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  • Phil Collins Says He Almost Died in 2024 From Alcohol Abuse: ‘People Were Coming to Say Goodbye’

    Phil Collins Says He Almost Died in 2024 From Alcohol Abuse: ‘People Were Coming to Say Goodbye’

    Phil Collins recently told The Times of London that he almost died in 2024 from health complications stemming from alcohol abuse.

    The Genesis frontman explained that he was initially admitted to a Swiss hospital for alcohol addiction in late 2023. He was discharged at first, but was brought back in shortly after and placed into intensive care. Collins says he was mostly unconscious during his second stint at the hospital.

    “My kidneys were packing up, my organs were just seizing up,” Collins said. “People were coming to say goodbye. But I don’t remember them coming. I didn’t have no idea this was going on. They were all worried that they wouldn’t see me again. It could all have gone so terribly wrong.”

    Collins recalled that his five children were rushed to his side, thinking their dad was about to die. He said that, at the time, “There were some decisions to be made about ‘Do we keep Phil on life support?’ kind of thing.”

    “I was very lucky to have come out of that,” he added. “Needless to say, I haven’t had a drink since.”

    Collins has always been very open about his health troubles. In early 2026, he told BBC Two that he’s undergone five surgeries on his knee. In a more recent interview with BBC Breakfast, Collins said that he’s “healthier now than I have been for quite a while” and often considers getting back to recording and performing.

    “I would contemplate, yeah,” he said. “I’m constantly saying to myself, I better go back down to my studio at home.”

  • Cottonia Partners with Cyper to Advance AI-Powered Privacy-First Web3

    Cottonia Partners with Cyper to Advance AI-Powered Privacy-First Web3

    Cottonia, an Artificial Intelligence (AI) focused Web3 project, is pleased to announce its strategic partnership with Cyper, a privacy-first Web3 social platform. This partnership is aimed at building smarter, advanced, privacy-first Web3 experiences for all users. Both platforms are experts in providing their services to users.

    💥New Partnership💥@CottoniaAI 🤝 @web3_cyperchat#Cyper is a privacy-first Web3 social platform for anonymous, self-sovereign interactions with messaging, wallets, streaming & DApps. 🔐

    Together, we unlock new possibilities at the intersection of AI x Web3. 🚀#Web3 #AI pic.twitter.com/BvnKzfsu09

    — Cottonia (@CottoniaAI) August 2, 2026

    This integration is going to explore AI-powered features for Web3 social platforms and improve secure and privacy-preserving user interactions. Cyper offers anonymous messaging, self-sovereign identity and interactions, and integrated crypto wallets. Cyper also provides live streaming and Decentralized Application (DApp) access within a decentralized environment. Cottonia has shared this news through its official social media X account.

    Cottonia and Cyper Drive AI Innovation Across the Web3 Ecosystem

    Cottonia develops AI-powered tools and infrastructure for decentralized applications (dApps) and ecosystem growth. The amalgamation of Cottonia and Cyper improves secure and privacy-preserving user interactions and enhances decentralized applications with AI capabilities. The integration of Cottonia and Cyper creates new opportunities at the intersection of AI and Web3 technologies.

    Moreover, this collaboration also indicates the growing trend of integrating AI into decentralized social platforms along with maintaining user privacy and self-custody. Cyper provides enough security to users about messages, wallets, and streaming DApps. Together, they are unlocking new possibilities at the intersection of AI and Web3.

    Unlocking Intelligent and Secure Web3 Experiences

    The unification of Cottonia and Cyper has its own worth in terms of securing digital assets and brings new, smarter Web3 experiences. This partnership is much more than an ordinary partnership; rather, it is bringing new and advanced innovation with quick response for users around the world.

    Security is a priority for all users regarding protecting assets and providing proper satisfaction for users around the world. This collaboration enables users to become more capable of using Web3 applications and their proper functionalities.

  • ‘Jimmy’ Review: Woozily Seductive Mood Piece Wanders Europe in Pursuit of James Baldwin’s Spirit

    ‘Jimmy’ Review: Woozily Seductive Mood Piece Wanders Europe in Pursuit of James Baldwin’s Spirit

    “If not me, who?” said actor Billy Porter in a 2024 Guardian interview, explaining the rationale for his plan to direct and star in a biopic of Black queer author and activist James Baldwin. “Who’s going to tell it better than the Black gay man who embodies that in today’s age?” Porter was right that the movie industry has been unduly slow to engage with Baldwin as a subject and source, relative to white authors of equivalent renown; one presumes, however, that he didn’t know “Jimmy” would premiere later that year. The directorial debut of photographer Yashaddai Owens is no star vehicle, and is only glancingly a character study. Its depiction of Baldwin is shimmery and largely silent, alternating between ambient portraiture and first-person perspective, yet it feels keyed into his experience of the world in a way a more completely (and conventionally) dramatized film might not.

