29
submitted 2 years ago by soyagi@yiffit.net to c/privacy@lemmy.ml

Archived version: https://archive.li/TbziV

Google is launching new privacy tools to allow users to have more control over unwanted personal images online and ensure explicit or graphic photos do not appear easily in search results.

Updates to Google policies on personal explicit images mean that users will be able to remove non-consensual and explicit imagery of themselves that they no longer wish to be visible in searches.

The update means that even if an individual created and uploaded explicit content to a website, and no longer wishes for it to be available on search, they will be able to request to remove it from Google search. The forms to submit requests have also been made more simple. The policy does not apply to images users are currently and actively commercialising.

The policy also applies to websites containing personal information.

Google will also roll out a new dashboard, only available in the US in English initially, that will let users know search results that display their contact information. Users can then quickly request the removal of these results from Google. The tool will also send a notification when new results with a user’s information pop up in search.

A new blurring setting in SafeSearch will also be implemented as the default on Google search for users who do not already have SafeSearch filtering on. Explicit imagery, adult or graphic violent content will be blurred by default when it appears in search results. The setting can be turned off at any time, unless you are a supervised user on a public network that has kept this setting as default and locked it.

For instance, in a search for images under “injury”, explicit content will be blurred to prevent users from being shown graphic content.

Google initially announced this safeguard in February and it will be launched globally in August.

19
submitted 2 years ago by soyagi@yiffit.net to c/television@lemmy.world

Archived version: https://archive.li/FbJx6

In space, everyone can hear you sing. That’s the premise of this week’s special musical episode of the Star Trek prequel Strange New Worlds, which swaps photon torpedoes for jaunty flashmobs as the crew of the starship Enterprise find themselves inexplicably bursting into song – much to their bemusement. It’s an oddball delight, even if the science behind it seems a little fuzzy.

When a classic recording of the Cole Porter musical number Anything Goes somehow creates a harmonic quantum field (we know), characters are compelled to reveal their deepest emotional secrets via belt-’em-out Broadway-ready numbers. The crew are pleasingly aware of how daft the situation is even as they strive to resolve being made to sing original songs by Kay Hanley and Tom Polce from 1990s alt-rockers Letters to Cleo. It is slightly cheesy, very self-indulgent and clearly designed to boldly launch a thousand memes of Mr Spock singing his Vulcan heart out. But it is also heartfelt, in keeping with the show’s unfashionably optimistic outlook.

There is an eccentric tradition of US TV series’ embracing their inner glee-club kid by staging a musical episode, from high-kicking fantasies Buffy the Vampire Slayer and Xena: Warrior Princess to postmodern sitcoms such as Scrubs and Community. These interludes tend to occur in later seasons, when shows have found such a familiar groove that hard-pressed writers are either looking for a fun way to keep things fresh – or are just running out of ideas.

That doesn’t apply to Strange New Worlds, which is only in its second season. This week’s barrage of show tunes kind of makes sense, given that this is a series that, Mr Benn-style, has been trying on a different genre every week. Being set on the classic USS Enterprise and featuring younger versions of recognisable characters such as Spock and language savant Uhura (lady-killer James T Kirk is also floating around in the background, although yet to graduate to captain) seems to have given Strange New Worlds the confidence to experiment. A ship-wide outbreak of full-throated singing is not even the strangest thing the show has attempted in the last fortnight.

A recent crossover episode with Star Trek: Lower Decks – the ribald cartoon spin-off overseen by the former Rick and Morty writer and producer Mike McMahan – brought cartoon characters (voiced by The Boys’ Jack Quaid and Space Force’s Tawny Newsome) on to the Enterprise. The interpolation of animated sequences and live-action (explained by the classic Trek plot device of a time portal) created a fizzy, frantic romp.

Spock – one of Star Trek’s most highly regarded, serious characters, played here by Ethan Peck – is frequently placed into farcical situations more suited to Frank Spencer. A season one episode channelled Freaky Friday by trapping Spock and his Vulcan fiancee in each other’s bodies, forcing them to vamp their way through crucial missions. This season, his pointy ears and sharply symmetrical haircut vanished when a shuttle accident transformed him into the pouting, impulsive equivalent of a hormonal teenage boy. Somewhere up there, Leonard Nimoy – who directed the 1980s comedy romp Three Men and A Baby – is raising a Spock-like eyebrow in approval.

