Google and YouTube sell billions in advertising every month. But now they’re partnering with SiriusXM to handle a specific bucket of inventory: audio ads that run against YouTube content like podcasts, talk shows and music.
SiriusXM struck a deal with Google making SiriusXM Media, the group that represents SiriusXM, Pandora and the company’s network of streaming and podcast networks, the exclusive advertising representative of YouTube audio advertising inventory in the U.S.
More than 212 million monthly listeners in the U.S. engage in “audio-first” content or environments on YouTube, per a study by Edison Research commissioned by SiriusXM Media. The YouTube-SiriusXM deal will give advertisers access to “guaranteed impressions at scale” of audio spots for the first time, with targeting and measurement capabilities akin to YouTube, according to SiriusXM.
Starting in the fall of 2026, advertisers will be able to buy guaranteed audio ad impressions against YouTube audiences for the first time directly through SiriusXM Media, powered by AdsWizz’s ad-tech platform.
“YouTube has become a primary destination for audio-first content, where fans engage with their favorite podcasts, music, and creators,” Romana Pawar, senior director of product for YouTube Ads, said in a statement. “By partnering with SiriusXM Media, we are making it easier than ever for advertisers to tap into these high-attention moments.”
Scott Walker, SiriusXM’s chief advertising revenue officer, commented, “By partnering with YouTube, a true leader in ad-supported content consumption, we’re uniting our unique skillset with their audience, creating an unparalleled opportunity for marketers and creators to grow their businesses.”
Overall, SiriusXM Media now offers marketers access to 255 million monthly listeners, reaching nearly 90% of the U.S. population 13 and older, the company said.
The ongoing conflict between the U.S. and Iran is accelerating Wall Street’s transition into tokenized real-world assets (RWAs) to allay the risk of geopolitical volatility. The crisis has solidified RWAs as essential “always-on” infrastructure for Wall Street, exposing the limitations of traditional financial markets that close during weekends.
As of April 2026, financial institutions are increasingly adopting blockchain-based tokenized trading to reduce the risks posed by 24/7 geopolitical tensions that traditional markets are ill-equipped to handle.
Closing on weekends when many geopolitical escalations occur has emerged as a critical vulnerability in traditional financial markets. Major attacks, such as the U.S. strikes on Iran in February 2026, have frequently happened during off-market hours.
Accordingly, Wall Street desks now use tokenized assets and perpetual futures on platforms like Hyperliquid as the only open window for pricing gold, oil, and war risk when legacy exchanges are offline. The disruption of physical trade routes, particularly in the Strait of Hormuz, has accelerated the shift toward instant “atomic” settlement.
Tokenized U.S. Treasuries market surges to over $12B in April
The tokenized U.S. Treasuries market has surged to $12.78 billion as of April 2026, as investorsseek liquid collateral that can be moved instantly across borders. Tokenized commodities like gold and oil have also seen surging volumes as traders seek around-the-clock hedges against energy supply shocks.
Meanwhile, institutional players are also transitioning from pilot programs to full-scale deployment of tokenized assets. Major firms like BlackRock and Franklin Templeton have integrated tokenized funds into their core offerings to avoid the bottlenecks of the traditional banking system during crises.
These firms provide a digital-native structure that remains operational even as physical infrastructure, like in the Gulf, faces drone threats. As of April 2026, BlackRock has accumulated approximately $1.9 billion in tokenized U.S. Treasuries within its BUIDL fund.
On the other hand, some nations, including Iran, are experimenting with blockchain to exchange value outside the U.S.-dollar-denominated system to bypass sanctions and naval blockades. Crypto-native platforms effectively became “the market” during critical moments, such as the February 2026 airstrikes. Legacy exchanges are now under intense pressure to adopt 24/7 trading models tocompete with these digital-native structures, according to media reports.
Consequently, on-chain perpetual futures for commodities like gold and oil now account for more than 67% of builder-deployed contracts on decentralized exchanges, with weekend volumes increasing ninefold since the beginning of 2026. The need for blockchain-based instant settlement has become a structural necessity, providing products that remain liquid even when physical trade routes are disrupted.
IMF chief economist says U.S.-Iran war creates bigger risk than Trump’s tariffs
IMF chief economist Pierre-Olivier Gourinchas hasemphasized that the U.S.-Iran conflict creates a far bigger risk to the global economy than President Donald Trump’s initial wave of steep tariffs a year ago.