    Finally granted a U.S. release nearly two years after its Telluride world premiere, this 68-minute work occupies no clear lane. Though it’s ostensibly a narrative feature, following a version of Baldwin played by actor Benny O. Arthur through restless travels in Turkey and France, it’s light on story — and, until mere minutes before its close, shorn of dialogue — but heavy on circling mood. Owens shoots in monochrome on a Bolex 16mm camera, making no attempt to disguise the present-day backdrop to his subject’s midcentury wanderings, which occasionally lends “Jimmy” the sense of a cinematic walking tour, chasing the spirit of Baldwin rather than attempting to embody him outright. Given the candid, diaristic nature of its construction and presentation, it could equally be viewed as a nonfiction record of Owens and Arthur’s creative collaboration.

    For the first ten minutes or so, Baldwin is an invisible protagonist in “Jimmy,” as Owens’ roving camera assumes his gaze: We’re immersed directly into the chattering streets and dusty rural paths of Istanbul, where the author traveled repeatedly in the 1960s, and observe as he did its teeming density of life, both human and animal. Owens’ own photographic eye for storied faces and charged urban tableaux ensures this doesn’t feel like mere travelogue, as do the jittery, changeable bebop rhythms of Paco Andreo’s marvelous jazz score; a keen individual perspective emerges despite no accompanying narration or characterization.

    It’s only after this enigmatic Turkish prologue, when Baldwin relocates to Paris, that he becomes a physical presence in the film — with Arthur’s resemblance to the author assisted by the bleached-out, ink-blotted graininess of Owens’ lensing. Usually clad in high-waisted, cinch-backed khakis that impose a hint of period authenticity on these otherwise 21st-century images, the actor’s predominantly wordless performance gives Baldwin a quick, alert but inquisitive stride, a lone-wolf body language that owns its independent status, but sometimes projects a hungry, willing sexuality: We glimpse his flirtations with other men, fellow outsiders in the city’s Algerian quarter. And sometimes he merges entirely with the fabric of the city, shown only as a shadow or a translucent reflection on the scenery.

    Even at a little over an hour, “Jimmy” risks stretching its impressionistic conceit: Compared to, say, Raoul Peck’s rigorous, textually engaged Baldwin documentary “I Am Not Your Negro,” it’s a film that doesn’t aim to say much about Baldwin, but to feel and channel his general aura. Yet there is an arc to its jagged rambling, as he gradually finds not just his feet in Paris, but his voice too: He begins to write, as Andreo’s hitherto ceaselessly cascading score pauses for the amplified scritch of pencil on paper.

    Finally, in a film that mostly conjures the author’s mind and spirit without recourse to his words, “Jimmy” eventually lets him speak: Arthur reads crisply from Baldwin’s 1972 book “No Name in the Street,” verbalizing the anger, isolation and unrest that Owens has otherwise suggested in sensory terms. The specifics are needed, as Baldwin’s words bring bracing, embittered context to the film’s lustrous European tour. “My history in the West had, for its daily effect, placed me in such mortal danger that I had fled, all the way around the corner, to France,” he says. “Jimmy,” for all its beauty and curiosity, depicts not a great escape, but a renewed confrontation with the othering and alienation that Baldwin faced back home.

  • Coldcard Bitcoin Exploit Balloons to $88 Million as Attackers Keep Draining Wallets

    Coldcard Bitcoin Exploit Balloons to $88 Million as Attackers Keep Draining Wallets

    In brief

    • The Coldcard exploit is ongoing, with Galaxy Research now tracking about $88.6 million stolen across 4,585 addresses in three waves.
    • Galaxy’s Alex Thorn described the sweeps as deliberate and likely LLM-orchestrated, warning that every single-sig Coldcard address created after the March 2021 firmware flaw will eventually be drained.
    • The breach has spurred an unusual reversal of the “not your keys, not your coins” ethos as users move Bitcoin back to exchanges.

    The theft of Bitcoin from compromised Coldcard hardware wallets is still underway, with researchers now tracking losses of roughly $88 million and warning that every vulnerable device will eventually be emptied.

