The Morning After: Meta's Instagram-linked Twitter rival could arrive this week

As Twitter continues to figuratively kneecap itself by limiting tweet views, Meta is hustling to bring its Twitter rival to reality. A listing for an app called Threads was spotted on the iOS App Store with an estimated release date of July 6th. In May, a report said the microblogging service was nearing completion and could be out as soon as the end of June. While an end-of-June launch didn't quite happen, the app could arrive when Twitter users are more willing (and maybe even eager) to finally jump ship.

Twitter boss Elon Musk announced at the weekend that verified accounts — which translates to paying users — can read 6,000 posts daily, while non-paying users can only read 600. He said the website is adopting the measure to "address extreme levels of data scraping [and] system manipulation."

From both the app listing and rumors, we’re expecting Threads will migrate your followers and circles from your existing Instagram handle, ensuring you should have an active timeline right from the outset. That is, if you’re an Instagram user.

– Mat Smith

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The best cameras for 2023

Compacts, DSLRs, action cams and, of course, mirrorless cameras.

Engadget

Since smartphones started eating casual photography’s lunch, camera makers have focused on devices designed for very specific uses. Action cams provide sharp, fluid video. Compact cameras target both tourists and vloggers. And DSLRs are available at some of the best prices we’ve seen. Then there are mirrorless cameras, which continue to improve their autofocus and video. And that’s where some guidance helps. Whether you’re a creator looking for just the right vlogging camera, an aspiring wildlife photographer or a sports enthusiast, we’ll help you find the perfect camera to match your budget and needs.

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There’s an animated GIF generator now

Are your group chats ready for this level of nonsense?

Remember the early days of the AI hype train, when everyone spent their time making stupid images using text prompts? If you want to recapture the nostalgic haze of, uh, late 2022, Picsart has you covered. The popular image editor just launched an AI-powered animated GIF generator, calling the tool its “most unhinged” platform yet. Type a bunch of nonsense into the chat box, wait a minute or so and marvel at your “chaotic and eccentric” creation. The platform’s integrated into the regular Picsart app and is available for iOS, Android devices and on the web.

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Twitter launches 'new' TweetDeck as the old version breaks down

The feature will also be exclusive to Twitter Blue in 30 days.

If you've been having trouble using Twitter recently, you aren't alone — the service has been having issues since it started limiting the daily number of posts users could view. Although many of the platform's issues stabilized over the weekend, TweetDeck remains broken unless users switch to the beta version of the list aggregator. Now, Twitter is gearing up to solve the issue by making that beta version of TweetDeck the main version. According to Twitter Support, the feature will become exclusive to Twitter Blue subscribers in the near future, noting that "in 30 days, users must be Verified to access TweetDeck."

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Some HBO shows are streaming on Netflix in the US for the first time

'Insecure' is now on the platform, with 'Band of Brothers' and 'Six Feet Under' arriving later.

There really is an HBO show on Netflix. All five seasons of Issa Rae's highly acclaimed comedy-drama series Insecure are now streaming on Netflix in the US. Even more HBO shows are on the way, too. Band of Brothers, The Pacific, Six Feet Under and Ballers are also coming to Netflix as part of the deal, the company told Deadline. Meanwhile, Netflix users outside the US can stream True Blood on the service.

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Screenshots of the iPhone screen showing a new app called Threads by Meta.

Some HBO shows are streaming on Netflix in the US for the first time

Your eyes aren't deceiving you. There really is an HBO show on Netflix. All five seasons of Issa Rae's highly acclaimed comedy-drama series Insecure are now streaming on Netflix in the US. Not only that, more HBO shows are on the way to the service as Warner Bros. Discovery (WBD) tries to wring more revenue out of its expansive library.

Band of Brothers, The Pacific, Six Feet Under and Ballers are also coming to Netflix as part of the deal, the company told Deadline. Meanwhile, Netflix users outside the US will be able to stream True Blood on the service. This is the first time that HBO content has appeared on Netflix in the US, though some has previously been available on Prime Video. The shows will still be available on Max.

This is part of an effort to boost WBD's revenue. Late last year, the company removed some notable titles from Max, including Westworld and The Nevers. Those shows, and many others from the WBD library, are available to watch on free, ad-supported channels on Roku, Tubi and Amazon's Freevee.

Zaslav and his team have employed other tactics to improve WBD's bottom line. Those include pulling many shows and movies from Max to reduce costs, cancelingMax-exclusive projects before they were done (reportedly in favor of tax writeoffs in some cases) and laying off employees.

Insecure

Twitter's apps are breaking following Elon Musk's decision to cap tweet rates

Over the last few days, Twitter not only stopped showing tweets unless you're logged in, but also started capping the number of tweets users can read each day ("rate limiting") — ostensibly due to "data scraping," according to Elon Musk. Those actions are starting to have an impact elsewhere across Twitter's ecosystem, with many users reporting that Tweetdeck (a power-user version of Twitter) no longer works. In addition, Google Search is reportedly showing up to 50 percent fewer Twitter URLs due to the logged-in requirement, Search Engine Roundtable reported. 

For a lot of users (including Engadget), Tweetdeck effectively stopped functioning, just showing a spinning wheel above most columns. That may be because a bug in Twitter's web app is sending requests in an infinite loop, effectively creating a "self-DDOS" (distributed denial of service), Waxy reported. As researcher Molly White tweeted, that effect is multiplied in Tweetdeck for anything other than the "Home" column, as it keeps "repeatedly retrying 404s," she wrote. 

