Twitter is now accepting signups for those who to be among the first to access the verification for organizations program. It was previously known as Blue for Business, the company said in its announcement, along with a link to the sign-up form. Organizations will have to submit their names, Twitter usernames and websites to be considered for the waitlist. They also have to indicate their size and the expected number of affiliated accounts. If you'll recall, Musk previously announced that the website will roll out a feature that will give organizations the capability to identify accounts that are actually associated with them.

His announcement came after a rather disastrous launch of Twitter's paid verification system, which gave rise to a bunch of verified trolls impersonating companies, celebrities and other high-profile personalities. This upcoming feature is meant to help address the issue and ensure that users claiming to be part of a specific organization are who they say they are. 

Musk also announced back then that the website will offer checkmarks in different colors: gold for companies, grey for government and blue for individuals. That will make posing as a company or a government agency difficult for random users. The company ultimately had to pause Blue's initial rollout due to the influx of impersonators before relaunching it in December with an $11-per-month price tag. 

Twitter will publish its "tweet recommendation code" and will make tweet and account status visible "no later than next month," Musk has revealed, as well. Presumably, that means users will know if they've been shadowbanned and their tweets aren't showing up for other people. "Transparency builds trust," he added. In addition, he announced that the website is moving the bookmark button to the tweet details page and is fixing its image auto-cropping feature next week.

Google is giving Stadia users some consolation prizes before the game streaming service shuts down on January 18th. To start, it's planning to release a tool that will enable Bluetooth support on the Stadia controller. You'll have to wait until next week to download it, but this should make the device useful for just about any title that has gamepad support, so long as the platform recognizes the hardware in the first place.

The company has also released a Snake clone, Worm Game, as a final "thanks" to users. It's a simple project the Stadia team has been using for testing since before launch, but it might be worth a try if you want to give the service a proper sendoff.

You're out of luck if you played Destiny 2 on Stadia, however. Bungie has already shut downDestiny 2's Stadia servers, and is giving gamers until January 18th to activate Cross Save and migrate their characters elsewhere. The developer also warns that you shouldn't disable Cross Save after the 18th "for any reason" as long as Stadia is your primary account.

These last-minute announcements likely won't come as a shock. Google announced its shutdown plans in September, and started issuing refunds in November. Other game studios have also been helping with the transition for weeks. IO Interactive recently released a promised Progression Carryover tool for Hitman players, while Ubisoft is offering free PC copies of games purchased through Stadia. If you hadn't already made the leap, you were probably getting ready for it.

The technology behind Stadia will live on after it and Worm Game are just memories. On top of the controller update, Google's Immersive Stream for Games makes the cloud functionality available to other companies. Still, it's a bittersweet moment — the news is a reminder that Google's most ambitious gaming initiative is nearly at an end.

Drive to Survive did wonders for Formula 1. The hit Netflix series has drawn fans to the sport through its (sometimes manufactured) drama and beautiful cinematography. What you likely don’t know is that Formula E has its version, albeit with shorter episodes and massively condensed storylines. Even still, Formula E Unplugged is a great primer for the new season whether you’ll be watching the EV racing series for the first time or you’re a veteran fan.

Season two of Unplugged, which chronicles 2022’s Season 8 of Formula E, hit some broadcasters just before Christmas and all six episodes have made the rounds a few times here in the US already (CBS Sports Network). That’s a big change from season one’s 15 episodes which weren’t widely distributed and now live on the Formula E YouTube channel. The other difference with this new season is the episodes are 30 minutes with commercials, slightly longer than the 10- to 15-minute entries in the previous installment. But even with some added time, many of the narratives are condensed to the point they’re hard to follow at times.

Simon Galloway/LAT Images

Episode one covers Mercedes-EQ in its final season (the team was purchased by McLaren). Eventual series winner Stoffel Vandorne has to contend with the fact his teammate is the defending champion. The second episode offers a biographical look at Jaguar TCS’ Mitch Evans, including interviews with his family, his disappointing end to Season 7 and the title push in Season 8 that goes down to the very end.

In episode three, Unplugged covers two teams: TAG Heuer Porsche and ROKiT Venturi Racing. While one banked an early 1-2 finish in Season 8, the other had to contend with drama during its home race. This is the first taste of anything close to Drive to Surive drama. The fourth episode is all about the rookies as Dan Ticktum tries to put his past behind him, Antonio Giovinazzi looks to move on from F1 and American Oliver Askew tries his hand at a global series with the aid of British teammate Jake Dennis.

