Nearly two decades before Facebook and others were talking about the metaverse, Second Life was letting millions of users partake in virtual worlds. Now, all this time later, developer Linden Labs has announced that it's developing a mobile version of the game, Ars Technica has reported. A beta version is expected to launch later this year. 

In a YouTube video posted to Second Life's community forum, the publisher detailed some details about the mobile app. It's being built using Unity, mainly so it'll be easy to build and distribute the game on both iOS and Android phones/tablets. It also shows some footage of characters and environments, and how Linden Labs will try to make it as much like the desktop game as possible. 

Facebook has struggled to get the metaverse off the ground, but over 73 million accounts have been created for Second Life to date, and the number of active users hit 900,000 during the pandemic — 17 years after the game launched. Typical virtual events include "live music performances, shopping fairs, fan fiction conventions, book and poetry readings, academic lectures, fashion shows, and art exhibitions," the company told Vice in 2020. 

Linden Labs had been working on a VR version of the game called Sansar, but ended up stopping development and selling off the rights in 2020. The company said it did so to become "cash-positive," while noting that VR headset adoption didn't come as fast as it hoped. To that end, a pivot to mobile makes sense, but it remains to be seen if people will still be interested in Second Life after all this time. 

If you take pride in people bookmarking your social media posts, Twitter is ready to feed your ego. The social network has added a bookmark counter to its iOS app. Similar to the counts for likes, quotes and retweets, you'll know just how many people saved a given tweet for later reference. The company hasn't mentioned when the feature might come to Android or the web.

Twitter stresses that bookmarks are still private. Users may know if their tweets are popular, but they won't know just who bookmarked a given post.

This counter isn't just useful for bragging rights, of course. If you're a creator or run a company's Twitter account, the tally could show whether or not followers find your posts useful. That, in turn, may help you refine content to reach a wider audience.

The addition comes after a handful of upgrades to Twitter, such as alerts about community misinformation notes. However, the service has lately been dominated by concerns about a string of outages and a paywall for text-based two-factor authentication. However useful the bookmark counter may be, it's not going to garner as much attention as it might have in the past.

The following episode discusses Star Trek: Picard, Season Three, Episode Five, “Imposters.”

Efficient storytelling is not a strength you can traditionally attribute to Star Trek: Picard, which has often felt padded. Each of its three seasons have felt like one or two made-for-TV-movies' worth of story stretched thin to ten near-hour long episodes. Nowhere is this more evident than in this season’s fifth episode, where five minutes of plot is expanded to a full episode. Here, Team Picard learns that Starfleet has been infiltrated by super-Changelings before teaming up with Team Worffi. Oh, and Beverley, who has been in relatively close contact with him for most of his life, has finally noticed that Something Is Up With Her Son. But even that fairly slender advance in the plot has to take a back seat to the main centerpiece of the episode: The moment when Picard stands face-to-face with [CHARACTER].

The power of [CHARACTER’S] return is all held in the moment that they step into camera focus, such is the extent of the surprise. After all, there are textual and meta-textual reasons why you wouldn’t expect to see them popping up in any Star Trek, let alone this one. For a start, their plot was done after they – for right or wrong reasons – betrayed the Enterprise crew in [TNG EPISODE]. And, of course, [ACTOR] had been expected to make the transition to Deep Space Nine, but turned the role down. In fact, esteemed Trek wiki Memory Alpha suggested they were even offered a role in Voyager, either as a regular or as a guest star, and similarly turned it down. If there’s any person who you’d think was never coming back to any Star Trek, it would be [ACTOR]. And not even I, much as you keep telling me I’m a cynical hater expressing these opinions to milk your hate-clicks, was immune to the initial flush of emotion seeing them in a Starfleet uniform again.

Unfortunately, the main confrontation between Picard and [CHARACTER] is dulled by both the needlessness of it all, and its execution. The pair talk about their “faith” in “institutions” or the lack of such, and why this is or is not a good thing, but I don’t feel any of this. Part of it is the streaming era-Trek problem of telling us things rather than showing, so we have these gestures toward a grander theme that are never properly explored on screen. But it’s also because many of these themes were already well-explored on Deep Space Nine, even if the execution there was always a little hamfisted. After all, while there was every sense that we should side with the Maquis – don't forget that they were the little people tossed aside by the grand machinations of empires with no care of the lives that were directly impacted. But this is Star Trek, and so whatever the problem, whatever the grand conundrum at hand, the answer is pretty much always Starfleet.

