Twitter test lets you ‘unmention’ yourself in tweets

Twitter might not have an edit button just yet, but it’s still delivering at least one useful feature this week. The social network is now rolling out a previously hinted-at “Unmention” feature that lets you remove yourself from a conversation. The experimental offering is limited to the web for now, but you just have to choose “leave this conversation” from a tweet’s options to avoid constant notifications for a chat you never wanted to join.

Unmentioning is available for some people today, Twitter says. It’s not clear if or when the feature might be widely available, or when it might reach mobile apps. In its current form, the text for the mention remains — it just doesn’t send an alert.

The company has tested or deployed numerous features to keep mentions civil, including an anti-harassment Safety Mode that automatically blocks mean-spirited users. This, however, might be one of the most practical. Twitter users often deal with unwanted mentions from friends, spammers and others. This gives you more control over your participation and lets you focus on the chats you care about.

‘Slow Horses’ makes me glad I forgot to cancel Apple TV+

Confession time: I’d never read any John LeCarré until after I’d seen the 2011 film of Tinker Tailor Soldier Spy. It’s a brilliant movie, and one that sent me scuttling to read the Karla trilogy and then watch the two excellent Alec Guinness adaptations. After devouring the first two episodes of Apple TV+’s Slow Horses, I can think of no higher compliment than to say that I’m bulk-buying the book series it was adapted from in short order.

Slow Horses is an adaptation of Mick Herron’s series of Slough House novels, featuring a group of British spies trapped in administrative purgatory. MI5 agents who have committed high-profile mistakes but know far too much to be fired are dumped in the dingy Slough House. There, they are given harmless busywork too demeaning for real spies to undertake, all the while being tormented and demeaned by division chief Jackson Lamb, played by Gary Oldman.

It’s this world that former superstar spy River Cartwright (Jack Lowden) is thrust into after his own notorious error while out in the field. There, he’s given jobs like searching a dodgy journalist’s trash can and acting as a courier between offices. It’s hardly a spoiler to suggest that Cartwright’s arrival triggers something of a major case for the rejects to handle, which has mostly kicked off by the time the second episode finishes.

What Slow Horses has to offer, beyond the enjoyment of a modern-day thriller done right, is a sense of pulpy fun. A sequence in the second episode I can’t spoil plays out with the beats of a Chuck Jones cartoon rather than an entirely gritty espionage potboiler. It helps, too, that the show isn’t trying to make everyone a two-dimensional cut-out, which can so often be the case when prestige TV attempts to make spy-fi.

The series was created by the unfortunately named Will Smith, the British standup, actor and writer who, far as we know, has never slapped Chris Rock on stage. The dialog sparkles, not surprising given that Smith has written for Avenue 5, Veep and The Thick of It. It’s also clear-eyed about its politics, offering something approaching nuance concerning the benefits and burdens of living in a surveillance state.

Much has already been made about the fact that this is Gary Oldman’s first starring role in a TV series. But Apple also spent big to recruit serial award-winner Kristin Scott-Thomas and Jonathan Pryce, who appears as a former spymaster who has lost none of his imperial pomp. Mentions too, to Olivia Cooke’s Sid Baker, a vastly more talented spy who, despite slumming it in Slough House, is actually allowed to undertake real espionage work, and Saskia Reeves’ as Lamb’s long-suffering assistant, Standish.

I’ll admit, I get a kick out of watching the once-and-hopefully-future George Smiley playing a cracked-mirror version of that same character. Lamb is trapped in the grimy whiskey and tobacco-stained late ‘70s, and Oldman has never looked grander than as a man in ruins. Even at this early stage, there are hints that Lamb was once a spectacular agent whose fall from grace was similarly staggering, but the series isn’t teasing it out in mystery-box fashion.

There are two reasons I’m recommending this to you. Firstly because I thought it was good, and I feel like sharing cool stuff is part of my job. But also because the only reason I even started Slow Horses was because I’d forgotten to cancel my TV+ subscription. I saw the email hit my inbox, and felt resentful at yet another £4.99 that I’d wasted on something I’ve not used at all. (I keep meaning to use that money to subscribe to Disney+ now that my kids are old enough to sit through a whole movie in one sitting.) Ted Lasso aside, TV+ in my mind remains the home of mostly middle-of-the-road fare that aspires to do well enough on either coast, and much of the middle.

It didn’t help that The Morning Show left me cold, and I can’t imagine myself watching Jason Momoa wandering around a forest in in See. You can’t fault Apple for not wanting to just throw a fortune at its TV department and flood its service with forgettable originals. But that deliberate process of slowly building up its catalog has always made me feel a bit like a chump for paying for the privilege of not wanting to watch what was on offer. And yet, after Slow Horses, I decided to take a gamble and watch Severance. I’m only a few episodes deep, and it’s not one of those shows you can, or should, binge over a couple of bloodshot nights, but it is good. It’s a left-field exploration of the nature of memory, personality and corporate life that defies easy explanation. (Also, check out our interview with creator Dan Erickson!)

