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Home»Cryptocurrency & Free Speech Finance»Circle and Tether step in to freeze hacker wallet after massive Bitget crypto heist
Cryptocurrency & Free Speech Finance

Circle and Tether step in to freeze hacker wallet after massive Bitget crypto heist

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Circle and Tether step in to freeze hacker wallet after massive Bitget crypto heist
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Circle and Tether have frozen stablecoins in a wallet linked to Thursday’s $351.6 million Bitget hack, though the amount is a small fraction of the total.

Circle blacklisted the address, which Etherscan labels “Bitget Exploiter 8,” at 05:00 UTC Friday, onchain data shows. The wallet holds about 170.47 ETH, 218,023 USDT and 99,990 USDC. Blockchain security firm MistTrack said Tether has since banned the wallet too.

That leaves roughly $318,000 in stablecoins stuck. MistTrack’s tracker shows other exploiter addresses still holding more than 63,000 ETH, which no issuer can freeze.

Bitget CEO Gracy Chen said attackers compromised a backend system in the exchange’s wallet infrastructure, spoofed transaction data and triggered its authorization process to move funds out. She ruled out a private key compromise. Chen said Bitget’s user protection fund, which holds over $464 million, covers the loss.

Circle’s quick action contrasts with its response to April’s $285 million Drift hack. In that case, the attacker moved about $232 million in USDC from Solana to Ethereum using Circle’s own cross-chain transfer protocol. Critics including ZachXBT said Circle could have moved faster to blacklist wallets and freeze funds. Circle said it freezes assets when legally required.

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The BBC clearly sees the value of television series That Mitchell and Webb Look. Marking the 20th anniversary of its original screening, the Beeb has re-released the series on iPlayer. But – and there is very often a “but” with these things – they’ve removed around 11 sketches from the BAFTA award-winning show. The official word is that these sketches don’t “work today”, which is polite speak for “they may cause offence”. The episodes singled out include scenes featuring a battle reenactment with characters in blackface, a contestant on a show wearing a burka and a lost tribe” in a garden centre. These sketches set out to challenge stereotypes, not to reinforce them; but 20 years on, this distinction seems to have been lost along the way. I’m a bit uncomfortable about this. I find it infantilising, to say the least. Can’t we trust audiences to make up their own minds, to switch off if they find the sketches in question unpalatable? Does the BBC think that we are just passive consumers, unable to disaggregate the mocking of racism from racism itself? These sketches set out to challenge stereotypes, not to reinforce them This act of censorship is distorting – of the shows, whose narratives and rhythms were built to include these sketches, and more broadly too. Conversations we were having 20 years ago have been erased, as if to suggest that they never happened. But they did! And with this erasure, the opportunity for thoughtful engagement and learning from our past is gone. “Let’s just pretend we were all lovely 20 years ago. It’s better that way” seems to be the message. Speaking as a minority myself, I find that knowing the nasty stuff that people said before – and indeed, still say today – is much more useful than pretending it never happened. This approach, I think, is also inconsistent. What it reveals is a cherry-picking (intended or not) of the groups that we can mock, and those that we can’t. Let’s face it, gender stereotypes are rarely deemed to have aged beyond the pale – if that were the case, we would have to wave goodbye to half the television made before the mid-2010s. Suppression like this sends a bad message to artists, namely that what they’re creating today may hold less value tomorrow. Or, even worse, that future audiences may deem them bigots – that Sword of Damocles hovering over the heads of any creative paying attention to the discourse of the moment. Suppression like this sends a bad message to artists The BBC’s decision reaffirms a broader trend. In 2020, Little Britain was removed from the iPlayer platform for similar reasons. It has since been reinstated – minus some sketches. Meanwhile, the UK’s arts space more broadly is seeing a retreat to the land of “safe”, as Index recently revealed in a year-long investigation into self-censorship in UK theatre. The BBC, it must be said, does remarkable stuff. The ongoing podcast investigation into the disappearance of US journalist Austin Tice is just one example. But this does not mean, however, that they don’t sometimes get it wrong. Chopping at That Mitchell and Webb Look is one example. Sure, the removal of the material isn’t the life-or-death story that Index often works on. Sure, Mitchell and Webb aren’t the faces of persecuted artists – they have huge platforms and agreed to the changes themselves. Still, one can’t help but think that the decision came from a place of conservatism, perhaps even fear. This is weak and dispiriting, indeed the very opposite of what enables creativity in the arts. We shouldn’t be encouraging this cultural timidity. Rather, we should harness culture and creativity as the starting points of a conversation about our here and now. That’s what the arts are for, after all. READ MORE

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