Picard’s obsession with continuity for the sake of itself does little more than remind us of older, better Treks. I might as well add, because it’s been on my mind for years at this point, that there’s a YouTube clip from the DS9 episode “For The Uniform” describing Sisko as a “badass.” Specifically because he carries through a threat to sterilize a planet to inflict petty revenge on Commander Eddington, who he felt betrayed Starfleet to go support the Maquis. This is the Star Trek problem in a nutshell: Sisko’s in the wrong here, but the show can never quite allow us to stop sympathizing with our hero because he’s our hero. Picard, this year, has behaved pretty illogically, and recklessly, and yet because he’s our hero too, the show can’t quite question his actions in anything more than a single line of sassy dialog from Riker.

I don’t consider myself pharisaical in my approach to continuity, and I do think that it can be a benefit to storytelling rather than a burden. But Picard’s use of golden-era Trek deep cuts often takes me out of the show as I wonder how this tracks in any way logically. Picard himself even says as much, asking how in the hell [CHARACTER] wound up back in a Starfleet uniform. She explains the “arduous” process taken to get back into the fleet, but I couldn’t help but interrogate this further. Imagine if a mid-level officer in the US Navy put a major aircraft carrier in any degree of jeopardy to cover their own defection to an (ostensibly) enemy terror group? Do you think any military organization worth its salt would allow that same person to serve in active, regular duty again? And if anyone says “but Tom Paris…” bear in mind that he was a) a Nepo Baby, b) Wasn’t with the Maquis for very long and c) Wasn’t expected to serve once he’d done his time assisting Voyager during its short trip into the badlands. 

And then [Character] dies in a set-up to implicate the Titan, and you wonder if death will be doled out so cheaply in the rest of the series. It wouldn’t be the first time we’ve had whole seasons of Picard structured around saying farewell to long-running characters.

There’s not much to say about this week’s b and c-stories because they feel so derivative and shallow. Worf and Raffi’s plan to smoke out the villains with a fake-out sniper that’s instantly foiled feels pulled from an early-noughties thriller. The fact it was counter-foiled by a fake-out death on Worf’s part felt thin too, there’s no way you’d bring back Michael Dorn just to off him so cheaply. And on a similar theme, Jack is yet another streaming-era Trek character with the Jason Bourne disease; troubled by visions of a secret past that keeps going into a phaser-fu fugue state whenever placed in danger. A storyline so stale it was already covered with mold when this very series did it with Dahj and Soji in its first season. I haven’t seen any episode after the next one, so I genuinely don’t know how this particular plotline is going to resolve itself. But I’ve seen those threads on Reddit, and if it’s true, I’m really going to sigh myself in two if we’re doing this same stuff yet-a-bloody-gain.

Speaking as a parent, if my kid coughs more than twice in their sleep in quick succession, I’ll just stick my head into their bedroom door to check if they’re okay. If I was the chief medical officer on a starship that spent more than a decade at the far reaches of known space investigating weird stuff, I reckon I might have a tricorder or two at hand. And if my kid stopped being able to sleep, was troubled with dangerous visions and his eyes started to glow red in moments of emotional or physical turmoil, I reckon I wouldn’t keep it to myself until he reached adulthood. In fact, I might even have thought to take them to a hospital or biobed myself just, you know, to be on the safe side. Just a thought, Beverley.

When we learned that a BlackBerry movie was in the works last year, we had no idea it would be something close to a comedy. But judging from the the trailer released today, it's aiming to be a far lighter story than other recent films about tech, like The Social Network and Steve Jobs. The BlackBerry movie stars Jay Baruchel (How to Train Your Dragon, Goon) and It's Always Sunny in Philadelphia's Glenn Howerton as Mike Lazaridis and Jim Balsillie, the former co-CEOs of the Canadian firm Research in Motion. They're not exactly household names, but they both played a huge role in the history of mobile communications. Without the BlackBerry's success, the iPhone may have never happened.