    Galaxy Research said Saturday it has identified a third wave of thefts, in which 207.73 BTC was drained, lifting its observed tally to about 1,367 BTC—around $88.6 million—across 4,585 addresses. The firm called the exploit ongoing and urged anyone holding single-signature funds on a Coldcard to move them at once. Galaxy said it has flagged roughly 600 suspected attacker addresses to federal investigators, compliance firms and cross-industry cyber investigators, crediting victims who shared transaction details for helping map the on-chain patterns.

    “I continue to investigate and add new Coldcard victim and attacker addresses to our investigation database,” Galaxy’s head of research Alex Thorn posted to X. “The attack is ongoing—move your funds off Coldcard-generated addresses immediately if you have not done so.”

    The flaw, as Decrypt previously reported, stems from a March 2021 firmware build error on Coinkite’s devices that caused seed phrases to be generated with far too little randomness, leaving private keys guessable. Thorn wrote that the sweeps look deliberate and programmatic, probably orchestrated with a large language model, and cautioned that every single-sig Coldcard address created after that 2021 update will eventually be drained, saying it is only a matter of time.

    Thorn noted the stolen coins had sat untouched for years before being taken—an average dormancy of 3.18 years—underscoring that the victims were long-term holders. The funds from the three documented waves remain parked in attacker addresses and have not moved.

    The fallout has driven a panicked response from affected users, with security experts urging caution when moving funds to new addresses. Many of the affected users are racing to move Bitcoin off self-custody and back onto centralized crypto exchanges, such as Coinbase or Binance, or freshly generated addresses—an inversion of the industry’s usual “not your keys, not your coins” ethos.

    For some, the warnings came too late. Canadian coach Jonathan Goodman said in a post on X that 18.25 BTC, worth about $1.6 million Canadian, was swept from his wallets in a seven-minute span on July 29, despite his keys sitting in a safety deposit box that never touched the internet. “Perhaps the hardest part about this is that I did everything right,” he wrote, adding that he is filing reports with police and the Ontario Securities Commission.

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  • Cardano whales buy 240M ADA – Is it enough to fuel a $0.20 breakout?

    Cardano whales buy 240M ADA – Is it enough to fuel a $0.20 breakout?

    Cardano [$ADA] climbed 8.74% over the past 24 hours, extending bullish momentum after breaking out of its multi-week consolidation.

    After establishing a firm base near $0.1531, $ADA gradually regained strength, setting the stage for a decisive breakout. Buyers then reclaimed the $0.1750 mid-range level before pushing through the key $0.1812 resistance.

    At press time, the altcoin traded around $0.1860, reflecting a strong recovery from late-July lows. Moreover, the breakout candle printed 3.49 million $ADA in volume, confirming genuine buying interest rather than a weak rally.

    Source: $ADA/USDT on TradingView

    This improving structure strengthens bullish momentum. However, the rapid gains may create opportunities for short-term pullbacks after the breakout. If $ADA can maintain the support at $0.1812, the next leg up will likely be towards $0.2000 resistance.

    Consequently, losing that level would increase the likelihood of a healthy retest before another advance.

    Market rotation reinforces Cardano’s rally

    Such an improving technical structure also appears to reflect a broader shift across the altcoin market rather than Cardano alone. The Altcoin Season Index climbed 5.77% over the past 24 hours to 55, moving further above the neutral 50 threshold.

    This suggests capital is gradually rotating from Bitcoin [BTC] into higher-beta altcoins. Meanwhile, the altcoin market cap stabilized near $900 billion after recovering from its late-June lows, reinforcing improving risk appetite.

    Source: CoinMarketCap

    That broader backdrop strengthens Cardano’s breakout above $0.1812, indicating buyers are responding to favorable market positioning alongside project-specific demand.

    Although the Altcoin Season Index remains far short of the 75 altcoin season threshold. This suggests that broader participation must continue before a sustained sector-wide rally becomes more convincing.

    Derivatives reinforce the breakout

    That broader optimism is also becoming visible in Cardano’s derivatives market. After whales accumulated more than 240 million $ADA over the past five days, Santiment data shows the token rallied 22%, encouraging more leveraged participation.

    Source: X

    As confidence improved, futures trading volume jumped 61.06% to $639.62 million, while Open Interest climbed 13.91% to $485.58 million. Those gains suggest traders are opening fresh positions instead of closing existing ones, reinforcing the breakout above $0.1812.