It's possible to at least get your columns to show up by using a new beta version of Tweetdeck, as Engadget's Matt Brian tweeted. However, those columns are still subject to the rate limits (800 tweets for non-Twitter Blue subscribers), and so most users will stop seeing new tweets shortly after Tweetdeck loads.

On top of that, Google Search may be showing up to 50 percent fewer Twitter URLs following Musk's move to block unregistered users. Using the site command, Search Engine Roundtable's Barry Schwartz found that Google now has about 52 percent fewer Twitter URLs in its index than it did on Friday. It's still showing recent tweets in the Search carousel, but normal indexing seems to be broken at the moment. "Not that a site command is the best measure, but... Twitter is down [around] 162 million indexed pages so far since this change," Schwartz tweeted. 

There's no confirmation that the "self-DDOS" theory is accurate, but a post from developer Sheldon Chang (on Mastodon) indicated that shutting off anonymous access to Twitter may be playing a role in the issues. Twitter has promised that the login requirement and rate limiting are "temporary," but has yet to give a date for eliminating those restrictions. 

The twitter's logo is pictured on screen reflected by mirrors in Mulhouse, eastern France on May 30, 2023. (Photo by SEBASTIEN BOZON / AFP) (Photo by SEBASTIEN BOZON/AFP via Getty Images)

Twitter blocks interactions on tweets with Substack links

Substack users woke to a strange surprise today when trying to share links on Twitter, finding an error message when interacting with any tweet featuring a Substack link. Tweets with an outgoing link to Substack cannot be retweeted, replied to or even liked. The error message states that “some actions on this tweet have been disabled by Twitter.” The loss in functionality even extends to tools like TweetDeck.

You can still tweet out Substack links, but that is where engagement ends. This could be a garden variety error, but it could be a response by Musk and Twitter to Substack’s recently-announced Twitter-esque Notes feature. After all, Twitter is no stranger to silencing rivals, both real and imagined. The social network briefly placed restrictions on tweets with outgoing links to Mastodon, Facebook, Instagram and Truth Social, even outlawing outgoing links to other social media profiles in bios. Musk has also experimented with banning journalists who cover Twitter and made other questionable decisions for a self-proclaimed free-speech absolutist.

The founders of Substack issued a response to the move and it certainly seems like they believe the restrictions were instituted on purpose and not part of a system error.

“We’re disappointed that Twitter has chosen to restrict writers’ ability to share their work. Writers deserve the freedom to share links to Substack or anywhere else. This abrupt change is a reminder of why writers deserve a model that puts them in charge,” the founders wrote.

There is another option beyond spite or a system error. It is possible Substack ran afoul of Twitter’s recently-announced API pricing scheme. The sheer number of links to Substack content from users would force the company to invest in the Enterprise-level API at $42,000 a month. If Substalk balked about these costs and Twitter caught wind of it, this could be another New York Times checkmark situation.

Substack says it is currently investigating the newly-imposed restrictions and that it will “share updates as additional information becomes available.” The company shared a blog post in which it expressed hope that these moves were made in error and stated that "cracks are starting to show in the internet’s legacy business models." We reached out to Substack and will update this post if the situation changes or if functionality is restored.

Twitter logo and Elon Musk silhouette are seen in this illustration taken, December 19, 2022. REUTERS/Dado Ruvic/Illustration

'Lord of the Rings: Heroes of Middle-earth' arrives May 10th

EA will release the mobile free-to-play Lord of the Rings: Heroes of Middle-earth on May 10th, marking its first LOTR game since 2009's The Lord of the Rings: Conquest. It also unveiled the first real trailer, showing gameplay, menus and more. It's one of five LOTR games currently in development from Embracer (which bought the rights last year), including the much anticipated Lord of the Rings: Gollum set to arrive shortly afterwards. 

The trailer features a "stylized realism art style," EA wrote, leaning into existing lore with wanderers, warriors, wizards and other classic LOTR characters. AT the same time, it creates "a more diverse and inclusive Middle-earth," the company said, while showing off Story, PVP and other gameplay modes.  

Heroes of Middle-earth includes characters from both The Lord of the Rings and The Hobbit, along with collection systems, turn-based combat and more. In a previous news release, EA said that players will experience "iconic stories from the world of Tolkien and take up the fight against the great evils of Middle-earth." Given the free-to-play aspect, there are of course microtransactions.

Heroes of Middle-earth is set to arrive on iOS and Android on May 10th, with pre-registration now open. Meanwhile, Lord of the Rings: Gollum will launch on consoles and PC May 25th, and Embracer reportedly has three additional titles in development for the next two years. 

Watch the first trailer for 'Lord of the Rings: Heroes of Middle-earth'

Three new Star Wars movies are coming, including one with Daisy Ridley as Rey

The latest edition of Star Wars Celebration is underway and, along with some fresh details about shows coming to Disney+ over the next year or two, Lucasfilm revealed more info about what's ahead for the movie side of the franchise. It announced three Star Wars films, one of which will feature the return of Daisy Ridley as Rey.

That film will take place 15 years after the events of The Rise of Skywalker, the final movie in the Skywalker saga and the most recent Star Wars movie to hit the big screen. It will center around Rey forming a new Jedi Order. Academy Award winner Sharmeen Obaid-Chinoy (Ms. Marvel, Saving Face) will direct the film.