Judging from the trailer, the film will cover everything from the origins of BlackBerry as a crazy idea between a few college students (director Matt Johnson also co-stars as RIM co-founder Douglas Fregin), to its ignominious end as it failed to keep up with the iPhone and Android smartphones. It's a classic innovator's dilemma tale: RIM revolutionized the way we communicated by tapping into early cellular networks, but it failed to see the potential of touchscreen smartphones that didn't need physical keyboards.

BlackBerry is based on the 2015 book Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry, which was written by Globe and Mail reporters Jacquie McNish and Sean Silcoff. 

LinkedIn is the latest platform to hop on the generative AI bandwagon. The company is adding AI-powered “writing suggestions” and job descriptions to its service as it looks for new ways to infuse AI into its platform.

The writing suggestions are meant to make it easier to fill out key profile fields that LinkedIn says can otherwise feel “daunting” to complete: the “about” and “headline” sections near the top of each profile. Now, with the new “enhance” tool, LinkedIn Premium subscribers can generate descriptions based on their experience.

The company says the tool, which uses the same OpenAI models that power ChatGPT, is meant to preserve “your unique voice and style” and will draw from your job experience and skills, as well as LinkedIn’s own “insights” into what makes a good profile. In an example of a completed “about” section provided by LinkedIn, the tool generated a first-person summary of an individual’s job experience that reads almost like the beginning of a cover letter.

LinkedIn

LinkedIn also says it’s starting to test AI-written job descriptions. In those cases, hiring managers will simply need to fill out the job title, company name and a few other basic details, and LinkedIn will create a detailed draft of a relevant job description.

Of note, the company is positioning its AI writing features as more of a starting point than a final product. In both cases, LinkedIn says that users should review and edit the AI-generated text to check for accuracy. But the company says that both could be a major time saver for members who want to offload some of the more tedious writing tasks associated with LinkedIn.

These writing tools aren’t LinkedIn’s first foray into generative AI. The company also recently introduced “collaborative articles,” which rely on a combination of AI-written text as well as contributions from individual LinkedIn “experts.” Elsewhere, the company is also adding new online courses dedicated to generative AI-related topics.

The first season of HBO’s The Last of Us wrapped up on Sunday night, and the show's creators are already looking ahead to the challenge of adapting the second game. HBO swiftly greenlit a second season after the show became an immediate success, but that won't be enough to contain the events of The Last of Us Part II, as Craig Mazin and Neil Druckmann confirmed.

"No. No way," Mazin said when GQ asked if the second season would explore the entire story of Part II (the interview contains spoilers for the season one finale). "It’s more than one season," Druckmann added, though Mazin declined to say whether they'd need two or three seasons to cover the events of Naughty Dog's sequel. In any case, The Last of Us is only officially renewed for season two, not a third or fourth one as yet.

As if the task of adapting the long, ambitious Part II didn’t already seem daunting enough, Mazin and Druckmann have an enormous new audience to appease. The show has been a huge hit so far. HBO said last week that almost 30 million viewers have watched the first five episodes across all platforms. We'll have to wait and see if those folks stick around after [spoiler] in the chalet basement, but the show's creators aren't too concerned.

"I don't care. How they react is how they react, that is completely outside of our control," Druckmann told GQ in response to a question about the TV audience's reaction to the events of Part II. "So how do we make the best TV show version of that story? That's the problem that we wrestle with every day." Mazin added that he'd rather viewers have a strong emotional response than an indifferent one.

Meanwhile (and here's where we'll get into some mild spoilers), the pivotal opening scene of the finale was originally conceived as part of an animated short, which didn't come to pass. According to The Verge, Druckmann said he then spoke with an external studio about making a separate game focusing on Ellie's mother, Anna, but that fell through as well. The show gave him a chance to revisit that part of the story, which features Ashley Johnson (who stars as Ellie in the games) as Anna.

