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As a product builder over too many years to mention, I’ve lost count of the number of times I’ve seen promising ideas go from zero to hero in a few weeks, only to fizzle out within months.

Financial products, which is the field I work in, are no exception. With people’s real hard-earned money on the line, user expectations running high, and a crowded market, it’s tempting to throw as many features at the wall as possible and hope something sticks. But this approach is a recipe for disaster. Here’s why:

The pitfalls of feature-first development

When you start building a financial product from the ground up, or are migrating existing customer journeys from paper or telephony channels onto online banking or mobile apps, it’s easy to get caught up in the excitement of creating new features. You might think, “If I can just add one more thing that solves this particular user problem, they’ll love me!” But what happens when you inevitably hit a roadblock because the narcs (your security team!) don’t like it? When a hard-fought feature isn’t as popular as you thought, or it breaks due to unforeseen complexity?

This is where the concept of Minimum Viable Product (MVP) comes in. Jason Fried’s book Getting Real and his podcast Rework often touch on this idea, even if he doesn’t always call it that. An MVP is a product that provides just enough value to your users to keep them engaged, but not so much that it becomes overwhelming or difficult to maintain. It sounds like an easy concept but it requires a razor sharp eye, a ruthless edge and having the courage to stick by your opinion because it is easy to be seduced by “the Columbo Effect”… when there’s always “just one more thing…” that someone wants to add.

The problem with most finance apps, however, is that they often become a reflection of the internal politics of the business rather than an experience solely designed around the customer. This means that the focus is on delivering as many features and functionalities as possible to satisfy the needs and desires of competing internal departments, rather than providing a clear value proposition that is focused on what the people out there in the real world want. As a result, these products can very easily bloat to become a mixed bag of confusing, unrelated and ultimately unlovable customer experiences—a feature salad, you might say.

The importance of bedrock

So what’s a better approach? How can we build products that are stable, user-friendly, and—most importantly—stick?

That’s where the concept of “bedrock” comes in. Bedrock is the core element of your product that truly matters to users. It’s the fundamental building block that provides value and stays relevant over time.

In the world of retail banking, which is where I work, the bedrock has got to be in and around the regular servicing journeys. People open their current account once in a blue moon but they look at it every day. They sign up for a credit card every year or two, but they check their balance and pay their bill at least once a month.

Identifying the core tasks that people want to do and then relentlessly striving to make them easy to do, dependable, and trustworthy is where the gravy’s at.

But how do you get to bedrock? By focusing on the “MVP” approach, prioritizing simplicity, and iterating towards a clear value proposition. This means cutting out unnecessary features and focusing on delivering real value to your users.

It also means having some guts, because your colleagues might not always instantly share your vision to start with. And controversially, sometimes it can even mean making it clear to customers that you’re not going to come to their house and make their dinner. The occasional “opinionated user interface design” (i.e. clunky workaround for edge cases) might sometimes be what you need to use to test a concept or buy you space to work on something more important.

Practical strategies for building financial products that stick

So what are the key strategies I’ve learned from my own experience and research?

1. Start with a clear “why”: What problem are you trying to solve? For whom? Make sure your mission is crystal clear before building anything. Make sure it aligns with your company’s objectives, too.
2. Focus on a single, core feature and obsess on getting that right before moving on to something else: Resist the temptation to add too many features at once. Instead, choose one that delivers real value and iterate from there.
3. Prioritize simplicity over complexity: Less is often more when it comes to financial products. Cut out unnecessary bells and whistles and keep the focus on what matters most.
4. Embrace continuous iteration: Bedrock isn’t a fixed destination—it’s a dynamic process. Continuously gather user feedback, refine your product, and iterate towards that bedrock state.
5. Stop, look and listen: Don’t just test your product as part of your delivery process—test it repeatedly in the field. Use it yourself. Run A/B tests. Gather user feedback. Talk to people who use it, and refine accordingly.

The bedrock paradox

There’s an interesting paradox at play here: building towards bedrock means sacrificing some short-term growth potential in favour of long-term stability. But the payoff is worth it—products built with a focus on bedrock will outlast and outperform their competitors, and deliver sustained value to users over time.

So, how do you start your journey towards bedrock? Take it one step at a time. Start by identifying those core elements that truly matter to your users. Focus on building and refining a single, powerful feature that delivers real value. And above all, test obsessively—for, in the words of Abraham Lincoln, Alan Kay, or Peter Drucker (whomever you believe!!), “The best way to predict the future is to create it.”

Picture this: You’re in a meeting room at your tech company, and two people are having what looks like the same conversation about the same design problem. One is talking about whether the team has the right skills to tackle it. The other is diving deep into whether the solution actually solves the user’s problem. Same room, same problem, completely different lenses.

This is the beautiful, sometimes messy reality of having both a Design Manager and a Lead Designer on the same team. And if you’re wondering how to make this work without creating confusion, overlap, or the dreaded “too many cooks” scenario, you’re asking the right question.

The traditional answer has been to draw clean lines on an org chart. The Design Manager handles people, the Lead Designer handles craft. Problem solved, right? Except clean org charts are fantasy. In reality, both roles care deeply about team health, design quality, and shipping great work. 

The magic happens when you embrace the overlap instead of fighting it—when you start thinking of your design org as a design organism.

The Anatomy of a Healthy Design Team

Here’s what I’ve learned from years of being on both sides of this equation: think of your design team as a living organism. The Design Manager tends to the mind (the psychological safety, the career growth, the team dynamics). The Lead Designer tends to the body (the craft skills, the design standards, the hands-on work that ships to users).

But just like mind and body aren’t completely separate systems, so, too, do these roles overlap in important ways. You can’t have a healthy person without both working in harmony. The trick is knowing where those overlaps are and how to navigate them gracefully.

When we look at how healthy teams actually function, three critical systems emerge. Each requires both roles to work together, but with one taking primary responsibility for keeping that system strong.

The Nervous System: People & Psychology

Primary caretaker: Design Manager
Supporting role: Lead Designer

The nervous system is all about signals, feedback, and psychological safety. When this system is healthy, information flows freely, people feel safe to take risks, and the team can adapt quickly to new challenges.

The Design Manager is the primary caretaker here. They’re monitoring the team’s psychological pulse, ensuring feedback loops are healthy, and creating the conditions for people to grow. They’re hosting career conversations, managing workload, and making sure no one burns out.

But the Lead Designer plays a crucial supporting role. They’re providing sensory input about craft development needs, spotting when someone’s design skills are stagnating, and helping identify growth opportunities that the Design Manager might miss.