But the phasers are not always set to fun. There has been a terrifying riff on Ridley Scott’s Alien, with chest-bursting xenomorphs hunting harried crew members on a stranded ghost ship, plus an impassioned, episode-long courtroom drama exploring alien rights and even a Trek spin on Richard Linklater’s romance Before Sunrise, with two Starfleet officers from different timelines bickering and bonding on a mission to present-day Toronto.

This hopscotching is an antidote to the recent wave of ambitious small-screen sci-fi that leans heavily on serialised storytelling, from Prime Video’s hardscrabble asteroid belt drama The Expanse to Apple TV+’s densely plotted, millennia-spanning Foundation. Even Star Trek: Discovery, the series that relaunched the franchise on TV in 2017, has leaned into epic, season-long stories that skew to the dark and brooding. The pick ’n’ mix approach of Strange New Worlds is a welcome palate cleanser, even if it means any overarching story arcs seem rather secondary (the second season wraps up next week and you would be hard-pushed to identify a unifying theme). It all chimes with the highly episodic spirit of the original series, when audiences of the late 1960s were presumably never sure what the next week’s instalment would bring. As Cole Porter said: anything goes.

33

Archived version: https://archive.li/FbJx6

In space, everyone can hear you sing. That’s the premise of this week’s special musical episode of the Star Trek prequel Strange New Worlds, which swaps photon torpedoes for jaunty flashmobs as the crew of the starship Enterprise find themselves inexplicably bursting into song – much to their bemusement. It’s an oddball delight, even if the science behind it seems a little fuzzy.

When a classic recording of the Cole Porter musical number Anything Goes somehow creates a harmonic quantum field (we know), characters are compelled to reveal their deepest emotional secrets via belt-’em-out Broadway-ready numbers. The crew are pleasingly aware of how daft the situation is even as they strive to resolve being made to sing original songs by Kay Hanley and Tom Polce from 1990s alt-rockers Letters to Cleo. It is slightly cheesy, very self-indulgent and clearly designed to boldly launch a thousand memes of Mr Spock singing his Vulcan heart out. But it is also heartfelt, in keeping with the show’s unfashionably optimistic outlook.

There is an eccentric tradition of US TV series’ embracing their inner glee-club kid by staging a musical episode, from high-kicking fantasies Buffy the Vampire Slayer and Xena: Warrior Princess to postmodern sitcoms such as Scrubs and Community. These interludes tend to occur in later seasons, when shows have found such a familiar groove that hard-pressed writers are either looking for a fun way to keep things fresh – or are just running out of ideas.

That doesn’t apply to Strange New Worlds, which is only in its second season. This week’s barrage of show tunes kind of makes sense, given that this is a series that, Mr Benn-style, has been trying on a different genre every week. Being set on the classic USS Enterprise and featuring younger versions of recognisable characters such as Spock and language savant Uhura (lady-killer James T Kirk is also floating around in the background, although yet to graduate to captain) seems to have given Strange New Worlds the confidence to experiment. A ship-wide outbreak of full-throated singing is not even the strangest thing the show has attempted in the last fortnight.

A recent crossover episode with Star Trek: Lower Decks – the ribald cartoon spin-off overseen by the former Rick and Morty writer and producer Mike McMahan – brought cartoon characters (voiced by The Boys’ Jack Quaid and Space Force’s Tawny Newsome) on to the Enterprise. The interpolation of animated sequences and live-action (explained by the classic Trek plot device of a time portal) created a fizzy, frantic romp.

Spock – one of Star Trek’s most highly regarded, serious characters, played here by Ethan Peck – is frequently placed into farcical situations more suited to Frank Spencer. A season one episode channelled Freaky Friday by trapping Spock and his Vulcan fiancee in each other’s bodies, forcing them to vamp their way through crucial missions. This season, his pointy ears and sharply symmetrical haircut vanished when a shuttle accident transformed him into the pouting, impulsive equivalent of a hormonal teenage boy. Somewhere up there, Leonard Nimoy – who directed the 1980s comedy romp Three Men and A Baby – is raising a Spock-like eyebrow in approval.

But the phasers are not always set to fun. There has been a terrifying riff on Ridley Scott’s Alien, with chest-bursting xenomorphs hunting harried crew members on a stranded ghost ship, plus an impassioned, episode-long courtroom drama exploring alien rights and even a Trek spin on Richard Linklater’s romance Before Sunrise, with two Starfleet officers from different timelines bickering and bonding on a mission to present-day Toronto.