If I needed to have a grand theory about All Of This (and I’m not sure at this point that I do), it’s that TV+ needs to get weirder. Yes, it has the cash to buy as many prestige-TV series as it wants, but we’re swimming in worthy, often dull series (looking at you, WeCrashed!). I’ve still not bothered with either of the two (two!) Tom Hanks films Apple rescued from the ignominy of a COVID-era cinema release. But shows like Severance and Slow Horses, one a highbrow exploration of something, the latter the televisual equivalent of a luxury dirty burger. Neither of which you could imagine HBO, even in its post-Netflix anxiety pomp, buying. Hopefully we’ll see more of this sort of thing in the future, and I can feel a bit less resentful about paying for TV+.

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Spotify’s Car Thing can now take calls and control other apps

Just a couple months after it started selling its $90 Car Thing to anyone in the US, Spotify is rolling out a bunch more features for the device this week that should make it more useful. Among the updates is what Spotify says is one of the most-requested features: an add to queue option.

There are a few ways to put more songs or podcast episodes onto your ad-hoc playlist. You can tap the add to queue icon next to a track or hold down the dial when you have a song highlighted. There’s voice ]support as well, so you can say something like “Hey Spotify, queue ‘Happier Than Ever'” or any other song you’d like to hear. You can view the queue with a voice command or by holding down the dial in the Now Playing view.

Also new is a way to generate a playlist based on a genre, mood or activity. You can say something like “Hey Spotify, play upbeat Sunday morning pop” and the platform will put together a personalized playlist on the fly that fits those criteria. The feature is available on all platforms with Hey Spotify support.

Elsewhere, there are a couple more Car Thing features that should prove useful. You’ll be able to see, answer and reject incoming calls. There’s also a way to play and control other media. You can switch back to Spotify control by tapping the screen, using presets or issuing a voice command. These two features are iOS-only for now. They’ll be available for Android later. Updates to Car Thing, which requires a Premium Spotify subscription, also roll out automatically for iOS users.

Twitter appears to have quietly altered a key way deleted tweets can be preserved

Twitter might finally be delivering an edit button, but the company appears to have quietly altered a key way deleted tweets can be preserved. As writer Kevin Marks first pointed out, the company changed its embedded javascript so that the text of deleted tweets is no longer visible in embeds on outside websites.

Previously, the text of a deleted tweet was still visible on web pages on which it had been embedded, but now Twitter is using javascript to render the tweet as a blank white box. Overall, it might not seem like a major change on Twitter’s part, but it’s one that has significant implications. Tweets from public officials, celebrities and the general public are frequently embedded into news stories. Even if those tweets were later deleted, there was a clear record of what had been said.

Now, there are untold numbers of old articles where instead of a tweet there’s just a blank box without context. For example, tweets from former President Donald Trump were routinely cited by media organizations. Even after his account was permanently suspended, the text of those missives was still viewable on the sites where it had been embedded. Now, that’s no longer the case.

In Trump’s case, there are extensive archives of those tweets. But that’s not the case for the majority of Twitter users, or even many public officials. And while it’s still technically possible to view the text by disabling javascript in your browser, it’s not the kind of step most people would know how to do even if they knew the option existed.

Twitter product manager Eleanor Harding told Marks the change was made “to better respect when people have chosen to delete their Tweets.” A spokesperson for Twitter declined to comment further on the change. 

Still, it’s a curious move because, as Marks points out in his post, Twitter’s original choice to maintain the text of deleted tweets was an intentional choice on the part of Twitter engineers. “If it’s deleted, or 1000 years in the future, the text remains,” former Twitter engineer Ben Ward wrote in 2011 when embedding tweets was first announced.

That’s in line with statements from other twitter executives over the years about the importance of Twitter as a kind of “public record.” For example, former CEO Jack Dorsey said in 2018 he was hesitant to build an edit button because it could erode Twitter’s ability to function as a public record. “It’s really critical that we preserve that,” he said at the time.

GOG renews its focus on classic games, starting with ‘The Wheel of Time’

GOG originally stood for “Good Old Games,” and the online store wants to better match the expectations associated with that name. It’s launching a revival that will do more to highlight and support classic game releases. The initiative will not only apply a “Good Old Game” tag to retro hits in the catalog, but will include a ‘new’ game: a version of Legend’s 1999-vintage The Wheel of Time (timely given the Amazon series) that runs on modern hardware.