Design Manager tends to:

• Career conversations and growth planning
• Team psychological safety and dynamics
• Workload management and resource allocation
• Performance reviews and feedback systems
• Creating learning opportunities

Lead Designer supports by:

• Providing craft-specific feedback on team member development
• Identifying design skill gaps and growth opportunities
• Offering design mentorship and guidance
• Signaling when team members are ready for more complex challenges

The Muscular System: Craft & Execution

Primary caretaker: Lead Designer
Supporting role: Design Manager

The muscular system is about strength, coordination, and skill development. When this system is healthy, the team can execute complex design work with precision, maintain consistent quality, and adapt their craft to new challenges.

The Lead Designer is the primary caretaker here. They’re setting design standards, providing craft coaching, and ensuring that shipping work meets the quality bar. They’re the ones who can tell you if a design decision is sound or if we’re solving the right problem.

But the Design Manager plays a crucial supporting role. They’re ensuring the team has the resources and support to do their best craft work, like proper nutrition and recovery time for an athlete.

Lead Designer tends to:

• Definition of design standards and system usage
• Feedback on what design work meets the standard
• Experience direction for the product
• Design decisions and product-wide alignment
• Innovation and craft advancement

Design Manager supports by:

• Ensuring design standards are understood and adopted across the team
• Confirming experience direction is being followed
• Supporting practices and systems that scale without bottlenecking
• Facilitating design alignment across teams
• Providing resources and removing obstacles to great craft work

The Circulatory System: Strategy & Flow

Shared caretakers: Both Design Manager and Lead Designer

The circulatory system is about how information, decisions, and energy flow through the team. When this system is healthy, strategic direction is clear, priorities are aligned, and the team can respond quickly to new opportunities or challenges.

This is where true partnership happens. Both roles are responsible for keeping the circulation strong, but they’re bringing different perspectives to the table.

Lead Designer contributes:

• User needs are met by the product
• Overall product quality and experience
• Strategic design initiatives
• Research-based user needs for each initiative

Design Manager contributes:

• Communication to team and stakeholders
• Stakeholder management and alignment
• Cross-functional team accountability
• Strategic business initiatives

Both collaborate on:

• Co-creation of strategy with leadership
• Team goals and prioritization approach
• Organizational structure decisions
• Success measures and frameworks

Keeping the Organism Healthy

The key to making this partnership sing is understanding that all three systems need to work together. A team with great craft skills but poor psychological safety will burn out. A team with great culture but weak craft execution will ship mediocre work. A team with both but poor strategic circulation will work hard on the wrong things.

Be Explicit About Which System You’re Tending

When you’re in a meeting about a design problem, it helps to acknowledge which system you’re primarily focused on. “I’m thinking about this from a team capacity perspective” (nervous system) or “I’m looking at this through the lens of user needs” (muscular system) gives everyone context for your input.

This isn’t about staying in your lane. It’s about being transparent as to which lens you’re using, so the other person knows how to best add their perspective.

Create Healthy Feedback Loops

The most successful partnerships I’ve seen establish clear feedback loops between the systems:

Nervous system signals to muscular system: “The team is struggling with confidence in their design skills” → Lead Designer provides more craft coaching and clearer standards.

Muscular system signals to nervous system: “The team’s craft skills are advancing faster than their project complexity” → Design Manager finds more challenging growth opportunities.

Both systems signal to circulatory system: “We’re seeing patterns in team health and craft development that suggest we need to adjust our strategic priorities.”

Handle Handoffs Gracefully

The most critical moments in this partnership are when something moves from one system to another. This might be when a design standard (muscular system) needs to be rolled out across the team (nervous system), or when a strategic initiative (circulatory system) needs specific craft execution (muscular system).

Make these transitions explicit. “I’ve defined the new component standards. Can you help me think through how to get the team up to speed?” or “We’ve agreed on this strategic direction. I’m going to focus on the specific user experience approach from here.”

Stay Curious, Not Territorial

The Design Manager who never thinks about craft, or the Lead Designer who never considers team dynamics, is like a doctor who only looks at one body system. Great design leadership requires both people to care about the whole organism, even when they’re not the primary caretaker.

This means asking questions rather than making assumptions. “What do you think about the team’s craft development in this area?” or “How do you see this impacting team morale and workload?” keeps both perspectives active in every decision.

When the Organism Gets Sick

Even with clear roles, this partnership can go sideways. Here are the most common failure modes I’ve seen:

System Isolation

The Design Manager focuses only on the nervous system and ignores craft development. The Lead Designer focuses only on the muscular system and ignores team dynamics. Both people retreat to their comfort zones and stop collaborating.

The symptoms: Team members get mixed messages, work quality suffers, morale drops.

The treatment: Reconnect around shared outcomes. What are you both trying to achieve? Usually it’s great design work that ships on time from a healthy team. Figure out how both systems serve that goal.

Poor Circulation

Strategic direction is unclear, priorities keep shifting, and neither role is taking responsibility for keeping information flowing.

The symptoms: Team members are confused about priorities, work gets duplicated or dropped, deadlines are missed.

The treatment: Explicitly assign responsibility for circulation. Who’s communicating what to whom? How often? What’s the feedback loop?

Autoimmune Response

One person feels threatened by the other’s expertise. The Design Manager thinks the Lead Designer is undermining their authority. The Lead Designer thinks the Design Manager doesn’t understand craft.

The symptoms: Defensive behavior, territorial disputes, team members caught in the middle.

The treatment: Remember that you’re both caretakers of the same organism. When one system fails, the whole team suffers. When both systems are healthy, the team thrives.

The Payoff

Yes, this model requires more communication. Yes, it requires both people to be secure enough to share responsibility for team health. But the payoff is worth it: better decisions, stronger teams, and design work that’s both excellent and sustainable.

When both roles are healthy and working well together, you get the best of both worlds: deep craft expertise and strong people leadership. When one person is out sick, on vacation, or overwhelmed, the other can help maintain the team’s health. When a decision requires both the people perspective and the craft perspective, you’ve got both right there in the room.

Most importantly, the framework scales. As your team grows, you can apply the same system thinking to new challenges. Need to launch a design system? Lead Designer tends to the muscular system (standards and implementation), Design Manager tends to the nervous system (team adoption and change management), and both tend to circulation (communication and stakeholder alignment).

The Bottom Line

The relationship between a Design Manager and Lead Designer isn’t about dividing territories. It’s about multiplying impact. When both roles understand they’re tending to different aspects of the same healthy organism, magic happens.