A movie from James Mangold (Logan, Indiana Jones and the Dial of Destiny) will delve into the origins of the Force and the Jedi. It will be set 25,000 years before anything else we've seen in the Star Wars universe to date, according to The Hollywood Reporter.

Meanwhile, Dave Filoni will finally get a shot at directing a live-action Star Wars movie. Filoni has been at the heart of the franchise for many years. He directed the 2008 animated film Star Wars: The Clone Wars and has been deeply involved with the recent spate of Disney+ shows, such as The Mandalorian, The Book of Boba Fett, Ahsoka and Skeleton Crew. Fittingly, the movie he's set to direct will tie the stories of those shows together and put a bow on them.

Disney and Lucasfilm haven't revealed release dates for any of these films. However, Disney's current slate includes holiday 2025 and 2027 dates for untitled Star Wars flicks.

After the last three Star Wars films (The Last Jedi, Solo and The Rise of Skywalker) didn't exactly receive wide acclaim, Disney and Lucasfilm walked back on their plans to release a movie every year. They have made several attempts to get other Star Wars films off the ground, including Patty Jenkins' Rogue Squadron, a trilogy from Game of Thrones creators David Benioff and D.B. Weiss, another trilogy from The Last Jedi director Rian Johnson and entries from Taika Waititi and Marvel Studios head honcho Kevin Feige.

All of those projects have either been canned or deprioritized, according to reports. Disney and Lucasfilm are evidently hoping these three freshly announced films will reignite Star Wars' success in movie theaters, even if we'll have to wait at least a couple of years to see the first of them.

Rey (Daisy Ridley) in Star Wars Episode IX - The Rise of Skywalker.

‘Super Mario Bros. Movie' review: A fun but safe Mushroom Kingdom romp

Super Mario Bros. is an almost perfect kids film. It's stunningly animated, it has enough momentum to keep youngins from being bored, and almost every character is unique and likable (even Bowser himself, thanks to the comedic stylings of Jack Black). It's clear that Nintendo didn't want to repeat the mistakes of that other Mario movie, the live-action 1993 film that's ironically beloved by some '90s kids (it's all we had!), but ultimately failed to capture the magic of the games. This film, meanwhile, is chock full of everything you'd remember from NIntendo's ouvre. It's a nostalgic romp for adults, and it's simply a fun time for children.

But boy is it safe. Maybe I'm a bit spoiled by the excellent non-Pixar animated films we've seen over the last decade, especially the ones that Phil Lord and Chris Miller have touched (The Lego Movie! Into the Spider-Verse!). But it's glaringly obvious Nintendo didn't want to take any major creative risks with this adaptation. The script from Matthew Fogel is filled with enough humor and references to keep us from feeling bored, and directors Aaron Horvath and Michael Jelenic deliver some inspired sequences. But it's almost like the film is trapped in a nostalgia castle thanks to the whims of an aging corporate dinosaur. (Bear with me.)

Nintendo/Illumination

That wasn't a problem for the kids in my matinee audience, but it's a bit disappointing if you've waited decades to see a truly great Mario adaptation. It's in line with the recent live-action Sonic the Hedgehog movie — Super Mario Bros. is "fine." There's no attempt to achieve anything deeper than the basics: Mario (voiced by Chris Pratt) and Luigi (Charlie Day) are two floundering Brooklyn plumbers who are inexplicably transported to the Mushroom Kingdom. Luigi, ever the scaredy-cat, is almost instantly captured by Bowser's minions, and it's up to Mario and Princess Peach (an effervescent Anya Taylor-Joy) to save him. Big bad Bowser, meanwhile, has plans to either marry Peach or, barring that, take over the kingdom.

The film bombards you with an endless series of references from the start – just look at all those Punch-Out! characters on the wall! – something that will either delight longtime Nintendo fans or make your eyes roll. Personally, though, I mostly enjoyed seeing how all of the nostalgia fodder was deployed (the adorably fatalistic Lumalee from Mario Galaxy practically steals the film). The filmmakers also show off plenty of visual flair, like an early scene in Brooklyn that rotates into a 2D chase sequence. If only some of the musical choices were more creative. (A Kill Bill reference? Bonnie Tyler's "Holding Out for a Hero" during Mario's training montage? Come on.)

It's always nice to see kids movies reach far beyond our expectations — The Lego Movie wrestled with the prison of capitalism, the importance of pushing against restrictive social expectations and how fandom can ruin the thing you actually love, all in addition to being a fun adventure for kids and injecting a dose of smart humor for adults. In Super Marios Bros., Mario learns to eat mushrooms because they literally make him big and strong. What subtext!

At the same time, I can still respect a movie that simply accomplishes its goal of entertaining children. Over the years, I've been subjected to plenty of truly awful kid's films with ugly animation and production design, lazy writing, and zero creative vision. I wish I could reclaim the time I spent watching Space Jam: A New Legacy or the 2011 Smurfs movie. The Super Mario Bros. may be a bit basic and safe, but it's not a waste of time.

For one, we've never seen Mario and the Mushroom Kingdom look this good. Illumination may not have the stellar track record of Pixar, but this movie is filled with gorgeously detailed characters, vibrant worlds jam-packed with detail and some of the most fluid animation I've seen in years. It's a visual feast, and it makes me long for the day when a Mario game can look so lush (as much as I loved Super Mario Odyssey, it's visuals are held back by the Switch's aging hardware).

