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he-got-sued-for-sharing-public-youtube-videos;-nightmare-ended-in-settlement

He got sued for sharing public YouTube videos; nightmare ended in settlement


Librarian vows to stop invasive ed tech after ending lawsuit with Proctorio.

Librarian Ian Linkletter remains one of Proctorio’s biggest critics after 5-year legal battle. Credit: Ashley Linkletter

Nobody expects to get sued for re-posting a YouTube video on social media by using the “share” button, but librarian Ian Linkletter spent the past five years embroiled in a copyright fight after doing just that.

Now that a settlement has been reached, Linkletter told Ars why he thinks his 2020 tweets sharing public YouTube videos put a target on his back.

Linkletter’s legal nightmare started in 2020 after an education technology company, Proctorio, began monitoring student backlash on Reddit over its AI tool used to remotely scan rooms, identify students, and prevent cheating on exams. On Reddit, students echoed serious concerns raised by researchers, warning of privacy issues, racist and sexist biases, and barriers to students with disabilities.

At that time, Linkletter was a learning technology specialist at the University of British Columbia. He had been aware of Proctorio as a tool that some professors used, but he ultimately joined UBC students criticizing Proctorio, as, practically overnight, it became a default tool that every teacher relied on during the early stages of the pandemic.

To Linkletter, the AI tool not only seemed flawed, but it also seemingly made students more anxious about exams. However, he didn’t post any tweets criticizing the tech—until he grew particularly disturbed to see Proctorio’s CEO, Mike Olsen, “showing up in the comments” on Reddit to fire back at one of his university’s loudest student critics. Defending Proctorio, Olsen roused even more backlash by posting the student’s private chat logs publicly to prove the student “lied” about a support interaction, The Guardian reported.

“If you’re gonna lie bro … don’t do it when the company clearly has an entire transcript of your conversation,” Olsen wrote, later apologizing for the now-deleted post.

“That set me off, and I was just like, this is completely unacceptable for a CEO to be going after our students like this,” Linkletter told Ars.

The more that Linkletter researched Proctorio, the more concerned he became. Taking to then-Twitter, he posted a series of seven tweets over a couple days that linked to YouTube videos that Proctorio hosted in its help center. He felt the videos—which showed how Proctorio flagged certain behaviors, tracked “abnormal” eye and head movements, and scanned rooms—helped demonstrate why students were so upset. And while he had fewer than 1,000 followers, he hoped that the influential higher education administrators who followed him would see his posts and consider dropping the tech.

Rather than request Linkletter remove the tweets—which was the company’s standard practice—Proctorio moved quickly to delete the videos. Proctorio supposedly expected that the removals would put Linkletter on notice to stop tweeting out help center videos. Instead, Linkletter posted a screenshot of the help center showing all the disabled videos, while suggesting that Proctorio seemed so invested in secrecy that it was willing to gut its own support resources to censor criticism of their tools.

Together, the videos, the help center screenshot, and another screenshot showing course material describing how Proctorio works were enough for Proctorio to take Linkletter to court.

The ed tech company promptly filed a lawsuit and obtained a temporary injunction by spuriously claiming that Linkletter shared private YouTube videos containing confidential information. Because the YouTube videos—which were public but “unlisted” when Linkletter shared them—had been removed, Linkletter did not have to delete the seven tweets that initially caught Proctorio’s attention, but the injunction required that he remove two tweets, including the screenshots.

In the five years since, the legal fight dragged on, with no end in sight until last week, as Canadian courts tangled with copyright allegations that tested a recently passed law intended to shield Canadian rights to free expression, the Protection of Public Participation Act.

To fund his defense, Linkletter said in a blog announcing the settlement that he invested his life savings “ten times over.” Additionally, about 900 GoFundMe supporters and thousands of members of the Association of Administrative and Professional Staff at UBC contributed tens of thousands more. For the last year of the battle, a law firm, Norton Rose Fulbright, agreed to represent him on a pro bono basis, which Linkletter said “was a huge relief to me, as it meant I could defend myself all the way if Proctorio chose to proceed with the litigation.”

The terms of the settlement remain confidential, but both Linkletter and Proctorio confirmed that no money was exchanged.

For Proctorio, the settlement made permanent the injunction that restricted Linkletter from posting the company’s help center or instructional materials. But it doesn’t stop Linkletter from remaining the company’s biggest critic, as “there are no other restrictions on my freedom of expression,” Linkletter’s blog noted.

“I’ve won my life back!” Linkletter wrote, while reassuring his supporters that he’s “fine” with how things ended.

“It doesn’t take much imagination to understand why Proctorio is a nightmare for students,” Linkletter wrote. “I can say everything that matters about Proctorio using public information.”

Proctorio’s YouTube “mistake” triggered injunction

In a statement to Ars, Kevin Rockmael, Proctorio’s head of marketing, suggested that the ed tech company sees the settlement as a win.

“After years of successful litigation, we are pleased that this settlement (which did not include any monetary compensation) protects our interests by making our initial restraining order permanent,” Rockmael said. “Most importantly, we are glad to close this chapter and focus our efforts on helping teachers and educational institutions deliver valuable and secure assessments.”

Responding to Rockmael, Linkletter clarified that the settlement upholds a modified injunction, noting that Proctorio’s initial injunction was significantly narrowed after a court ruled it overly broad. Linkletter also pointed to testimony from Proctorio’s former head of marketing, John Devoy, whose affidavit “mistakenly” swearing that Linkletter was sharing private YouTube videos was the sole basis for the court approving the injunction. That testimony, Linkletter told Ars, suggested that Proctorio knew that the librarian had shared videos the company had accidentally made public and used it as “some sort of excuse to pull the trigger” on a lawsuit after Linkletter commented on the sub-Reddit incident.

“Even a child understands how YouTube works, so how are we supposed to trust a surveillance company that doesn’t?” Linkletter wrote in his blog.

Grilled by Linkletter’s lawyer, Devoy insisted that he was not “lying” when he claimed the videos Linkletter shared came from a private channel. Instead—even though he knew the difference between a private and public channel—Devoy claimed that he made a simple mistake, even suggesting that the inaccurate claim was a “typo.”