This hopscotching is an antidote to the recent wave of ambitious small-screen sci-fi that leans heavily on serialised storytelling, from Prime Video’s hardscrabble asteroid belt drama The Expanse to Apple TV+’s densely plotted, millennia-spanning Foundation. Even Star Trek: Discovery, the series that relaunched the franchise on TV in 2017, has leaned into epic, season-long stories that skew to the dark and brooding. The pick ’n’ mix approach of Strange New Worlds is a welcome palate cleanser, even if it means any overarching story arcs seem rather secondary (the second season wraps up next week and you would be hard-pushed to identify a unifying theme). It all chimes with the highly episodic spirit of the original series, when audiences of the late 1960s were presumably never sure what the next week’s instalment would bring. As Cole Porter said: anything goes.

4
submitted 2 years ago by soyagi@yiffit.net to c/90smusic@lemmy.world
35
submitted 2 years ago by soyagi@yiffit.net to c/moviesandtv@lemmy.film

Archived version: https://archive.li/25ZWC

86
submitted 2 years ago by soyagi@yiffit.net to c/worldnews@lemmy.ml
2

Don’t make me an unwilling participant in your embarrassing show of affection, writes Guy Walters

I clearly remember the first time I witnessed a public proposal of marriage. My wife and I were out for dinner on Valentine’s Day (when we still did things like that), and we had gone to some terribly chic and expensive restaurant in Chelsea (when we still had money).

At some point, we became aware of a kerfuffle, and it quickly emerged that a man was on one knee and holding up a ring to his dining companion, who he obviously wished to be his wife. I can recall him clearly, as he had a dodgy moustache and nasty baggy suit – we were just coming out of the nineties – and I can also recall the woman’s reaction, which was one of complete shock.

After what seemed like an age, she said yes. Because we were in a terribly chic and expensive restaurant in Chelsea, rather than applause, the only response from our fellow diners consisted of an elderly SW3 matron sourly uttering the words, “Oh for heaven’s sake”.

At the time, I thought that comment was ungracious, perhaps even downright unpleasant, but in retrospect it was absolutely right. Public proposals are an utter disgrace, and the men who make them – and it is always men – should be permanently banned from getting married. In fact, I’d go further, and require that they should be forced into some kind of treatment, as such behaviour is a massive red flag, and indicative of all sorts of psychological unpleasantness that urgently requires lancing.

If you are on social media, then you will see such public proposals regularly, and you will realise they follow the same pattern. Take the example recently posted by Dublin Airport on Instagram, complete with the cheesy caption “Love is in the air at Dublin Airport”. A stewardess is seen walking into the arrivals hall, whereupon a young man presents her with some cheap flowers. Onlookers, aware of what’s about to happen, start clapping and cheering. Then the man reaches into a bum bag by his armpit – how classy! – and fishes out a white box which evidently contains a ring, and gets down on one knee.

What happens next is telling, and is a moment that is present in every public proposal video – the woman steps back. In this instance, she steps back five times, until there is a gap of some two metres, perhaps more. She then does something else that is common to all these videos – she puts her hands over her face. There is a pause, and she then accepts. More applause by the crowd, a hug, and then the third common element – the man waves to the onlookers.

This ghastly choreography is almost identical to that which was recently seen in a video posted to Twitter by Newcastle University, in which a male graduate is seen proposing to his girlfriend just before she is about to receive her degree on stage. There are those same steps back, the hands over the face, and the smug male wave to the applauding crowd.

You do not need to be an expert in body language to see what is going on. The woman is being placed – by the man – into a state of shock and acute public embarrassment. Her ability to refuse the proposal is almost completely compromised by the presence of so many onlookers, and her agency is therefore massively diminished. It is not hard to see how some men who do this to women may in effect be practising coercive control, and any smart money would bet on the side of such men proving to be extremely manipulative husbands.

The other troubling element is the evident male narcissism. By making a private act public, such men are making the event a piece of theatre, albeit one in which only the half the cast has agreed to appear. What should be an intimate moment between two equals is now rendered into a performance that is essentially all about the man. The woman now merely has a supporting role. This is especially so in the case of the degree ceremony, in which the woman’s starring role of receiving her degree on stage was completely usurped and turned into a very different role in a very different piece of theatre by a supreme act of selfishness.