The mind and body work together. The team gets both the strategic thinking and the craft excellence they need. And most importantly, the work that ships to users benefits from both perspectives.

So the next time you’re in that meeting room, wondering why two people are talking about the same problem from different angles, remember: you’re watching shared leadership in action. And if it’s working well, both the mind and body of your design team are getting stronger.

“Language is not merely a set of unrelated sounds, clauses, rules, and meanings; it is a totally coherent system bound to context and behavior.” — Kenneth L. Pike

The web has accents. So should our design systems.

Design Systems as Living Languages

Design systems aren’t component libraries—they’re living languages. Tokens are phonemes, components are words, patterns are phrases, layouts are sentences. The conversations we build with users become the stories our products tell.

But here’s what we’ve forgotten: the more fluently a language is spoken, the more accents it can support without losing meaning. English in Scotland differs from English in Sydney, yet both are unmistakably English. The language adapts to context while preserving core meaning. This couldn’t be more obvious to me, a Brazilian Portuguese speaker, who learned English with an American accent, and lives in Sydney.

Our design systems must work the same way. Rigid adherence to visual rules creates brittle systems that break under contextual pressure. Fluent systems bend without breaking.

Consistency becomes a prison

The promise of design systems was simple: consistent components would accelerate development and unify experiences. But as systems matured and products grew more complex, that promise has become a prison. Teams file “exception” requests by the hundreds. Products launch with workarounds instead of system components. Designers spend more time defending consistency than solving user problems.

Our design systems must learn to speak dialects.

A design dialect is a systematic adaptation of a design system that maintains core principles while developing new patterns for specific contexts. Unlike one-off customizations or brand themes, dialects preserve the system’s essential grammar while expanding its vocabulary to serve different users, environments, or constraints.

When Perfect Consistency Fails

At Booking.com, I learned this lesson the hard way. We A/B-tested everything—color, copy, button shapes, even logo colors. As a professional with a graphic design education and experience building brand style guides, I found this shocking. While everyone fell in love with Airbnb’s pristine design system, Booking grew into a giant without ever considering visual consistency.  

The chaos taught me something profound: consistency isn’t ROI; solved problems are.

At Shopify. Polaris () was our crown jewel—a mature design language perfect for merchants on laptops. As a product team, we were expected to adopt Polaris as-is. Then my fulfillment team hit an “Oh, Ship!” moment, as we faced the challenge of building an app for warehouse pickers using our interface on shared, battered Android scanners in dim aisles, wearing thick gloves, scanning dozens of items per minute, many with limited levels of English understanding.

Task completion with standard Polaris: 0%.

Every component that worked beautifully for merchants failed completely for pickers. White backgrounds created glare. 44px tap targets were invisible to gloved fingers. Sentence-case labels took too long to parse. Multi-step flows confused non-native speakers.

We faced a choice: abandon Polaris entirely, or teach it to speak warehouse.

The Birth of a Dialect

We chose evolution over revolution. Working within Polaris’s core principles—clarity, efficiency, consistency—we developed what we now call a design dialect:

Constraint	Fluent Move	Rationale
Glare & low light	Dark surfaces + light text	Reduce glare on low-DPI screens
Gloves & haste	90px tap targets (~2cm)	Accommodate thick gloves
Multilingual	Single-task screens, plain language	Reduce cognitive load

Result: Task completion jumped from 0% to 100%. Onboarding time dropped from three weeks to one shift.

This wasn’t customization or theming—this was a dialect: a systematic adaptation that maintained Polaris’s core grammar while developing new vocabulary for a specific context. Polaris hadn’t failed; it had learned to speak warehouse.

The Flexibility Framework

At Atlassian, working on the Jira platform—itself a system within the larger Atlassian system—I pushed for formalizing this insight. With dozens of products sharing a design language across different codebases, we needed systematic flexibility so we built directly into our ways of working. The old model—exception requests and special approvals—was failing at scale.

We developed the Flexibility Framework to help designers define how flexible they wanted their components to be:

Tier	Action	Ownership
Consistent	Adopt unchanged	Platform locks design + code
Opinionated	Adapt within bounds	Platform provides smart defaults, products customize
Flexible	Extend freely	Platform defines behavior, products own presentation

During a navigation redesign, we tiered every element. Logo and global search stayed Consistent. Breadcrumbs and contextual actions became Flexible. Product teams could immediately see where innovation was welcome and where consistency mattered.

The Decision Ladder

Flexibility needs boundaries. We created a simple ladder for evaluating when rules should bend:

Good: Ship with existing system components. Fast, consistent, proven.

Better: Stretch a component slightly. Document the change. Contribute improvements back to the system for all to use.

Best: Prototype the ideal experience first. If user testing validates the benefit, update the system to support it.

The key question: “Which option lets users succeed fastest?”

Rules are tools, not relics.

Unity Beats Uniformity

Gmail, Drive, and Maps are unmistakably Google—yet each speaks with its own accent. They achieve unity through shared principles, not cloned components. One extra week of debate over button color costs roughly $30K in engineer time.

Unity is a brand outcome; fluency is a user outcome. When the two clash, side with the user.

Governance Without Gates

How do you maintain coherence while enabling dialects? Treat your system like a living vocabulary:

Document every deviation – e.g., dialects/warehouse.md with before/after screenshots and rationale.

Promote shared patterns – when three teams adopt a dialect independently, review it for core inclusion.

Deprecate with context – retire old idioms via flags and migration notes, never a big-bang purge.

A living dictionary scales better than a frozen rulebook.

Start Small: Your First Dialect

Ready to introduce dialects? Start with one broken experience:

This week: Find one user flow where perfect consistency blocks task completion. Could be mobile users struggling with desktop-sized components, or accessibility needs your standard patterns don’t address.

Document the context: What makes standard patterns fail here? Environmental constraints? User capabilities? Task urgency?

Design one systematic change: Focus on behavior over aesthetics. If gloves are the problem, bigger targets aren’t “”breaking the system””—they’re serving the user. Earn the variations and make them intentional.

Test and measure: Does the change improve task completion? Time to productivity? User satisfaction?

Show the savings: If that dialect frees even half a sprint, fluency has paid for itself.

Beyond the Component Library

We’re not managing design systems anymore—we’re cultivating design languages. Languages that grow with their speakers. Languages that develop accents without losing meaning. Languages that serve human needs over aesthetic ideals.

The warehouse workers who went from 0% to 100% task completion didn’t care that our buttons broke the style guide. They cared that the buttons finally worked.

