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  • Design for Amiability: Lessons from Vienna

    Design for Amiability: Lessons from Vienna

    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.

  • Good designers, bad websites: a proposal

    Good designers, bad websites: a proposal

    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:

    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: 

    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.

  • Designed for a Dead Language

    Designed for a Dead Language

    Every language app in your pocket inherited a teaching method built for Latin. Understanding why that happened is a more useful design lesson than anything the apps themselves will teach you.

    In 1788, Prussia introduced the Abitur, a standardized national examination required for entry into universities and the civil service. To pass it, students needed to demonstrate measurable, gradable knowledge. The system needed to teach language to large classrooms, produce consistent outcomes, and do it with one teacher and thirty students. The educators responsible for designing this system reached for the only teaching template they had, one that had been used in European schools for two centuries: the method developed to teach Latin.

    Latin, by 1788, was a dead language. Nobody needed to speak it. The scholars who studied it were reading Cicero and Virgil, not conducting conversations. The method built around it, memorizing grammar rules, constructing translations, analyzing written texts, reflected that reality exactly. Oral skills were irrelevant. Comprehension of written form was everything. The method was not designed to produce speakers. It was designed to produce readers of texts in a language nobody spoke.

    When Prussia applied this template to French and German, living languages spoken by living people, the premise did not change. Johann Valentin Meidinger’s textbook Praktische Französische Grammatik, published in 1804, ran to 37 editions across Europe by 1857. Karl Plotz formalized the approach into what became the dominant model for teaching modern languages across Europe and eventually the United States, where it became known simply as the Prussian Method [1]. Each institution that adopted it trained teachers in it, who trained students who became teachers. The constraint that created the method, how do you grade language at scale with limited resources, became invisible inside the method itself. What remained was the assumption: language is a body of rules to be learned consciously and measured. It was a design decision dressed up, over time, as a pedagogical truth.

    The observation that should have ended it

    There are people in the world who cannot read or write a language and speak it fluently. There are children who hold full conversations years before they can read a single word. There are immigrants who arrive in a country knowing nothing of its language and come out, years later, speaking it naturally, not because they studied it, but because they lived inside it. Literacy and fluency are separate things produced by entirely separate mechanisms. The Grammar-Translation method, as it became known, assumed they were the same thing. That assumption was inherited from a method designed for a language nobody needed to speak, and it was wrong the moment it was applied to a language people actually used.

    The evidence against it accumulated slowly. In the mid to late nineteenth century, reformers including François Gouin in France and Maximilian Berlitz in the United States argued independently that language should be taught the way it is actually acquired, through immersive exposure to real communication in the target language, not through analysis of its rules. Berlitz built an entire school network around this principle. The reformers were correct. They were also largely ignored by mainstream education systems, because the Grammar-Translation method had one decisive advantage that direct immersion did not: it could be graded.

    In 1982, the linguist Stephen Krashen gave the argument its most formal articulation in what he called the Monitor Model of second language acquisition. His distinction was precise: language acquisition, the unconscious process through which children absorb their native language and through which adults succeed in immersive environments, is categorically different from language learning, the conscious study of grammar rules and vocabulary that classrooms deliver [2]. Acquisition produces fluency. Learning, at best, produces the ability to pass a test. The evidence supporting this distinction, and the observation that immersive exposure to real native-speaker communication is the mechanism that produces genuine fluency, has only grown since.

    I went to Brazil without a word of Portuguese and came out speaking it. I studied French in a classroom for years and cannot hold a conversation in French today. This is not an unusual experience. It is the expected outcome, and it has been the expected outcome for as long as we have had formal language education.

    The same decision, made again in a different medium

    Prussian educators faced the question: How do you deliver language learning at scale, measure progress, and retain users over time? The answer it arrived at was structurally identical to the one arrived at in 1788. Duolingo gamified the grammar drill into a streak. Anki formalized the translation exercise into a spaced-repetition flashcard. Babbel organized grammar lessons into structured modules. The interfaces were new. The underlying assumption, that language is a thing you study rather than an environment you inhabit, was not.

    This was not a failure of design skill. The products that emerged from these decisions are, in many respects, genuinely well-crafted. Duolingo’s retention mechanics are sophisticated. Anki’s spaced repetition is grounded in real cognitive science. They are excellent at what they actually do. The problem is what they actually do: produce measurable engagement with a proxy for language rather than the conditions that produce language itself. A streak is measurable. A vocabulary score is measurable. The moment a user walks out of an app and holds a real conversation in another language, that happens in the world, outside the product, and cannot be instrumented.

    When the outcome a user needs is difficult to measure directly, the design process tends to reach for something that can be measured. The proxy becomes the goal. The interface optimizes for it. The gap between what the product delivers and what the user actually needed grows. This is not a pattern unique to language learning. It is a pattern that repeats across product categories whenever a design constraint—the need to measure, the need to scale, the need to produce a grade—gets built into a system so deeply that it stops being visible as a constraint and starts being mistaken for a truth about the problem itself.

    What happens when the constraint changes

    The constraint that made the Grammar-Translation method necessary in 1788 was real and rational. One teacher. Thirty students. A standardized exam. You cannot grade a conversation at scale. You can grade a translation exercise. The method was not chosen because it produced fluency. It was chosen because it produced a score.

    That constraint no longer exists in the same form. Technology has made it possible to deliver immersive, real-time conversation practice to anyone with a smartphone, at a cost that continues to fall. The design problem is no longer how to make language learning gradable at scale. It is how to make the conditions of genuine language acquisition accessible to people who cannot move to another country or afford a native-speaker tutor.

    The products that are now closest to solving the actual problem are not the ones that invented a new pedagogy. They are the ones that removed the access barrier to an old one. Praktika builds AI conversation partners with distinct personalities, regional dialects, and cultural context, replicating the specificity of a real native speaker rather than a generic language-learning voice. Langua clones native speaker voices so that the interaction feels like a real conversation rather than a lesson. Rosetta Stone’s foundational methodology, image association in the target language with no translation, was built on the same insight Berlitz arrived at in the nineteenth century: language is acquired through immersive exposure, not through analysis of its rules [3]. A 2025 meta-analysis of 31 studies found that AI conversation tools produced a statistically significant improvement in language learning outcomes, a result that no amount of flashcard optimization has consistently matched [4].

    None of these products invented a new theory of language acquisition. They translated an existing one into something more people could reach.

    The design question this leaves

    The Grammar-Translation method persisted not because educators were wrong about design, but because a design decision made under a specific constraint became, over two centuries, indistinguishable from the thing itself. The constraint, how do you grade language at scale, was forgotten. The method it produced was inherited as if it were a description of how language works, passed from Prussia to Europe to America to the App Store, from the grammar drill to the streak.

    Every time a design team optimizes for a metric because the actual outcome is hard to measure, they are making a version of the same decision. It is often the right decision given real constraints. The question worth asking is whether the constraint that made it necessary still exists, or whether it has simply become invisible inside the system it originally produced.

    Before reaching for what can be measured, it is worth asking what the user actually needs to do, and what stopped them from doing it before. Sometimes the answer is a new solution. More often it is an old one that was always out of reach.