The social media managers of places such as Dublin Airport and Newcastle University should be aware that these public proposals are far from popular. The Dublin video has been watched 17.7 million times on Instagram, yet it has only garnered 1.2 million likes, which strongly suggests to me that 90 percent of viewers did not like what they saw. I cannot do the number-crunching for the graduation proposal video, because tellingly, Newcastle University has deleted the tweet in the face of much opprobrium.

The only public proposal video I ever wish to see is one in which the woman says no, and not only that, but also publicly lambasts the man for putting her in such an egregious position. This, I hope, would go viral, and make some men realise that there is a vast difference between taking control of a situation and taking control of a person. The motives behind public proposals may be romantic, but ultimately they are the very opposite of what true love means.

220
submitted 2 years ago by soyagi@yiffit.net to c/television@lemmy.world

Leah Remini is taking legal action against the Church of Scientology and its leader, David Miscavige, for harassment and defamation.

The actress, who starred in the sitcom The King of Queens, joined the Church in 1979 as a child and left in 2013.

Remini, 53, claims Scientology's "mob-style operations and attacks" have "significantly" impacted her life and career.

BBC News has asked the Church of Scientology for comment.

In a statement released to Variety, Remini said: "For 17 years, Scientology and David Miscavige have subjected me to what I believe to be psychological torture, defamation, surveillance, harassment, and intimidation, significantly impacting my life and career.

"I believe I am not the first person targeted by Scientology and its operations, but I intend to be the last."

According to the press release, Remini filed the lawsuit in the California Superior Court on Wednesday (2 August) in an attempt to "require Scientology, and any entity it controls and funds, to cease and desist its alleged practice of harassment, defamation, and other unlawful conduct against anyone who Scientology has labelled as an 'enemy.'"

Variety reports Remini also seeking compensatory and punitive damages for the alleged harm Scientology has inflicted on her personal and professional life.

The press release refers to "OSA Network Orders" - a reference to directives alleged to be issued by the Church's Office of Special Affairs.

Remini alleges these orders are a series of retaliatory measures, said to have been implemented by the Church's founder L Ron Hubbard, to be taken against any individual or organisation that the Church deems to be an enemy.

Named defendants in the legal case are the Church of Scientology, Miscavige and Religious Technology Center, Inc., which, Remini alleges, manages policing operations and principally enforces Scientology's punishment orders.

Remini alleges that a series of attacks meant to "obliterate" and "totally restrain and muzzle" her were "activated by OSA and their operatives." The case details alleged "coordinated campaigns" by the Church levied against Remini and her family, friends and business associates.

"With this lawsuit, I hope to protect my rights as afforded by the Constitution of the United States to speak the truth and report the facts about Scientology," Remini continued.

"I feel strongly that the banner of religious freedom does not give anyone licence to intimidate, harass and abuse those who exercise their First Amendment rights."

In 2015, Remini co-created and executive produced a documentary series about the Church, called Leah Remini: Scientology and the Aftermath, which ran for three seasons and won two Emmy Awards.

The actress is best known for starring in The King of Queens, a comedy which ran from 1998 until 2007 and is still regularly repeated in the UK by Channel 4.

In addition, she played smaller roles in Cheers, Friends, and NYPD Blue. She was also a regular panellist on US daytime show The Talk, and finished in fifth place in the 2013 series of Dancing With The Stars, the US version of Strictly.

Archived version: https://archive.li/KVPW3

197
submitted 2 years ago by soyagi@yiffit.net to c/news@lemmy.world

Leah Remini is taking legal action against the Church of Scientology and its leader, David Miscavige, for harassment and defamation.

The actress, who starred in the sitcom The King of Queens, joined the Church in 1979 as a child and left in 2013.

Remini, 53, claims Scientology's "mob-style operations and attacks" have "significantly" impacted her life and career.

BBC News has asked the Church of Scientology for comment.

In a statement released to Variety, Remini said: "For 17 years, Scientology and David Miscavige have subjected me to what I believe to be psychological torture, defamation, surveillance, harassment, and intimidation, significantly impacting my life and career.

"I believe I am not the first person targeted by Scientology and its operations, but I intend to be the last."