Your users feel the same way. Give your system permission to speak their language.

Today’s web is not always an amiable place. Sites greet you with a popover that demands assent to their cookie policy, and leave you with Taboola ads promising “One Weird Trick!” to cure your ailments. Social media sites are tuned for engagement, and few things are more engaging than a fight. Today it seems that people want to quarrel; I have seen flame wars among birders.  

These tensions are often at odds with a site’s goals. If we are providing support and advice to customers, we don’t want those customers to wrangle with each other. If we offer news about the latest research, we want readers to feel at ease; if we promote upcoming marches, we want our core supporters to feel comfortable and we want curious newcomers to feel welcome. 

In a study for a conference on the History of the Web, I looked to the origins of Computer Science in Vienna (1928-1934)  for a case study of the importance of amiability in a research community and the disastrous consequences of its loss. That story has interesting implications for web environments that promote amiable interaction among disparate, difficult (and sometimes disagreeable) people.

The Vienna Circle

Though people had been thinking about calculating engines and thinking machines from antiquity, Computing really got going in Depression-era Vienna.  The people who worked out the theory had no interest in building machines; they wanted to puzzle out the limits of reason in the absence of divine authority. If we could not rely on God or Aristotle to tell us how to think, could we instead build arguments that were self-contained and demonstrably correct? Can we be sure that mathematics is consistent? Are there things that are true but that cannot be expressed in language? 

The core ideas were worked out in the weekly meetings (Thursdays at 6) of a group remembered as the Vienna Circle. They got together in the office of Professor Moritz Schlick at the University of Vienna to discuss problems in philosophy, math, and language. The intersection of physics and philosophy had long been a specialty of this Vienna department, and this work had placed them among the world leaders.  Schlick’s colleague Hans Hahn was a central participant, and by 1928 Hahn brought along his graduate students Karl Menger and Kurt Gödel. Other frequent participants included philosopher Rudolf Carnap, psychologist Karl Popper, economist Ludwig von Mises (brought by his brother Frederick, a physicist),  graphic designer Otto Neurath (inventor of infographics), and architect Josef Frank (brought by his physicist brother, Phillip).  Out-of-town visitors often joined, including the young Johnny von Neumann, Alfred Tarski, and the irascible Ludwig Wittgenstein. 

When Schlick’s office grew too dim, participants adjourned to a nearby café for additional discussion with an even larger circle of participants.  This convivial circle was far from unique.  An intersecting circle–Neurath, von Mises, Oskar Morgenstern–established the Austrian School of free-market economics. There were theatrical circles (Peter Lorre, Hedy Lamarr, Max Reinhardt), and literary circles. The café was where things happened.

The interdisciplinarity of the group posed real challenges of temperament and understanding. Personalities were often a challenge. Gödel was convinced people were trying to poison him. Architect Josef Frank depended on contracts for public housing, which Mises opposed as wasteful. Wittgenstein’s temper had lost him his job as a secondary school teacher, and for some of these years he maintained a detailed list of whom he was willing to meet. Neurath was eager to detect muddled thinking and would interrupt a speaker with a shouted “Metaphysics!” The continuing amity of these meetings was facilitated by the personality of their leader, Moritz Schlick, who would be remembered as notably adept in keeping disagreements from becoming quarrels.

In the Café

The Viennese café of this era was long remembered as a particularly good place to argue with your friends, to read, and to write. Built to serve an imperial capital, the cafés found themselves with too much space and too few customers now that the Empire was gone. There was no need to turn tables: a café could only survive by coaxing customers to linger. Perhaps they would order another coffee, or one of their friends might drop by. One could play chess, or billiards, or read newspapers from abroad. Coffee was invariably served with a glass of purified spring water, still a novelty in an era in which most water was still unsafe to drink. That water glass would be refilled indefinitely. 

In the basement of one café, the poet Jura Soyfer staged “The End Of The World,” a musical comedy in which Professor Peep has discovered a comet heading for earth.

Prof. Peep: The comet is going to destroy everybody!

Hitler:  Destroying everybody is my business.

Of course, coffee can be prepared in many ways, and the Viennese café developed a broad vocabulary to represent precisely how one preferred to drink it: melange, Einspänner, Brauner, Schwarzer, Kapuziner. This extensive customization, with correspondingly esoteric conventions of service, established the café as a comfortable and personal third space, a neutral ground in which anyone who could afford a coffee would be welcome. Viennese of this era were fastidious in their use of personal titles, of which an abundance were in common use. Café waiters greeted regular customers with titles too, but were careful to address their patrons with titles a notch or two greater than they deserved. A graduate student would be Doktor, an unpaid postdoc Professor.  This assurance mattered all the more because so many members of the Circle (and so many other Viennese) came from elsewhere: Carnap from Wuppertal, Gödel from Brno, von Neumann from Budapest. No one was going to make fun of your clothes, mannerisms, or accent. Your friends wouldn’t be bothered by the pram in the hall. Everyone shared a Germanic Austrian literary and philosophical culture, not least those whose ancestors had been Eastern European Jews who knew that culture well, having read all about it in books.

The amiability of the café circle was enhanced by its openness. Because the circle sometimes extended to architects and actors, people could feel less constrained to admit shortfalls in their understanding. It was soon discovered that marble tabletops made a useful surface for pencil sketches, serving all as an improvised and accessible blackboard.

Comedies like “The End Of The World” and fictional newspaper sketches or feuilletons of writers like Joseph Roth and Stefan Zweig served as a second defense against disagreeable or churlish behavior. The knowledge that, if one got carried away, a parody of one’s remarks might shortly appear in Neue Freie Presse surely helped Professor Schlick keep matters in hand.

The End Of Red Vienna

Though Austria’s government drifted to the right after the War, Vienna’s city council had been Socialist, dedicated to public housing based on user-centered design, and embracing  ambitious programs of public outreach and adult education. In 1934 the Socialists lost a local election, and this era soon came to its end as the new administration focused on the imagined threat of the International Jewish Conspiracy. Most members of the Circle fled within months: von Neumann to Princeton, Neurath to Holland and Oxford, Popper to New Zealand, Carnap to Chicago. Prof. Schlick was murdered on the steps of the University by a student outraged by his former association with Jews.  Jura Soyfer, who wrote “The End Of The World,” died in Buchenwald.

In 1939, von Neumann finally convinced Gödel to accept a job in Princeton. Gödel was required to pay large fines to emigrate. The officer in charge of these fees would look back on this as the best posting of his career; his name was Eichmann.