He further notes that several countries are likely to undergo outright recessions under this scenario, with oil prices averaging $110 per barrel in 2026 and $125 in 2027.
“What’s happening in the Gulf is potentially much, much larger, and that’s what our scenarios are kind of documenting.”
–Pierre-Olivier Gourinchas, Chief Economist at the IMF
Based on these claims, the U.S.-Iran war is prompting investors to turn to tokenized oil and decentralized finance (DeFi) platforms for hedging, with major financial players fast-tracking the launch of tokenized securities platforms. Traders are using 24/7 crypto-native markets to hedge against oil price volatility stemming from the conflict.
The IMF also predicts that global GDP growth could fall to 2.5% under an adverse scenario of a longer conflict that would keep oil prices around $100 per barrel this year. The fund’s worst-case scenario assumes a deepening, prolonged conflict that could drive oil prices higher, prompting major financial market dislocations and tighter financial conditions, slashing global growth to 2%.
Russia, where the use of Bitcoin (BTC) and cryptocurrencies is very high, continues to take regulatory steps.
According to the Russian local news agency TASS, the Russian State Duma has approved a bill on cryptocurrencies in its first reading.
At this point, the Duma approved a bill titled “On Digital Currency and Digital Rights”.
The essence of the bill is to appoint the Central Bank of Russia as the regulatory authority for cryptocurrencies and to allow the use of cryptocurrencies in foreign trade payments.
According to the draft law, the Central Bank of Russia will be designated as the key institution overseeing the cryptocurrency market, granting broad powers to issue licenses, approve or prohibit transactions, and determine legality.
The bill also defines the procedures for banks and brokerage firms to enter the cryptocurrency market. Accordingly, regulations regarding cryptocurrency investment will be applied differently depending on the eligibility criteria.
Specifically, the limit for purchasing cryptocurrency is capped at 300,000 rubles per person for unqualified investors. However, this limitation will not apply to qualified investors.
The bill also recognizes cryptocurrencies as property under the Russian legal system.
Finally, the bill needs to pass second and third readings in the State Duma before being submitted to the Federal Council and ultimately to the President for approval. According to the report, if officially approved, the bill is expected to come into effect on July 1, 2026.
NBA player’s profile image shows a Palestinian child blocked from school by Israeli soldiers in the occupied West Bank.
Published On 22 Apr 202622 Apr 2026
Famed basketball player Kyrie Irving changed his social media profile picture to an image of a Palestinian child blocked from attending school by Israeli soldiers in the Israeli-occupied West Bank.
The picture on Irving’s Instagram, which boasts 20.2 million followers, shows a young Palestinian boy sitting with a book as he turns around to look at Israeli soldiers standing behind a barbed wire fence just behind him.
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Earlier this month, Palestinian schoolchildren in Umm al-Khair, in the occupied West Bank, found a barbed wire fence blocking their route to school roughly 1km (0.6 miles) away. Despite the barrier being erected by settlers without legal authorisation, soldiers have refused to take down the barrier in a community that faces imminent Israeli demolition orders later this month due to a lack of building permits. Such permits are rarely granted to Palestinians in Area C of the West Bank, which is entirely under the control of Israel.
When the children, some as young as five years old, tried to go around the fence, soldiers launched tear gas and sound grenades at them. Shortly after the fence went up, a large Star of David was built with stones by settlers on the side of the fence that the Palestinian schoolchildren can no longer access.
The community subsequently launched a march as part of a new initiative – “the Umm al-Khair Freedom School” – walking alongside the schoolchildren right up to the fence as the children banged on drums and sang defiant songs while soldiers watched from metres away.
For stretches of time, the children sat down on rocks adjacent to the barbed wire, took out their books and began working on schoolwork they have been deprived of for more than 50 days.
The social media update was not the first time Irving, 34, has voiced support for Palestinians in Gaza.
In a pre-game interview in November 2024, he was seen wearing a chain with the Palestine flag in the shape of Israel’s land mass.
A year earlier, he made headlines by attending a post-match news conference wearing a keffiyeh, a cotton headdress with a distinctive chequered pattern worn in many parts of the Arab world that represents Palestinian identity.
Since the declaration of a ceasefire in the Gaza Strip on October 10, 2025, Israel has violated the agreement with near-daily attacks, killing hundreds of people.