Linkletter maintains that Proctorio’s lawsuit had nothing to do with the videos he shared—which his legal team discovered had been shared publicly by many parties, including UBC, none of which Proctorio decided to sue. Instead, he felt targeted to silence his criticism of the company, and he successfully fought to keep Proctorio from accessing his private communications, which seemed to be a fishing expedition to find other critics to monitor.

“In my opinion, and this is just my opinion, one of the purposes of the lawsuit was to have a chilling effect on public discourse around proctoring,” Linkletter told Ars. “And it worked. I mean, a lot of people were scared to use the word Proctorio, especially in writing.”

Joe Mullin, a senior policy analyst who monitored Linkletter’s case for the nonprofit digital rights group the Electronic Frontier Foundation, agreed that Proctorio’s lawsuit risked chilling speech.

“We’re glad to see this lawsuit finally resolved in a way that protects Ian Linkletter’s freedom to speak out,” Mullin told Ars, noting that Linkletter “raised serious concerns about proctoring software at a time when students were subjected to unprecedented monitoring.”

“This case should never have dragged on for five years,” Mullin said. “Using copyright claims to retaliate against critics is wrong, and it chills public debate about surveillance technology.”

Preventing the “next” Proctorio

Linkletter is not the only critic to be targeted by Proctorio, Lia Holland, campaigns and communications director for a nonprofit digital rights group called Fight for the Future, told Ars.

Holland’s group was subpoenaed in a US fight after Proctorio sent a copyright infringement notice to Erik Johnson, a then-18-year-old college freshman who shared one of Linkletter’s screenshots. The ensuing litigation was similarly settled after Proctorio “threw every semi-plausible legal weapon at Johnson full force,” Holland told Ars. The pressure forced Johnson to choose between “living his life and his life being this suit from Proctorio,” Holland said.

Linkletter suspected that he and Johnson were added to a “list” of critics that Proctorio closely monitored online, but Proctorio has denied that such a list exists. Holland pushed back, though, telling Ars that Proctorio has “an incredibly long history of fudging the truth in the interest of profit.”

“We’re no strangers to Proctorio’s shady practices when it comes to oppressing dissent or criticism of their technologies,” Holland said. “I am utterly not shocked that they would employ tactics that appear to be doing the same thing when it comes to Ian Linkletter’s case.”

Regardless of Proctorio’s tactics for brand management, it seems clear that public criticism has impacted Proctorio’s sales, though. In 2021, Vice reported that student backlash led some schools to quickly abandon the software. UBC dropped Proctorio in 2021, too, citing “ethical concerns.”

Today, Linkletter works as an emerging technology and open education librarian at the British Columbia Institute of Technology (BCIT). While he considers himself an expert on Proctorio and continues to give lectures discussing harms of academic surveillance software, he’s ready to get away from discussing Proctorio now that the lawsuit has ended.

“I think I will continue to pay attention to what they do and say, and if there’s any new reports of harm that I can elevate,” Linkletter told Ars. “But I have definitely made my points in terms of my specific concerns, and I feel less obliged to spend more and more and more time repeating myself.”

Instead, Linkletter is determined to “prevent the next Proctorio” from potentially blindsiding students on his campus. In his role as vice chair of BCIT’s educational technology and learning design committee, he’s establishing “checks and balances” to ensure that if another pandemic-like situation arises forcing every student to work from home, he can stop “a bunch of creepy stuff” from being rolled out.

“I spent the last year advocating for and implementing algorithmic impact assessments as a mandatory thing that the institute has to do, including identifying how risk is going to be mitigated before we approve any new ed tech ever again,” Linkletter explained.

He also created the Canadian Privacy Library, where he posts privacy impact assessments that he collects by sending freedom-of-information requests to higher education institutions in British Columbia. That’s one way local students could monitor privacy concerns as AI use expands across campuses, increasingly impacting not just how exams are proctored, but how assignments are graded.

Holland told Ars that students concerned about ed tech surveillance “are most powerful when they act in solidarity with each other.” While the pandemic was widely forcing remote learning, student groups were able to successfully remove harmful proctoring tech by “working together so that there was not one single scapegoat or one single face that the ed tech company could go after,” she suggested. Those movements typically start with one or two students learning how the technology works, so that they can educate others about top concerns, Holland said.

Since Linkletter’s lawsuit started, Proctorio has stopped fighting with students on Reddit and suing critics over tweets, Holland said. But Linkletter told Ars that the company still seems to leave students in the dark when it comes to how its software works, and that “could lead to academic discipline for honest students, and unnecessary stress for everyone,” his earliest court filing defending his tweets said.

“I was and am gravely concerned about Proctorio’s lack of transparency about how its algorithms work, and how it labels student behaviours as ‘suspicious,’” Linkletter swore in the filing. One of his deleted tweets urged that all schools have to demand transparency and ask why Proctorio was “hiding” information about how the software worked. But in the end, Linkletter saw no point in continuing to argue over whether two deleted tweets re-posting Proctorio’s videos using YouTube’s sharing tool violated Proctorio’s copyrights.

“I didn’t feel too censored,” Linkletter told Ars. “But yeah, I guess it’s censorship, and I do believe they filed it to try and censor me. But as you can see, I just refused to go down, and I remained their biggest critic.”

As universities prepare to break ahead of the winter holidays, Linkletter told Ars that he’s looking forward to a change in dinner table conversation topics.

“It’s one of those things where I’m 41 and I have aging parents, and I’ve had to waste the last five Christmases talking to them about the lawsuit and their concerns about me,” Linkletter said. “So I’m really looking forward to this Thanksgiving, this Christmas, with this all behind me and the ability to just focus with my parents and my family.”

Photo of Ashley Belanger

Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

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Meta wins monopoly trial, convinces judge that social networking is dead


People are “bored” by their friends’ content, judge ruled, siding with Meta.