Design for Amiability

An impressive literature recounts those discussions and the environment that facilitated the development of computing. How can we design for amiability?  This is not just a matter of choosing rounded typefaces and a cheerful pastel palette. I believe we may identify eight distinct issues that exert design forces in usefully amiable directions.

Seriousness: The Vienna Circle was wrestling with a notoriously difficult book—Wittgenstein’s Tractus Logico-Philosophicus—and a catalog of outstanding open questions in mathematics. They were concerned with consequential problems, not merely scoring points for debating. Constant reminders that the questions you are considering matter—not only that they are consequential or that those opposing you are scoundrels—help promote amity.

Empiricism: The characteristic approach of the Vienna Circle demanded that knowledge be grounded either in direct observation or in rigorous reasoning. Disagreement, when it arose, could be settled by observation or by proof. If neither seemed ready to hand, the matter could not be settled. On these terms, one can seldom if ever demolish an opposing argument, and trolling is pointless.

Abstraction: Disputes grow worse when losing the argument entails lost face or lost jobs. The Vienna Circle’s focus on theory—the limits of mathematics, the capability of language—promoted amity. Without seriousness, abstraction could have been merely academic, but the limits of reason and the consistency of mathematics were clearly serious.

Formality: The punctilious demeanor of waiters and the elaborated rituals of coffee service helped to establish orderly attitudes amongst the argumentative participants. This stands in contrast to the contemptuous sneer that now dominates social media.  

Schlamperei: Members of the Vienna Circle maintained a global correspondence, and they knew their work was at the frontier of research. Still, this was Vienna, at the margins of Europe: old-fashioned, frumpy, and dingy. Many participants came from even more obscure backwaters. Most or all harbored the suspicion that they were really schleppers, and a tinge of the ridiculous helped to moderate tempers. The director of “The End Of The World” had to pass the hat for money to purchase a moon for the set, and thought it was funny enough to write up for publication.

Openness: All sorts of people were involved in discussion, anyone might join in. Each week would bring different participants. Fluid borders reduce tension, and provide opportunities to broaden the range of discussion and the terms of engagement. Low entrance friction was characteristic of the café: anyone could come, and if you came twice you were virtually a regular. Permeable boundaries and café culture made it easier for moderating influences to draw in raconteurs and storytellers to defuse awkward moments, and Vienna’s cafés had no shortage of humorists. Openness counteracts the suspicion that promoters of amiability are exerting censorship.

Parody: The environs of the Circle—the university office and the café—were unmistakably public. There were writers about, some of them renowned humorists. The prospect that one’s bad taste or bad behavior might be ridiculed in print kept discussion within bounds. The sanction of public humiliation, however, was itself made mild by the veneer of fiction; even if you got a little carried away and a character based on you made a splash in some newspaper fiction, it wasn’t the end of the world.

Engagement: The subject matter was important to the participants, but it was esoteric: it did not matter very much to their mothers or their siblings. A small stumble or a minor humiliation could be shrugged off in ways that major media confrontations cannot.

I believe it is notable that this environment was designed to promote amiability through several different voices.  The café waiter flattered each newcomer and served everyone, and also kept out local pickpockets and drunks who would be mere disruptions. Schlick and other regulars kept discussion moving and on track. The fiction writers and raconteurs—perhaps the most peripheral of the participants—kept people in a good mood and reminded them that bad behavior could make anyone ridiculous.  Crucially, each of these voices were human: you could reason with them. Algorithmic or AI moderators, however clever, are seldom perceived as reasonable. The café circles had no central authority or Moderator against whom everyone’s resentments might be focused. Even after the disaster of 1934, what people remembered were those cheerful arguments.

I want to discuss accessibility because it is the most important thing for making websites. Other A List Apart articles give you innovation and insight. This article will give you homework. These are just my personal views, but they’re pretty good.

I want to start off with a couple of statements, and you will agree:

1. Designers are good people. I have never heard a designer say, “I don’t care if somebody can’t read this text”, “Not my fault if somebody can’t use this device”, or “Who cares if this is confusing?”
2. Some designs exclude people. You have seen people unable to read the text on a website or app that somebody designed. You’ve seen people unable to use a physical device that somebody has designed. You’ve seen people utterly bamboozled while trying to use a service that somebody designed.

So what?

The first question is, “Is this life-or-death stuff?” The answer is, “Yes.” In my favorite essay, This Is All There Is, Aral Balkan makes the point that pretty much everything that we design can affect life events and death events. Aral gives the example of how even a straightforward bus timetable app can affect life and death events, if we design it badly:

• somebody might miss a life event, such as their daughter’s fifth birthday party; or
• somebody might miss a death event, such as the chance to say goodbye to a dying grandmother.

The next—and frustrating—question is, “Why do some designs still exclude people?” After all, we know that:

• not everybody can see perfectly;
• not everybody can hear perfectly;
• not everybody thinks the same way; and
• not everybody moves the same way.

I think the answer is that there’s too much to recall. Consider, if you will, the wide variety of topics that A List Apart articles cover. Designers are expected to remember all of that guidance, plus all of the accessibility guidance, plus so much more. It is too much.

Recognizing accessibility issues while designing

I’d like to point toward one possible solution, starting from Jakob Nielsen’s 10 Usability Heuristics for User Interface Design. These are from the mid-1990s, and—although there’s a good chance that you, gentle reader, are a lot younger than that—please bear with me. 

Seeing as the problem is that there’s too much to recall, I want to look at heuristic № 6, “Recognition rather than Recall.” Jakob Nielsen said that for users, information required to use the design should be visible or easily retrievable when needed. I suggest we tweak that to make life easier for designers. Let’s say that the information required to produce the design should be visible or easily retrievable when needed. In other words, let’s make it easier to recognise accessibility issues while we’re designing.

How are we going to do that? I really like the book A Web for Everyone—Designing Accessible User Experiences by Sarah Horton and Whitney Quesenbery. I really like this book not only because it includes a quote from me—actually two quotes, but I don’t like to boast—but because it includes personas that are perfect for helping us to recognise accessibility issues. That’s the good news. The even better news is that these personas are available now for free on the companion website to the book What Every Engineer Should Know About Digital Accessibility, again by Sarah Horton, with David Sloan this time.