Israel violated the ceasefire agreement at least 2,400 times from October 10, 2025, to April 14, 2026, through the continuation of attacks by air, artillery and direct shootings, the Government Media Office in Gaza reports.
Israel has also continued to block vital humanitarian aid and destroy homes and infrastructure across the Strip.
Researchers found a prompt injection vulnerability in Google’s Antigravity AI coding platform.
The flaw could allow attackers to execute commands even with the platform’s Secure Mode enabled.
Google fixed the issue Feb. 28 after researchers disclosed it in January, Pillar Security said.
Google has patched a vulnerability in its Antigravity AI coding platform that researchers say could allow attackers to run commands on a developer’s machine through a prompt injection attack.
According to a report by Cybersecurity firm Pillar Security, the flaw involved Antigravity’s find_by_name file search tool, which passed user input directly to an underlying command-line utility without validation. That allowed malicious input to convert a file search into a command execution task, enabling remote code execution.
“Combined with Antigravity’s ability to create files as a permitted action, this enables a full attack chain: stage a malicious script, then trigger it through a seemingly legitimate search, all without additional user interaction once the prompt injection lands,” Pillar Security researchers wrote.
Launched last November, Antigravity is Google’s AI-powered development environment designed to help programmers write, test, and manage code with the assistance of autonomous software agents. Pillar Security disclosed the issue to Google on January 7, and Google acknowledged the report the same day, marking the issue as fixed on February 28.
Google did not immediately respond to a request for comment by Decrypt.
Prompt injection attacks occur when hidden instructions embedded in content cause an AI system to perform unintended actions. Because AI tools often process external files or text as part of normal workflows, the system may interpret those instructions as legitimate commands, allowing an attacker to trigger actions on a user’s machine without direct access or additional interaction.
The threat of prompt injection attacks for large language models came into renewed focus last summer when ChatGPT developer OpenAI warned that its new ChatGPT agent could be compromised.
“When you sign ChatGPT agent into websites or enable connectors, it will be able to access sensitive data from those sources, such as emails, files, or account information,” OpenAI wrote in a blog post.
To demonstrate the Antigravity issue, the researchers created a test script inside a project workspace and triggered it through the search tool. When executed, the script opened the computer’s calculator application, showing that the search function could be turned into a command execution mechanism.
“Critically, this vulnerability bypasses Antigravity’s Secure Mode, the product’s most restrictive security configuration,” the report said.
The findings highlight a broader security challenge facing AI-powered development tools as they begin to execute tasks autonomously.
“The industry must move beyond sanitization-based controls toward execution isolation. Every native tool parameter that reaches a shell command is a potential injection point,” Pillar Security said. “Auditing for this class of vulnerability is no longer optional, and it is a prerequisite for shipping agentic features safely.”
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Not long ago, a food-delivery worker turned up at Mumbai’s Regal Cinema on a Thursday evening, caught a screening between shifts, and handed INR1,000 ($10.65) to the wife of Dungarpur. The man told her he could never get to see films like these at a multiplex, Dungarpur recalls, but here the 6:30 show fit between his deliveries – and he wanted to contribute.
For Dungarpur, it was the kind of moment that makes the rest of it worthwhile – the years of chasing deteriorating prints across continents, the workshops, the fundraising, the slow work of persuading a country that its cinema was worth saving. “I believe in showing films to the common man, to people on the street, to anyone who wants to watch cinema,” he says. “There’s not a single moment when I’m not thinking about cinema.”
The packed weekly screenings at Regal – free, open to all, with a capacity of 1,400, every Thursday night – are one expression of that belief. The other is the work itself: Film Heritage Foundation, which Dungarpur founded in 2014, has titles premiering at Cannes, Venice, Berlin and Toronto, workshops that have trained close to 500 archivists, and a reach that now extends to Sri Lanka, Nepal and Afghanistan. It remains the only non-governmental body in India doing this work.
The journey to all of this began at a festival in Italy. Dungarpur was a graduate of the Film and Television Institute of India who had moved into advertising – over 1,500 commercials, by his count – when he read an interview in which Martin Scorsese spoke about the Il Cinema Ritrovato, Bologna’s annual celebration of restored and rediscovered cinema.. He went. He saw what other countries were doing to preserve and celebrate their film heritage. And he came home asking a question he couldn’t stop asking. It dawned upon him, he says, what was happening to India’s heritage. “What about India? What about myself?”