Mark Zuckerberg arrives at court after The Federal Trade Commission alleged the acquisitions of Instagram in 2012 and WhatsApp in 2014 gave Meta a social media monopoly. Credit: Bloomberg / Contributor | Bloomberg

After years of pushback from the Federal Trade Commission over Meta’s acquisitions of Instagram and WhatsApp, Meta has defeated the FTC’s monopoly claims.

In a Tuesday ruling, US District Judge James Boasberg said the FTC failed to show that Meta has a monopoly in a market dubbed “personal social networking.” In that narrowly defined market, the FTC unsuccessfully argued, Meta supposedly faces only two rivals, Snapchat and MeWe, which struggle to compete due to its alleged monopoly.

But the days of grouping apps into “separate markets of social networking and social media” are over, Boasberg wrote. He cited the Greek philosopher Heraclitus, who “posited that no man can ever step into the same river twice,” while telling the FTC they missed their chance to block Meta’s purchase.

Essentially, Boasberg agreed with Meta that social media—as it was known in Facebook’s early days—is dead. And that means that Meta now competes with a broader set of rival apps, which includes two hugely popular platforms: TikTok and YouTube.

“When the evidence implies that consumers are reallocating massive amounts of time from Meta’s apps to these rivals and that the amount of substitution has forced Meta to invest gobs of cash to keep up, the answer is clear: Meta is not a monopolist insulated from competition,” Boasberg wrote.

In fact, adding just TikTok alone to the market defeated the FTC’s claims, Boasberg wrote, leaving him to conclude that “Meta holds no monopoly in the relevant market.”

The FTC is not happy about the loss, which comes after Boasberg determined that one of the agency’s key expert witnesses, Scott Hemphill, could not have approached his testimony “with an open mind.” According to Boasberg, Hemphill was aligned with figures publicly calling for the breakup of Facebook, and that made “neutral evaluation of his opinions more difficult” in a case with little direct evidence of monopoly harms.

“We are deeply disappointed in this decision,” Joe Simonson, the FTC’s director of public affairs, told CNBC. “The deck was always stacked against us with Judge Boasberg, who is currently facing articles of impeachment. We are reviewing all our options.”

For Meta, the win ends years of FTC fights intended to break up the company’s family of apps: Facebook, Instagram, and WhatsApp.

“The Court’s decision today recognizes that Meta faces fierce competition,” Jennifer Newstead, Meta’s chief legal officer, said. “Our products are beneficial for people and businesses and exemplify American innovation and economic growth. We look forward to continuing to partner with the Administration and to invest in America.”

Reels’ popularity helped save Meta

Meta app users clicking on Reels helped Meta win.

Boasberg noted that “a majority of Americans’ time” on both Facebook and Instagram “is now spent watching videos,” with Reels becoming “the single most-used part of Facebook.” That puts Meta apps more on par with entertainment apps like TikTok and YouTube, the judge said.

While “connecting with friends remains an important part of both apps,” the judge cited Meta’s evidence showing that Meta had to pump more recommended content from strangers into users’ feeds to account for a trend where its users grew increasingly less inclined to post publicly.

“Both scrolling and sharing have transformed” since Facebook was founded, Boasberg wrote, citing six factors that he concluded invalidated the FTC’s market definition as markets exist today.

Initial factors that shifted markets were due to leaps in innovation. “First, smartphone usage exploded,” Boasberg explained, then “cell phone data got better,” which made it easier to watch videos without frustrating “freezing and buffering.” Soon after, content recommendation systems got better, with “advanced AI algorithms” helping users “find engaging videos about the things” they “care most about in the world.”

Other factors stemmed from social changes, the judge suggested, describing the fourth factor as a trend where Meta app users started feeling “increasingly bored by their friends’ posts.”

“Longtime users’ friend lists” start fresh, but over time, they “become an often-outdated archive of people they once knew: a casual friend from college, a long-ago friend from summer camp, some guy they met at a party once,” Boasberg wrote. “Posts from friends have therefore grown less interesting.”

Then came TikTok, the fifth factor, Boasberg said, which forced Meta to “evolve” Facebook and Instagram by adding Reels.

And finally, “those five changes both caused and were reinforced by a change in social norms, which evolved to discourage public posting,” Boasberg wrote. “People have increasingly become less interested in blasting out public posts that hundreds of others can see.”

As a result of these tech advancements and social trends, Boasberg said, “Facebook, Instagram, TikTok, and YouTube have thus evolved to have nearly identical main features.” That reality undermined the FTC’s claims that users preferred Facebook and Instagram before Meta shifted its focus away from friends-and-family content.

“The Court simply does not find it credible that users would prefer the Facebook and Instagram apps that existed ten years ago to the versions that exist today,” Boasberg wrote.

Meta apps have not deteriorated, judge ruled

Boasberg repeatedly emphasized that the FTC failed to prove that Meta has a monopoly “now,” either actively or imminently causing harms.

The FTC tried to win by claiming that “Meta has degraded its apps’ quality by increasing their ad load, that falling user sentiment shows that the apps have deteriorated and that Meta has sabotaged its apps by underinvesting in friend sharing,” Boasberg noted.

But, Boasberg said, the FTC failed to show that Meta’s app quality has diminished—a trend that Cory Doctorow dubbed “enshittification,” which Meta apparently successfully argued is not real.

The judge was also swayed by Meta’s arguments that users like seeing ads. Meta showed evidence that it can only profitably increase its ad load when ad quality improves; otherwise, it risks losing engagement. Because “the rate at which users buy something or subscribe to a service based on Meta’s ads has steadily risen,” this suggested “that the ads have gotten more and more likely to connect users to products in which they have an interest,” Boasberg said.

Additionally, surveys of Meta app users that show declining user sentiment are not evidence that its apps are deteriorating in quality, Boasberg said, but are more about “brand reputation.”

“That is unsurprising: ask people how they feel about, say, Exxon Mobil, and their answers will tell you very little about how good its oil is,” Boasberg wrote. “The FTC’s claim that worsening sentiment shows a worsening product is unpersuasive.”