Meet your users

I’m going to introduce you to these personas now:

• Vishnu, an engineer and global citizen with low vision says, “I want to be on the same level as everyone else”, “If I can adjust my screen, I can read comfortably”, and, “Translating in my head is easier with simpler sentences.”
• Trevor, a high school student with autism, says, “I like consistent, familiar places on the web”, “When I can learn the pattern, I can find my way”, and, “Reading is hard for me”.
• Steven, a deaf graphic artist and American Sign Language speaker, says, “My only disability is that everyone doesn’t sign”, and, “Without captions, it’s meaningless to me”.
• Maria, a bilingual community health worker, says, “I love this. It’s all here … when I can find it”, “When a site is confusing, I just leave”—fair enough, Maria!—and, “When I hear and see it, health information makes more sense”.
• Lea, an editor living with fatigue and pain, says, “No one gets that this really is a disability”, “Don’t make me work so hard”—please do not bombard this lady with drop-down lists—and, “Links at the top of the page make navigation easier for me”.
• Jacob, a blind paralegal and a bit of a geek, says, “The right technology lets me do anything”, and “This makes it possible to do my job”.
• Emily, who has cerebral palsy and is living independently, says, “I want to do everything for myself”, “Simpler screens are easier screens”—hell yeah, Emily!—and, “Tell me what I need in advance”.
• Carol, a grandmother with macular degeneration which affects her sight, says, “My grandkids are dragging me into the world of technology”, “I don’t understand what the screen is saying”, and, “Why can’t the text be just a little bit larger?”

I want to throw one more persona at you now, because, well, A List Apart readers are overachievers. One of my favorite authors, Cennydd Bowles—who literally wrote the book on Future Ethics—says to create Personas Non Grata. In other words, every time we design something, we have to think about what a bad guy could do with that thing, and whom that might affect.

To actually use these personas while designing, I like what Eric Meyer and Sara Wachter-Boettcher in Design for Real Life call the Designated Dissenter: for each project that you work on, one of your teams should be responsible for asking, “Will this work for Vishnu?”, “How’s Trevor going to get on with this?”, and so on. 

Then, once you’ve used the personas to recognise the accessibility issues, you can look up the guidelines for whichever platforms you’re designing for: 

• Web Content Accessibility Guidelines (WCAG) 2.2
• Accessibility designing — Material Design 3
• Accessibility — Windows apps
• Accessibility | Apple Developer Documentation
• Check your interface for accessibility (Ubuntu)

Your mission, should you choose to accept it

I told you in the introduction of this article that I would give you homework. You thought I was joking. So, here’s your homework: I want you to grab the personas from the Know About Accessibility website, and use them throughout every design project to help you recognise accessibility issues while you work—and reclaim design for everyone.

NOTE: This article is based on “Recognise,” my five-minute presentation from Interaction Design Association (IxDA) Dublin’s Defuse (Design for Use) event in 2025.

Your Marketing Probably Has All the Pieces. Here’s Why That’s Not Enough written by John Jantsch read more at Duct Tape Marketing

Most founders who’ve been at this for a few years have pieces. Some strategic clarity. A decent presence. Content running, mostly. Owned channels being built. Customer work happening somewhere. The pieces are disconnected. Nobody owns the full picture. Different parts run on different rhythms. Reporting covers what each piece did in isolation, not whether the […]

7 Steps to Small Business Marketing Success – Episode 4 written by John Jantsch read more at Duct Tape Marketing

Catch the Full Episode

Overview

Every founder I talk to is excited about AI content tools. Most of them should be a little nervous. The market is being flooded with content that reads fine and means nothing, and when you add to that pile, you do not rise above it. You disappear into it. In this solo episode of the Duct Tape Marketing Podcast, John Jantsch makes the case that more content is the fastest way to become less visible, and that the fix is not volume. It is content built to do a specific job.

The episode lays out a practical content strategy for small business owners who are tired of publishing for the sake of publishing. John walks through three principles: picking content pillars anchored on your ideal client’s problems, organizing everything under hub pages that signal authority to both buyers and AI, and repurposing authoritative founder content rather than mass-producing generic posts. He also names the ingredient most businesses skip entirely: a point of view.

This one is for small business owners, marketers, agencies, and consultants who want their content to compound over years instead of evaporating in a week. If you have ever written a blog post because the topic seemed interesting that week, this episode will change how you plan everything that comes next.

Key Takeaways

• More content is not the answer. AI has flooded the market with readable but forgettable material, and adding to it buries your brand instead of building it.
• Content should do a job. If a piece cannot tie back to a clear pillar, you should not be producing it.
• Pick three content pillars at most, anchored on your ideal client’s problems or buyer segments. Three gives you range without dilution.
• Use the three-year test: if you would be bored with a topic in six months, it is a theme, not a pillar. Pillars are what you intend to own years from now.
• Organize content under hub pages. One page per pillar where your proof, case studies, and expertise live together, so both search engines and buyers see real authority.
• Hub pages serve your sales team too. They give you a credible place to send prospects who need the full picture on a topic.
• Repurpose authoritative content. An hour of focused founder conversation can become 50 to 100 pieces of content in the founder’s real voice.
• This is the best use of AI for content. Not to write the generic stuff, but to stretch the good stuff once you have captured it.
• The missing ingredient is a point of view. AI returns the opinion of the collective mass. It cannot give you the thing only you believe.
• A point of view does not have to be controversial. It just has to be different, and most founders already hold one they are simply not surfacing.

Great Moments

• [00:01] John kicks off episode four of the seven-part solo series and frames the core idea: why more content is making you less visible.
• [02:26] The first principle, picking pillars, and why your content needs to compound around your ideal client’s problems.
• [04:49] The three-year test for separating a real pillar from a passing theme, plus how hub pages organize it all.
• [07:12] The repurposing principle, including how an hour with a founder becomes 50 to 100 pieces of authoritative content.
• [09:24] The missing ingredient most businesses skip: developing a genuine point of view in a sea of AI sameness.
• [11:44] Your next steps and where to get the full Seven Steps ebook.

Memorable Quotes

• “Adding to that pile doesn’t help you. It buries you.”
• “If you’re bored with a topic in six months, it’s not a pillar. It’s a theme.”
• “Every piece of content should point to one of those pillars. If you can’t tie it to one, you shouldn’t be doing it.”
• “AI doesn’t develop points of view. It develops the point of view of the collective mass.”
• “It doesn’t have to be controversial. It just has to be different.”

Resources

• The Seven Steps to Small Business Marketing Success ebook (under five dollars): dtm.world/sevensteps
• Talk to a Duct Tape Marketing advisor: ducttapemarketing.com/consultation

In horror movies, we see characters deal with unspeakable terrors of varying degrees of power, most of which we wouldn’t want to have to deal with. Since these aren’t action movies, the characters don’t have tools to properly fight back, but some plots give even less to their protagonists.