The experience led directly to “Celluloid Man,” his documentary portrait of P.K. Nair, the founding director of the National Film Archive of India, and to his involvement in locating the elements that would allow Martin Scorsese’s The Film Foundation to restore Uday Shankar’s “Kalpana” (1948) – a film that had its world premiere at Cannes in 2012. Two years later, FHF was born.
From the beginning, Dungarpur was clear about what kind of organization it would be. Not a repository for Bollywood’s Hindi-language cinema alone, but a defender of India’s full linguistic and regional range. “Our regional cinema is the cinema which represents our country the best,” he says. Restored FHF titles have come from the Indian states of Manipur, Karnataka, Odisha and Kerala, alongside Hindi and Bengali-language productions. He is also director of the Mumbai Film Festival, where he has introduced a strand called MAMI Independent devoted to films from across the country – from Meghalaya, from Sikkim, from wherever the work is rooted in a particular place and time.
The work is as much a detective story as it is preservation. For “Sholay – The Final Cut,” FHF’s restoration of Ramesh Sippy’s 1975 classic that features in the Las Palmas de Gran Canaria Film Festival program, there was no original camera negative to work from. The search for usable elements, conducted through the FIAF international archive network, eventually turned up material in London that contained something no one had seen since the film’s original release: the censored climax, and two deleted scenes. Dungarpur was six years old when “Sholay” first opened. His mother thought it too violent for him to watch. “All of us knew the dialogs, we knew the characters, we knew each and every scene,” he says. “And believe me, when I was restoring the film” – he pauses – “there was no negative.”
“Sholay”
Sippy Films
The personal charge runs through much of the slate. FHF is currently restoring Kamal Amrohi’s “Pakeezah,” a film Dungarpur first encountered as a child through his grandmother, the Maharani of Dumraon, who introduced him to cinema. Shyam Benegal’s “Bhumika” is also in progress – a particular challenge, as only a single print survives. Dev Benegal’s “English, August” is in the pipeline. “You take it like a child,” he says. “You want to show it to the young generation. These great films found a new home, and a new generation views it differently.”
The Las Palmas de Gran Canaria Film Festival program also includes Satyajit Ray’s “Days and Nights in the Forest” (Aranyer Din Ratri, 1970), which had its restored world premiere at Cannes 2025 with filmmaker Wes Anderson presenting it. Anderson called it a near-forgotten gem and another masterpiece from Ray. “Anything signed Satyajit Ray must be cherished and preserved,” he said.
“Days and Nights in the Forest” (Aranyer Din Ratri) before and after restoration.
Film Heritage Foundation
It is that discovery – the encounter between a great film and an audience that has never seen it – that drives the Las Palmas showcase, where FHF is presenting six restorations across Hindi, Malayalam, Bengali and Sinhala, and where Dungarpur is serving on the jury. The selection runs from Benegal’s “The Churning (Manthan, 1976) and Bimal Roy’s “Two Acres of Land’ (Do Bigha Zamin, 1953) to Aravindan Govindan’s “The Circus Tent” (Thampu, 1978) and Sumitra Peries’ “The Girls” (Gehenu Lamai, 1978) – the latter now the first Sri Lankan film to have been released theatrically in France. “It’s a great feeling – almost – that some part of the world, a restoration of ours is getting screened, whether it’s in Cairo or Brazil or Poland or Taiwan,” Dungarpur says. “The journey we took from 2014, when people didn’t even understand what film preservation and restoration was – it’s just incredible.”
“Two Acres of Land” (Do Bigha Zamin) before and after restoration.
Film Heritage Foundation
What comes next is the Moving Image Centre, which FHF has been building in Mumbai since 2024. Its conservation spaces are already operational; a library is under construction. The vision is a public hub where anyone can walk in and get lost in the history of Indian cinema – not unlike a Thursday night at Regal, but permanent. “I grew up watching stars on the large screen, not straight up but looking up,” Dungarpur says. “And that’s what I feel like, even now, when I go into that theater. I’m like a child. I’m lost in that world. And I want to give back that love and that feeling.”
As $XRP continues to expand globally, it has received positive news from the US.
According to The Block, US-based fintech platform SoFi has announced that it has enabled $XRP investment.
However, SoFi has enabled $XRP deposits and portfolio tracking support in its application, allowing users to manage their $XRP directly in their accounts.