    Source: CoinGlass

    Meanwhile, short liquidations continued outpacing longs, showing bearish positions helped fuel the rally. However, options volume fell 92.94%, while options open interest eased 0.27%. Sustained whale accumulation and rising futures participation would provide stronger confirmation that the breakout remains well supported.


    Final Summary

    • Cardano broke above multi-week resistance as improving market sentiment strengthened its bullish breakout.
    • $ADA must hold $0.1812 to sustain its rally, while continued derivatives participation could support a move toward $0.2000.
  • ‘House of the Dragon’: Gayle Rankin on That ‘F — ed Up’ Aemond-Alys-Alicent Scene, ‘Unbearable’ Family Dinner and Dragon Egg Plans

    ‘House of the Dragon’: Gayle Rankin on That ‘F — ed Up’ Aemond-Alys-Alicent Scene, ‘Unbearable’ Family Dinner and Dragon Egg Plans

    SPOILER ALERT: This article contains spoilers for Season 3, Episode 7 of “House of the Dragon,” now streaming on HBO Max.

    Gayle Rankin‘s Alys Rivers has dealt with an Oedipus complex before during her time at Harrenhal, but this week’s “House of the Dragon” marked the first time Alys was directly dragged into the Targaryens’ incestuous scene herself.

    At the beginning of Episode 7, Season 3 of “House of the Dragon,” we see Alicent Hightower (Olivia Cooke) has already carried out the mission given to her by Rhaenyra (Emma D’Arcy) and arrived at Harrenhal. Sent there in an attempt to lure Aemond (Ewan Mitchell) out so Rhaenyra’s men can finally kill him and properly secure Rhaenyra the Iron Throne, Alicent greets her son with maternal love and praise about his superiority to his siblings, which appears to be a tactic for lulling him into submission. But Alicent’s actions quickly turn much more intimate and soon the mother and son are having sex.

    It’s a jarring scene until it’s revealed Aemond has been hallucinating visions of his mother while having sex with his lover, Alys (Rankin), as part of a new plan to breed more Targaryens and build their own dynasty.

    Theo Whiteman/HBO

    Theo Whiteman/HBO

    “It was very intimate and very odd but very professional,” Rankin says of filming the sex scene between mother, son and son’s new girlfriend. “We tried to like make jokes, just to keep it lighthearted because those scenes are not easy and they’re complicated and very technical. So it was also just like it was another day at the office for being like a very odd, fucked-up scene.”

    From there, the episode’s mommy-issues plot thickens as the real Alicent does show up at Harrenhal and Alys tries (and fails) to convince Aemond his mother is not there to help him. Though they first have to go through what Rankin calls an “unbearable” family dinner, the episode ends with Alys being proven right: Alicent steals away in the night after poisoning Aemond and “idiot” Aemond comes crawling to a very annoyed Alys looking for help.

    Meanwhile, unbeknownst to everyone at Harrenhal and King’s Landing, Aemond’s brother Aegon (Tom Glynn-Carney) has been reunited with his very much alive dragon, Sunfyre, while Aemond’s dragon, Vhagar, is still MIA. This could prove to be a problem for Alys and Aemond, who are currently sitting on a supply of dragon eggs, but have no full-grown dragon to defend themselves with should Aegon or Rhaenyra choose to come their way on next week’s Season 3 finale.

    See below for more from Variety’s interview with Rankin about Episode 7 and what comes next.

    Do you think Alys’s feelings for Aemond are genuine?

    Yeah, I do. I think they’re not uncomplicated, like anyone, you know. Especially if you’re going through a war and you want a castle and you are a witch. But like those things aside, I think they really are.

    So if that’s the case, what is it about Aemond that she is so interested in? This is a very complicated woman who has been around for we’re not sure how long — so what is it about Aemond that appeals to her?

    I think he’s pretty unabashedly himself. I think that refreshing to her. I think that he’s, in some ways, very misunderstood. In some ways. And he has behaved horrendously but he’s also gotten, in some ways, what he’s wanted and I think she respects that. And I think they’re kind of like a dark power couple.

    Alys has revealed the dragon eggs to Aemond. She had Daemon there for quite a while and never chose to show him. What do you think drove her to decide that Aemond was the one to show them to? She had been asking Daemon for Harrenhal and wanted that castle, but still only chose to reveal the eggs to Aemond.