And for the most part, the voice acting kept me invested. Jack Black is inspired as Bowser, a hopeless romantic who can only express his feelings through song and world domination. Charlie Day basically plays his usual harried persona, but it fits Luigi, a character who mainly exists to support his little bigger brother. And Anya Taylor-Joy makes for a perfect Princess Peach, a leader who has to feign bravery to protect her adorable Mushroom Kingdom people.

Nintendo/Illumination

For all of Chris Pratt's hype about his Mario voice, though, it's merely serviceable. The movie jokes about Charles Martinet's original problematic accent (Martinet also voices two characters in the film), but Pratt's spin on it just feels like someone pretending to be a schlubby Brooklynite. That's particularly surprising since Pratt injected so much life into his Lego Movie lead.

What's most disappointing about The Super Mario Bros. Movie is that it's so close to being genuinely great. If the film had more time to build up its characters, or if it made room for Jack Black unleash his full Tenacious D talents as Bowser, it would easily be stronger. Why not go a bit harder on that Mario Kart sequence? (Even Moana managed to fit in a Mad Max: Fury Road reference!) Why not spend a bit more time on the rivalry/budding bromance between Donkey Kong (Seth Rogen) and Mario?

With a projected opening weekend of $150 million or more, it's clear that Nintendo has a hit on its hands. A sequel is inevitable. I just hope that the company loosens up the next time around. After all, what fun is a Mario adventure without taking a few creative leaps over chasms of uncertainty?

Mario and the team in karts in The Super Mario Bros. Movie

'The Acolyte' Star Wars series will hit Disney+ in 2024

At the Star Wars Celebration in London, Lucasfilm has unveiled a raft of news, trailers and more on its numerous upcoming streaming series, Variety has reported. That starts with a first look at The Acolyte showed to the ExCel Center crowd (but not online yet) and a launch date window of sometime in 2024. 

First revealed at Disney's Investor Day 2020, The Acolyte takes place in the High Republic era of the Star Wars universe (100 years before the franchise’s prequel trilogy) during a period called the Golden Age of the Jedi. The cast includes Jodie Turner-Smith, The Good Place star Manny Jacinto, Dafne Keen, Rebecca Henderson and Carrie-Anne Moss.

The first look showed footage of a Jedi temple, fighting with Moss, a gold lightsaber, and a shots of the Jedis lighting up their sabers in unison. "This is about power and who is allowed to use it," a tagline read. The show is reportedly a "mystery thriller" seen from the perspective of the Siths, with the term "acolyte" describing soldiers of Sith Lords, according to Variety.

Lucasfilm also revealed that the Ahsoka series will debut in August of 2023, and stars Rosario Dawson and Mary Elizabeth Winstead revealed a teaser trailer to the crowd (above), with Dawson intoning "Something is coming, something dark."  

In other news, creator Tony Gilroy also showed off a trailer (also not online yet) and said that Andor's second and final season will debut in August 2024. Meanwhile, Jude Law and Jon Favreau showed off the first trailer for Skeleton Crew, a Spielberg-esque series focused on a group of rebellious kids. The footage showed Jude Law as a Jedi, kids on speeders and spaceships, and a baddie from The Mandalorian. 

'The Acolyte' Star Wars series will hit Disney+ in 2024

Maggie Rogers thwarts ticket bots with in-person sales

Pop star Maggie Rogers isn’t going to let bots spoil her upcoming tour. The “Alaska” singer told fans in an email today that she’s getting a jump on automated scalpers by selling tickets the old-fashioned way: in-person sales.

Rogers says fans can physically walk up to box offices on Friday to get first dibs on pre-sale tickets for her US summer tour, running from July to August. “On Friday, for one day only, we’re running an in-person pre-sales, where you can go directly to your local box office to buy a ticket,” wrote the artist, who rose to fame after a video of Pharrell Williams reacting to her “Alaska” demo went viral in 2016. “There’s a two-ticket-per-person limit, but you can choose any ticket you want — all of the prices and tiers will be available, along with exclusive merch and a special playlist I cooked up just for box office day.”

Rogers says the in-person process will vary from city to city, and she advises fans to check her website for specifics. For fans in the NYC area, she adds that she will visit the Music Hall of Williamsburg box office in Brooklyn on Friday, greeting fans buying tickets for her Forest Hills show scheduled for July 27th.

If you can't make it to the box office on Friday, Rogers says her website will open registrations for traditional artist pre-sales on April 11th. In addition, Spotify will have its own pre-sales on April 12th with local promoters joining on the 12th and 13th. General availability opens on April 14th.

ASSOCIATED PRESS

Ticketmaster has been in hot water lately over its inability to prevent bots from scooping up pre-sale tickets and reselling them for egregiously inflated prices. After 1.5 million presale codes went out to Taylor Swift fans in November, 14 million buyers (including “a staggering” amount of bots) tried to purchase tickets. The company said it was hit with 3.5 billion system requests, leading to the site crashing and fans left without access.

That caught the attention of the US Congress, including Rep. Alexandria Ocasio-Cortez, who called for the breakup of Ticketmaster. Joe Berchtold, President and CFO of Ticketmaster’s parent company Live Nation, testified before the Senate Judiciary Committee in January, acknowledging the problem but punting a resolution to (the largely dysfunctional) Congress. Despite a reported DOJ investigation, Senate hearings and the usual political showboating, the government hasn’t yet produced any reforms.