  • How Business Storytelling Builds Trust and Drives Results

    How Business Storytelling Builds Trust and Drives Results

    How Business Storytelling Builds Trust and Drives Results written by John Jantsch read more at Duct Tape Marketing

    Catch the Full Episode: Overview Don Yaeger joins the Duct Tape Marketing Podcast to talk about his new book, The Business of Storytelling: Inspire Action, Build Trust, and Drive Results Through Story, and what it takes to turn storytelling into a working business habit rather than a skill reserved for the keynote stage. Yaeger and […]

    How Business Storytelling Builds Trust and Drives Results written by John Jantsch read more at Duct Tape Marketing

    Catch the Full Episode:

    Overview

    John Jantsch and Don Yaeger on the Duct Tape Marketing Podcast cover art for the episode How Business Storytelling Builds Trust and Drives ResultsDon Yaeger joins the Duct Tape Marketing Podcast to talk about his new book, The Business of Storytelling: Inspire Action, Build Trust, and Drive Results Through Story, and what it takes to turn storytelling into a working business habit rather than a skill reserved for the keynote stage. Yaeger and John Jantsch dig into why the book’s ten storytelling elements aren’t a formula, why artificial intelligence can’t write a business’s story for it, and how a founder with no communications team can still do the kind of research that produces a genuinely personal connection.

    The conversation moves into the practical side of business storytelling: which three stories every company should have ready to tell, why the strongest ones often center on a customer or employee instead of the owner, and what the numbers say about storytelling’s effect on revenue. Yaeger also addresses the founders who believe their business is too ordinary to have a story worth telling.

    This episode is built for small business owners, marketers, agencies, and consultants who want to use storytelling for trust and brand building but haven’t had a research team, book deal, or decades of interview experience behind them.

    Guest Bio

    Don Yaeger is a National Speakers Hall of Fame inductee, 13-time New York Times bestselling author, and longtime associate editor at Sports Illustrated. Over more than 1,000 interviews with athletes and executives, he has co-written books with Walter Payton, John Wooden, and Deion Sanders, selling more than 7 million copies. He returns to the podcast as a repeat guest to share what 3 decades of pulling stories out of people has taught him about making storytelling an operating habit inside any business.

    Key Takeaways

    • Artificial intelligence can produce words, but not the human “heart” that makes a story land. It also tends to invent details, so it can’t be trusted to build a company’s story.
    • Public sources most people overlook, like old yearbooks and charity board bios, often hold small personal details that create fast, authentic connection before an interview even starts.
    • Every business should have 3 stories ready at any time: an origin story built around why the business started, not just what it does, a customer story, and an employee story.
    • The strongest business stories often aren’t about the owner. Customer and employee stories tend to build more trust and give a company a real edge over competitors telling generic claims.
    • Storytelling has a measurable effect on value. A documented experiment turned $193.50 worth of ordinary objects into $8,000 in 4 days simply by attaching a personal story to each one.

    Great Moments

    • [01:22] – Yaeger explains why the book’s claim that “no formula governs a great story” doesn’t contradict its 10 specific storytelling elements.
    • [08:21] – Yaeger traces storytelling back through human history, from cave paintings to the modern sales call.
    • [10:34] – Yaeger recalls asking people if they’d be better salespeople, leaders, or parents if they told better stories, and how the answer is never no.
    • [15:21] – Jantsch and Yaeger debate whether a good story has to be entirely true, and where embellishment crosses a line.
    • [17:52] – Yaeger points out that the struggle behind every “overnight success” is usually the part nobody hears about.

    Memorable Quotes

    • “If I can build the story around people instead of statistics, the story always remains more memorable.” — Don Yaeger
    • “I don’t want the story everybody else gets. I’m looking for something I can pull from you that you may not have wanted to say when the conversation began.” — Don Yaeger
    • “Commerce occurs when connection is built.” — Don Yaeger
    • “People like people who are like them, so you have to understand who they are and then draw out that point of connection.” — Don Yaeger
    • “There are plenty of ways to let the world know how special you are without pumping yourself up.” — Don Yaeger

    Resources

    • The Business of Storytelling: Inspire Action, Build Trust, and Drive Results Through Story (Book on Amazon)
    • Don Yaeger’s Website

    John Jantsch (00:01.038)

    So some people walk into a room with more credentials, more data, more experience maybe, than anyone else there and still get ignored. Somebody else with less of all three changes minds instead. And the difference always comes down to who knew how to tell a better story. Hello and welcome to the Ductape Marketing Podcast. This is John Jantsch, and my guest today is Don Yeager, a repeat guest, National Speaker’s Hall of Fame inductee, 13 time New York Times.

    Best selling author and longtime associate editor at Sports Illustrated. And I can go on and on about all books about some of our famous sports sport sports stars. But well for for the purpose of this show, we’re gonna talk about his latest book, The Business of Storytelling, Inspire Action, Build Trust, and Drive Results Through Stories. So welcome back, Don.

    Don Yaeger (00:38.984)

    Just makes me sound old. Yeah.

    Don Yaeger (00:53.778)

    Hey, thanks, John. I always appreciate the opportunity to spend a little time with you.

    John Jantsch (00:56.782)

    Well, so let’s dive right into the book. you have some universal truths in this book. it’s kind of four f based al around that or structured around that. and this is the one that I this is the one I wanted to test. It says no formula governs a great story, but then you give us like 10 elements to build a great story. So how do you square those two things?

    Don Yaeger (01:22.814)

    But but the ten elements are not a formula. The formula is plus dot you know, you know, insert hero here, insert challenge there, and out comes transformation. these are elements that amount that allow a great story to come together. And I just I just know these elements to be true and they and you cannot really tell a great story without without covering that waterfront.

    John Jantsch (01:30.37)

    Yeah, yeah.

    Right, right, right. Yeah.

    John Jantsch (01:49.805)

    Now you, occupational hazard, let’s call it that, you know, have interviewed thousands of people. you’ve heard thousands of stories, and some of your the people that you’ve chronicled books are amazing storytellers. so how do you translate that to the person that maybe, you know, certainly doesn’t have that background, but but maybe, you know, doesn’t have a communications team, you know, is really just kind of trying to

    Be more authentic in a world of AI. I mean, how do you translate that to them?

    Don Yaeger (02:23.069)

    Well, first off, thanks for saying those words because I think that’s a real driver in all of it, right? I mean, I think there are so many people that think I’m gonna seed that s I’m gonna I’m gonna ask AI to tell my story for me. and the one thing I will promise you is that the one is that AI cannot tell your story for you. in fact if you lean into it, y you may or may not have any control about what your story shows up to be when when you’re when you’re suddenly introduced. AI

    John Jantsch (02:25.358)

    Yeah, yeah, yeah.

    John Jantsch (02:33.869)

    Yeah.

    John Jantsch (02:49.422)

    Sure.

    Don Yaeger (02:53.179)

    as we know, likes to make things up. But on top of that, it also has it has weaknesses that that remain and will probably always remain. The one thing AI can’t do is is is bring heart to the to the equation, right? obviously it’s very, very not very insightful of me to say, but that a computer can’t bring heart to the equation. But that’s what a great story does, right? A great story takes statistics and numbers and everything else and it and it and it wraps them

    John Jantsch (02:56.27)

    Yeah.

    Don Yaeger (03:22.959)

    in a heart and that ability to kind of humanize a good story belongs to us.

    John Jantsch (03:32.633)

    So you know, I think there are two ends of this because I have listeners that need to pull a story out of somebody. and certainly I have people that have a story they need to tell. particularly thinking about the person that needs to pull a story. when you start when you start interviewing somebody, you know

    I’m I’m guessing there are some people that just get right to the heart of it. I’m sure there are also some people that put up a mask and it’s like here’s the story I w Okay Here’s the story I want you to hear. I mean, how do you actually get to the real story when when you or or do you just realize, hey, they’re not gonna tell me anything, I’m done.