    I don’t think Daemon ever really let his guard down with Alys. Really, really, really. And then he broke her heart. And she’s prophetic and she also can read people like a book. So she knew that Daemon was never going to get there with her, and Daemon was not her answer. I think Aemond is a different story, and I think she knows that instinctively.

    The fact Alys even knows about the dragon eggs that have been hidden away for decades means she might have actually been around Harrenhal for as long as she claims she has. Just how old do you think Alys actually is?

    I think she’s like 400 years old. I mean, give or take. I think we’re gonna like find out more soon, but she could be 400 years old. Like, I believe her, that’s the thing. I think there’s a lot of skepticism about, is she telling the truth? Is she manipulating? I’m like, believe the woman.

    The opening scene for this one, what was it like for you all shooting that and figuring out what that would look like, because we transition from Aemond in bed with his mother to Aemond with Alys? And it’s the trippy Harrenhal hallucination kind of scene, but also seems very specific to what Aemond is actually thinking.

    It was very intimate and very odd but very professional. We tried to like make jokes, just to keep it lighthearted because those scenes are not easy and they’re complicated and very technical. So it was also just like it was another day at the office for being like a very odd, fucked-up scene.

    It seems like Alys takes this pretty well. Like, she takes it in stride when Aemond talks to her about how much he loves his mother when his mother actually does appear, and she’s like, “All you Targaryen boys want the same thing,” and is very clearly referring to these mother issues with Aemond here and Daemon before. What do you think makes it so that she is willing to put up with this dynamic? Is it because she sees that Alicent’s going to leave and how — and she’s just trying to get through this time as quickly as possible?

    I think she sees everything. I don’t think she sees everything, but she can see a lot. So there is a prophetic nature to who she is, and so she’s just like, “Wow! So we have to go through this? OK, here we go.”

    Ollie Upton/HBO

    Ollie Upton/HBO

    During that dinner sequence, it’s so weird that they’re all sitting on the same side and they’re on either side, surrounding him. What was it like filming that family dinner? Because as awkward as the first scene was, that dinner was very hard to watch.

    Oh, terrible! I mean awful, but I kind of loved it. I think Alys is in her element but also kind of terrified at the same time. But I think she feels like the stakes are very high, and I think Alys thrives in that. I think she intentionally wants it to feel unbearable. You know, because she wants her to go.

    She is ultimately proven right. We have Aemond come to her and he’s drugged by his mother or poisoned by his mother, and she just says “Idiot” before coming around to help him. Is this said with love? Is it said with resignation? Is it a combination of things?

    A combination. I think many people, and certainly many women, can probably relate to the tone.

    Going into the Season 3 finale, what do you think is the most likely way that we will see Alys eventually go? She’s lived for 400 years, so do you think she’ll make it to the end of this season at the very least? She doesn’t seem in immediate danger right now.

    I don’t feel like she’s in immediate danger of dying. I think she’s in immediate danger always, and maybe in immediate danger of something more emotionally profound happening, but not of dying. I think we have more time.

    Alys doesn’t know this year and neither does Aemond, but the audience finds out by the end of the episode that Sunfyre is still alive and reunited with Aegon. So now Aegon has Sunfyre back and Vhagar is still nowhere to be seen. You’ve said a lot now that you think Alys is often telling the truth, so does she genuinely not know where Vhagar is? Does she know when Vhagar might be coming back? Because they might need her with Sunfyre back in play.

    Girl, I know. Low-key, for real, I don’t think she knows. Like I don’t even know where Vhagar is. I, Gayle, do not even know where Vhagar is. You know what I mean? So I’m like, girl, where are you? Vhagar went to Crumbl Cookies and she needs to get back.

    I think it shows a lot of actual dedication to Aemond that she’s with him when he doesn’t have a dragon.

    Right? He has no dragon. I have dragon eggs. That’s the thing, I don’t really need him. But I think she might want him. I think it’s complicated.

    This interview has been edited and condensed.

  • Bitcoin, Ethereum, XRP, Dogecoin Gain After Trump Holds Off Iran Strikes: Analyst Sees ‘Strong and Vital Move’ by BTC if This Happens

    Bitcoin, Ethereum, XRP, Dogecoin Gain After Trump Holds Off Iran Strikes: Analyst Sees ‘Strong and Vital Move’ by BTC if This Happens

    Leading cryptocurrencies edged higher on Sunday as investors weighed President Donald Trump’s remarks about a potential Iran peace agreement.