“Formula E Unplugged presents a realistic picture of life inside the paddock and helps fans to understand more about what makes us tick and where we are coming from,” said Ticktum, who drives for NIO 333 Racing. “I can be pretty fiery, but I think the ‘behind the scenes’ nature of Unplugged will show that sometimes there is a lot more to what drivers are going through than can be seen during races or on social media.”

Sam Bloxham/LAT Images

More drama ensues in episode five when the series covers DS Techeetah, a team with two former Formula E champions in its garage. Things get heated on multiple occasions when both Jean-Éric Vergne and António Félix Da Costa have an equal desire to win. The final installment offers a look at the lead up to the final two rounds in South Korea. A four-way fight for the title, driver changes and a brief discussion of the Gen3 car round out the sixth episode.

There’s plenty to glean despite the compressed format. Even I learned new things as someone who follows the sport. However, Unplugged really focuses on the top four teams in the championship standings, with the exception of Porsche who looked strong at the outset and the episode about rookies. It would’ve been great to include Envision Racing’s Robin Frijns, who finished level on points in the driver’s standings with Di Grassi and Dennis. I can appreciate that Formula E likely has a limited budget for the show, which is why we only get a half dozen episodes, but it would’ve been nice to get to know the likes of Mahindra and Nissan eDAMS along the way (the latter is covered in S1). And there could’ve been an entire episode dedicated to the Gen3 car, especially when you consider how much more advanced it is (or eventually will be) over the Gen2 racer.

In the US, Formula E races are broadcast on CBS Sports Network and usually on a tape delay a few hours after the event. For example, the first race in Mexico City this weekend won’t air until 11:30PM ET Saturday night (race is at 2PM ET). Both practice sessions will stream on the Formula E YouTube channel (5:25PM ET Friday, 8:25AM ET Saturday). Qualifying, which is completed in a knockout-style format, is only viewable on CBSSports.com. If you’re outside of the States, select your country here for the broadcast info.

The first major gaming showcase of the year (unless another one emerges in the meantime) is on the calendar. Xbox and Bethesda are hosting an event on January 25th at 3PM ET. You'll be able to watch it on both brands' Twitch and YouTube channels.

The so-called Developer_Direct will be presented by creatives from various studios and it will center on major features, gameplay and more details on titles coming to Xbox, PC and Game Pass in the next few months. It's unclear whether any third-party studios will be involved.

Turn 10 Studios will provide more Forza Motorsport details and gameplay, while there will be some info on the player vs. player experience in Minecraft Legends. Both of those games will arrive this spring. Expect to see more single-player and multiplayer vampire slaying in Redfall too, along with updates on the combat, customization, bosses and open world. Hopefully, we'll get firm release dates for all these games too.

You'll get a look at this year's major chapter update for The Elder Scrolls Online as well. Immediately following the Developer_Direct, Zenimax Online Studios will host an ESO Chapter Reveal Event to provide fans with more details.

Don't expect to see much, if any, of Starfield during the Developer_Direct, though. Xbox says a standalone show for that game is in the works in order "to dedicate the proper amount of time for a deep dive." Bethesda's hotly anticipated space RPG is slated to arrive by the summer.

After a fairly quiet 2022 for first-party Xbox games, Microsoft is looking to come racing out of the traps this year. Several other games are expected to debut on Game Pass in the first half of 2023, including Cocoon (from the lead designer of Limbo) and a little project called Hollow Knight: Silksong.

Netflix is slowly starting to make more waves in the world of livestreaming, as the company has snagged the rights to broadcast the Screen Actors Guild Awards. This year’s ceremony will take place on February 26th and stream on Netflix’s YouTube channel. Starting next year, Netflix will livestream the SAG Awards globally on its own platform as part of a multi-year deal. Until last year, the ceremony aired on TBS and TNT.

“The SAG Awards are beloved by the creative community and viewers alike, and now even more fans around the world will be able to celebrate these talented actors,” Bela Bajaria, Netflix’s head of global TV, told Variety in a statement. “As we begin to explore live streaming on Netflix, we look forward to partnering with SAG-AFTRA to elevate and expand this special ceremony as a global live event in 2024 and the years to come.”

The SAG Awards are a key precursor for the Oscars. They offer a glimpse into how Academy Awards voters are leaning, particularly for the acting categories. TV performances are honored at the event too. The Netflix announcement comes on the same day that this year’s SAG Awards nominees were revealed — on Netflix's Instagram account.

Netflix has only just started dipping its toes into livestreaming as it pursues more ways to engage subscribers and bring in new ones. In November, the company announced its first livestream event for its own platform. It will broadcast a Chris Rock standup special on March 4th.