    Don Yaeger (03:58.942)

    Most most put at the mask. Yeah. Right.

    Don Yaeger (04:10.963)

    So I don’t give up on it. one thing I one thing you know, if you do the right prep work, right? You’re listening to somebody, or you’re reading stories with someone’s interview involved. one thing that happens is you become really clear, like these are the stories they’re just used to telling, right? These are the ones that it’s like, you know, they they pull up pull a little cord and then you know, it just spews out. and at the end of the day, what I’m always trying to do is,

    John Jantsch (04:12.323)

    Yeah, yeah.

    John Jantsch (04:27.66)

    Yeah, right, right.

    Yeah.

    Don Yaeger (04:38.375)

    be aware of those stories so that if they start going there, I can immediately kind of start to shift it in another direction. I do not want the story everybody else gets when they’re in conversation with John Jatch, right? I’m I’m looking for something that I can pull from you that that you may not have wanted to say when this conversation began. I have lots of experience doing that, but I think the real key is you have to know what you don’t want.

    John Jantsch (04:57.975)

    Mm.

    Don Yaeger (05:06.619)

    in order to really start beginning to drive people to where you hope to get. And so research is an enormous part of what I do when I’m trying to pull a good story from someone. I’ve

    John Jantsch (05:20.492)

    You you you are you gonna try to get me to cry, Don? Is that the is that the goal? So so let me push back just a moment because I mean you’re interviewing, you know, Deion Sanders, Walter Payton. there’s a lot out there about them. I mean, you can find all the stuff, but what about the CEO of a small, you know, private company? there’s not a lot maybe out there.

    Don Yaeger (05:23.411)

    I I i it will not be long, brother. I’m gonna have I’m gonna make that happen. So get ready. Get the tissues out. I will make it happen.

    John Jantsch (05:49.154)

    How do you do that research and prepare when there’s not much to know?

    Don Yaeger (05:54.43)

    So first off, I I would I would disagree with you that in today’s day and age, there is almost in today’s day and age, there are so many places you can go. I did I did an interview this morning or I I I was on with someone this morning in which I actually I shared with her, hey, you know, I saw in classmates, and you may not even know what classmates actually shows you the yearbooks of people you know, dating back a hundred years.

    John Jantsch (05:56.866)

    Okay. Well that’s true. You know what they ate for lunch, right? Yeah.

    Right.

    John Jantsch (06:17.452)

    Mm-hmm. Sure.

    Don Yaeger (06:24.407)

    And I said, hey, I I was looking at Georgia Christian co Georgia Christian High School, where you graduated in 2005. I saw the the the yearbook and I noticed that you were not just a three-sport athlete, you were also a homecoming queen. And like she was blown away. It was an but it was a simple website. you know, that that’s not a difficult one to get to, not a difficult one to track. It wasn’t stalking. It’s a yearbook. The yearbooks are available in libraries.

    John Jantsch (06:43.054)

    Yeah, yeah, yeah.

    John Jantsch (06:47.375)

    Yeah.

    Don Yaeger (06:52.639)

    so she just understood that I had taken time to learn something about her, that sh that that she wasn’t she wasn’t even aware other people might know. And and it gave me an opportunity to talk about being a three sport athlete myself. And, you know, I was not homecoming queen, but I, you know, and then between that, suddenly we go from I know something about her, I’ve now connected to her because we both have something in common, and then it allows me to go into different places.

    John Jantsch (07:09.113)

    Yeah.

    John Jantsch (07:14.521)

    Yeah.

    Don Yaeger (07:21.807)

    in the interview process. So the idea of actually finding there are unique websites out there. Almost any one of these CEOs is on a charity board. There’s amazing things you’ll find about them in the charity board website that most people won’t go to look.

    John Jantsch (07:31.533)

    Yeah, yeah.

    John Jantsch (07:36.333)

    Yeah, they put per personal details down there sometimes, right? Yeah.

    Don Yaeger (07:39.666)

    Right. And about the things that they’ve done for the charity that might be really inspirational. And if I can know that, again, it’s very public knowledge. I’m not finding stuff that isn’t available to everyone else. I’m just doing it well enough that at the end of the day they they realize I’ve cared for them by check by learning about them.

    John Jantsch (07:43.512)

    Yeah, yeah.

    John Jantsch (08:00.633)

    So let’s get back to the to the to the book, but but one one more stop. Let’s unpack a little bit in your mind why storytelling is so effective. you know, the neuroscience actually even you know, behind it, not just as a tool, but but really as a as a you know, I mean just part of our human nature.

    Don Yaeger (08:21.191)

    Yeah, absolutely. Well, I mean, think about it. It is the it is the the the one thing that’s been true over the history of mankind is that we relay knowledge through story. We relay history through story. We relay we build relationship through story. And I mean, you you go to the caves, you know, you you you walk into the crypts.

    John Jantsch (08:32.857)

    Yeah.

    Don Yaeger (08:45.805)

    And you you see things that that will blow your mind because you’ll understand that this was the way history was recorded. It’s just as true today. the way that I want you to to to understand me is through story. The way I hope I can relate to you is through story. And some people might argue that they don’t need to know how to do this, that it’s just a nice to have. I argue that it’s a it’s a it’s an imperative. In today’s day and age,

    Revenue changes hand money changes hands over storytelling.

    John Jantsch (09:23.449)

    Well and j and just just the human connection. I mean, you know, obviously storytelling in the boardroom, storytelling, you know, on a on a you know, reporting, you know, call of the numbers and whatnot are factor, but just even like making a connection in a sales call. You know, my my dad you know, was an old kind of bag carrying salesperson and he’d walk in the office, first thing he did is like

    There’s Walter Payton’s jersey, you got three kids, you got, you know, there’s Muhammad Ali. It’s like I know how to connect with you now because I’ll f I find that common thing and you know, it’s corny as it and contrived, maybe as it can sound, you know, it just it speeds up the process of connection so much. Yeah.

    Don Yaeger (10:04.665)

    Absolutely. And what happens? So, you know, sometimes we love to say people like to buy from people, you know, like them. People like people like them, right? So how do you make sure that they know that you’re like them? You understand who they are, and then you try to draw that point of connection. So it’s not just again, this it’s it’s funny. I started several years ago as I was really I I had been working for years to become known as a good storyteller.

    John Jantsch (10:16.588)

    Yeah, right, right, right.

    John Jantsch (10:20.973)

    Mm-hmm.

    Don Yaeger (10:34.013)

    Great storyteller. I’ve been fortunate. The likes of Simon Sinek, the likes of John Maxwell, people that I value greatly refer to me in that way, and that’s awesome. But one of the things I started asking people is: would you be better as a salesperson if you could tell better stories? Would you be a better leader if you could tell better stories? would you be a better parent if you could tell better stories? And the truth is.

    John Jantsch (10:54.223)

    Mm-hmm.

    Don Yaeger (11:01.277)

    There almost is there’s not a question I could ask you where you would say no. There is this is a skill that if mastered makes you better across the board.

    John Jantsch (11:04.879)

    Yeah.

    John Jantsch (11:16.419)

    So let’s get to I we we kind of flirted with them a little bit, but maybe you could pack, unpack, you don’t have to do do them all, but just the book is based on these universal truths. So maybe kind of cover the range of those and maybe you can pick I always like to to to ask authors to pick their favorite.