    Crypto Market Consolidates

    Bitcoin wobbled within a range of $62,890 to $63,700, with trading volume surging 19% over the 24-hour period. Ethereum also remained stuck within $1,800, while XRP and Dogecoin traded in the green.

    Nearly $150 million was liquidated from the cryptocurrency market in the last 24 hours, predominantly in bearish short positions, according to Coinglass data.

    Bitcoin’s open interest rose 0.31% over the last 24 hours. Retail and whale derivatives traders remained net long on $BTC, but trimmed their exposure from the day before.

    “Fear” sentiment prevailed in the market, according to the Crypto Fear & Greed Index.

    Top Gainers (24 Hours)

    The global cryptocurrency market capitalization stood at $2.17 trillion, following an increase of 0.82% over the last 24 hours.

    Stock Futures Lift on Peace Hopes

    Stock futures climbed overnight on Sunday. The Dow Jones Industrial Average Futures rose 205 points, or 0.39%, as of 8:41 p.m. EDT. Futures tied to the S&P 500 spiked0.42%, while Nasdaq 100 Futures rallied 0.65%.

    The upsurge came after Trump after being “asked” by Tehran and other Middle East nations to “hold off” to allow a deal to be reached.

    $BTC’s ‘Strong and Vital Move’ Incoming?

    Michaël van de Poppe, a widely followed cryptocurrency analyst and trader, noted record-low Bitcoin sentiment and high net negative positioning in the current cycle

    He predicted that a sustained breakout above the $67,000-$68,000 resistance would trigger a “strong and vital move” due to liquidations, “accelerating” the move upward.

    On-chain analytics firm Santiment also spotlighted Bitcoin’s lowest positive-to-negative commentary on major social platforms, with just 0.58 bullish comments for every 1 bearish comment.

    “This panic reading is larger than the peak war fears earlier this year, as well as the other aforementioned events from crypto’s past,” Santiment added.

    Photo Courtesy: vinnstock on Shutterstock.com

  • Paramount Pitches Judge On November Start Of WBD Merger Antitrust Trial, While State AGs & WGA Propose April

    Paramount Pitches Judge On November Start Of WBD Merger Antitrust Trial, While State AGs & WGA Propose April

    Paramount wants a trial to start in November in the antitrust lawsuit brought by a dozen state attorneys general and the Writers Guild America. Not surprisingly, the state AGs and the guild want an April start to the proceedings.

    The sides outlined their proposals in a joint filing Friday, with the ultimate decision on scheduling left to the federal judge in the case, Araceli Martinez-Olguin.

    “The parties have discussed the trial schedule, but they have not reached agreement,” the parties wrote.

    The trial dates are hugely important for the transaction, and even Paramount’s proposed date likely will cost the company hundreds of millions. After September 30, Paramount will be on the hook for about $7 million for every day that the transaction doesn’t close, under an agreement with WBD that was a sweetener to the deal.

    A Paramount spokesperson said, “Our request for a November trial date is more than sufficient to give both sides the time they need to conduct discovery, gather evidence, and prepare for trial. Plaintiffs’ request to delay proceedings until April is nothing more than a stonewalling tactic that goes well beyond the timelines sought in similar prior proceedings and ignores the substantial evidence plaintiffs have already received in this matter. Delay will also harm the many individuals outside this courtroom who will be denied the expanded content offerings and industry stability that a combined Paramount-WBD promises to bring.”

    California Attorney General Rob Bonta, who is leading 12 states in the lawsuit, said in a statement, “Our challenge to the unlawful Warner Bros./Paramount merger is a clean-cut antitrust challenge through and through: it’s about protecting the vibrancy of an industry, the pockets of consumers, and the quality of films and television programs that take center stage in many of our lives. This challenge deserves careful and thorough review and today my office and attorneys general across the country asked the court for a trial date next spring. We are eager to continue to make our case and look forward to a final determination of the schedule by the court.”

    Last week, Paramount said it would not close the merger until June 1, 2027, or until days after the legal issues are resolved, and indicated it wanted to go directly to trial. Its announcement came just days after the judge granted the state AGs a temporary restraining order that prohibited the transaction from closing for 14 days, an order that was later extended to 28 days.

    The company spokeswoman said a trial “on the merits is the best and most direct way for us to prove what we’ve said from the start — this transaction is lawful, pro-competitive, and raises no antitrust concerns.”

    In the filing Friday, Paramount proposed a 12-day trial starting November 4 that would encompass the cases brought by the states and the WGA.