These are, from what we could see, the characters that were doomed from the start. Don’t consider this a spoiler: not all of these movies end with the main character perishing. But even when they win or survive, it feels more like luck or circumstance than anything they could’ve done on their own.

The post 15 of Horror’s Most Helpless Victims appeared first on Den of Geek.

If you’ve ever watched Letterboxd’s Four Favorites video series on social media, you’ll be more than aware that a lot of men really love Ridley Scott’s Gladiator, which remains understandable in a decade where “my Roman Empire” has been trending.

Scott’s crowd-pleasing, awards-hogging, fist-pumping action-adventure flick explores themes of honor, courage, loyalty, and brotherhood, and its central character, Maximus Decimus Meridius (portrayed by Russell Crowe), remains true to his principles and fights for something greater than himself until he becomes a true “soldier of Rome” in death.

The 2000 epic also has a really strong fan base among women, and that’s by design rather than accident, argues its star. In a recent appearance at the Taormina Film Festival (via Deadline) Crowe explained that Gladiator is actually a movie for women, not men.

The actor contextualized his conclusion by discussing the battle he once had with the movie’s studio over its eagerness to get Maximus involved in more sex scenes as Gladiator’s story played out.

“I just kept pushing back. I said, ‘This is a story about a man who’s avenging the death of his wife and his child. There cannot be a moment on that journey where he stops and has sex with somebody. It doesn’t make any sense… that destroys the journey,’” he said, adding, “They fought me, they sent me letters about it and everything, and I just stuck to my guns. Luckily for me, Ridley, even though he would have loved to write a sex scene with me and Connie Nielsen, he agreed with me back then, and that that was the moral core of the film.”

Russell Crowe talks pushing back on studio pressure for sex scenes in Ridley Scott’s ‘Gladiator’ and says ‘Gladiator II’ failed to ignite audiences in the same way as the original film because it lacked a “moral core” – Taormina Film Festival pic.twitter.com/Yh7iQ7cmk2

— Deadline (@DEADLINE) June 13, 2026

Calling Gladiator “really old-fashioned” and noting that the studio didn’t really understand why they were shooting for that vibe, Crowe felt his pushback was justified after seeing so many women turn out for the movie upon its release. He also voiced his opinion that Scott’s underwhelming sequel, Gladiator II, “destroyed” the first film’s moral center.

“On the surface, Gladiator is a movie for men, but if it was a movie for men, it would be about revenge,” Crowe explained. “But it’s not about revenge. It’s a movie for women because it’s about vengeance, and this is a subtle difference, but it is a difference. I needed the character to stay on that track. So for them, in a second movie to destroy that moral center, it’s very interesting because the second movie barely took the same box office that the first movie took but that’s 20 years later, and when you apply how much of a change there’s been on the value of a dollar, they failed, and they failed because they didn’t understand why it was successful, because it had a moral core.”

In the decades since its release, Gladiator has arguably proven to be popular with people in general (at least those unconcerned with historical inaccuracies) often ranking highly on lists of the greatest movies ever made.

The post Gladiator Is a Movie for Women, Argues Russell Crowe appeared first on Den of Geek.

We’re all feeling the soccer spirit with the World Cup fever going all around the world, even if this is the first one you seriously think about watching. The event, happening once every four years, has already had its fair share of legendary moments, from incredible saves to questionable moves.

To know what to expect when watching the greatest at their best, we’ve compiled the most iconic moments of the World Cup’s history, since they are basic know ledge for any soccer fan. While many of these moments were made by players either gone or retired, they still mark a precedent for what to expect from their respective countries.

The post 15 Iconic World Cup Moments Even Non-Soccer Fans Should Know appeared first on Den of Geek.

If you’ve ever watched Letterboxd’s Four Favorites video series on social media, you’ll be more than aware that a lot of men really love Ridley Scott’s Gladiator, which remains understandable in a decade where “my Roman Empire” has been trending.

Scott’s crowd-pleasing, awards-hogging, fist-pumping action-adventure flick explores themes of honor, courage, loyalty, and brotherhood, and its central character, Maximus Decimus Meridius (portrayed by Russell Crowe), remains true to his principles and fights for something greater than himself until he becomes a true “soldier of Rome” in death.

The 2000 epic also has a really strong fan base among women, and that’s by design rather than accident, argues its star. In a recent appearance at the Taormina Film Festival (via Deadline) Crowe explained that Gladiator is actually a movie for women, not men.

The actor contextualized his conclusion by discussing the battle he once had with the movie’s studio over its eagerness to get Maximus involved in more sex scenes as Gladiator’s story played out.

“I just kept pushing back. I said, ‘This is a story about a man who’s avenging the death of his wife and his child. There cannot be a moment on that journey where he stops and has sex with somebody. It doesn’t make any sense… that destroys the journey,’” he said, adding, “They fought me, they sent me letters about it and everything, and I just stuck to my guns. Luckily for me, Ridley, even though he would have loved to write a sex scene with me and Connie Nielsen, he agreed with me back then, and that that was the moral core of the film.”

Russell Crowe talks pushing back on studio pressure for sex scenes in Ridley Scott’s ‘Gladiator’ and says ‘Gladiator II’ failed to ignite audiences in the same way as the original film because it lacked a “moral core” – Taormina Film Festival pic.twitter.com/Yh7iQ7cmk2

— Deadline (@DEADLINE) June 13, 2026

Calling Gladiator “really old-fashioned” and noting that the studio didn’t really understand why they were shooting for that vibe, Crowe felt his pushback was justified after seeing so many women turn out for the movie upon its release. He also voiced his opinion that Scott’s underwhelming sequel, Gladiator II, “destroyed” the first film’s moral center.

“On the surface, Gladiator is a movie for men, but if it was a movie for men, it would be about revenge,” Crowe explained. “But it’s not about revenge. It’s a movie for women because it’s about vengeance, and this is a subtle difference, but it is a difference. I needed the character to stay on that track. So for them, in a second movie to destroy that moral center, it’s very interesting because the second movie barely took the same box office that the first movie took but that’s 20 years later, and when you apply how much of a change there’s been on the value of a dollar, they failed, and they failed because they didn’t understand why it was successful, because it had a moral core.”

In the decades since its release, Gladiator has arguably proven to be popular with people in general (at least those unconcerned with historical inaccuracies) often ranking highly on lists of the greatest movies ever made.

The post Gladiator Is a Movie for Women, Argues Russell Crowe appeared first on Den of Geek.