A similar fiasco unfolded in December when thousands of Bad Bunny fans heading to see the reggaeton star in Mexico City’s Estadio Azteca were denied entry at the door, with staff telling them their Ticketmaster-purchased tickets were fake. That incident led to Mexican antitrust scrutiny, but Ticketmaster avoided paying announced fines after it refunded buyers who were denied entry and provided additional compensation.

Although Rogers deserves credit for an analog solution to a modern-day problem, the story says more about our high-tech, modern-day ticket-purchasing catastrophe as it does the artist’s crafty workaround.

Maggie Rogers performs live on stage at the 2020 Spotify Best New Artist Party at The Lot Studios on Thursday, Jan. 23, 2020, in West Hollywood, Calif. (Photo by Willy Sanjuan/Invision/AP)

What did Twitter’s ‘open source’ algorithm actually reveal? Not a lot.

When Elon Musk first proposed taking over Twitter, one the first changes he claimed he'd make would be “open-sourcing” Twitter’s algorithm. Last week, Twitter finally followed through on that promise, publishing the underlying code for the site’s "For You" recommendations on GitHub.

Quickly, Twitter sleuths began sifting through the code to see what they could dig up. It didn’t take long for one eyebrow-raising finding: that Musk’s tweets have their own category (along with Democrats, Republicans and “power users”). Twitter engineers hastily explained that this was for “stat tracking purposes,” which has since been confirmed by other analyses. And though Twitter removed that section of code from GitHub within hours of its publishing, it’s still fueled speculation that Twitter’s engineers pay special attention to their boss’ engagement and have taken steps to artificially boost his tweets.

But there have been few other major revelations about the contents of the code or how Twitter’s algorithm works since. And anyone hoping this public code would produce new insights into the inner workings of Twitter will likely be disappointed. That’s because the code Twitter released omitted important details about how “the algorithm” actually works, according to engineers who have studied it.

The code Twitter shared was a “highly redacted” version of Twitter’s algorithm, according to Sol Messing, associate professor at NYU’s Center for Social Media and Politics and former Twitter employee. For one, it didn't include every system that plays a role in Twitter’s recommendations.

Twitter said it was withholding code dealing with ads, as well as trust and safety systems in an effort to prevent bad actors from gaming it. The company also opted to withhold the underlying models used to train its algorithm, explaining in a blog post last week that this was to “to ensure that user safety and privacy would be protected.” That decision is even more consequential, according to Messing. “The model that drives the most important part of the algorithm has not been open-sourced,” he tells me. “So the most important part of the algorithm is still inscrutable.”

Musk’s original motivation to make the algorithm open source seemed to stem from his belief that Twitter had used the algorithm to suppress free speech. “One of the things that I believe Twitter should do is open source the algorithm and make any changes to people's tweets — if they're emphasized or de-emphasized —that action should be made apparent,” Musk said last April in an appearance at TED shortly after he confirmed his takeover bid. “So anyone can see that action has been taken, so there's no sort of behind-the-scenes manipulation, either algorithmically or manually.”

But none of the code Twitter released tells us much about potential bias or the kind of “behind-the-scenes manipulation” Musk said he wanted to reveal. “It has the flavor of transparency,” Messing says. “But it doesn’t really give insight into what the algorithm is doing. It doesn't really give insight into why someone's tweets may be down-ranked and why others might be up-ranked.”

Messing also points out that Twitter’s recent API changes have essentially cut off the vast majority of researchers from accessing a meaningful amount of Twitter data. Without proper API access, researchers are unable to conduct their own audits, which would be able to provide new details about how the algorithm works. “So at the same time Twitter is releasing this code, it’s made it incredibly difficult for research to audit this code,” he wrote in his own analysis.

Alex Hanna, director of research at the Distributed AI Research Institute (DAIR) also raised the importance of audits when we talked last year, shortly after Musk first discussed plans to “open source” Twitter’s algorithm. Like Messing, she was skeptical that simply releasing code on GitHub would meaningfully increase transparency into how Twitter works.

"If you're actually interested in public oversight on something like a Twitter algorithm, then you would actually need multiple methods for oversight to happen” Hanna said.

There is one aspect of Twitter’s algorithm that the GitHub code does shed some new light on, though. Messing points to a file unearthed by data scientist Jeff Allen, which reveals a kind of “formula” for how different types of engagement are given priority by the algorithm. “If we take that at face value, a fav (twitter like) is worth half a retweet,” Messing writes. “A reply is worth 27 retweets, and a reply with a response from a tweet’s author is worth a whopping 75 retweets.”

While that’s somewhat revealing, it’s, once again, an incomplete picture of what’s actually happening. “It doesn't mean that much without the actual data,” Messing says. “And Musk just made data so insanely expensive for academics to get. If they want to actually study this now, you basically have to get a giant, massive grants — half a million dollars a year — to get a meaningful amount of data to study what's happening.”

The Twitter logo is seen in this photo illustration in Warsaw, Poland on 21 September, 2022. Twitter management has announced the introduction of a new verification label to replace the blue check previously given only to verified accounts. As the director of the service, Esther Crawford explains, unlike the blue symbol this one will be gray and it will be free. Twitter management has announced the introduction of a new verification label to replace the blue check previously given only to verified accounts. As the director of the service, Esther Crawford explains, unlike the blue symbol this one will be gray and it will be free. Verified accounts will now have an 'Official' badge under their username, along with a gray verification tag. All previously verified accounts will receive the 'official' check mark which will not be available for purchase and not everyone will be eligible. (Photo by STR/NurPhoto via Getty Images)

The next game from the makers of ‘Genshin Impact’ arrives in April

The next game from the makers of Genshin Impact has a release date. Honkai: Star Rail — a turn-based, space-fantasy, tactical RPG — arrives on April 26th. In addition to previously announced PC and mobile availability, developer HoYoverse announced today that a PlayStation (PS5 / PS4) version is coming “later.”