    Don Yaeger (11:37.568)

    well, the universal truths, there are four of them, and there are 10 elements. But four the four universal truths, the first one’s extra. I mean, it’s just the first one we would have to agree on between each other because I know it, I know you know it to be true. That’s that the best stories are always human. I could tell you a story about our productivity. I could tell you a story about how many more widgets we are producing today than we’ve ever produced before. But if I tell you

    John Jantsch (11:41.177)

    Right.

    Don Yaeger (12:05.447)

    How those widgets are changing lives for one family or for for for a for a user of our product or or how producing more widgets is making more of our employees wealthy enough to be able to rise to pull themselves out of poverty. If I can use if I can build the story around people, it always remains more memorable.

    John Jantsch (12:31.555)

    Well, I you know, just just go look at a dozen Google reviews of say like a I don’t know, a furnace company or something. And I will tell you that none of the five star reviews will say this is the best company. They will say rusty fixed our boiler. And he was, you know, he closed the door and he was so kind to my children. I mean, that’s I mean that that that proves your point, doesn’t it? I mean, that’s what people connected with.

    Don Yaeger (12:46.536)

    Yes.

    Don Yaeger (12:50.803)

    Right.

    Right. And and it it is. It’s the every s every great story is human, right? That’s so that’s that’s first and foremost. The second of the universal truths is that it is the story behind the story that is the story. You know, many people think, I can I’m gonna tell you my story about my life and and often it’s very linear, but it’s the things that made that happen that that absolutely that’s the real story. The story is what what is what’s

    John Jantsch (12:57.295)

    Yeah.

    John Jantsch (13:06.031)

    Mm-hmm.

    Don Yaeger (13:23.217)

    behind the curtain. And so you have to start asking you the questions of, you know, why, what, how, who was involved in the, in the, in, in the, and as you’re telling the story and you start bringing some of those questions to the fore, you start finding the deeper story, the deeper story about why what you’re doing matters and who it matters to. the third of the universal truths is that we argue all the time that that there’s money in storytelling.

    John Jantsch (13:52.322)

    This is

    Don Yaeger (13:52.926)

    That is not and and there’s and and we use a number of examples, but one that I love is a couple of journalists, a couple of researchers several years ago decided to take on a project and they took, they bought a hundred items off eBay, right? Hundred chotkis, little things worth nothing. never paid more than never paid more than three dollars for a single item. then they distributed those hundred items to guys like you and me, right? Storytellers.

    And so but they they they picked some really great ones. And and in the distribution, they asked each person to take their tchotchke and create a story about its significance to them as the seller. And then they put them back on the on on eBay, and while they spent $193.50 to start, they put them back on eBay, and the second go round, they they earned $8,000.

    John Jantsch (14:52.354)

    Yeah.

    Don Yaeger (14:52.935)

    Hundred ninety three turned into eight thousand dollars in four days because stories suddenly made this no longer was it a you know, a car key. It was the key to the most amazing vehicle I’ve ever owned in my life. And I had to sell the vehicle. I kept the key because it meant something to me. Now it’s now it’s at a place in my life where I I’d I’d love if you happen to be a fan of Maserati, I’d love for you to own this key so that you too anyway.

    John Jantsch (15:21.744)

    Well wait a minute though. That that made made me my first bubble, thought bubble that went off in my head is did the stories have to be true? Yeah, yeah.

    Don Yaeger (15:21.863)

    You get it, right? And if

    Don Yaeger (15:30.449)

    No, they did in this particular case, they actually note in each story this story was created for this item by author Doug Dorst or you know, whoever it is. And but they make it clear. Now, I argue that the good stories we want to tell have to be true. Right. Now, could there occasionally be some embellishment for the terms for the for the value of speeding something along? Yes. but you know, we’re not.

    John Jantsch (15:37.168)

    How funny. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. Yeah.

    John Jantsch (15:48.42)

    Well of course. Yeah, yeah, yeah, yeah.

    John Jantsch (15:57.52)

    Yeah.

    Don Yaeger (16:00.146)

    We’re we we are in the we’re in the process of developing true stories.

    John Jantsch (16:05.785)

    So I I’m not sure we got through all four truths, but I I I want to circle back to one thing. all the best stories, like you said, are human, but also they’re probably personal for some people. and I some people are it’s hard for them to tell them. They don’t think anybody wants to know that part. they’re afraid it’ll make them look bad. but but but my guess is sort of the deeper or the more deeply personal, the more

    Probably engagement. Yeah.

    Don Yaeger (16:37.649)

    Without question, because well, a couple of things happen. Number one, there’s probably as you’re telling the story, there’s some piece of it that they have lived too, right? So in some way they are on the journey with you as you’re telling your story. But secondly, they get a chance to know they know something about you that they didn’t know when the conversation began. And in the process, a connection is built, right? And we and we’ve already discussed it a couple different times. commerce occurs when connection is built.

    John Jantsch (16:52.75)

    Yeah.

    John Jantsch (17:06.265)

    Yeah. Yeah, yeah.

    Don Yaeger (17:07.313)

    Right. And so if we can make sure that we are we’re finding ways to to become in relationship and sometimes my my ability to share my cancer journey, especially if I know that you’ve been on if you’ve had dealt with cancer, right? it will allow the two of us to w we we have that moment together. And and yes, a pr every great story has to have you in it in some way.

    John Jantsch (17:37.391)

    Yeah, and I think from a business standpoint too, you know, a lot of times when somebody encounters a business, all they see is, wow, this is a great business. but the story behind it is the struggle that actually made it. So I think has real value, doesn’t it? Yeah.

    Don Yaeger (17:52.07)

    Absolutely. It’s never you know, there are a lot of people like to look at you, me, people and say, wow, what how how incredible that success is. But that grinding that occurred 20 years ago when we were struggling to try to figure out how we were gonna pay that week’s that week’s grocery bill, that’s a that’s that’s it’s lost on most because we’re so busy assuming that everything has always been that way for John Jance or Don Yeager, right?

    John Jantsch (18:11.471)

    Yeah.

    John Jantsch (18:21.199)

    Right. So for particularly for a small business, do do you and I know you don’t necessarily consult on, you know, with small business owners in that way, but certainly the book covers information for them. do you is are there like three or four core stories that every business needs to have and be able to tell kind of at the drop of a hat?

    Don Yaeger (18:43.603)

    Completely. I would say number one, you know, we all would agree the origin story. You came together to solve, to, to, to, to cre to patch a hole in the universe. What was the whole? And what made you understand the whole? Like what was so so when I say the story behind the story, don’t tell me what you came along to solve. Tell me why you came along to solve it. what was it that made that happen? Number one. Number two,

    John Jantsch (18:55.971)

    Yeah.

    Don Yaeger (19:11.789)

    there’s always a great story about some customer whose life you changed by doing really well at what you do. Tell me the story about one of your customers. Number three, tell me the story about one of your employees, right? It this so many of these stories they don’t have to, they don’t have to be about you, the owner. They’re they’re often more effective if they’re about the people that you have been that have been part of the journey with you.

    John Jantsch (19:16.345)

    Mm.

    John Jantsch (19:26.829)

    Right.

    Don Yaeger (19:39.752)

    And if you could tell me the story about one of your employees and how one of the things I mean, I I did some work the other day for a company that regularly they do call centers, they’re working with people in life insurance, and they were so taken by trying to deal with a man who was struggling with the with the loss of his wife, and he was just trying to figure out what the policy looked like. the person on the on the phone just realized, you know what, I want to send something extra to this guy. And so went online to Harry and David, sent some pairs.