Steven Spielberg believes in UFOs, UAPs, and whatever else you might want to call the strange lights in the sky. The so-called “alien movie” is almost as old as accounts of unidentified flying objects, with The Flying Saucer coming out just three years after Kenneth Arnold coined the term based on what he claimed to […]

The post Steven Spielberg’s Alien Movies Are Really a Lifetime of Telling Us His Dreams and Fears appeared first on Den of Geek.

If you’ve ever watched Letterboxd’s Four Favorites video series on social media, you’ll be more than aware that a lot of men really love Ridley Scott’s Gladiator, which remains understandable in a decade where “my Roman Empire” has been trending.

Scott’s crowd-pleasing, awards-hogging, fist-pumping action-adventure flick explores themes of honor, courage, loyalty, and brotherhood, and its central character, Maximus Decimus Meridius (portrayed by Russell Crowe), remains true to his principles and fights for something greater than himself until he becomes a true “soldier of Rome” in death.

The 2000 epic also has a really strong fan base among women, and that’s by design rather than accident, argues its star. In a recent appearance at the Taormina Film Festival (via Deadline) Crowe explained that Gladiator is actually a movie for women, not men.

The actor contextualized his conclusion by discussing the battle he once had with the movie’s studio over its eagerness to get Maximus involved in more sex scenes as Gladiator’s story played out.

“I just kept pushing back. I said, ‘This is a story about a man who’s avenging the death of his wife and his child. There cannot be a moment on that journey where he stops and has sex with somebody. It doesn’t make any sense… that destroys the journey,’” he said, adding, “They fought me, they sent me letters about it and everything, and I just stuck to my guns. Luckily for me, Ridley, even though he would have loved to write a sex scene with me and Connie Nielsen, he agreed with me back then, and that that was the moral core of the film.”

Russell Crowe talks pushing back on studio pressure for sex scenes in Ridley Scott’s ‘Gladiator’ and says ‘Gladiator II’ failed to ignite audiences in the same way as the original film because it lacked a “moral core” – Taormina Film Festival pic.twitter.com/Yh7iQ7cmk2

— Deadline (@DEADLINE) June 13, 2026

Calling Gladiator “really old-fashioned” and noting that the studio didn’t really understand why they were shooting for that vibe, Crowe felt his pushback was justified after seeing so many women turn out for the movie upon its release. He also voiced his opinion that Scott’s underwhelming sequel, Gladiator II, “destroyed” the first film’s moral center.

“On the surface, Gladiator is a movie for men, but if it was a movie for men, it would be about revenge,” Crowe explained. “But it’s not about revenge. It’s a movie for women because it’s about vengeance, and this is a subtle difference, but it is a difference. I needed the character to stay on that track. So for them, in a second movie to destroy that moral center, it’s very interesting because the second movie barely took the same box office that the first movie took but that’s 20 years later, and when you apply how much of a change there’s been on the value of a dollar, they failed, and they failed because they didn’t understand why it was successful, because it had a moral core.”

In the decades since its release, Gladiator has arguably proven to be popular with people in general (at least those unconcerned with historical inaccuracies) often ranking highly on lists of the greatest movies ever made.

The post Gladiator Is a Movie for Women, Argues Russell Crowe appeared first on Den of Geek.

Hollywood has a way of making everyone look larger than life. Between camera angles, carefully staged photographs, and larger-than-life personalities, it’s easy to assume many celebrities are taller than they really are.

In reality, some of the biggest names in entertainment are surprisingly short, often standing well below average height while still commanding enormous attention on screen, on stage, or in the public eye. Their success proves that charisma, talent, and confidence matter far more than a few extra inches. These celebrities may not be the tallest stars around, but they’ve built careers that tower over most of their peers.

The post 15 of Our Shortest Celebrities appeared first on Den of Geek.

If you’ve ever watched Letterboxd’s Four Favorites video series on social media, you’ll be more than aware that a lot of men really love Ridley Scott’s Gladiator, which remains understandable in a decade where “my Roman Empire” has been trending.

Scott’s crowd-pleasing, awards-hogging, fist-pumping action-adventure flick explores themes of honor, courage, loyalty, and brotherhood, and its central character, Maximus Decimus Meridius (portrayed by Russell Crowe), remains true to his principles and fights for something greater than himself until he becomes a true “soldier of Rome” in death.

The 2000 epic also has a really strong fan base among women, and that’s by design rather than accident, argues its star. In a recent appearance at the Taormina Film Festival (via Deadline) Crowe explained that Gladiator is actually a movie for women, not men.

The actor contextualized his conclusion by discussing the battle he once had with the movie’s studio over its eagerness to get Maximus involved in more sex scenes as Gladiator’s story played out.

“I just kept pushing back. I said, ‘This is a story about a man who’s avenging the death of his wife and his child. There cannot be a moment on that journey where he stops and has sex with somebody. It doesn’t make any sense… that destroys the journey,’” he said, adding, “They fought me, they sent me letters about it and everything, and I just stuck to my guns. Luckily for me, Ridley, even though he would have loved to write a sex scene with me and Connie Nielsen, he agreed with me back then, and that that was the moral core of the film.”

Russell Crowe talks pushing back on studio pressure for sex scenes in Ridley Scott’s ‘Gladiator’ and says ‘Gladiator II’ failed to ignite audiences in the same way as the original film because it lacked a “moral core” – Taormina Film Festival pic.twitter.com/Yh7iQ7cmk2

— Deadline (@DEADLINE) June 13, 2026

Calling Gladiator “really old-fashioned” and noting that the studio didn’t really understand why they were shooting for that vibe, Crowe felt his pushback was justified after seeing so many women turn out for the movie upon its release. He also voiced his opinion that Scott’s underwhelming sequel, Gladiator II, “destroyed” the first film’s moral center.

“On the surface, Gladiator is a movie for men, but if it was a movie for men, it would be about revenge,” Crowe explained. “But it’s not about revenge. It’s a movie for women because it’s about vengeance, and this is a subtle difference, but it is a difference. I needed the character to stay on that track. So for them, in a second movie to destroy that moral center, it’s very interesting because the second movie barely took the same box office that the first movie took but that’s 20 years later, and when you apply how much of a change there’s been on the value of a dollar, they failed, and they failed because they didn’t understand why it was successful, because it had a moral core.”

In the decades since its release, Gladiator has arguably proven to be popular with people in general (at least those unconcerned with historical inaccuracies) often ranking highly on lists of the greatest movies ever made.

The post Gladiator Is a Movie for Women, Argues Russell Crowe appeared first on Den of Geek.