Although much is unknown about Honkai: Star Rail, we do know it trades in Genshin Impact’s Breath of the Wild type of open-world action for turn-based combat. Based on its trailers, it looks like a visual spectacle with an anime-esque art style and a cast of memorable characters. 

The story, set in the same universe as Honkai Impact 3rd, follows a protagonist with an implanted Stellaron (mysterious life forms that respond to the world’s desire to advance) on a quest to discover the truth about the “Cancer of All Worlds.” It begins at a tutorial level on Herta Space Station before moving on to snow-covered Jarilo-VI and other diverse worlds.

The free-to-play game will use gacha (item and character-based loot boxes) for monetization. It’s rated T for Teen and will be available for PC (standalone installation or the Epic Games Store), iOS and Android. That PS5 / PS4 version will arrive at an unknown later date.

Gameplay screenshot from upcoming fantasy RPG ‘Honkai: Star Rail.’ The protagonist (viewed from behind) is running toward a majestic-looking building under a blue sky.

Utah passes laws requiring parental permission for teens to use social media

Utah’s governor has signed two bills that could upend how teens in the state are able to use social media apps. Under the newlaws, companies like Meta, Snap and TikTok would be required to get parents permission before teens could create accounts on their platforms. The laws also require curfew, parental controls and age verification features.

The laws could dramatically change how social platforms handle the accounts of their youngest users. In addition to the parental consent and age verification features, the laws also bar companies “from using a design or feature that causes a minor to have an addiction to the company's social media platform.”

For now, it’s not clear how Utah officials intend to enforce the laws or how they will apply to teenagers’ existing social media accounts. Both laws are scheduled to take effect next March.

The effect that social media can have on teens, particularly younger ones, has been in the spotlight for some time. Earlier this year, the Surgeon General said that “13 is too early,” referring to the minimum age when most platforms allow teens to join. Lawmakers in Congress and in other states have also proposed laws that would limit teens’ ability to use social media apps.

Not everyone agrees that laws restricting teenagers from using social media is the right approach, though. The Electronic Frontier Foundation, an organization that promotes digital rights, has opposed the law, saying it would violate the First Amendment rights of young people. Other groups have voiced similar concerns. 

SAO PAULO, BRAZIL - JULY 27: Audience during Roberto Carlos concert with cell phones recording and live with facebook live, instagram, igtv,  snapchat and tiktok at Vibra Sao Paulo on July 27, 2022 in Sao Paulo, Brazil. (Photo by Mauricio Santana/Getty Images)

Netflix beats streaming rivals with six Oscars

Netflix took home six Oscars tonight besting all other streaming services, largely thanks to All Quiet on the Western Front, with only Apple TV+ in the mix taking a single award. However, the ceremony was dominated by Everything, Everywhere All at Once (A24) which took home no less than seven statues including three of four for acting, along with Best Director and Best Picture.

A German language take on the classic WWI book, All Quiet on the Western Front won Oscars for Best International Feature, Best Cinematography, Best Production Design and yes, Best Original Score (despite some critics' complaints about said score). 

Netflix also took home the Best Animated Feature trophy for Guillermo del Toro’s Pinocchio, a strong feather in its cap considering competition from established studios like DreamWorks, Sony Pictures and Pixar. Apple TV+, meanwhile, made it a streaming animation sweep, winning the Oscar for Best Animated Short Film with The Boy, the Mole, the Fox, and the Horse.

Everything Everwhere All at Once took home most major Oscars, even though it was handicapped by its early 2022 release. Its haul included Best Actress (Michelle Yeoh), Best Supporting Actor (Ke Huy Quan), Best Supporting Actress (Jamie Lee Curtis), Best Director (the Daniels) and Best Picture. The highlights of the night were perhaps the emotional speeches by Ke Huy Quan and Michelle Yeoh, who was the first Asian person to win Best Actress. "For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibilities," she said on the stage.

HOLLYWOOD, CA - MARCH 12: Oscar statues, backstage at the 95th Academy Awards at the Dolby Theatre on March 12, 2023 in Hollywood, California. (Robert Gauthier / Los Angeles Times via Getty Images)

Netflix comedy series 'I Think You Should Leave' comes back on May 30th

I Think You Should Leave With Tim Robinson finally has a premiere date, almost a year after Netflix announced that the show was coming back for a third season. The streaming giant has announced on Twitter that the six-episode comedy sketch series will be available for streaming on May 30th. The show was created by Saturday Night Live alum Tim Robinson, who also stars in it, and SNL producer Zach Kanin. They're not the only comics connected to the show, though: It's co-produced by The Lonely Island, the comedy trio composed of Andy Samberg, Akiva Schaffer and Jorma Taccone. 

Each episode of I Think You Should Leave is only around 16 to 18 minutes long, so you can finish a season in one sitting. There are multiple sketches per episode, mostly revolving around somebody doing something absurd in an everyday professional or social situation, as well as some pretty bizarre and over-the-top bits. Really, some parts are so weird, you don't know whether to cringe or laugh. 

The show's first season premiered on Netflix back in 2019, while the second season arrived in 2021. Alex Bach, one of the show's producers, previously told Variety that Robinson and Kanin write every single script and that they "wait for the sketches to come to them" so there have been "extended periods of time between seasons."

