On 15 March 2026 the Bitcoin Bundesverband published an open letter with 15 questions about the €11.4 billion estimate, addressed to Blockpit and to the study’s author Co-Pierre Georg, covering data provenance, sample representativeness, extrapolation method and the absence of error margins. Its core line: the greater the political impact of a number, the higher the standard of transparency it has to meet. To our knowledge the questions remain unanswered.

    The path that number travelled is instructive. In the finance committee session of 20 May 2026 the Greens cited the study and its €11.4 billion, then halved the amount in their own calculation and wrote “at least about €5 billion” into the bill. The bill gives no reason for the halving.

    Why this is not only a German story

    Two threads reach beyond Germany. The bill’s own reasoning points to the European Parliament’s proposal for the 2028 to 2034 budget framework, which includes a levy based on a uniform rate on capital gains from crypto assets as a possible new EU own resource. Germany’s domestic argument is being made with one eye on Brussels.

    The second thread is data. Under DAC8, centralised crypto service providers in the EU have been collecting reportable information since 1 January 2026, with the first exchange of data scheduled for September 2027, as we set out in our piece on automatic crypto tax reporting in Germany. Whatever rate a country lands on, the visibility question is already settled, and self-custodied holdings sit outside that reporting net rather than outside the tax law.

    What this means in practice

    None of this produces an instruction, and anyone handing you one knows the statutory text no better than everyone else does. Three sober points remain.

    Acquisition records are the bottleneck in every scenario. If the deadline survives, they prove the exemption. If it goes, they establish the gain. If grandfathering arrives, the acquisition date decides the treatment of every single lot. Export the transaction histories from your trading venues while the accounts are open and store them off the platform; Germany’s filing deadlines do not wait for the political process, as our note on the German crypto tax deadline showed. The tax-report capabilities of each venue are listed in our exchange comparison, and holdings on a hardware wallet need their address mapping documented by you.

    Selling as a precaution is a bet on an unknown rule. Selling today to get ahead of a cut-off date nobody has defined can trigger a tax that holding would never have caused. That is an observation, not a recommendation in the other direction.

    Watch the wording, not the headline. The two models differ on rate, on loss offsetting, on withholding and on the cut-off date. Any report that does not say which model it is describing is not telling you what you need to know.

    Our managing director Dennis Weidner has worked through the primary documents, the arithmetic and the European comparison in his statement on the crypto holding period and the finance committee’s reply. Individual tax questions belong with a qualified tax adviser; this article does not replace one.

    FAQ

    Has Germany abolished the crypto holding period? No. As of 12 August 2026, section 23 of the Income Tax Act applies unchanged: after more than twelve months of holding, the gain is untaxed. There is no adopted law and no finance ministry draft on crypto taxation. The working draft of the Annual Tax Act 2026 of 13 July 2026 contains nothing on the subject, though a provision could still be added before the cabinet stage or later in the parliamentary process.

    What is the difference between the two models? Under the section 20 model, crypto becomes capital income taxed at a flat 25% plus solidarity surcharge, giving 26.375%. Under the section 23 model it stays an “other economic good” but loses the one-year deadline and is taxed at the personal income tax rate of up to 45% plus surcharge.

    How much tax would €100,000 of gains attract? Today, after twelve months, nothing. Under the section 20 model, €26,375. Under the section 23 model, €44,310 at a 42% marginal rate and €47,475 at the 45% top rate, in each case before church tax.

    Would new rules apply to coins I already hold? The only fully drafted bill, 21/5752, turns on the acquisition date and captures everything acquired after 31 December 2025. No text exists for the ministry’s model. The conservatives have promised protection for existing holdings, while Die Linke explicitly rejects any transition period. The state of that debate is in our piece on petition 201716.

    Does physical gold stay tax-free after a year? Under the Green bill, yes. It removes only crypto assets from the one-year rule and names gold, antiques, artworks, historic vehicles and foreign currencies as goods that keep it.

    Does this affect me if I am not a German tax resident? Generally no; these rules govern German income tax. The reason to follow it anyway is that Germany’s one-year exemption is the reference point other European debates measure themselves against, and the same bill points to an EU-level levy on crypto capital gains as a possible own resource from 2028.

    When could a new rule take effect? 1 January 2027 is the announced date. That would require a ministry draft, an association consultation, three readings in the Bundestag and the federal council to be completed by December 2026. None of those dates is confirmed.