Editor's note: This article contains heavy spoilers for season one of The Last of Us and minor spoilers for the game The Last of Us Part II.

Last night’s finale of the first season of HBO’s The Last of Us turned out to be a microcosm of everything that worked across the nine episodes, as well as a reminder of what showrunners Craig Mazin and Neil Druckmann will want to work on when they pick things up for season two. Throughout the season, The Last of Us has been exceedingly faithful to the original story — but Mazin and Druckmann smartly expanded on the stories of everyone surrounding Joel and Ellie to make the world much richer. In a perhaps too-tight 44 minutes (the shortest episode of the season), the show wrapped up the first part of the story, ending with Ellie’s “Okay,” just like the game.

That single word that tells us Ellie accepts Joel’s lies about what happened between him and the Fireflies, that he’s being honest when he says that they stopped looking for a cure and that her immunity doesn’t mean anything. Joel’s ostensibly off the hook for his murderous rampage through the Salt Lake City hospital to save Ellie from having her brain dissected by the Fireflies. Of course, Ellie being a cure for the cordyceps infection was the whole point of their journey — but not the point for Joel. And the look on Ellie’s face throughout the episode’s coda tells us she’s not convinced, despite what she says before everything cuts to black.

Really, there was no other place it could have stopped. Throughout the season, Mazin and Druckmann made plenty of deviations from the game’s main story, but things always came back to the most important beats in the relationship between Joel and Ellie. The importance of these events in the Salt Lake City hospital cannot be overstated, as they form the basis for everything that follows in the game The Last of Us Part II. As such, some expected to get some hints of how the hospital bloodbath will tie into events to come, but the show stayed firmly focused on the events in the first game. That’s for the best, as Part II has a sprawling, complicated story of its own; shoehorning in a few teases of what’s to come probably would have taken away from the immediacy of what happened between Joel and Ellie.

Before Joel’s killing spree and Ellie’s acceptance of his lies, we were treated to another of the flashbacks that Mazin and Druckmann have masterfully dropped throughout the season, this one going all the way back to Ellie’s birth. People who checked out the many collectibles in the game surely found Ellie’s letter in her backpack from her mother, Anna, who writes to her newborn knowing that her life is about to be cut short.

Liane Hentscher/HBO

The game doesn’t make it explicit, but here we see that Anna (played by Ashley Johnson, who plays Elle in the games) is both infected and about to give birth. We also get to see Firefly leader Marlene promise to keep Ellie safe before ending her friend’s life. (Also, we now know that Anna gave Ellie her trademark switchblade, something I always assumed but wasn't explicit in the game.) Given how important Marlene’s presence is in this episode, it was the right time to see the very beginnings of her relationship with Ellie. And, as with every other supporting actor on the show, Johnson crushes her limited time onscreen – she’s much more than an easter egg for fans of the game. The glimpses of lives beyond just Joel and Ellie that we’ve seen throughout the season have made the world of The Last of Us feel far richer, whether they take up a whole episode (like Bill and Frank in “Long, Long Time” or Riley in “Left Behind”) or just a few minutes.

My only complaint about this flashback is that Johnson’s story eats into the precious little time we have left for Pedro Pascal and Bella Ramsey to share the screen together. Throughout the season, the two actors have had marvelous chemistry – but in episodes seven and eight, the story dictates that they spend very little time together. In the finale they share some of the strongest moments of the entire season, but there are so many plot points to get to that I wished for even just an extra five minutes to let things breathe a bit. But moments like the famous giraffe scene and Joel telling Ellie how he really got that scar on his head were just a couple more emotional high points between the two characters (and actors) in a season full of them.

With the first season (and adaptation of the first game) now in our rear-view, I can’t help but wonder how Mazin, Druckmann and the rest of their team will set about adapting The Last of Us Part II. While the first game told a fairly linear story, Part II is full of twists, flashbacks and changes in perspective – without getting too much into spoilers, the game devotes a third or more of its 24-ish hour playtime to a totally new set of characters. It’s an essential part of the story, but it should also present a major challenge for the showrunners to integrate it and keep the story’s emotional impact without leaving behind familiar characters for hours at a time.