“We are excited to now support $XRP deposits, alongside some of the most popular coins like Bitcoin (BTC), Ethereum (ETH), and Solana (SOL).”
This has expanded access to regulated cryptocurrencies for individual users in the US.
Furthermore, SoFi’s move has brought $XRP onto a nationally licensed banking platform.
In contrast, while SoFi announced support for $XRP deposits, it faced user complaints for not enabling withdrawals to external wallets. Users criticized SoFi for not allowing its customers to withdraw their cryptocurrencies to external wallets.
One user, X, stated that the service offered by SoFi is essentially no different from spot ETFs.
The user commented, “SoFi doesn’t allow $XRP withdrawals. It’s basically just a spot ETF. It doesn’t benefit the $XRP ecosystem at all.”
In response to these criticisms, the company stated that they also plan to support withdrawal functionality in the future.
Ripple celebrated this move with the following statement:
“With SoFi, increased access to $XRP means more people can participate, and that’s exactly how the benefit increases.”
More access to $XRP with @SoFi means more people can participate, and that’s exactly how utility grows. 📶 https://t.co/IqxZGvM4cJ
Fifty years after the science fiction film’s release, environmental themes tackled in Logan’s Run have helped the movie extend its cultural lifespan.
Director Michael Anderson’s dystopian feature was based on authors William F. Nolan and George Clayton Johnson’s 1967 novel that MGM had tried unsuccessfully for years to adapt for the big screen. Set in the 23rd century, the film centers on a hedonistic society where the remaining humans live in a domed, AI-run city; a crystal lodged in each resident’s left hand blinks from red to black when they turn 30, at which point they are killed through a ritual called “Carousel.”
Michael York, known for films like Cabaret, starred as Logan 5, a police officer who tracks down “runners” for refusing to participate in Carousel — until he, too, finds himself marked for termination. Jenny Agutter and Richard Jordan rounded out the cast. After other screenwriters took a crack at it, David Zelag Goodman’s script finally helped move the adaptation out of development hell thanks to upping the maximum age from 21 in the book, thus expanding the pool of potential stars, including then-34-year-old York.
The star, who bonded with Anderson on their 1975 film Conduct Unbecoming, saw a pre-fame Farrah Fawcett playing tennis at a friend’s home and suggested her for a small role in Logan’s Run. “I’m responsible for her whole wonderful career,” York jokes to THR about the actress, whose series Charlie’s Angels would make her a household name when it premiered in the fall of 1976.
United Artists released Logan’s Run on June 23, 1976, and it collected a pleasing $25 million ($145 million today). THR’s review noted that the movie “has little freshness or originality to offer” but added that “York displays a great deal of energy and screen presence.”
Not only did the movie spawn a short-lived spinoff series on CBS, but a potential remake from producer Joel Silver had been in development over the decades, attaching such directors as Joseph Kosinski, Nicolas Winding Refn and Simon Kinberg. In 1999, Anderson called Logan’s Run “a piece that I’m very proud of.”
York imagines that a new take on Logan’s Run could find success — the 84-year-old actor quips, “Of course, I’m way too old for it” — and he still appreciates his version’s prescient narrative: “The themes about sustainability have become very important.”
This story appears in The Hollywood Reporter’s 2026 Sustainability Issue. Click here to read more.
The red carpet got a lot of attention at the Oscars this year — but it wasn’t just because of who was strolling on it.
On March 16, the day after the 2026 ceremony, production assistant Paige Thalia posted a TikTok of herself arriving at the Dolby Theatre. As crews broke down the awards show setup, she had hopes of taking a piece of the carpet home to use as a rug in her apartment. The video follows her stumbling upon dumpsters with rolls and rolls of the Oscar red carpet inside and lugging one section back to her place as prized new decor (after a good vacuuming).
The TikTok quickly went viral, racking up more than 6 million views, with hundreds of commenters expressing shock and horror that the Oscars carpet would be used for just a few hours and then be thrown away. Suddenly, the Academy found itself getting beaten up on social media as yet another grotesque example of Hollywood’s wasteful ways.
As it turns out, though, there’s a bit more to the story.