Meta is taking more steps to limit potentially harmful ad campaigns. The company is placing more restrictions on advertisers' ability to target teens. From February onward, Facebook and Instagram will no longer let marketers aim ads at teens based on gender — only age and location. Follows and likes on the social networks also won't influence the ads teens see.

In March, Meta will expand the ad preferences in Facebook and Instagram to let teens see fewer sales pitches for a given topic. Teens could already hide the ads from specific advertisers, but this gives them the choice of automatically downplaying whole categories like TV dramas or footwear.

The social media giant has put ever-tighter restrictions on the content teens can access. In 2021, Facebook and Instagram barred advertisers from using teens' interests to target ads. Instagram also made accounts private by default for teens under 16, and this year limited sensitive content for all new teen users. Meta has likewise limited the ability of "suspicious" adults to message teens on both platforms.

This is the second major ad policy change in a week. Just a day before, Meta rolled out an AI-based system meant to reduce discriminatory ad distribution. The technology is launching as part of a settlement with the federal government over charges that Facebook let companies target ads based on ethnicity, gender and other protected classes.

As with those earlier efforts, Meta has a strong incentive to act. The attorneys general of 10 states are investigating Instagram's effects on teens, while the European Union recently fined Meta the equivalent of $402 million for allegedly mishandling privacy settings for younger users. Governments are concerned that Meta might be exploiting teens' usage habits or exposing them to threats, including content that could lead to mental health issues. The new protections won't solve these problems by themselves, but they might show officials that Meta is serious about curbing ads that prey on teens.

I’ve been captivated by The Last of Us since I first played it shortly after it was released for the PS3 way back in 2013. Its ruined, dangerous but somehow beautiful post-pandemic world was compellingly rendered by developer Naughty Dog, and the tense combat driven by stealth and a need to conserve your resources felt more brutal and realistic than the Uncharted series the developer was known for.

But the relationship between protagonists Joel and Ellie is the true heart of the game. The story of a broken father reluctantly taking responsibility for a child who ends up becoming a surrogate daughter isn’t wildly original, nor is the game’s post-apocalyptic setting. But the development of Joel and Ellie’s relationship is filled with humor, hope, sadness and conflict, and it was brilliantly written by creators Neil Druckmann and Bruce Straley. Performers Troy Baker and Ashley Johnson, along with the entire Naughty Dog team brought it to life, and the game has stuck with me ever since.

It’s the kind of video game that’s been begging for some sort of on-screen adaptation. Now, almost a decade after the game was released, HBO’s The Last of Us series will premiere on January 15th. The first season is led by a deep and talented cast (headlined by Pedro Pascal and Bella Ramsey as Joel and Ellie) and an equally strong creative team, including Druckmann and Craig Mazin (best known for his outstanding Chernobyl mini-series, also on HBO).

Photograph by Liane Hentscher/HBO

I’m happy to report that The Last of Us should satisfy fans of the game, and might even bring in a fresh audience. It deftly walks the line between paying loving tribute to the source material while not feeling overly devoted to it. The structure of the show is essentially identical to the game: Joel and Ellie meet in a Boston quarantine zone some 20 years after a fungal infection destroys the world as we know it. Circumstance shoves the pair together on a cross-country journey that spans the better part of a year, as Joel tries to safely get Ellie to the Fireflies, a revolutionary militia that’s been trying to find a cure for the infection.

If you’ve played the game, you’ll be familiar with the season’s nine-episode arc. But in each act of the story, Mazin has smartly identified where to expand the narrative and what to leave out. The biggest thing missing are many of the huge action set-pieces that come up throughout the game. It’s an unsurprising change, as it wouldn’t feel realistic for Joel and Ellie to survive the number of battles they face in the game; it also wouldn’t make for compelling TV. There’s still plenty of action in the show, but it’s meted out more carefully and generally only when it moves the story forward.

Unsurprisingly, everything about The Last of Us reflects the high-budget, flagship status the show seems to have at HBO. Sets and environments are epic in scale and detail, and the combination of prosthetics and digital enhancements bring the Infected to life in terrifying fashion. Although there seems to be less of an emphasis on encounters with these creatures than in the game, seeing them on screen is distressingly memorable. Details like cinematography and music (composed by Oscar-winner Gustavo Santaolalla, who scored the games), are also masterfully executed; this is a show that oozes quality and attention to detail — much like the game itself.