The Unreal Engine-based fantasy shooter won’t offer stunning visuals, but Nightdive Studios’ refresh lets it run on newer operating systems (Windows 7 and up) and support high-resolution displays. The premise remains the same: you play an Aes Sedai (magic-wielding woman) who uncovers a sinister plot decades before the timeline of Robert Jordan’s novels. You’ll also find deathmatch and capture-the-flag multiplayer modes, although Wheel of Time wasn’t exactly a staple of the online gaming scene when new.

There’s a strong competitive incentive for GOG to shift its attention to classic games — this could help it stand out compared to heavyweights like Steam and the Epic Games Store, many of which focus on the latest releases. The initiative could be useful for game preservation efforts, though. If nothing else, it could be helpful if you’ve been waiting decades to revisit a favorite.

Canada considers law requiring Facebook, Google to pay news publishers

Canada may soon echo Australia in making internet companies pay news publishers to use their content. CBC Newsreports Canada’s ruling Liberal Party has introduced legislation requiring that Facebook, Google and other online firms compensate news outlets for either reproducing or easing access to content. The money would help foster the “sustainability” of Canadian news, according to the government.

Companies that don’t pay publishers would be subject to binding arbitration led by Canada’s telecom regulator, the Canadian Radio-television and Telecommunications Commission. The CRTC will also decide which news sources qualify for compensation.

Officials saw this as a matter of necessity. Heritage Minister Pablo Rodriguez claimed the news industry was “in crisis” and that publishers couldn’t rely on ad revenue like they had in the past. This merely addressed a “market imbalance,” he said.

We’ve asked Google and Facebook parent Meta for comment. In the past, they’ve maintained that publishers benefited from the traffic driven to their websites through search results and social media posts. They’ve also threatened to disable services rather than pay publishers, although Google ultimately caved in Australia and struck deals to avoid an arbitration battle. In a statement to CBC News, Google said it was “carefully reviewing” the legislation and “fully support[ed]” access to news.

The legislation may well pass. Although the Liberals don’t have a majority in Canada’s House of Commons, they recently reached an agreement with the New Democratic Party to advance bills reflecting shared interests. Whether or not it works as promised is another concern. As University of Ottawa internet research chair Michael Geist warned, there’s a concern that the CRTC’s role will lead to just a “handful” of major companies profiting at the expense of smaller outfits. If so, it might not prevent further damage to the country’s news industry.

Update 4/6 11:40AM ET: Google Canada spokesperson Lauren Skelly has shared the company’s full statement with Engadget. You can read the response below. Also, Meta Public Policy Manager Rachel Curran said her company was “currently reviewing” the legislation and would do more once it “fully understand[s]” the nature of the bill.

“We are carefully reviewing the legislation to understand its implications.  We fully support ensuring Canadians have access to authoritative news and we look forward to working with the government to strengthen the news industry in Canada.”

Vevo says an ‘unauthorized source’ vandalized Drake, Lil Nas X and other YouTube channels

If you were trying to watch Drake, Taylor Swift, Lil Nas X, The Weeknd, Eminem, Ariana Grande, Harry Styles, Kanye West, Michael Jackson and other artists on YouTube this morning, you may not have seen what you expected. Music video network Vevo was reportedly attacked by someone with the Twitter handle @lospelaosbro, who uploaded some extremely strange clips, The Verge reported. Those included video of a rapper called Lil Tjay and a man called Paco Sanz who was sent to jail for scamming donations after lying about having cancer. 

Vevo acknowledged the incident, telling Engadget that “some videos were directly uploaded to a small number of Vevo artist channels earlier today by an unauthorized source.” It added that no pre-existing content was accessible to the attacker and said that it would be “conducting a review of our security systems.”

Vevo is owned primarily by music labels Sony Music Entertainment and Universal Music Group. The company says it controls “the largest network of music channels on YouTube,” and essentially acts like a contractor, allowing distributors to merge Vevo channels with existing channels as “Official Artist Channels.” Google also owns a small stake in the service.

According to a Vevo FAQ, artists don’t post their videos directly, but send them to “content providers” for uploading. Content providers include major labels like Universal Music Group and Sony Music, along with independent distributors. The hacked artist channels belong to multiple labels and Vevo said that they have now been secured and the incident is resolved.

Update 4/6/2022 1:34 PM ET: The article has been updated with a statement from Vevo. 

Facebook wants you to post Reels from third-party apps

Facebook is taking another step to encourage users to create original content for its TikTok clone. The company introduced a new “sharing to Reels” feature to allow users of third-party apps to post directly to Facebook Reels.The update allows outside …

Twitter confirms it will test an edit button

More than a decade and a half into its existence, Twitter has confirmed what was once unthinkable: an edit button is on the way. The company confirmed as much Tuesday, saying that it’s been “been working on an edit feature since last year.” 