    To the man. The man writes a note to the CEO of the insurance company and says, there’s no way she could have known this, but pears were my wife’s favorite fruit. And that your employee was able to do something like that. That’s a story the CEO now gets to tell. And it what it says is this is how we care for the people that we consider our policy holders, right? The people that are our stakeholders. And this is the freedom I give my employees to care for them.

    John Jantsch (20:18.892)

    Mm.

    John Jantsch (20:26.008)

    Yeah.

    Don Yaeger (20:37.863)

    There’s so much in that story that will make you attracted to his company, more so than one of the others, that it gives him a competitive advantage when he tells it.

    John Jantsch (20:49.293)

    Well and and certainly goes way beyond any kind of words on a website, you know, of we we care, we’re the carrying company, right? Trust us.

    Don Yaeger (20:57.437)

    We’re the carrying company. Let me give you our slogan and in fact let me show you the per the posters which which explain all of our core values, all twenty eight of our core values, right? none of which your employees can re can recite.

    John Jantsch (21:10.925)

    Yeah, yeah, yeah. So a lot of small business owners, I I and and I wonder if you could just we could wrap this up with you just kind of giving them advice. don’t like to talk about themselves, don’t think they have a story. so how does if you were going to advise somebody whose job it was to create those core stories that the company should have, what do you think is the best way for them to get at that when there’s really not any ready access to it?

    Don Yaeger (21:40.538)

    So, I mean one of the things you might want to do is just literally there are lots of right now, there are lots of unemployed writers in the world, right? There are a lot of writers looking for jobs because newspapers are closing, magazines are closing. There are a lot of people who understand how to how to take stories and help them. So there’s plenty probably of access to talent. You can go to Fiverr and you can find all kinds of people. But more importantly, understand the story doesn’t have to be about you. If that’s your if that’s your place of discomfort, make the story about your customers.

    John Jantsch (21:48.377)

    Yeah.

    Yeah, yeah.

    John Jantsch (22:04.397)

    Yeah.

    Don Yaeger (22:09.809)

    Make that story about your employees. As I said, make that story about the moment that this that it became apparent that this company needed to exist. And yes, you might be included in the story, but it’s not about you. And if that’s a point of discomfort for you, there are plenty of ways to let the world know how special you are without pumping yourself up.

    John Jantsch (22:34.637)

    Well Don, I appreciate you taking a few moments to stop by is there some place you’d invite people to find out more about your work and certainly pick up a copy of the business of storytelling?

    Don Yaeger (22:42.855)

    Well, business storytelling is, as I love to say, available anywhere that that good books are sold. so if you go there and it’s not there, it’s not a good bookstore. but yeah, Amazon is a is a big is a big part of our our strategy. but they can also I’d love if they’re if they’re a friend of yours, reach out to me. I’m at Don Yeager dot com. And and I and I own all spellings of my last name so you can butcher it.

    John Jantsch (22:50.219)

    Yeah, yeah.

    Don Yaeger (23:12.135)

    And you will probably still end up at my website, but it’s Don Y-A-E-G-E-R dot com.

    John Jantsch (23:17.143)

    Yeah. Probably a lot of E’s before the A. Certainly. Well, and I would Well just like I own D D U C K marketing, as po a as well, ’cause a lot of people you still use that erroneously, so it directs to the right place. But and I would also encourage folks you know, if especially if you’re a fan of of good sports writing, certainly Don’s entire catalog.

    Don Yaeger (23:20.049)

    There is a lot of that.

    And I own that site. I own that site too, by the way.

    Don Yaeger (23:36.669)

    Right. That’s right.

    John Jantsch (23:46.228)

    of of books would would have something for you there too. So well Don, it was great for you taking a moment to stop by and hopefully we’ll run into you again soon out there on the road.

    Don Yaeger (23:54.362)

    Always. Thanks, John.

    powered by

  • 12 Photos Where the Natural World is On its Fullest Display

    12 Photos Where the Natural World is On its Fullest Display

    There are moments when nature looks so spectacular that a photograph almost feels unbelievable. A landscape suddenly transforms, thousands of animals gather in one place, or a fleeting natural event creates a scene that may never happen in quite the same way again. The people behind these photographs were simply lucky enough to be there with a camera ready. Once you see what they captured, it is hard not to wonder what else is happening in the world right now that nobody is around to witness. These 12 photos capture nature at its most breathtaking, unexpected, and completely unforgettable

    The post 12 Photos Where the Natural World is On its Fullest Display appeared first on Den of Geek.

    Not all that long ago, few expected a superhero movie to actually care about the comics. We just had to accept that the Batman of the movies would blow up a chemical factory, the Red Skull would be an Italian guy who got facial reconstruction surgery as soon as possible, and that the X-Men would scoff at the very idea of yellow spandex. Of course that really began to change with the incredible suit that Tobey Maguire sported in his Spider-Man movies, and by the time that the Avengers wearing outrageous costumes on multiversal adventures, it seemed as if comic books had finally hit the mainstream.

    But some recently leaked set photos from the upcoming HBO series The People vs. Gorilla Grodd have shown just how far superhero adaptations had yet to go… and what they’ve finally achieved with this series about Superman’s pal Jimmy Olsen (Skyler Gisondo) investigating a super simian. In these photos, we clearly see someone on set in an old-school gorilla costume as Grodd graduates college (complete with cap and gown) or has a romantic outing (dressed in a fancy tux). With those photos, we have reason to believe that the perfect superhero adaptation has arrived.

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    The People vs. Gorilla Grodd takes the form of a true crime documentary, which makes sense when you realize that the showrunners are Dan Perrault and Tony Yacenda, creators of the Netflix series American Vandal. They reteam with American Vandal star Jimmy Tatro, who plays Gorilla Grodd, a classic nemesis of the Flash. First introduced in The Flash #106 (1959), by John Broome and Carmine Infantino, Gorilla Grodd hails from Gorilla City, an enclave of intelligent gorillas. Although most of Gorilla City’s citizens are peaceful, including the wise leader Solovar, our dear Grodd thirsts for power and uses his psychic abilities to attempt to conquer the world.

    As the title The People vs. Gorilla Grodd indicates, Grodd will be just as ambitious in the DCU. However, the set photos suggest that there’s more to Grodd than just a maniacal lust for power. The show will focus on a report put together by Olsen and other reporters at the Daily Planet from Superman, including Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and editor Perry White (Wendell Pierce). Together, they’ll uncover the backstory of the would-be world-ruler, which apparently includes time at a university and a potential romance.

    Which is, of course, great. Ever since James Gunn and Peter Safran took over as heads of DC Studios, Warner Bros. superhero projects have begun embracing the weirdest part of comic books, while still telling moving, character-driven stories. Peacemaker is indeed about a guy with a shiny helmet who fends off alien invasions and visits a Nazi alternate reality, but it’s also about a man recovering from toxic masculinity to understand his feelings. Superman addressed black site prisons, and Supergirl dealt with human trafficking, but both did so through weird concepts like pocket dimensions and intergalactic bounty hunters. Even Lanterns, which initially seemed like a grounded buddy cop mystery, has shape-shifting androids and all-powerful alien overseers.