    Paramount also noted that the later date would give the judge “much less time to decide” the case by June, the outside date it had set for the merger to close, as well as time for the company to appeal.

    Among other things, they noted that the DOJ’s antitrust case seeking to block AT&T’s merger with Time Warner went to trial on March 19, 2018, four months after the federal government brought the case. Makan Delrahim, who is Paramount’s chief legal officer, was then the chief of the DOJ’s antitrust division; on the other side was attorney Daniel Petrocelli, representing Time Warner, and now representing WBD in this case.

    The company also noted that Bonta had last week favored a January trial start, but now was proposing a date four months later.

    “Given the stakes of this case, there is no basis and no time to delay for the sake of delay, particularly when delay significantly prejudices Defendants and the Hollywood ecosystem more broadly,” Paramount’s legal team wrote in the filing.

    The company also argued that Paramount and the WGA will have had sufficient time for discovery.

    Paramount’s legal team wrote, “State Plaintiffs had six-plus months before they filed their complaint to conduct unilateral discovery regarding the proposed transaction. State Plaintiffs also had the benefit of waivers granted by Defendants to enable the U.S. Department of Justice (DOJ) to share with State Plaintiffs all information and materials that Defendants produced to the DOJ. In sum, the discovery that State Plaintiffs received many months ago includes over two million documents from more than 80 of Defendants’ employees.”

    The company’s legal team noted that the later date would require them to refile merger materials with the Justice Department, which has already cleared the transaction, and that it would leave the creative community in a period of uncertainty, as Paramount plans to boost production to 30 films per year.

    The state AGs and WGA proposed a start of April 5, 2027, lasting at least 12-15 days, with each plaintiff presenting their cases sequentially.

    The state plaintiffs wrote that extensive discovery is needed, including of “the definition of the relevant product and geographic markets, the nature and scope of harm in those markets, whether expansion by other firms will prevent harm in those markets, and whether the merger will produce verifiable, merger-specific efficiencies sufficient to outweigh harm in those markets.”

    They pointed specifically to areas like Paramount’s assertion that the merger will generate billions in synergies, “a claim that Plaintiff States are entitled to test in discovery, including discovery of Defendants’ integration plans for their merged company.”

    The states noted that Paramount’s document productions “largely cut off” before the merger agreement was signed in February, leaving the plaintiffs with few internal documents about post-closing plans.

    The state AGs wrote, “Defendants’ pre-complaint productions also do nothing to address the need for discovery from third party customers and competitors. Importantly, no depositions of percipient fact witnesses from Defendants or third parties have occurred.”

    The states also contended that their schedule was “reasonable,” claiming that the 402 days from the signing of the merger agreement on February 27 to the proposed trial date “moves this case to trial more rapidly than virtually every merger case in recent history.” The AT&T-Time Warner trial started 513 days after the merger deal was signed, they noted, as opposed to when the DOJ lawsuit was filed. The state AGs also wrote that an April trial would still leave the judge with time to decide the case by June.

    The state AGs also called Paramount’s proposed schedule “one-sided,” arguing, “Their extraordinarily truncated schedule unfairly favors Defendants because they (1) have information Plaintiff States need to prove their case and (2) do not bear the burden of persuasion.”

  • Paramount Pitches Judge On November Start Of WBD Merger Antitrust Trial, While State AGs & WGA Propose April

    Paramount Pitches Judge On November Start Of WBD Merger Antitrust Trial, While State AGs & WGA Propose April

    Paramount wants a trial to start in November in the antitrust lawsuit brought by a dozen state attorneys general and the Writers Guild America. Not surprisingly, the state AGs and the guild want an April start to the proceedings.

    The sides outlined their proposals ina joint filing Friday, with the ultimate decision on scheduling left to the federal judge in the case, Araceli Martinez-Olguin.

    “The parties have discussed the trial schedule, but they have not reached agreement,” the parties wrote.

    The trial dates are hugely important for the transaction, and even Paramount’s proposed date likely will cost the company hundreds of millions. After September 30, Paramount will be on the hook for about $7 million for every day that the transaction doesn’t close, under an agreement with WBD that was a sweetener to the deal.

    A Paramount spokesperson said, “Our request for a November trial date is more than sufficient to give both sides the time they need to conduct discovery, gather evidence, and prepare for trial. Plaintiffs’ request to delay proceedings until April is nothing more than a stonewalling tactic that goes well beyond the timelines sought in similar prior proceedings and ignores the substantial evidence plaintiffs have already received in this matter. Delay will also harm the many individuals outside this courtroom who will be denied the expanded content offerings and industry stability that a combined Paramount-WBD promises to bring.”