Fortunately, Mazin showed his narrative chops in the first season, skillfully deploying a number of flashbacks — some new to the story and some straight from the game. As for the divergent stories, I’d have to imagine there will be a lot more intercutting between them than there is in the game. A good example is what director Peter Jackson did in The Two Towers and Return of the King. The original books both split time between two ongoing stories, and you stay with one set of characters for half the book before catching up with another group in the second half. Rather than leave Frodo and Sam for major chunks of screen time, he cross-cut between the stories as they progressed.

If Mazin does something similar, it’ll require some major re-thinking about how to make the game’s dramatic moments land, but that comes with the territory of being showrunner. Whether he can pull it off or not will be critical for future seasons of The Last of Us – the acting, set design, effects and everything else should continue to be top-notch, but it won’t matter if the narrative doesn’t hold up. Of course, a vocal subset of those who played Part II were intensely negative about the game’s story, so we’re likely to see future seasons be significantly more divisive than the first.

It’s also worth considering how the show will treat Ellie’s quest for revenge that makes up the bulk of Part II’s story. In the game, she’s as much an unstoppable killing machine as Joel is in the original game. But in season one, human-on-human violence was significantly curtailed compared to the game. That doesn’t mean Joel is shy about using violence to protect Ellie (see the infamous torture scene in episode eight or his calm dispatch of the Fireflies in the finale), but he's not an invincible video game superhero, a necessary change to ground the show more in reality. It seems inevitable that Ellie’s body count will be similarly scaled down once the show hits her John Wick phase, but it’s still going to be a tricky balance between showing her how far she is willing to go without the violence losing its emotional weight.

Regardless of how it all plays out, it’s going to be a while before we get to see how the HBO adaptation takes on the second game. Pascal recently said there was “a chance” filming starts before the end of 2023, and Mazin has hinted that the “remaining story” that they’re looking to adapt will take more than a season to tell. That means we’re likely to get a serious cliffhanger at the end of season two – even though I know where the story is going, I’m already preparing to yell at the screen when things cut to black.

I Think You Should Leave With Tim Robinson finally has a premiere date almost a year after Netflix announced that it's 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 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 quite literally finish a season in one sitting. There are multiple sketches per episode, mostly revolving around somebody doing something absurd in an every day 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."

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.

Meta might offer a Twitter alternative like Mastodon in the future, according MoneyControl and Platformer. The social networking giant is reportedly in the early stages of developing an app codenamed P92 that would let users post text-based updates, and it's going to support Mastodon's social networking protocol called ActivityPub. Meta confirmed that a decentralized social network is in the works at the company and told the publications:

"We're exploring a standalone decentralized social network for sharing text updates. We believe there's an opportunity for a separate space where creators and public figures can share timely updates about their interests."

P92 will carry Instagram's branding and will let users register and log in using their Instagram credentials, according to the sources. It will populate users' profile with their Instagram account details if they use their login on the photo-sharing app. But based on the product brief MoneyControl saw, "data sharing from Instagram to P92 will be minimal, if not none" after the initial sign up. 

Since the app is decentralized, that means users can set up their own servers and set their own rules for content moderation. A source told MoneyControl that the app will allow users to broadcast their posts to those on other servers, but it remains to be seen whether they will be able to follow each other, as well. If the app supports ActivityPub, though, people will likely expect it to be somewhat interoperable with Mastodon and other decentralized apps that use the protocol. 

Meta has a list of features it definitely wants the app to have, including tappable links for posts with previews, shareable images and videos, as well as verification badges. The sources didn't say whether the company will be charging a fee for its badges as well, but it's worth noting that Meta launched a $12-a-month paid verification service for Facebook and Instagram back in February. Users will have the ability to leave comments and send private messages, but they might not be available in the first version of the app. And at this point, Meta is unsure whether to give people the ability to reshare posts like they can on Twitter. 

MoneyControl says it's not quite quite clear whether the company has already started building the app, or if it's still in the planning period of development. By the time it launches, it's bound to have several more competitors to contend with, since Twitter rivals have been popping up to offer users an alternative after Elon Musk took over last year.