According to the press release, Remini filed the lawsuit in the California Superior Court on Wednesday (2 August) in an attempt to "require Scientology, and any entity it controls and funds, to cease and desist its alleged practice of harassment, defamation, and other unlawful conduct against anyone who Scientology has labelled as an 'enemy.'"

Variety reports Remini also seeking compensatory and punitive damages for the alleged harm Scientology has inflicted on her personal and professional life.

The press release refers to "OSA Network Orders" - a reference to directives alleged to be issued by the Church's Office of Special Affairs.

Remini alleges these orders are a series of retaliatory measures, said to have been implemented by the Church's founder L Ron Hubbard, to be taken against any individual or organisation that the Church deems to be an enemy.

Named defendants in the legal case are the Church of Scientology, Miscavige and Religious Technology Center, Inc., which, Remini alleges, manages policing operations and principally enforces Scientology's punishment orders.

Remini alleges that a series of attacks meant to "obliterate" and "totally restrain and muzzle" her were "activated by OSA and their operatives." The case details alleged "coordinated campaigns" by the Church levied against Remini and her family, friends and business associates.

"With this lawsuit, I hope to protect my rights as afforded by the Constitution of the United States to speak the truth and report the facts about Scientology," Remini continued.

"I feel strongly that the banner of religious freedom does not give anyone licence to intimidate, harass and abuse those who exercise their First Amendment rights."

In 2015, Remini co-created and executive produced a documentary series about the Church, called Leah Remini: Scientology and the Aftermath, which ran for three seasons and won two Emmy Awards.

The actress is best known for starring in The King of Queens, a comedy which ran from 1998 until 2007 and is still regularly repeated in the UK by Channel 4.

In addition, she played smaller roles in Cheers, Friends, and NYPD Blue. She was also a regular panellist on US daytime show The Talk, and finished in fifth place in the 2013 series of Dancing With The Stars, the US version of Strictly.

Archived version: https://archive.li/KVPW3

130
submitted 2 years ago by soyagi@yiffit.net to c/technology@lemmy.world

It looks like Google's long-running project to split up ChromeOS and its Chrome browser will be shipping out to the masses soon. Kevin Tofel's About Chromebooks has spotted flags that turn on the feature by default for ChromeOS 116 and up. 116 is currently in beta and should be live in the stable channel sometime this month.

The project is called "Lacros" which Google says stands for "Linux And ChRome OS." This will split ChromeOS's Linux OS from the Chrome browser, allowing Google to update each one independently. Google documentation on the project says, "On Chrome OS, the system UI (ash window manager, login screen, etc.) and the web browser are the same binary. Lacros separates this functionality into two binaries, henceforth known as ash-chrome (system UI) and lacros-chrome (web browser)." Part of the project involves sprucing up the ChromeOS OS, and Google's docs say, "Lacros can be imagined as 'Linux chrome with more Wayland support.'"

Previously ChromeOS was using a homemade graphics stack called "Freon," but now with Wayland, it'll be on the new and normal desktop Linux graphic stack. Google's 2016 move to Freon was at a time when it could have moved from X11 (the old, normal desktop Linux graphics stock) directly to Wayland, but it decided to take this custom detour instead. Google says this represents "more Wayland support" because Wayland was previously used for Android and Linux apps, but now it'll be used for the native Chrome OS graphics, too.

On the browser side, ChromeOS would stop using the bespoke Chrome browser for ChromeOS and switch to the Chrome browser for Linux. The same browser you get on Ubuntu would now ship on ChromeOS. In the past, turning on Lacros in ChromeOS would show both Chrome browsers, the outgoing ChromeOS one and the new Linux one.

Lacros has been in development for around two years and can be enabled via a Chrome flag. Tofel says his 116 build no longer has that flag since it's the default now. Google hasn't officially confirmed this is happening, but so far, the code is headed that way.

Users probably won't notice anything, but the feature should make it easier to update Chrome OS and might even extend the lifetime of old ChromeOS devices. This should also let Google more directly roll out changes on ChromeOS. Currently, there can be a delay while Google does the extra build work for ChromeOS, so the standalone browsers get security fixes first.

Archived version: https://archive.ph/EG7nc

58
submitted 2 years ago by soyagi@yiffit.net to c/technology@lemmy.ml

It looks like Google's long-running project to split up ChromeOS and its Chrome browser will be shipping out to the masses soon. Kevin Tofel's About Chromebooks has spotted flags that turn on the feature by default for ChromeOS 116 and up. 116 is currently in beta and should be live in the stable channel sometime this month.