Photograph by Shane Harvey/HBO

More interesting is how The Last of Us expands on the world and its inhabitants. We immediately get a more extensive look at the pre-pandemic life that Joel and his daughter Sarah inhabit. The showrunners give us more backstory and a better understanding of the different ways people survive: cooped up in a dreary Boston quarantine zone, fighting the government in a Kansas City lost to a violent militia group, or a peaceful settlement out west. The world feels a lot more nuanced than the one in the game, where almost everyone is an enemy to be overcome. Don’t get me wrong — most of the inhabitants of HBO’s The Last of Us will shoot first and ask questions later – but most encounters are about tension rather than brutal violence.

A lot has been written about the show’s two stars, Bella Ramsey and Pedro Pascal, both of whom have some big shoes to fill. Finding two performers with on-screen chemistry who could successfully embody their respective characters was surely not an easy task. But Pascal and Ramsey’s performances both immediately connected me with the original characters while also feeling vital and essential on their own. Fans of the game should immediately find things to draw them in, while those new to the series should be quickly won over by the pair.

Photograph by Liane Hentscher/HBO

Pascal’s Joel has a lot more emotional depth than Joel the video game character. Part of that is due to scripts that put more focus on his vulnerabilities and insecurities, but Pascal skillfully portrays a broad range of emotions. He’s able to show the cold, violent and skilled survivor side of Joel who’ll do anything to get what he needs while also embodying the broken spirit of a man who’s spent 20 years doing whatever it takes to stay alive. Watching Ellie bring out Joel’s more vulnerable side, and seeing how that conflicts with the hardened survivor, is at the heart of Joel’s character journey, and Pascal simply nails it. Joel is both more vulnerable than ever — and also more terrifying.

Meanwhile, Ramsey charms from their first moment onscreen as Ellie. We’re afforded a little more of Ellie’s backstory in the first episode, and it’s a great introduction to the character that immediately shows her brazen attitude toward anything that gets in her way. Much of the humor and levity comes from Ellie, and Ramsey’s performance captures the innocent resilience that only a 14-year-old could have in the face of abject horror and seemingly inescapable doom. The weight on Ellie’s shoulders grows throughout the series, and Ramsey is always up to the task of taking Ellie to the brink of breakdown before she comes back to the sense of duty she feels to care for the people she’s chosen to let into her life. Ellie’s naivety and sense of wonder gets bruised time and time again throughout the series, but both Ramsey and the scripts never let her lose it entirely.

Photograph by Liane Hentscher/HBO

While both Pascal and Ramsey deliver excellent performances in their own right, the magic really happens when the two are playing off each other. Naturally, the characters start out skeptical of one another, with Joel straight-up calling Ellie “cargo” to her face. But Ellie’s fascination with seeing the world beyond the quarantine zone she’s been stuck in slowly breaks Joel down. Pascal does a great job flipping between those two sides of the character, offering up hints of compassion and concern for Ellie as a person, only to retreat into an emotionally distant protector role.

Meanwhile, Ramsey embodies the spirit of Ellie as she opens up to Joel, and seeing this side of Ellie's character is a delight. Ramsey’s ability to convincingly show Ellie’s goofy and rebellious exterior is masterfully done; it’s the tool Ellie uses most to try and win over Joel, as if she knows he’s going to give in with a smile or laugh sooner or later. Watching Pascal slowly warm to her brings out a host of different ways for the two actors to play off each other. But Ramsey is also just as convincing when demonstrating Ellie’s drive for survival is just as strong as Joel’s. That leads her to some dark places, and Ramsey shows their range as the series progresses and the challenges facing Ellie and Joel mount.

The rest of the cast doesn’t get as much screen time, but they all contribute to some compelling plot lines. The stories of Bill and Frank (played by Nick Offerman and Murray Bartlett) as well as Keivonn Woodard’s interpretation of Sam are two of the finest examples in the series where Mazin and Druckmann deviate a bit from the original text to do something that might not work in a game but is extremely successful in a show. Their episodes are undeniable standouts, and probably the best examples of why The Last of Us is such a successful adaptation.

Photograph by Liane Hentscher/HBO

The show whiffs a little bit on the pacing, as the back half of the season feels rushed. The pace naturally accelerates throughout the season toward the story’s climax, and the last two episodes are among the shortest in the season. I wish that some of the many dramatic moments near the end had more time to breathe. I don’t think a whole additional episode is necessary, but an extra ten minutes in each of the final episodes might have made things feel less constricted.