The company was light on details, but it did share a mock-up of the feature, which it said it would test first with Twitter Blue subscribers “in the coming months.”

Twitter added that “no, we didn’t get the idea from a poll,” in an apparent reference to Elon Musk, who recently became the company’s largest shareholder and immediately asked his followers if the company should create the long-requested feature.

In a separate thread, the company’s head of consumer product Jay Sullivan said that an edit button “has been the most requested Twitter feature for many years.” He said the company would be “actively seeking input and adversarial thinking” prior to launching the feature in order to prevent potential misuse.

“Without things like time limits, controls, and transparency about what has been edited, Edit could be misused to alter the record of the public conversation,” Sullivan wrote. “Protecting the integrity of that public conversation is our top priority when we approach this work. Therefore, it will take time and we will be actively seeking input and adversarial thinking in advance of launching Edit.”

That Twitter will start experimenting with editable tweets is a major shift for the company. Executives have long acknowledged the practicality of being able to fix typos and correct errors, but have cited concerns that an edit button could chip away at Twitter’s ability to act as a public record. As recently as 2020, Twitter co-founder Jack Dorsey said it would “probably” never happen, despite previously seeming open to the idea. “We wanted to preserve that vibe, that feeling, in the early days,” he said, referring to Twitter’s origins as an SMS-based service.

Prior to Twitter confirming it was in fact working on an edit button, Meta CTO Andrew “Boz” Bosworth weighed in on the idea, claiming that Facebook had already “solved” issues around potential misuse. “You just include an indicator that it has been edited along with a change log,” he wrote. “If you are really worried about embeds they can point to a specific revision in that history but with a link to the latest edit. Not a real issue.” 

Bringing the edit button to Twitter Blue subscribers first could also be a major boost to Twitter’s recently-launched subscription service. The $2.99/month service gives subscribers additional features, like the ability to “undo” tweets and access to NFT profile photos. But that doesn’t mean edit functionality will always be limited to those who pay. Editing will be available first as a “Twitter Blue Labs” feature, but the company has said it intends to make some “labs” features available to everyone after initial testing. Whether that will be the case with tweet editing is unclear for now.

Twitter won’t let government-affiliated accounts tweet photos of POWs

Twitter is once again tightening its rules to address how its platform is handling the war in Ukraine. The company said Tuesday that it will no longer allow official government or government-affiliated accounts to tweet photos of prisoners of war “in the context of the war in Ukraine.”

The policy will apply to photos published “on or after April 5th,” according to an update in Twitter’s rules. Government accounts sharing such images will be required to delete them, said Yoel Roth, Twitter’s Head of Site Integrity. “Beginning today, we will require the removal of Tweets posted by government or state-affiliated media accounts which share media that depict prisoners of war in the context of the war in Ukraine,” Roth said.

“We’re doing so in line with international humanitarian law, and in consultation with international human rights groups. To protect essential reporting on the war, some exceptions apply under this guidance where there is a compelling public interest or newsworthy POW content.”

In a blog post, the company added that in cases in which there is a “compelling public interest” for a government account to share photos of prisoners of war, it would add interstitial warnings to the images.

While the new rules apply to official government and government-affiliated accounts, Twitter noted that it will take down POW photos shared by anyone with “with abusive intent, such as insults, calls for retaliation, mocking/taking pleasure in suffering of PoWs, or for any other behavior that violates the Twitter rules.”

Additionally, Twitter is taking new steps to limit the reach of Russian government accounts on its platform. Under a new policy, the company will no longer “amplify or recommend government accounts belonging to states that limit access to free information and are engaged in armed interstate conflict,” Roth said. “This measure drastically reduces the chance that people on Twitter see Tweets from these accounts unless they follow them.”

It’s not yet clear if or how Twitter plans to enforce this policy for contexts other than the war in Ukraine. In a blog post, the company left open the possibility that it would apply the rules to situations “beyond interstate armed conflict” but didn’t elaborate.

“Attempts by states to limit or block access to free information within their borders are uniquely harmful, and run counter to Twitter’s belief in healthy and open public conversation,” the company wrote. “We’re committed to treating conversations about global conflicts more equitably, and we’ll continue to evaluate whether this policy may be applied in other contexts, beyond interstate armed conflict.”

The changes are the latest way Russia’s invasion of Ukraine has forced Twitter to adapt its content moderation rules as tries to suppress Russia-backed disinformation. The company has already taken steps to limit the visibility of Russian state media outlets and turned off advertising and recommendations in both Russia and Ukraine. Russia has blocked Twitter since March 4th.