    Yet it’s still exciting and refreshing to see The People vs. Gorilla Grodd so openly embrace super-simians. As weird and goofy as the concept of a monkey or ape with superpowers is, it’s also baked into superhero comics, especially those at DC. Sure, Marvel has characters like the Fantastic Four villain the Red Ghost, who commands an army of Super Apes, and Gorilla-Man, but its DC who really perfected the trope. In addition to Gorilla Grodd and Solovar, the company has featured Beppo the Supermonkey from Krypton, Congorilla (a pulp adventurer has his mind placed inside that of a golden ape), Titano (think King Kong, if the Eighth Wonder of the World also shot kryptonite lasers from his eyes), the Francophone revolutionary Monsieur Mallah, and the Ultra-Humanite, DC’s first supervillain.

    Given how integral to the DC Universe these primates are, it’s no surprise that some have shown up in previous comic book adaptations. Most famously, Gorilla Grodd appeared in several CW shows, and even went back in time to try to kill a young Barak Obama in Legends of Tomorrow.

    But those were shoddy CGI recreations. As we see in the new set photos, The People vs. Gorilla Grodd is going practical, at least as a base (surely, the on-set suit will be enhanced with CGI effects, not unlike the Thing suit that Ebon Moss-Bachrach wore while shooting Fantastic Four: First Steps). That they’re letting a silly premise be as weird as possible and still finding places for real pathos proves that the series will take this goofy concept with complete seriousness. Which is what superhero stories fundamentally are, silly ideas taken seriously and given weight. Previous adaptations have come close, but if these photos are to be believed, then The People vs. Gorilla Grodd will be the point where superhero adaptations finally evolve.

    The People vs. Gorilla Grodd is now in production.

    The post DC’s Gorilla Grodd Set Leaks Reveal Incredibly Promising Details appeared first on Den of Geek.

  • 15 Celebrities Who Had Surprisingly Ordinary Jobs Before They Were Famous

    15 Celebrities Who Had Surprisingly Ordinary Jobs Before They Were Famous

    Before the red carpets, sold out shows, blockbuster movies, and millions of followers, some celebrities had jobs that feel almost impossible to connect with their famous lives today. They stocked shelves, answered phones, waited tables, worked behind counters, and handled everyday responsibilities just like anyone else. Knowing what these stars actually did before fame makes their stories even more entertaining, especially when the job seems completely unrelated to the career that eventually made them household names. These are the surprisingly ordinary jobs celebrities had before anyone knew their names, and a few of them are genuinely hard to believe.

    The post 15 Celebrities Who Had Surprisingly Ordinary Jobs Before They Were Famous appeared first on Den of Geek.

    Not all that long ago, few expected a superhero movie to actually care about the comics. We just had to accept that the Batman of the movies would blow up a chemical factory, the Red Skull would be an Italian guy who got facial reconstruction surgery as soon as possible, and that the X-Men would scoff at the very idea of yellow spandex. Of course that really began to change with the incredible suit that Tobey Maguire sported in his Spider-Man movies, and by the time that the Avengers wearing outrageous costumes on multiversal adventures, it seemed as if comic books had finally hit the mainstream.

    But some recently leaked set photos from the upcoming HBO series The People vs. Gorilla Grodd have shown just how far superhero adaptations had yet to go… and what they’ve finally achieved with this series about Superman’s pal Jimmy Olsen (Skyler Gisondo) investigating a super simian. In these photos, we clearly see someone on set in an old-school gorilla costume as Grodd graduates college (complete with cap and gown) or has a romantic outing (dressed in a fancy tux). With those photos, we have reason to believe that the perfect superhero adaptation has arrived.

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    The People vs. Gorilla Grodd takes the form of a true crime documentary, which makes sense when you realize that the showrunners are Dan Perrault and Tony Yacenda, creators of the Netflix series American Vandal. They reteam with American Vandal star Jimmy Tatro, who plays Gorilla Grodd, a classic nemesis of the Flash. First introduced in The Flash #106 (1959), by John Broome and Carmine Infantino, Gorilla Grodd hails from Gorilla City, an enclave of intelligent gorillas. Although most of Gorilla City’s citizens are peaceful, including the wise leader Solovar, our dear Grodd thirsts for power and uses his psychic abilities to attempt to conquer the world.

    As the title The People vs. Gorilla Grodd indicates, Grodd will be just as ambitious in the DCU. However, the set photos suggest that there’s more to Grodd than just a maniacal lust for power. The show will focus on a report put together by Olsen and other reporters at the Daily Planet from Superman, including Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and editor Perry White (Wendell Pierce). Together, they’ll uncover the backstory of the would-be world-ruler, which apparently includes time at a university and a potential romance.

    Which is, of course, great. Ever since James Gunn and Peter Safran took over as heads of DC Studios, Warner Bros. superhero projects have begun embracing the weirdest part of comic books, while still telling moving, character-driven stories. Peacemaker is indeed about a guy with a shiny helmet who fends off alien invasions and visits a Nazi alternate reality, but it’s also about a man recovering from toxic masculinity to understand his feelings. Superman addressed black site prisons, and Supergirl dealt with human trafficking, but both did so through weird concepts like pocket dimensions and intergalactic bounty hunters. Even Lanterns, which initially seemed like a grounded buddy cop mystery, has shape-shifting androids and all-powerful alien overseers.

    Yet it’s still exciting and refreshing to see The People vs. Gorilla Grodd so openly embrace super-simians. As weird and goofy as the concept of a monkey or ape with superpowers is, it’s also baked into superhero comics, especially those at DC. Sure, Marvel has characters like the Fantastic Four villain the Red Ghost, who commands an army of Super Apes, and Gorilla-Man, but its DC who really perfected the trope. In addition to Gorilla Grodd and Solovar, the company has featured Beppo the Supermonkey from Krypton, Congorilla (a pulp adventurer has his mind placed inside that of a golden ape), Titano (think King Kong, if the Eighth Wonder of the World also shot kryptonite lasers from his eyes), the Francophone revolutionary Monsieur Mallah, and the Ultra-Humanite, DC’s first supervillain.

    Given how integral to the DC Universe these primates are, it’s no surprise that some have shown up in previous comic book adaptations. Most famously, Gorilla Grodd appeared in several CW shows, and even went back in time to try to kill a young Barak Obama in Legends of Tomorrow.

    But those were shoddy CGI recreations. As we see in the new set photos, The People vs. Gorilla Grodd is going practical, at least as a base (surely, the on-set suit will be enhanced with CGI effects, not unlike the Thing suit that Ebon Moss-Bachrach wore while shooting Fantastic Four: First Steps). That they’re letting a silly premise be as weird as possible and still finding places for real pathos proves that the series will take this goofy concept with complete seriousness. Which is what superhero stories fundamentally are, silly ideas taken seriously and given weight. Previous adaptations have come close, but if these photos are to be believed, then The People vs. Gorilla Grodd will be the point where superhero adaptations finally evolve.

    The People vs. Gorilla Grodd is now in production.

    The post DC’s Gorilla Grodd Set Leaks Reveal Incredibly Promising Details appeared first on Den of Geek.

  • 15 Movies That Accidentally Predicted Things That Actually Happened

    15 Movies That Accidentally Predicted Things That Actually Happened

    Some movies get the future so strangely right that the coincidence feels almost uncomfortable. A fictional scene can suddenly resemble a real headline, a piece of technology can appear years before anyone expects it, or an absurd idea can become part of everyday life. The filmmakers were not necessarily trying to predict anything. They were imagining possibilities, exaggerating trends, or simply creating a good story. Then reality decided to catch up. These movies contain moments that looked ridiculous when audiences first saw them and became surprisingly familiar later. Once you know what eventually happened, watching these scenes again feels like discovering a secret hidden in plain sight.