    None of this is settled: the ministry draft is still outstanding, the consultation of associations follows, a first reading is pencilled in for 7 to 11 September and the federal council for 18 December. Each of those steps can change which of the two models applies and which cut-off date sits inside it. We read every new text against the primary sources and summarise weekly what actually changed in the wording, in English and in German. Stay with it on cryptoticker.io.

    Sources

    • German Bundestag: Bill 21/5752, on closing a fairness gap in the taxation of crypto assets (PDF in German, statutory text and reasoning, 5 May 2026)
    • German Bundestag, heute im bundestag: Greens fail with their push on crypto asset taxation (finance committee vote, 20 May 2026)
    • Federal Ministry of Finance: Individual questions on the income tax treatment of certain crypto assets (PDF in German, circular of 6 March 2025, replacing the 10 May 2022 circular)
    • Section 23 of the German Income Tax Act as currently in force
    • Federal Constitutional Court: decision of 7 July 2010, 2 BvL 14/02 and others (paragraph 64, relied on in the bill’s reasoning)
    • Bitcoin Bundesverband: The €11.4 billion question (open letter with 15 questions, 15 March 2026)
    • Dennis Weidner: The crypto holding period and the finance committee’s reply (model comparison, revenue range, holding periods in Europe, 12 August 2026)
    • Austrian Federal Ministry of Finance, capital gains tax collected on cryptocurrencies in 2024 (€33,839,499.66 in total, withholding by service providers since 1 January 2024)

    Note on AI use: AI tools were used for this article – in research and drafting, and for the header image, which is AI-generated and does not depict a real event. All figures, claims and sources are editorially checked before publication.

  • Ian Crafford, Editor of ‘Hope and Glory,’ ‘Field of Dreams,’ Dies at 82

    Ian Crafford, Editor of ‘Hope and Glory,’ ‘Field of Dreams,’ Dies at 82

    Ian Crafford, who edited notable films including John Boorman’s “Hope and Glory” and “Field of Dreams,” died July 22 of cancer at his home in Brazil. He was 82.

    Born in Hemel Hempstead, U.K., Crafford started working at Elstree Studios at the age of 17 and enjoyed it so much he never returned to school, according to his son Scott.

    He went on to become the youngest first assistant editor in England, working with editors such as the renowned Ann Coates. He worked in several departments including sound, ADR (Sophia Loren requested him to do her ADR, his son noted), and worked on sound effects for “Monty Python’s Holy Grail” in 1975.

    One of his first credits as editor was working with Richard Burton on “Medusa Touch.” He went on to serve as editor for the James Bond film “Never Say Never Again,” directed by Irvin Kershner, in 1983. In 1985, he traveled with Boorman to Brazil for the production of “Emerald Forest,” and fell in love with the country to which he later retired.

    Crafford received a BAFTA nomination for editing Boorman’s next film “Hope and Glory,” about a young boy living in London during the WWII bombings. He moved to America, where he edited the Kevin Costner-starring “Field of Dreams,” for which he received an ACE Eddie nomination, the book adaptation “The Indian in the Cupboard,” “Thunderheart” and “Class Action.”

    His last film was the 2012 comedy “The Hot Potato.”

    He is survived by his wife Antonia and his four children Scott, Roberta, Monyka and Paul.

  • Trump-backed World Liberty wins conditional bank charter from federal regulator

    Trump-backed World Liberty wins conditional bank charter from federal regulator

    A federal bank regulator has granted World Liberty Trust Co. a conditional bank charter, it announced Friday.

    The Office of the Comptroller of the Currency, the U.S. banking agency that grants federal charters, said in a letter posted to its website that World Liberty could operate fiduciary and other trust company-related activities as a national trust bank.

    “This preliminary conditional approval is granted based on a thorough evaluation of all information available to the OCC, including the representations and commitments made in the application and by the Bank’s representatives,” the letter said.

    Final approval won’t be granted until the company meets additional “preopening requirements,” the letter said.

    According to the letter, World Liberty Trust Company will focus on services tied to World Liberty Financial’s $USD1 stablecoin.

    “The bank plans to issue $USD1, a fiat currency-backed stablecoin, to institutional clients on a nationwide basis, assuming this role from BitGo Bank & Trust, National Association (BitGo), the current exclusive issuer and custodian for $USD1,” the letter said. “The bank plans to provide its digital asset custody services as a fiduciary, primarily to $USD1 customers and other institutional clients.”