A screenshot from the third season of Netflix comedy show I Think You Should Leave.

‘Ted Lasso’ returns with a stronger, more focused third season

I’ve always found the major criticism against Ted Lasso, that it’s too saccharine, to be quite unfair. This is a series in the Frank Capra mold, where the sunny skies and primary colors sweeten the bitter pills being handed out. For every scene of wish fulfillment designed to get you pumping the air, there are meditations on suicide, betrayal and emotional neglect. It’s also funny – enough that Emmy voters gave it Best Comedy two years in a row. Now the third and, far as we know, final season of the show will return to Apple TV on March 15th.

It picks up after the summer break, in the run-up to Richmond’s return season in the Premier League (EPL) after winning promotion by the skin of its teeth last time around. It’s been a long while since the second season aired, the longer gap attributed to behind the scenes issues. Jason Sudekis, who became co-showrunner this time around, reportedly ordered a ground-up rewrite after becoming dissatisfied with the original direction this season was taking. On the basis of the first four episodes, which Apple made available ahead of broadcast, our patience has been well-rewarded.

Such is the nature of Apple’s restrictive covenant on spoilers that I can’t talk about many specifics about the third season. The first episode is the weakest of the bunch, taking time to re-establish where everyone is after their summer break. (Are placeholder episodes necessary given the nature of streaming these days?) Keeley is finding the rigors of running her own business to be harder than expected, while Rebecca has taken Ted’s pledge of winning the league to heart. Ted, meanwhile, is feeling just as emotionally stunted as he has been previously, moreso after spending a summer with Henry, clearly having not dealt with Nate’s betrayal, or the contrived reasons behind it.

As part of Lasso’s evolution from a sitcom to a comedy drama, the runtimes of each episode are now firmly measured in hours, rather than half hours. The narrative has broadened out to cover the personal lives of many of the main footballers, as well as giving Keeley a whole new team to work with. We even get our first proper glimpse of Michelle and Henry back home in Kansas, not to mention the storylines featuring Sam and, of course, the dreaded Nate. That’s a lot for a show to handle, especially one that – similarly unfairly – was described as unfocused and messy in its second season. (Blame must go to Apple for that one, given its late-in-the-day request to add a further two episodes to the order.)

There are more threads in the storyline, but Ted Lasso has refocused its episodic structure around the Premier League season. And two parallel narratives come to the fore: Ted’s struggle to access his emotions in a healthy way, and the battle over Nate’s soul. Rupert, played with evil relish by Anthony Head, is the devil lurking on the wonder kid’s shoulder, dangling temptation before him at every turn. I probably can’t talk about [ACTOR] playing [CHARACTER], either, a condensed version of every mono-named prima-donna footballer that is often idolized and hated in equal measure.

I was interested to see how the show’s newfound embrace by the footballestablishment would alter its customary lack of grounding in reality. This season sees plenty of filming at some big name stadiums, even down to the retention of the sponsor walls for post-match interviews. But don’t go in expecting a new-found commitment to footballing verisimilitude, with the opposition teams all played by actors with little resemblance to their real-world counterparts. Just remember that this is still Ted’s world, we’re just lucky enough to spend a little time watching it.

Ted Lasso (Jason Sudekis) and Nate Shelley (Nick Mohammed) face off while Rupert Mannion (Anthony Head) lurks, evily, in the background.

The final trailer for 'The Super Mario Bros. Movie' looks more like a game than ever

There was a time when movies based on video games tried to distance themselves from their source material. "This ain't no game," bragged the poster for the 1993's live-action Super Mario Bros. film. Times have changed: The final trailer for The Super Mario Bros. Movie by Illumination leans hard into its origins. This is absolutely a game, it says. See? Here's a scene that looks like New Super Mario Bros. U Deluxe, and another one that looks just like Mario Kart 8 Deluxe.

If you were hoping to hear more of Chris Pratt's Mario voice, you won't find much new here — but the final trailer does give viewers a clear look at the tone the movie is going for. We watch Bowser list off an army of familiar video game enemies. We watch Mario and Donkey Kong use power mushrooms and fire flowers as they run through a training course that looks like a traditional Mario level. We see Mario and Peach race through a brightly rendered Rainbow Road. It looks familiar. It looks fun. And it looks like a game, but with better graphics.

That's no surprise. According to directors Aaron Horvath and Michael Jelenic, Illumination has worked closely with Nintendo to make sure the film feels right. The directors also say that Illumination has improved its lighting and rendering technology to help push Super Mario Bros. Movie to the next level "beyond anything Illumination has ever done."

As for that Mario voice? You'll finally be able to hear the full performance when the film hits theaters next month. The Super Mario Bros. Moviereleases on April 5, 2023.

The Super Mario Bros. Movie

Amazon scoops up ‘Batman: Caped Crusader’ after HBO Max cancellation

Amazon has reportedly picked up Batman: Caped Crusader, the animated series Warner Bros. developed for HBO Max but scrapped last August to cut costs. Despite also drawing interest from Netflix, Apple and Hulu, the upcoming show will have a home on Amazon Prime.

First announced in May 2021, Batman: Caped Crusader sounds like a spiritual successor to Batman: The Animated Series, the beloved 1990s weekday afternoon staple. The upcoming show was created by executive producers JJ Abrams, Matt Reeves and Batman: The Animated Series developer Bruce Timm. In addition, celebrated comic-book writer Ed Brubaker is on the creative team for the 10-episode first season.