    The post 15 Movies That Accidentally Predicted Things That Actually Happened appeared first on Den of Geek.

    Not all that long ago, few expected a superhero movie to actually care about the comics. We just had to accept that the Batman of the movies would blow up a chemical factory, the Red Skull would be an Italian guy who got facial reconstruction surgery as soon as possible, and that the X-Men would scoff at the very idea of yellow spandex. Of course that really began to change with the incredible suit that Tobey Maguire sported in his Spider-Man movies, and by the time that the Avengers wearing outrageous costumes on multiversal adventures, it seemed as if comic books had finally hit the mainstream.

    But some recently leaked set photos from the upcoming HBO series The People vs. Gorilla Grodd have shown just how far superhero adaptations had yet to go… and what they’ve finally achieved with this series about Superman’s pal Jimmy Olsen (Skyler Gisondo) investigating a super simian. In these photos, we clearly see someone on set in an old-school gorilla costume as Grodd graduates college (complete with cap and gown) or has a romantic outing (dressed in a fancy tux). With those photos, we have reason to believe that the perfect superhero adaptation has arrived.

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    The People vs. Gorilla Grodd takes the form of a true crime documentary, which makes sense when you realize that the showrunners are Dan Perrault and Tony Yacenda, creators of the Netflix series American Vandal. They reteam with American Vandal star Jimmy Tatro, who plays Gorilla Grodd, a classic nemesis of the Flash. First introduced in The Flash #106 (1959), by John Broome and Carmine Infantino, Gorilla Grodd hails from Gorilla City, an enclave of intelligent gorillas. Although most of Gorilla City’s citizens are peaceful, including the wise leader Solovar, our dear Grodd thirsts for power and uses his psychic abilities to attempt to conquer the world.

    As the title The People vs. Gorilla Grodd indicates, Grodd will be just as ambitious in the DCU. However, the set photos suggest that there’s more to Grodd than just a maniacal lust for power. The show will focus on a report put together by Olsen and other reporters at the Daily Planet from Superman, including Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and editor Perry White (Wendell Pierce). Together, they’ll uncover the backstory of the would-be world-ruler, which apparently includes time at a university and a potential romance.

    Which is, of course, great. Ever since James Gunn and Peter Safran took over as heads of DC Studios, Warner Bros. superhero projects have begun embracing the weirdest part of comic books, while still telling moving, character-driven stories. Peacemaker is indeed about a guy with a shiny helmet who fends off alien invasions and visits a Nazi alternate reality, but it’s also about a man recovering from toxic masculinity to understand his feelings. Superman addressed black site prisons, and Supergirl dealt with human trafficking, but both did so through weird concepts like pocket dimensions and intergalactic bounty hunters. Even Lanterns, which initially seemed like a grounded buddy cop mystery, has shape-shifting androids and all-powerful alien overseers.

    Yet it’s still exciting and refreshing to see The People vs. Gorilla Grodd so openly embrace super-simians. As weird and goofy as the concept of a monkey or ape with superpowers is, it’s also baked into superhero comics, especially those at DC. Sure, Marvel has characters like the Fantastic Four villain the Red Ghost, who commands an army of Super Apes, and Gorilla-Man, but its DC who really perfected the trope. In addition to Gorilla Grodd and Solovar, the company has featured Beppo the Supermonkey from Krypton, Congorilla (a pulp adventurer has his mind placed inside that of a golden ape), Titano (think King Kong, if the Eighth Wonder of the World also shot kryptonite lasers from his eyes), the Francophone revolutionary Monsieur Mallah, and the Ultra-Humanite, DC’s first supervillain.

    Given how integral to the DC Universe these primates are, it’s no surprise that some have shown up in previous comic book adaptations. Most famously, Gorilla Grodd appeared in several CW shows, and even went back in time to try to kill a young Barak Obama in Legends of Tomorrow.

    But those were shoddy CGI recreations. As we see in the new set photos, The People vs. Gorilla Grodd is going practical, at least as a base (surely, the on-set suit will be enhanced with CGI effects, not unlike the Thing suit that Ebon Moss-Bachrach wore while shooting Fantastic Four: First Steps). That they’re letting a silly premise be as weird as possible and still finding places for real pathos proves that the series will take this goofy concept with complete seriousness. Which is what superhero stories fundamentally are, silly ideas taken seriously and given weight. Previous adaptations have come close, but if these photos are to be believed, then The People vs. Gorilla Grodd will be the point where superhero adaptations finally evolve.

    The People vs. Gorilla Grodd is now in production.

    The post DC’s Gorilla Grodd Set Leaks Reveal Incredibly Promising Details appeared first on Den of Geek.

  • Star Trek: Strange New Worlds Season 4 Episode 8 Review — Orders of Magnitude

    Star Trek: Strange New Worlds Season 4 Episode 8 Review — Orders of Magnitude

    The following contains spoilers for Star Trek: Strange New Worlds season 4, episode 8. Bad admirals appear throughout Star Trek, from The Original Series (“The Doomsday Machine”) and The Next Generation (“The Pegasus”) to Deep Space Nine (the “Homefront”/”Paradise Lost” two-parter). It was probably well past time for Strange New Worlds to do something similar […]

    The post Star Trek: Strange New Worlds Season 4 Episode 8 Review — Orders of Magnitude appeared first on Den of Geek.

    Not all that long ago, few expected a superhero movie to actually care about the comics. We just had to accept that the Batman of the movies would blow up a chemical factory, the Red Skull would be an Italian guy who got facial reconstruction surgery as soon as possible, and that the X-Men would scoff at the very idea of yellow spandex. Of course that really began to change with the incredible suit that Tobey Maguire sported in his Spider-Man movies, and by the time that the Avengers wearing outrageous costumes on multiversal adventures, it seemed as if comic books had finally hit the mainstream.

    But some recently leaked set photos from the upcoming HBO series The People vs. Gorilla Grodd have shown just how far superhero adaptations had yet to go… and what they’ve finally achieved with this series about Superman’s pal Jimmy Olsen (Skyler Gisondo) investigating a super simian. In these photos, we clearly see someone on set in an old-school gorilla costume as Grodd graduates college (complete with cap and gown) or has a romantic outing (dressed in a fancy tux). With those photos, we have reason to believe that the perfect superhero adaptation has arrived.

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    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    The People vs. Gorilla Grodd takes the form of a true crime documentary, which makes sense when you realize that the showrunners are Dan Perrault and Tony Yacenda, creators of the Netflix series American Vandal. They reteam with American Vandal star Jimmy Tatro, who plays Gorilla Grodd, a classic nemesis of the Flash. First introduced in The Flash #106 (1959), by John Broome and Carmine Infantino, Gorilla Grodd hails from Gorilla City, an enclave of intelligent gorillas. Although most of Gorilla City’s citizens are peaceful, including the wise leader Solovar, our dear Grodd thirsts for power and uses his psychic abilities to attempt to conquer the world.

    As the title The People vs. Gorilla Grodd indicates, Grodd will be just as ambitious in the DCU. However, the set photos suggest that there’s more to Grodd than just a maniacal lust for power. The show will focus on a report put together by Olsen and other reporters at the Daily Planet from Superman, including Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and editor Perry White (Wendell Pierce). Together, they’ll uncover the backstory of the would-be world-ruler, which apparently includes time at a university and a potential romance.