Also, it’s worth remembering that The Last of Us was an extremely violent video game, and the show does not shy away from brutality and occasional gore. It’s less overt than I expected, but each episode generally has at least one moment that’s not for the squeamish. That said, much of the human-on-human violence is pared back. With a few exceptions, it’s not too gratuitous or graphic, and a lot is implied. Regardless, I respect that large swaths of people might not be in the mood for a violent and often grim post-pandemic drama after three-plus years dealing with a real-life pandemic.

Despite those concerns, the end result is the best kind of adaptation, one that’s faithful to the spirit of the origin that also makes smart changes to fit the medium. In that way, it reminds me a bit of Peter Jackson’s The Lord of the Rings film trilogy, another personal favorite. While those movies made numerous deviations and changes, Jackson always framed them as a way to make the story work as well as possible in the film medium.

I feel the same way about The Last of Us. It’s not a one-to-one retelling, and I’m thankful for that – it wouldn’t have made for good TV. Instead, Craig Mazin took his love for Druckmann’s story and converted it to a show that many will enjoy, regardless of whether they’ve played the game. And for those of us who already love The Last of Us, this adaptation stands toe-to-toe with the original. There are tons of stunning moments that bring me directly back to what I love, but each episode also has a number of moments that surprised and delighted me, even though I know the overarching plot inside and out. It’s more than I could have hoped for, and I’m very excited that people who don’t play video games will get a chance to experience Joel and Ellie’s story through this excellent series.

TikTok users in the US and the UK can now tag movies and TV shows in their videos. Each tag (up to five can be included per video) will point to an in-app page that includes details from the film or series, as well as some related videos.

This is all powered by a new partnership with IMDb, which is providing info including cast members, directors, genres, release dates, runtimes and user ratings for each movie and show. TikTok users can add films and TV series to the favorites tab of their profile too.

You can tag a show or movie when you tap the "add link" option right before you post a video. If you select "movie and TV," you'll be able to search the more than 12 million titles that are on IMDb and add the one you're looking for.

This should come in useful for users who share a lot of movie and TV-related posts, as well as those looking for content about their favorite titles. So, if you share a clip from The Menu, a meme from The White Lotus or a Glass Onion explainer, you may not need to reply to people who drop a "what is this from 💀" in the comments. They can just tap the tag for more details (and then maybe watch The Menu, because it's a blast).

So that's what Gran Turismo is really about. The first Gran Turismo teaser shows off sleek cars and angles ripped straight out of the game franchise, all from the lens of District 9 director Neill Blomkamp. Blomkamp helped introduce the short video during Sony's CES 2023 show, where executives played up their plans to adapt even more game franchises to film and television. Gran Turismo is due to hit theaters on August 11th.

The film is based on a true story, apparently — it follows a teenage Gran Turismo player who uses his sweet gaming skills to become a real-world racecar driver. The teenager is played by Archie Madekwe (Simon from Midsommar), and the movie also stars David Harbour (Stranger Things), Orlando Bloom (the early 2000s) and Geri Halliwell (Ginger Spice).

The Gran Turismo movie has spent some time in development hell — much like the video game series itself, which has a reputation for being delayed. A version of the film was completely scrapped in 2018 after spending five years in development, and Blomkamp is the second director to be attached to a Gran Turismo project. However, things have moved quickly since development on the current movie started in May 2022, with filming wrapped by that December.

Gran Turismo isn't the only game-film crossover project in the works at Sony. There's a whole HBO series based on The Last of Us premiering January 15th, a Twisted Metal show heading to Peacock, and a film based on Ghost of Tsushima still to come.

Disney+ is bolstering its IMAX Enhanced films, including some Marvel Cinematic Universe movies, with another audio option. The streaming service will enable IMAX signature sound by DTS on select titles this year, offering viewers high-fidelity audio to go with the expanded aspect ratio.

You'll need compatible equipment to hear DTS audio, however. At the outset, some IMAX Enhanced-certified TVs from manufacturers such as Sony and Hisense will support DTS on Disney+, as will certain AV receivers from the likes of Denon, Marantz and JBL. However, you don't need any particular devices to view IMAX’s expanded aspect ratio of 1.90:1, which offers up to 26 percent taller pictures during certain sequences.

Some may find that the addition of DTS audio will help them to better replicate the IMAX experience at home. DTS will provide a higher bitrate alternative to Dolby Atmos, but many folks prefer the latter. In the near future, you may be able to watch a Disney+ movie in either audio format and decide for yourself.

Meanwhile, Disney+ has announced when Black Panther: Wakanda Forever is coming to the platform. You'll be able to stream the most recent MCU movie at home starting on February 1st. The film will have IMAX Enhanced support.