The project is called "Lacros" which Google says stands for "Linux And ChRome OS." This will split ChromeOS's Linux OS from the Chrome browser, allowing Google to update each one independently. Google documentation on the project says, "On Chrome OS, the system UI (ash window manager, login screen, etc.) and the web browser are the same binary. Lacros separates this functionality into two binaries, henceforth known as ash-chrome (system UI) and lacros-chrome (web browser)." Part of the project involves sprucing up the ChromeOS OS, and Google's docs say, "Lacros can be imagined as 'Linux chrome with more Wayland support.'"

Previously ChromeOS was using a homemade graphics stack called "Freon," but now with Wayland, it'll be on the new and normal desktop Linux graphic stack. Google's 2016 move to Freon was at a time when it could have moved from X11 (the old, normal desktop Linux graphics stock) directly to Wayland, but it decided to take this custom detour instead. Google says this represents "more Wayland support" because Wayland was previously used for Android and Linux apps, but now it'll be used for the native Chrome OS graphics, too.

On the browser side, ChromeOS would stop using the bespoke Chrome browser for ChromeOS and switch to the Chrome browser for Linux. The same browser you get on Ubuntu would now ship on ChromeOS. In the past, turning on Lacros in ChromeOS would show both Chrome browsers, the outgoing ChromeOS one and the new Linux one.

Lacros has been in development for around two years and can be enabled via a Chrome flag. Tofel says his 116 build no longer has that flag since it's the default now. Google hasn't officially confirmed this is happening, but so far, the code is headed that way.

Users probably won't notice anything, but the feature should make it easier to update Chrome OS and might even extend the lifetime of old ChromeOS devices. This should also let Google more directly roll out changes on ChromeOS. Currently, there can be a delay while Google does the extra build work for ChromeOS, so the standalone browsers get security fixes first.

Archived version: https://archive.ph/EG7nc

2
submitted 2 years ago by soyagi@yiffit.net to c/browsers@lemmy.ml

It looks like Google's long-running project to split up ChromeOS and its Chrome browser will be shipping out to the masses soon. Kevin Tofel's About Chromebooks has spotted flags that turn on the feature by default for ChromeOS 116 and up. 116 is currently in beta and should be live in the stable channel sometime this month.

The project is called "Lacros" which Google says stands for "Linux And ChRome OS." This will split ChromeOS's Linux OS from the Chrome browser, allowing Google to update each one independently. Google documentation on the project says, "On Chrome OS, the system UI (ash window manager, login screen, etc.) and the web browser are the same binary. Lacros separates this functionality into two binaries, henceforth known as ash-chrome (system UI) and lacros-chrome (web browser)." Part of the project involves sprucing up the ChromeOS OS, and Google's docs say, "Lacros can be imagined as 'Linux chrome with more Wayland support.'"

Previously ChromeOS was using a homemade graphics stack called "Freon," but now with Wayland, it'll be on the new and normal desktop Linux graphic stack. Google's 2016 move to Freon was at a time when it could have moved from X11 (the old, normal desktop Linux graphics stock) directly to Wayland, but it decided to take this custom detour instead. Google says this represents "more Wayland support" because Wayland was previously used for Android and Linux apps, but now it'll be used for the native Chrome OS graphics, too.

On the browser side, ChromeOS would stop using the bespoke Chrome browser for ChromeOS and switch to the Chrome browser for Linux. The same browser you get on Ubuntu would now ship on ChromeOS. In the past, turning on Lacros in ChromeOS would show both Chrome browsers, the outgoing ChromeOS one and the new Linux one.

Lacros has been in development for around two years and can be enabled via a Chrome flag. Tofel says his 116 build no longer has that flag since it's the default now. Google hasn't officially confirmed this is happening, but so far, the code is headed that way.

Users probably won't notice anything, but the feature should make it easier to update Chrome OS and might even extend the lifetime of old ChromeOS devices. This should also let Google more directly roll out changes on ChromeOS. Currently, there can be a delay while Google does the extra build work for ChromeOS, so the standalone browsers get security fixes first.

Archived version: https://archive.ph/EG7nc

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soyagi

joined 2 years ago