Finally, the FTC’s claim that Meta underinvested in friends-and-family content, to the detriment of its core app users, “makes no sense,” Boasberg wrote, given Meta’s data showing that user posting declined.

“While it is true that users see less content from their friends these days, that is largely due to the friends themselves: people simply post less,” Boasberg wrote. “Users are not seeing less friend content because Meta is hiding it from them, but instead because there is less friend content for Meta to show.”

It’s not even “clear that users want more friend posts,” the judge noted, agreeing with Meta that “instead, what users really seem to want is Reels.”

Further, if Meta were a monopolist, Boasberg seemed to suggest that the platform might be more invested in forcing friends-and-family content than Reels, since “Reels earns Meta less money” due to its smaller ad load.

“Courts presume that sophisticated corporations act rationally,” Boasberg wrote. “Here, the FTC has not offered even an ordinarily persuasive case that Meta is making the economically irrational choice to underinvest in its most lucrative offerings. It certainly has not made a particularly persuasive one.”

Among the critics unhappy with the ruling is Nidhi Hegde, executive director of the American Economic Liberties Project, who suggested that Boasberg’s ruling was “a colossally wrong decision” that “turns a willful blind eye to Meta’s enormous power over social media and the harms that flow from it.”

“Judge Boasberg has purposefully ignored the overwhelming evidence of how Meta became a monopoly—not by building a better product, but by buying its rivals to shut down any real competitors before they could grow,” Hegde said. “These deals let Meta fuse Facebook, Instagram, and WhatsApp into one machine that poisons our children and discourse, bullies publishers and advertisers, and destroys the possibility of healthy online connections with friends and family. By pretending that TikTok’s rise wipes away over a decade of illegal conduct, this court has effectively told every aspiring monopolist that our current justice system is on their side.”

On the other side, industry groups cheered the ruling. Matt Schruers, president of the Computer & Communications Industry Association, suggested that Boasberg concluded “what every Internet user knows—that Meta competes with a number of platforms and the company’s relevant market shares are therefore nowhere close to those required to establish monopoly power.”

Photo of Ashley Belanger

Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

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YouTube TV’s Disney blackout reminds users that they don’t own what they stream

“I don’t know (or care) which side is responsible for this, but the DVR is not VOD, it is your recording, and shows recorded before the dispute should be available. This is a hard lesson for us all,” an apparently affected customer wrote on Reddit this week.

For current or former cable subscribers, this experience isn’t new. Carrier disputes have temporarily and permanently killed cable subscribers’ access to many channels over the years. And since the early 2000s, many cable companies have phased out DVRs with local storage in favor of cloud-based DVRs. Since then, cable companies have been able to revoke customers’ access to DVR files if, for example, the customer stopped paying for the channel from which the content was recorded. What we’re seeing with YouTube TV’s DVR feature is one of several ways that streaming services mirror cable companies.

Google exits Movies Anywhere

In a move that appears to be best described as tit for tat, Google has removed content purchased via Google Play and YouTube from Movies Anywhere, a Disney-owned unified platform that lets people access digital video purchases from various distributors, including Amazon Prime Video and Fandango.

In removing users’ content, Google may gain some leverage in its discussions with Disney, which is reportedly seeking a larger carriage fee from YouTube TV. The content removals, however, are just one more pain point of the fragmented streaming landscape customers are already dealing with.

Customers inconvenienced

As of this writing, Google and Disney have yet to reach an agreement. On Monday, Google publicly rejected Disney’s request to restore ABC to YouTube TV for yesterday’s election day, although the company showed a willingness to find a way to quickly bring back ABC and ESPN (“the channels that people want,” per Google). Disney has escalated things by making its content unavailable to rent or purchase from all Google platforms.

Google is trying to appease customers by saying it will give YouTube TV subscribers a $20 credit if Disney “content is unavailable for an extended period of time.” Some people online have reported receiving a $10 credit already.

Regardless of how this saga ends, the immediate effects have inconvenienced customers of both companies. People subscribe to streaming services and rely on digital video purchases and recordings for easy, instant access, which Google and Disney’s disagreement has disrupted. The squabble has also served as another reminder that in the streaming age, you don’t really own anything.

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YouTube denies AI was involved with odd removals of tech tutorials


YouTubers suspect AI is bizarrely removing popular video explainers.

This week, tech content creators began to suspect that AI was making it harder to share some of the most highly sought-after tech tutorials on YouTube, but now YouTube is denying that odd removals were due to automation.

Creators grew alarmed when educational videos that YouTube had allowed for years were suddenly being bizarrely flagged as “dangerous” or “harmful,” with seemingly no way to trigger human review to overturn removals. AI seemed to be running the show, with creators’ appeals seemingly getting denied faster than a human could possibly review them.

Late Friday, a YouTube spokesperson confirmed that videos flagged by Ars have been reinstated, promising that YouTube will take steps to ensure that similar content isn’t removed in the future. But, to creators, it remains unclear why the videos got taken down, as YouTube claimed that both initial enforcement decisions and decisions on appeals were not the result of an automation issue.

Shocked creators were stuck speculating

Rich White, a computer technician who runs an account called CyberCPU Tech, had two videos removed that demonstrated workarounds to install Windows 11 on unsupported hardware.

These videos are popular, White told Ars, with people looking to bypass Microsoft account requirements each time a new build is released. For tech content creators like White, “these are bread and butter videos,” dependably yielding “extremely high views,” he said.

Because there’s such high demand, many tech content creators’ channels are filled with these kinds of videos. White’s account has “countless” examples, he said, and in the past, YouTube even featured his most popular video in the genre on a trending list.

To White and others, it’s unclear exactly what has changed on YouTube that triggered removals of this type of content.

YouTube only seemed to be removing recently posted content, White told Ars. However, if the takedowns ever impacted older content, entire channels documenting years of tech tutorials risked disappearing in “the blink of an eye,” another YouTuber behind a tech tips account called Britec09 warned after one of his videos was removed.

The stakes appeared high for everyone, White warned, in a video titled “YouTube Tech Channels in Danger!”

