Two findings from the review of the previous round.
A pin write is an IPC round-trip, and the user can navigate during it. The
continuation then applied one film's answer to another film's controller —
and because unpinning returns "nothing pinned", it would clear the pin the
new movie had just loaded and its Play action would quietly stop starting
from the preferred source. It now commits only while the same film is still
on screen, like every other async path here.
The short-title scan drops its row limit. FTS keeps its window because it
ranks by relevance, so what it keeps is what matters; a scan cannot rank, so
a window there silently decides which valid sources the user is allowed to
see. It also bought nothing: the GLOB cannot use an index, so SQLite reads
every row either way and the limit only truncated the answer. What bounds
the scan is its predicate — reaching it means the whole title is one or two
characters.
The switch-notice type moves to the module that builds it, which also
removes a circular type import between the two.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Follow-on from keeping the session across a rediscovery. The rerun can
legitimately drop the row that is playing: enrichment supplies the release
year, and the year gate then rejects a copy the yearless search had admitted
— "Dune" 1984 while the user is watching the 2021 film.
Off the list is right; it is not the same film. Off the screen is not. It is
what is streaming, so it stays as a row and keeps the playing badge, rather
than letting the caption name a playlist that is not sending any bytes.
Also covers the new session key directly in the identity spec.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Six review findings, all in how multi-source decides what to show and what
it is playing.
Discovery: the current playlist is now excluded in SQL rather than after the
fact, so its own duplicate rows can no longer spend the whole row budget
before a single alternative is read. The short-title scan matches the token
as a word instead of a substring and orders by title length in a wider
window, so "Titanic" and "The Italian Job" cannot push the real "It" out of
it.
Session: metadata enrichment re-runs discovery for the film already on
screen. That is a refresh, not a new session — a second identity key
(playlistId:contentId) now separates the two, so the source the user
switched to keeps playing and stays named, the tried set stays burned, the
position survives and a switch in flight still commits.
Resume: the multi-source controller no longer records the engine's pre-seek
timeupdate at ~0. The playback service's one-shot latch now reports whether
the position can be believed, and until it can, the requested start time
stands in — so a switch during the initial seek does not restart the film.
UI: the in-player sources picker gets the same auto-failover setting and
match kind as the detail page's, instead of always rendering the default and
dropping the toggle. The caption counts distinct playlists, not stream
variants, since the popover groups a portal's copies under that portal.
Session mechanics and the pin toggle move into their own modules to keep the
host service inside the line budget.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The architecture doc and CLAUDE.md described the feature as first written, not
as it now behaves: pins were documented as a stored preference without saying
they decide playback, failover was described as stopping at the first
unresolvable candidate, the probe as HEAD-only, and discovery as pure FTS with
no mention that short titles cannot be tokenized at all.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A movie that exists in several imported Xtream playlists now shows a
"Sources N" chip on its detail page and in the player. Switching playlist
mid-film keeps the timecode, a preferred source can be pinned per movie, and
a failed stream offers the alternatives instead of a dead end.
The governing rule is that a guess is never presented as a fact. Every
metadata value carries where it came from — `api` (the provider said so),
`parsed` (inferred from the title) or `probe` (we contacted the stream).
Facts render as plain tags, guesses are prefixed `~` in a warning colour, and
an unknown value renders no tag at all plus a "check" affordance. Ranking and
failover read through `factualOnly()`, so a filename claiming 4K is
structurally unable to outrank a source that was actually reached. A probe
that could not complete reports "unknown", never "unavailable".
Scope is deliberately narrow: Xtream to Xtream, movies only, Electron only.
Stalker never reaches the `content` table and M3U is a JSON blob whose search
forces live content; both are additive later, since the candidate type
already carries all three portal kinds. In the PWA every entry point is gated
off and the chip renders nothing.
Auto-failover is opt-in and off by default. Each source is tried at most once
per session, so it terminates structurally, and the switch is never silent —
the toast names the new playlist, offers an undo, and warns that the dub may
differ only when both sides state an audio track as fact.
Notable details:
- Playlist names are routinely the pasted URL, credentials included. They are
never rendered raw; a short host-only label is derived instead.
- Quality is derived from pixel width, not height: a 2.39:1 1080p master is
1920x800, and bucketing that by height would publish "720p" as a fact.
- Switching is a single `inlinePlayback.set()` so the player and engine
survive and re-seek; the carried position is read before the 15s
persistence throttle so it does not rewind.
- Sources from one playlist collapse into a group, since the same film often
appears there several times under different stream ids.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