The Amazon sale was part of Warner Bros. Discovery’s plans to monetize content by selling it to third parties. The studio will now focus on the Batman IP as part of a 10-year DC Comics meta-story spanning film, TV, gaming and animated series. In addition, a sequel to Reeves’s 2022 film The Batman and spin-off series The Penguin on HBO Max are in the works.

“We are beyond excited to be working together to bring this character back, to tell engrossing new stories in Gotham City,” Abrams and Reeves said when Batman: Caped Crusader was announced. “The series will be thrilling, cinematic and evocative of Batman’s noir roots, while diving deeper into the psychology of these iconic characters. We cannot wait to share this new world.”

Promotional artwork for the series ‘Batman: Caped Crusader,’ featuring Batman scowling in a dark and moody nighttime scene with the moon behind him.

‘Suicide Squad: Kill The Justice League’ reportedly delayed yet again

Warner Bros. has reportedly delayed Suicide Squad: Kill The Justice Leagueyet again. Rocksteady’s long-awaited spinoff / sequel to the Batman: Arkham series was most recently slated to launch on May 26th; it’s now coming “later this year.”

It was allegedly delayed “to fix bugs and improve aspects of the game that were lagging behind,” although Bloomberg’s source adds that the changes “won’t overhaul many of the core gameplay that had led to the backlash” it received at a February PlayStation event. Fans’ criticisms were directed mainly toward the game’s online requirement and purchasable cosmetic items.

The multiplayer shooter stars a group of villains tasked with stopping an out-of-control Justice League, which has fallen under the spell of the supervillain Brainiac. You can switch in the middle of the action between the four playable characters: Harley Quinn, Deadshot, Captain Boomerang and King Shark. Unlike Warner Bros.’s most recent superhero game, the lackluster Gotham Knights, the upcoming title is set in the same universe as the Batman: Arkham series, the last standard installment of which launched nearly eight years ago.

The game will mark one of the last appearances of Kevin Conroy, the celebrated voice actor who died last year at 66. He will reprise his role of Batman, who appears (but not as a playable character) in Suicide Squad: Kill the Justice League. In addition to voicing the Dark Knight in Batman: The Animated Series, he returned to the part in Rocksteady’s Arkham Asylum, Arkham City and Arkham Knight. (Roger Craig Smith voiced Batman in Arkham Origins and Arkham Origins: Blackgate, which different developers handled under the Warner Bros. Interactive masthead.)

When it finally arrives, Suicide Squad: Kill the Justice League will be available for PS5, Xbox Series X / S and PC.

Gaming artwork featuring Deadshot, Harley Quinn, King Shark and Captain Boomerang standing side by side.

Epic lets developers self-publish on the Games Store

It's now much easier for game studios to release their work on the Epic Games Store. Epic has introduced long-awaited self-publishing tools that let anyone release games through its storefront. They'll have to pay $100 per title and meet certain requirements (more on those in a moment), but they won't have to contend with the hand-curated selection of before.

Self-published games can't have discriminatory content, porn or illegal material. Titles with online play have to support crossplay across all PC stores, and they must include Epic Games Store achievements if there are achievements in other PC stores. Releases also have to meet a baseline quality level that matches the description customers see, and they'll need (free) age ratings in countries where they're required. 

As with the Epic Games Store's usual practices, the main draw is the higher cut of revenue. Epic takes a relatively modest 12 percent cut where its main rival, Steam, can take up to 30 percent depending on sales figures. The company also doesn't demand a portion of in-app purchases if they're made using a non-Epic payment system. While it's potentially more lucrative for most developers, it's particularly beneficial for small studios that may want to reach a large audience without giving up a large chunk of their revenue.

The self-publish mechanism has taken a long tim to reach this point. Epic first started beta-testing the feature in August 2021 ahead of an expected 2022 debut. The delay is because "developing software is hard," CEO Tim Sweeney tellsThe Verge.

Whether or not developers flock to the Epic Games Store as a result isn't certain. While Epic notes that its shop has over 230 million total users, Steam had 69 million daily active users in 2021. It remains the largest multi-developer game portal on computers. Epic's requirements are also more stringent than Valve's, which only really forbid illegal content and "trolling" attempts. All the same, this dramatically lowers the barriers to reaching Epic's store — you may see a surge in its catalog before long.

Epic Games Store listings

‘Puss in Boots: The Last Wish’ arrives on Peacock next week

One of 2022’s most surprising films will soon be available to stream. On Friday, NBCUniversal took to Twitter to announce that Puss in Boots: The Last Wish will hit Peacock on March 10th. As Gizmodo notes, the Shrek franchise spinoff has had an incredible run since arriving in theaters at the end of last year. To date, the film has grossed nearly $450 million, making it one of the most financially successful movies of 2022. It has also been a hit among critics, leading to a Best Animated Picture nomination at this year’s Oscars.

The Last Wish will join other Shrek films on Peacock, including the 2001 original and 2010's Shrek Forever After, the final entry in the mainline series. You can also use Peacock to watch a handful of other DreamWorks classics, including The Prince of Egypt. Unfortunately, NBCUniversal is making it harder to check out Peacock’s library of content for free. The service recently stopped offering its previously available free tier to new subscribers. Comcast subscribers will also lose free access to the platform later this year.

Screencap from Puss in Boots: The Last Wish showing the protagonist with two traveling companions.