White had already censored content that he planned to post on his channel, fearing it wouldn’t be worth the risk of potentially losing his account, which began in 2020 as a side hustle but has since become his primary source of income. If he continues to change the content he posts to avoid YouTube penalties, it could hurt his account’s reach and monetization. Britec told Ars that he paused a sponsorship due to the uncertainty that he said has already hurt his channel and caused a “great loss of income.”

YouTube’s policies are strict, with the platform known to swiftly remove accounts that receive three strikes for violating community guidelines within 90 days. But, curiously, White had not received any strikes following his content removals. Although Britec reported that his account had received a strike following his video’s removal, White told Ars that YouTube so far had only given him two warnings, so his account is not yet at risk of a ban.

Creators weren’t sure why YouTube might deem this content as harmful, so they tossed around some theories. It seemed possible, White suggested in his video, that AI was detecting this content as “piracy,” but that shouldn’t be the case, he claimed, since his guides require users to have a valid license to install Windows 11. He also thinks it’s unlikely that Microsoft prompted the takedowns, suggesting tech content creators have a “love-hate relationship” with the tech company.

“They don’t like what we’re doing, but I don’t think they’re going to get rid of it,” White told Ars, suggesting that Microsoft “could stop us in our tracks” if it were motivated to end workarounds. But Microsoft doesn’t do that, White said, perhaps because it benefits from popular tutorials that attract swarms of Windows 11 users who otherwise may not use “their flagship operating system” if they can’t bypass Microsoft account requirements.

Those users could become loyal to Microsoft, White said. And eventually, some users may even “get tired of bypassing the Microsoft account requirements, or Microsoft will add a new feature that they’ll happily get the account for, and they’ll relent and start using a Microsoft account,” White suggested in his video. “At least some people will, not me.”

Microsoft declined Ars’ request to comment.

To White, it seemed possible that YouTube was leaning on AI  to catch more violations but perhaps recognized the risk of over-moderation and, therefore, wasn’t allowing AI to issue strikes on his account.

But that was just a “theory” that he and other creators came up with, but couldn’t confirm, since YouTube’s chatbot that supports creators seemed to also be “suspiciously AI-driven,” seemingly auto-responding even when a “supervisor” is connected, White said in his video.

Absent more clarity from YouTube, creators who post tutorials, tech tips, and computer repair videos were spooked. Their biggest fear was that unexpected changes to automated content moderation could unexpectedly knock them off YouTube for posting videos that in tech circles seem ordinary and commonplace, White and Britec said.

“We are not even sure what we can make videos on,” White said. “Everything’s a theory right now because we don’t have anything solid from YouTube.”

YouTube recommends making the content it’s removing

White’s channel gained popularity after YouTube highlighted an early trending video that he made, showing a workaround to install Windows 11 on unsupported hardware. Following that video, his channel’s views spiked, and then he gradually built up his subscriber base to around 330,000.

In the past, White’s videos in that category had been flagged as violative, but human review got them quickly reinstated.

“They were striked for the same reason, but at that time, I guess the AI revolution hadn’t taken over,” White said. “So it was relatively easy to talk to a real person. And by talking to a real person, they were like, ‘Yeah, this is stupid.’ And they brought the videos back.”

Now, YouTube suggests that human review is causing the removals, which likely doesn’t completely ease creators’ fears about arbitrary takedowns.

Britec’s video was also flagged as dangerous or harmful. He has managed his account that currently has nearly 900,000 subscribers since 2009, and he’s worried he risked losing “years of hard work,” he said in his video.

Britec told Ars that “it’s very confusing” for panicked tech content creators trying to understand what content is permissible. It’s particularly frustrating, he noted in his video, that YouTube’s creator tool inspiring “ideas” for posts seemed to contradict the mods’ content warnings and continued to recommend that creators make content on specific topics like workarounds to install Windows 11 on unsupported hardware.

Screenshot from Britec09’s YouTube video, showing YouTube prompting creators to make content that could get their channels removed. Credit: via Britec09

“This tool was to give you ideas for your next video,” Britec said. “And you can see right here, it’s telling you to create content on these topics. And if you did this, I can guarantee you your channel will get a strike.”

From there, creators hit what White described as a “brick wall,” with one of his appeals denied within one minute, which felt like it must be an automated decision. As Britec explained, “You will appeal, and your appeal will be rejected instantly. You will not be speaking to a human being. You’ll be speaking to a bot or AI. The bot will be giving you automated responses.”

YouTube insisted that the decisions weren’t automated, even when an appeal was denied within one minute.

White told Ars that it’s easy for creators to be discouraged and censor their channels rather than fight with the AI. After wasting “an hour and a half trying to reason with an AI about why I didn’t violate the community guidelines” once his first appeal was quickly denied, he “didn’t even bother using the chat function” after the second appeal was denied even faster, White confirmed in his video.

“I simply wasn’t going to do that again,” White said.

All week, the panic spread, reaching fans who follow tech content creators. On Reddit, people recommended saving tutorials lest they risk YouTube taking them down.

“I’ve had people come out and say, ‘This can’t be true. I rely on this every time,’” White told Ars.

Photo of Ashley Belanger

Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

YouTube denies AI was involved with odd removals of tech tutorials Read More »

tv-focused-youtube-update-brings-ai-upscaling,-shopping-qr-codes

TV-focused YouTube update brings AI upscaling, shopping QR codes

YouTube has been streaming for 20 years, but it was only in the last couple that it came to dominate TV streaming. Google’s video platform attracts more TV viewers than Netflix, Disney+, and all the other apps, and Google is looking to further beef up its big-screen appeal with a new raft of features, including shopping, immersive channel surfing, and an official version of the AI upscaling that had creators miffed a few months back.

According to Google, YouTube’s growth has translated into higher payouts. The number of channels earning more than $100,000 annually is up 45 percent in 2025 versus 2024. YouTube is now giving creators some tools to boost their appeal (and hopefully their income) on TV screens. Those elaborate video thumbnails featuring surprised, angry, smiley hosts are about to get even prettier with the new 50MB file size limit. That’s up from a measly 2MB.