For starters, the dumpsters full of Oscar red carpet material were actually en route to being recycled, confirms Rob Thiess, co-director of the California Carpet Stewardship Program of CARE (the Carpet America Recovery Effort). Thiess tells THR that CARE has worked with Event Carpet Pros Inc., which supplies the Oscars carpet, for the past four years; from the Dolby, the carpet is transferred to the Los Angeles Fiber carpet recycling center in Vernon, where it is broken down into pellets. Theiss says these carpet pellets can be made into about 125 different products, including computer cases and car parts.
The Academy adds that the Oscars carpet is itself made from recycled materials.
Unfortunately, this sort of environmental mindfulness is not the norm. Hollywood puts on hundreds of events each year — premieres, galas and FYC events — and the majority of the time those red carpets are not recycled. More often than not, they end up in the trash, particularly those with customized designs, logos and cuts that make it tough to be reused.
Courtesy of Circular Polymers
“So many people still don’t know that carpet is recyclable,” says Theiss. CARE supports more than 179 public drop-off sites throughout California (which is drastically ahead of other states in this initiative) and collects 80 million to 90 million pounds of carpet per year, but most of that comes from residential sources. And so he is making a push to get Hollywood on board as well, having already locked up a deal to recycle the carpet at next year’s Super Bowl in L.A., on top of his work with the Oscars. But because entertainment events are so fragmented — with different studios, streamers, event planners and carpet companies involved with each one — it has been slow going to organize a carpet recycling system for the larger industry.
“Quite frankly, it’s really low on the totem pole when it’s dollars and cents on the front side and making sure that production goes smoothly,” Theiss explains. “When it comes to breakdown, it’s just, ‘Get it out of here, on to the next,’ ” as he admits it’s “not a glamorous thing” to think about.
Sheila Morovati, founder and CEO of environmental nonprofit Habits of Waste and a longtime advocate pushing to make Hollywood more sustainable, notes that carpets don’t necessarily need to be broken down into pellets to get re-purposed. She points out that carpets could easily be donated to schools or homeless shelters after their big moments. Or, perhaps more likely in the bottom line-driven entertainment industry, she suggests studio storage facilities — much like the storerooms used for costumes — where “red carpets can go and live and be clean and ready to be installed. And then they just roll it back up and bring it back into these warehouses so that the studio just holds onto it,” which would save on the cost of getting a new carpet for each event.
Environmental Media Association CEO Debbie Levin also makes a case for increased use of rentals: “I don’t understand why renting a carpet would not be the way to go because then it’s being reused constantly. They’ve got every color in the world, and you really don’t need a logo on a carpet because [photographers and press] are not shooting that.” She adds, “There’s so much material that goes into a carpet, and not all of it is made from the greatest materials, so at least if you’re using it 50 times, you could feel better about it.”
It would, of course, take extra thought and planning to make this happen, which may be a tough ask for a business focused more on the big on-camera backdrops than on how to properly dispose of the backdrop afterward. But, as Theiss notes, that disposal process is key, especially for carpet material that “doesn’t break down for 100 million years; it doesn’t produce methane gas, it can’t be collected and make power generation out of it. It’s just an unruly material that fills up our space.”
He continues, “We’ve got to think about our future, our kids or grandchildren and what we’re leaving. We have how many capped landfills and how much material is in there that won’t break down? So [it’s about] really focusing on that and then taking those materials and turning them into new products.”
Nikita Bier, X’s head of product, has announced the launch of custom timelines, which lets you curate what you see on your feed based on your topics of interest. He called the update “one of the biggest changes to X” and a ”huge undertaking” that took the team “many months” to develop. The feature lets you pin specific topics to your home tab, so you can switch from one to the other to see the latest discussions about your interests and hobbies.
Bier said that X’s custom timelines is “powered by Grok’s understanding of every post with the algorithm’s personalization.” You have 75 topics to choose from, including food, art, photography, business, finance, movies and TV. As you’d expect, the personalization aspect of the feature works better if it’s a topic you already engage with regularly. X’s new feature is similar to Bluesky’s and Threads’ custom feeds, which also allow you to pin topic-based timelines to the home screens of the apps, and which their users have been enjoying since 2023 and 2024, respectively.
At the moment, X’s custom timelines is still in its early access phase and is only available to Premium subscribers on iOS. It will be rolling out to Premium users on Android “very soon,” as well. Bier has also announced that X has released a tool to snooze topics on the For You tab. With the tool, you’ll be able to hide certain topics, such as politics or sports, for 24 hours from your feed. It’s now available for Premium users on iOS and the web.
