I’m going to tell you a story. And hold tight, because this is an emotional one.

In 2013, Canongate republished three novels that had fallen out of print: William McIlvanney’s Glasgow-set Laidlaw trilogy, first published between 1977 and 1991.
It’s hard to overstate the influence these books had had on crime writing, but he was responsible for many of the tropes we now take for granted in that genre. @Beathhigh, @valmcdermid, @cbrookmyre, @MarkBillingham, @DameDeniseMina and others all cite him as a major inspiration.
In fact, @Beathhigh tells a lovely story about coming to one of Willie’s events in the 80s, and telling him he planned to write detective fiction like Laidlaw, but set in Edinburgh. He still has his book, inscribed “Good luck with the Edinburgh Laidlaw” and signed by Willie.
McIlvanney wasn’t just revered for his writing; he was also known for his humour, his graciousness, and his charm. I was lucky enough to work with him, and attest to the fact he was a proper old-school gentleman. I mean, just look at this photo. How could you not love him?
His novels are infused with a love of the city and language of Glasgow, the characters all multilayered and complex. Even his descriptions of weather are glorious: ‘A Glasgow sun was out, duly luminous, an eye with cataract’.
Willie passed away 5 years ago today. Having believed for years he’d been forgotten, in that period of two years after republication he was left in absolutely no doubt how revered he was by the crime writing community, and the writing world at large. It moved him hugely.
And, it turns out, it also inspired him. Because, when he passed away, he had started writing a new Laidlaw book for the first time in decades: the story of Laidlaw’s first ever case. Sadly it was left unfinished...but we knew exactly who McIlvanney would have entrusted it to.
So today, we are delighted, excited and not a little emotional to announce the upcoming 2021 publication of The Dark Remains, co-authored by William McIlvanney and Ian Rankin. https://t.co/7qZhj39DRx
This is a dream pairing and, as Willie’s partner Siobhan comments in the Guardian piece, it’s what Willie would have wanted. We think Ian has done him proud.

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A brief analysis and comparison of the CSS for Twitter's PWA vs Twitter's legacy desktop website. The difference is dramatic and I'll touch on some reasons why.

Legacy site *downloads* ~630 KB CSS per theme and writing direction.

6,769 rules
9,252 selectors
16.7k declarations
3,370 unique declarations
44 media queries
36 unique colors
50 unique background colors
46 unique font sizes
39 unique z-indices

https://t.co/qyl4Bt1i5x


PWA *incrementally generates* ~30 KB CSS that handles all themes and writing directions.

735 rules
740 selectors
757 declarations
730 unique declarations
0 media queries
11 unique colors
32 unique background colors
15 unique font sizes
7 unique z-indices

https://t.co/w7oNG5KUkJ


The legacy site's CSS is what happens when hundreds of people directly write CSS over many years. Specificity wars, redundancy, a house of cards that can't be fixed. The result is extremely inefficient and error-prone styling that punishes users and developers.

The PWA's CSS is generated on-demand by a JS framework that manages styles and outputs "atomic CSS". The framework can enforce strict constraints and perform optimisations, which is why the CSS is so much smaller and safer. Style conflicts and unbounded CSS growth are avoided.