Video upscaling is also coming to YouTube, and creators will be opted in automatically. To start, YouTube will be upscaling lower-quality videos to 1080p. In the near future, Google plans to support “super resolution” up to 4K.

The site stresses that it’s not modifying original files—creators will have access to both the original and upscaled files, and they can opt out of upscaling. In addition, super resolution videos will be clearly labeled on the user side, allowing viewers to select the original upload if they prefer. The lack of transparency was a sticking point for creators, some of whom complained about the sudden artificial look of their videos during YouTube’s testing earlier this year.

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youtube’s-likeness-detection-has-arrived-to-help-stop-ai-doppelgangers

YouTube’s likeness detection has arrived to help stop AI doppelgängers

AI content has proliferated across the Internet over the past few years, but those early confabulations with mutated hands have evolved into synthetic images and videos that can be hard to differentiate from reality. Having helped to create this problem, Google has some responsibility to keep AI video in check on YouTube. To that end, the company has started rolling out its promised likeness detection system for creators.

Google’s powerful and freely available AI models have helped fuel the rise of AI content, some of which is aimed at spreading misinformation and harassing individuals. Creators and influencers fear their brands could be tainted by a flood of AI videos that show them saying and doing things that never happened—even lawmakers are fretting about this. Google has placed a large bet on the value of AI content, so banning AI from YouTube, as many want, simply isn’t happening.

Earlier this year, YouTube promised tools that would flag face-stealing AI content on the platform. The likeness detection tool, which is similar to the site’s copyright detection system, has now expanded beyond the initial small group of testers. YouTube says the first batch of eligible creators have been notified that they can use likeness detection, but interested parties will need to hand Google even more personal information to get protection from AI fakes.

Sneak Peek: Likeness Detection on YouTube.

Currently, likeness detection is a beta feature in limited testing, so not all creators will see it as an option in YouTube Studio. When it does appear, it will be tucked into the existing “Content detection” menu. In YouTube’s demo video, the setup flow appears to assume the channel has only a single host whose likeness needs protection. That person must verify their identity, which requires a photo of a government ID and a video of their face. It’s unclear why YouTube needs this data in addition to the videos people have already posted with their oh-so stealable faces, but rules are rules.

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youtube-prepares-to-welcome-back-banned-creators-with-“second-chance”-program

YouTube prepares to welcome back banned creators with “second chance” program

A few weeks ago, Google told US Rep. Jim Jordan (R-Ohio) that it would allow creators banned for COVID and election misinformation to rejoin the platform. It didn’t offer many details in the letter, but now YouTube has explained the restoration process. YouTube’s “second chances” are actually more expansive than the letter made it seem. Going forward, almost anyone banned from YouTube will have an opportunity to request a new channel. The company doesn’t guarantee approval, but you can expect to see plenty of banned creators back on Google’s video platform in the coming months.

YouTube will now allow banned creator to request reinstatement, but this is separate from appealing a ban. If a channel is banned, creators continue to have the option of appealing the ban. If successful, their channel comes back as if nothing happened. After one year, creators will now have the “second chance” option.

“We know many terminated creators deserve a second chance,” the blog post reads, noting that YouTube itself doesn’t always get things right the first time. The option for getting a new channel will appear in YouTube Studio on the desktop, and Google expects to begin sending out these notices in the coming months. However, anyone terminated for copyright violations is out of luck—Google does not forgive such infringement as easily as it does claiming that COVID is a hoax.

The readmission process will still come with a review by YouTube staff, and the company says it will take multiple factors into consideration, including whether or not the behavior that got the channel banned is still against the rules. This is clearly a reference to COVID and election misinformation, which Google did not allow on YouTube for several years but has since stopped policing. The site will also consider factors like how severe or persistent the violations were and whether the creator’s actions “harmed or may continue to harm the YouTube community.”

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youtube-music-is-testing-ai-hosts-that-will-interrupt-your-tunes

YouTube Music is testing AI hosts that will interrupt your tunes

YouTube has a new Labs program, allowing listeners to “discover the next generation of YouTube.” In case you were wondering, that generation is apparently all about AI. The streaming site says Labs will offer a glimpse of the AI features it’s developing for YouTube Music, and it starts with AI “hosts” that will chime in while you’re listening to music. Yes, really.

The new AI music hosts are supposed to provide a richer listening experience, according to YouTube. As you’re listening to tunes, the AI will generate audio snippets similar to, but shorter than, the fake podcasts you can create in NotebookLM. The “Beyond the Beat” host will break in every so often with relevant stories, trivia, and commentary about your musical tastes. YouTube says this feature will appear when you are listening to mixes and radio stations.

The experimental feature is intended to be a bit like having a radio host drop some playful banter while cueing up the next song. It sounds a bit like Spotify’s AI DJ, but the YouTube AI doesn’t create playlists like Spotify’s robot. This is still generative AI, which comes with the risk of hallucinations and low-quality slop, neither of which belongs in your music. That said, Google’s Audio Overviews are often surprisingly good in small doses.

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ai-video-is-invading-youtube-shorts-and-google-photos-starting-today

AI video is invading YouTube Shorts and Google Photos starting today

Google is following through on recent promises to add more generative AI features to its photo and video products. Over on YouTube, Google is rolling out the first wave of generative AI video for YouTube Shorts, but even if you’re not a YouTuber, you’ll be exposed to more AI videos soon. Google Photos, which is integrated with virtually every Android phone on the market, is also getting AI video-generation capabilities. In both cases, the features are currently based on the older Veo 2 model, not the more capable Veo 3 that has been meming across the Internet since it was announced at I/O in May.

YouTube CEO Neal Mohan confirmed earlier this summer that the company planned to add generative AI to the creator tools for YouTube Shorts. There were already tools to generate backgrounds for videos, but the next phase will involve creating new video elements from a text prompt.

Starting today, creators will be able to use a photo as the basis for a new generative AI video. YouTube also promises a collection of easily applied generative effects, which will be accessible from the Shorts camera. There’s also a new AI playground hub that the company says will be home to all its AI tools, along with examples and suggested prompts to help people pump out AI content.