    California Attorney General Rob Bonta, who is leading 12 states in the lawsuit, said in a statement, “Our challenge to the unlawful Warner Bros./Paramount merger is a clean-cut antitrust challenge through and through: it’s about protecting the vibrancy of an industry, the pockets of consumers, and the quality of films and television programs that take center stage in many of our lives. This challenge deserves careful and thorough review and today my office and attorneys general across the country asked the court for a trial date next spring. We are eager to continue to make our case and look forward to a final determination of the schedule by the court.”

    Last week, Paramount said it would not close the merger until June 1, 2027, or until days after the legal issues are resolved, and indicated it wanted to go directly to trial. Its announcement came just days after the judge granted the state AGs a temporary restraining order that prohibited the transaction from closing for 14 days, an order that was later extended to 28 days.

    The company spokeswoman said a trial “on the merits is the best and most direct way for us to prove what we’ve said from the start — this transaction is lawful, pro-competitive, and raises no antitrust concerns.”

    In the filing Friday, Paramount proposed a 12-day trial starting November 4 that would encompass the cases brought by the states and the WGA.

    Paramount also noted that the later date would give the judge “much less time to decide” the case by June, the outside date it had set for the merger to close, as well as time for the company to appeal.

    Among other things, they noted that the DOJ’s antitrust case seeking to block AT&T’s merger with Time Warner went to trial on March 19, 2018, four months after the federal government brought the case. Makan Delrahim, who is Paramount’s chief legal officer, was then the chief of the DOJ’s antitrust division; on the other side was attorney Daniel Petrocelli, representing Time Warner, and now representing WBD in this case.

    The company also noted that Bonta had last week favored a January trial start, but now was proposing a date four months later.

    “Given the stakes of this case, there is no basis and no time to delay for the sake of delay, particularly when delay significantly prejudices Defendants and the Hollywood ecosystem more broadly,” Paramount’s legal team wrote in the filing.

    The company also argued that Paramount and the WGA will have had sufficient time for discovery.

    Paramount’s legal team wrote, “State Plaintiffs had six-plus months before they filed their complaint to conduct unilateral discovery regarding the proposed transaction. State Plaintiffs also had the benefit of waivers granted by Defendants to enable the U.S. Department of Justice (DOJ) to share with State Plaintiffs all information and materials that Defendants produced to the DOJ. In sum, the discovery that State Plaintiffs received many months ago includes over two million documents from more than 80 of Defendants’ employees.”

    The company’s legal team noted that the later date would require them to refile merger materials with the Justice Department, which has already cleared the transaction, and that it would leave the creative community in a period of uncertainty, as Paramount plans to boost production to 30 films per year.

    The state AGs and WGA proposed a start of April 5, 2027, lasting at least 12-15 days, with each plaintiff presenting their cases sequentially.

    The state plaintiffs wrote that extensive discovery is needed, including of “the definition of the relevant product and geographic markets, the nature and scope of harm in those markets, whether expansion by other firms will prevent harm in those markets, and whether the merger will produce verifiable, merger-specific efficiencies sufficient to outweigh harm in those markets.”

    They pointed specifically to areas like Paramount’s assertion that the merger will generate billions in synergies, “a claim that Plaintiff States are entitled to test in discovery, including discovery of Defendants’ integration plans for their merged company.”

    The states noted that Paramount’s document productions “largely cut off” before the merger agreement was signed in February, leaving the plaintiffs with few internal documents about post-closing plans.

    The state AGs wrote, “Defendants’ pre-complaint productions also do nothing to address the need for discovery from third party customers and competitors. Importantly, no depositions of percipient fact witnesses from Defendants or third parties have occurred.”

    The states also contended that their schedule was “reasonable,” claiming that the 402 days from the signing of the merger agreement on February 27 to the proposed trial date “moves this case to trial more rapidly than virtually every merger case in recent history.” The AT&T-Time Warner trial started 513 days after the merger deal was signed, they noted, as opposed to when the DOJ lawsuit was filed. The state AGs also wrote that an April trial would still leave the judge with time to decide the case by June.

    The state AGs also called Paramount’s proposed schedule “one-sided,” arguing, “Their extraordinarily truncated schedule unfairly favors Defendants because they (1) have information Plaintiff States need to prove their case and (2) do not bear the burden of persuasion.”