The Veo 2-based videos aren’t as realistic as Veo 3 clips, but an upgrade is planned.

So far, all the YouTube AI video features are running on the Veo 2 model. The plan is still to move to Veo 3 later this summer. The AI features in YouTube Shorts are currently limited to the United States, Canada, Australia, and New Zealand, but they will expand to more countries later.

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youtube-is-hiding-an-excellent,-official-high-speed-pac-man-mod-in-plain-sight

YouTube is hiding an excellent, official high-speed Pac-Man mod in plain sight

Those who’ve played the excellent Pac-Man Championship Edition series will be familiar with the high-speed vibe here, but Pac-Man Superfast remains focused on the game’s original maze and selection of just four ghosts. That means old-school strategies for grouping ghosts together and running successful patterns through the narrow corridors work in similar ways here. Successfully executing those patterns becomes a tense battle of nerves here, though, requiring multiple direction changes every second at the highest speeds. While the game will technically work with swipe controls on a smartphone or tablet, high-level play really requires the precision of a keyboard via a desktop/laptop web browser (we couldn’t get the game to recognize a USB controller, unfortunately).

Collecting those high-value items at the bottom is your ticket to a lot of extra lives. Credit: Youtube Playables

As exciting as the high-speed maze gameplay gets, though, Pac-Man Superfast is hampered by a few odd design decisions. The game ends abruptly after just 13 levels, for instance, making it impossible to even attempt the high-endurance 256-level runs that Pac-Man is known for. The game also throws an extra life at you every 5,000 points, making it relatively easy to brute force your way to the end as long as you focus on the three increasingly high-point-value items that appear periodically on each stage.

Despite this, the game doesn’t give any point reward for unused extra lives or long-term survival at high speeds, limiting the rewards for high-level play. And the lack of a built-in leaderboard makes it hard to directly compare your performance to friends and/or strangers anyway.

A large part of the reason I wrote about this game was to see if someone could beat my high score.

Credit: Youtube Playables

A large part of the reason I wrote about this game was to see if someone could beat my high score. Credit: Youtube Playables

Those issues aside, I’ve had a blast coming back to Pac-Man Supefast over and over again in the past few days, slowly raising my high score above the 162,000 point mark during coffee breaks (consider the gauntlet thrown, Ars readers). If you’re a fan of classic arcade games, Pac-Man Superfast is worth a try before the “YouTube Playables” initiative inevitably joins the growing graveyard of discontinued Google products.

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google’s-frighteningly-good-veo-3-ai-videos-to-be-integrated-with-youtube-shorts

Google’s frighteningly good Veo 3 AI videos to be integrated with YouTube Shorts

Even in the age of TikTok, YouTube viewership continues to climb. While Google’s iconic video streaming platform has traditionally pushed creators to produce longer videos that can accommodate more ads, the site’s Shorts format is growing fast. That growth may explode in the coming months, as YouTube CEO Neal Mohan has announced that the Google Veo 3 AI video generator will be integrated with YouTube Shorts later this summer.

According to Mohan, YouTube Shorts has seen a rise in popularity even compared to YouTube as a whole. The streaming platform is now the most watched source of video in the world, but Shorts specifically have seen a massive 186 percent increase in viewership over the past year. Mohan says Shorts now average 200 billion daily views.

YouTube has already equipped creators with a few AI tools, including Dream Screen, which can produce AI video backgrounds with a text prompt. Veo 3 support will be a significant upgrade, though. At the Cannes festival, Mohan revealed that the streaming site will begin offering integration with Google’s leading video model later this summer. “I believe these tools will open new creative lanes for everyone to explore,” said Mohan.

YouTube Shorts recommendations.

YouTube heavily promotes Shorts on the homepage.

Credit: Google

YouTube heavily promotes Shorts on the homepage. Credit: Google

This move will require a few tweaks to Veo 3 outputs, but it seems like a perfect match. As the name implies, YouTube Shorts is intended for short video content. The format initially launched with a 30-second ceiling, but that has since been increased to 60 seconds. Because of the astronomical cost of generative AI, each generated Veo clip is quite short, a mere eight seconds in the current version of the tool. Slap a few of those together, and you’ve got a YouTube Short.

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man-buys-racetrack,-ends-up-launching-the-netflix-of-grassroots-motorsports

Man buys racetrack, ends up launching the Netflix of grassroots motorsports


FRDM+ is profitable, has its own smart TV apps. Subscriptions start at $20/month.

In 2019, Garrett Mitchell was already an Internet success. His YouTube channel, Cleetus McFarland, had over a million followers. If you perused the channel at that time, you would’ve found a range of grassroots motorsports videos with the type of vehicular shenanigans that earn truckloads of views. Some of those older videos include “BLEW BY A COP AT 120+mph! OOPS!,” “THERE’S A T-REX ON THE TRACK!,” and “Manual Transmission With Paddle Shifters!?!.”

Those videos made Mitchell, aka Cleetus McFarland, a known personality among automotive enthusiasts. But the YouTuber wanted more financial independence beyond the Google platform and firms willing to sponsor his channel.

“… after my YouTube was growing and some of my antics [were] getting videos de-monetized, I realized I needed a playground,” Mitchell told Ars Technica in an email.

Mitchell found a road toward new monetization opportunities through the DeSoto Super Speedway. The Bradenton, Florida, track had changed ownership multiple times since opening in the 1970s. The oval-shaped racetrack is three-eighths of a mile long with 12-degree banking angles.

BRADENTON, FL — Mid-1980s: Late Model racing action at DeSoto Speedway in the mid-1980s. Both the All-Pro Series and NASCAR All-American Challenge Series ran races at the track in 1985 and 1986.

BRADENTON, FL — Mid-1980s: Late Model racing action at DeSoto Speedway in the mid-1980s. Both the All-Pro Series and NASCAR All-American Challenge Series ran races at the track in 1985 and 1986. Credit: ISC Images & Archives via Getty Images

By 2018, the track had closed its doors and was going unused. DeSoto happened to be next to Mitchell’s favorite drag strip, giving the YouTuber the idea of turning it into a stadium where people could watch burnouts and other “massive, rowdy” ticketed events. Mitchell added:

So I sold everything I could, borrowed some money from my business manager, and went all in for [$]2.2 million.

But like the rest of the world, Mitchell hit the brakes on his 2020 plans during COVID-19 lockdowns. Soon after his purchase, Mitchell couldn’t use the track, renamed Freedom Factory, for large gatherings, forcing him to reconsider his plans.

“We had no other option but to entertain the people somehow. And with no other racing goin’ on anywhere, we bet big on making something happen. And it worked,” Mitchell said.

That “something” was a pay-per-view (PPV) event hosted from the Freedom Factory in April 2020. The event led to others and, eventually, Mitchell running his own subscription video on demand (SVOD) service, FRDM+, which originally launched as Cleetervision in 2022.

Today, a FRDM+ subscription costs $20 per month or $120 per year. A subscription provides access to an impressive library of automotive videos. Some are archived from Mitchell’s YouTube channel. Other, exclusive videos feature content such as interviews with motorsports influencers and members of Mitchell’s staff and crew, and outrageous motorsports stunts. You can watch videos from other influencers on FRDM+, and the business can also white-label its platform into other influencers’ websites, too.

“A race against time”

Before Mitchell could host his first PPV event, he had to prepare the speedway. Explaining the ordeal to Ars, he wrote:

We cleaned that place up best we could, but let’s be real, it was rough. Lights were out, weeds poppin’ up through the asphalt, the whole deal.

Pulling off the first PPV event at the Freedom Factory speedway was a “race against time,” Jonny Mill, who built FRDM+’s tech stack and serves as company president, told Ars.

“Florida implemented a statewide shutdown on the very day of our event,” he said.

Mitchell also struggled to get the right workers and equipment needed for the PPV. Flights weren’t available due to the pandemic, forcing Mill to produce the event from California using a cell phone group chat and “last-minute local crew,” per Mitchell. The ENG camera person was much shorter than Mitchell “and had to climb on whatever she could just to keep me in frame,” he recalled.

Mitchell said Freedom Factory’s first PPV event had 75,000 concurrent viewers, which caused his website and those of the event sponsors to crash.

“Our initial bandwidth provider laughed at our viewership projections, and, of course, we surpassed them in the first week of pre-sales,” Mill said. “They did apologize before asking for a much larger check.”

Other early obstacles included determining how to embed the livestream platform into Mitchell’s e-commerce site. The biggest challenge there was “juggling two separate logins, one for merch shopping and another for livestream PPV, all within the same site,” Mill explained.

“Now, our focus is on seamlessly guiding the YouTube audience over to FRDM+ for premium live events,” he added.

Live events are still the heart of FRDM+. The service had 21 livestreamed events scheduled throughout 2025, and more are expected to come.

Peeking under the hood

Today, bandwidth isn’t a problem for FRDM+, and navigating the streaming service doesn’t feel much different from something like Netflix. There are different “channels” (grouped together by related content or ongoing series) on top and new releases and upcoming content highlighted below. There are horizontal scrolling rows, and many titles have content summaries and/or trailers. The platform also has a support section with instructions for canceling subscriptions.

A screenshot of FRDM+

Browsing FRDM+.

Browsing FRDM+. Credit: FRDM+

Like with other SVOD services, subscribers can watch FRDM+ via a web browser or through a smart TV app. FRDM+ currently has apps for Apple TV, Fire OS, and Roku OS. Mitchell said the team’s constantly working on more connected TV apps, as well as adding features, “more interactivity,” and customers.

To keep the wheels spinning, FRDM+ leverages a diverse range of technologies, Mill explained:

At the core of our infrastructure, AWS bandwidth servers handle the heavy lifting, while Accedo powers the connected TV apps, bridging the gap between our tech stack and the audience. Brightcove serves as our primary video player partner, with additional backup systems in place to maintain reliability.

For a service like this, with live events, redundancy is critical, Mill said.

“At the Freedom Factory, we even beam air fiber from a house five miles away to ensure a reliable second Internet. We also have a hidden page on [the Cleetus McFarland website] to launch a backup stream if the primary one fails,” he said.

Today, FRDM+’s biggest challenge isn’t a technical one. Instead, it’s around managing the business’s different parts using a small team. FRDM+ has 35 full-time employees across its Shop, Race Track, Events, and Merch divisions and is “entirely self-funded,” per Mill. The company also relies on contractors for productions, but its core livestream team has six full-time employees.

Mitchell told Ars that FRDM+ is profitable, but he couldn’t get into specifics. He said the service has “strong year-over-year growth and a solid financial foundation that allows us to continue reinvesting in our team and services,” like a “robust technology stack, larger events, venue rentals, and even giving away helicopters and Lamborghinis as the prizes for our races.”

“Having been at Discovery during the launch of MotorTrend OnDemand, I’ve witnessed the power of substantial budgets firsthand,” Mill said. “Yet, [FRDM+ has] achieved greater success organically than [Discovery] did with their eight-figure marketing investment. This autonomy and efficiency are a testament to the strength of our approach.”

Any profitability for a 3-year-old streaming service is commendable. Due to wildly differing audiences, markets, costs, and scales, comparing FRDM+’s financials to the likes of Netflix and other mainstream streaming services is like comparing apples to oranges. But it’s interesting to consider that FRDM+ has achieved profitability faster than some of those services, like Peacock, which also launched in 2020, and Apple TV+, which debuted in 2019.

FRDM+ doesn’t share subscription numbers publicly, but Mitchell told Ars that the subscription service has a 93 percent retention. Mill attributed that number to a loyal, engaged community driven by direct communication with Mitchell.

Mill also suggested to Ars that FRDM+ has successfully converted over 5 percent of Mitchell’s YouTube audience. Five percent of Cleetus McFarland’s current YouTube base would be 212,500 people.

Photo of Scharon Harding

Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She’s been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK.

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