    Which is, of course, great. Ever since James Gunn and Peter Safran took over as heads of DC Studios, Warner Bros. superhero projects have begun embracing the weirdest part of comic books, while still telling moving, character-driven stories. Peacemaker is indeed about a guy with a shiny helmet who fends off alien invasions and visits a Nazi alternate reality, but it’s also about a man recovering from toxic masculinity to understand his feelings. Superman addressed black site prisons, and Supergirl dealt with human trafficking, but both did so through weird concepts like pocket dimensions and intergalactic bounty hunters. Even Lanterns, which initially seemed like a grounded buddy cop mystery, has shape-shifting androids and all-powerful alien overseers.

    Yet it’s still exciting and refreshing to see The People vs. Gorilla Grodd so openly embrace super-simians. As weird and goofy as the concept of a monkey or ape with superpowers is, it’s also baked into superhero comics, especially those at DC. Sure, Marvel has characters like the Fantastic Four villain the Red Ghost, who commands an army of Super Apes, and Gorilla-Man, but its DC who really perfected the trope. In addition to Gorilla Grodd and Solovar, the company has featured Beppo the Supermonkey from Krypton, Congorilla (a pulp adventurer has his mind placed inside that of a golden ape), Titano (think King Kong, if the Eighth Wonder of the World also shot kryptonite lasers from his eyes), the Francophone revolutionary Monsieur Mallah, and the Ultra-Humanite, DC’s first supervillain.

    Given how integral to the DC Universe these primates are, it’s no surprise that some have shown up in previous comic book adaptations. Most famously, Gorilla Grodd appeared in several CW shows, and even went back in time to try to kill a young Barak Obama in Legends of Tomorrow.

    But those were shoddy CGI recreations. As we see in the new set photos, The People vs. Gorilla Grodd is going practical, at least as a base (surely, the on-set suit will be enhanced with CGI effects, not unlike the Thing suit that Ebon Moss-Bachrach wore while shooting Fantastic Four: First Steps). That they’re letting a silly premise be as weird as possible and still finding places for real pathos proves that the series will take this goofy concept with complete seriousness. Which is what superhero stories fundamentally are, silly ideas taken seriously and given weight. Previous adaptations have come close, but if these photos are to be believed, then The People vs. Gorilla Grodd will be the point where superhero adaptations finally evolve.

    The People vs. Gorilla Grodd is now in production.

    The post DC’s Gorilla Grodd Set Leaks Reveal Incredibly Promising Details appeared first on Den of Geek.

  • 14 Fun Movie Facts, Nothing More, Nothing Less

    14 Fun Movie Facts, Nothing More, Nothing Less

    Movies are full of little details that make them even more fun once you know them. Some are hidden in plain sight, some happened because of a strange coincidence, and others came from decisions that seemed completely ordinary at the time. There are stories behind famous scenes, unexpected casting choices, bizarre production moments, and tiny details that most viewers would never notice on their own. None of these facts change how you have to watch the movie, but knowing them can make a familiar favorite feel fresh again. Here are fifteen genuinely fun movie facts worth knowing, with no complicated theories or unnecessary overthinking.

    The post 14 Fun Movie Facts, Nothing More, Nothing Less appeared first on Den of Geek.

    Not all that long ago, few expected a superhero movie to actually care about the comics. We just had to accept that the Batman of the movies would blow up a chemical factory, the Red Skull would be an Italian guy who got facial reconstruction surgery as soon as possible, and that the X-Men would scoff at the very idea of yellow spandex. Of course that really began to change with the incredible suit that Tobey Maguire sported in his Spider-Man movies, and by the time that the Avengers wearing outrageous costumes on multiversal adventures, it seemed as if comic books had finally hit the mainstream.

    But some recently leaked set photos from the upcoming HBO series The People vs. Gorilla Grodd have shown just how far superhero adaptations had yet to go… and what they’ve finally achieved with this series about Superman’s pal Jimmy Olsen (Skyler Gisondo) investigating a super simian. In these photos, we clearly see someone on set in an old-school gorilla costume as Grodd graduates college (complete with cap and gown) or has a romantic outing (dressed in a fancy tux). With those photos, we have reason to believe that the perfect superhero adaptation has arrived.

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    The People vs. Gorilla Grodd takes the form of a true crime documentary, which makes sense when you realize that the showrunners are Dan Perrault and Tony Yacenda, creators of the Netflix series American Vandal. They reteam with American Vandal star Jimmy Tatro, who plays Gorilla Grodd, a classic nemesis of the Flash. First introduced in The Flash #106 (1959), by John Broome and Carmine Infantino, Gorilla Grodd hails from Gorilla City, an enclave of intelligent gorillas. Although most of Gorilla City’s citizens are peaceful, including the wise leader Solovar, our dear Grodd thirsts for power and uses his psychic abilities to attempt to conquer the world.

    As the title The People vs. Gorilla Grodd indicates, Grodd will be just as ambitious in the DCU. However, the set photos suggest that there’s more to Grodd than just a maniacal lust for power. The show will focus on a report put together by Olsen and other reporters at the Daily Planet from Superman, including Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and editor Perry White (Wendell Pierce). Together, they’ll uncover the backstory of the would-be world-ruler, which apparently includes time at a university and a potential romance.

    Which is, of course, great. Ever since James Gunn and Peter Safran took over as heads of DC Studios, Warner Bros. superhero projects have begun embracing the weirdest part of comic books, while still telling moving, character-driven stories. Peacemaker is indeed about a guy with a shiny helmet who fends off alien invasions and visits a Nazi alternate reality, but it’s also about a man recovering from toxic masculinity to understand his feelings. Superman addressed black site prisons, and Supergirl dealt with human trafficking, but both did so through weird concepts like pocket dimensions and intergalactic bounty hunters. Even Lanterns, which initially seemed like a grounded buddy cop mystery, has shape-shifting androids and all-powerful alien overseers.

    Yet it’s still exciting and refreshing to see The People vs. Gorilla Grodd so openly embrace super-simians. As weird and goofy as the concept of a monkey or ape with superpowers is, it’s also baked into superhero comics, especially those at DC. Sure, Marvel has characters like the Fantastic Four villain the Red Ghost, who commands an army of Super Apes, and Gorilla-Man, but its DC who really perfected the trope. In addition to Gorilla Grodd and Solovar, the company has featured Beppo the Supermonkey from Krypton, Congorilla (a pulp adventurer has his mind placed inside that of a golden ape), Titano (think King Kong, if the Eighth Wonder of the World also shot kryptonite lasers from his eyes), the Francophone revolutionary Monsieur Mallah, and the Ultra-Humanite, DC’s first supervillain.

    Given how integral to the DC Universe these primates are, it’s no surprise that some have shown up in previous comic book adaptations. Most famously, Gorilla Grodd appeared in several CW shows, and even went back in time to try to kill a young Barak Obama in Legends of Tomorrow.

    But those were shoddy CGI recreations. As we see in the new set photos, The People vs. Gorilla Grodd is going practical, at least as a base (surely, the on-set suit will be enhanced with CGI effects, not unlike the Thing suit that Ebon Moss-Bachrach wore while shooting Fantastic Four: First Steps). That they’re letting a silly premise be as weird as possible and still finding places for real pathos proves that the series will take this goofy concept with complete seriousness. Which is what superhero stories fundamentally are, silly ideas taken seriously and given weight. Previous adaptations have come close, but if these photos are to be believed, then The People vs. Gorilla Grodd will be the point where superhero adaptations finally evolve.

    The People vs. Gorilla Grodd is now in production.

    The post DC’s Gorilla Grodd Set Leaks Reveal Incredibly Promising Details appeared first on Den of Geek.

  • Iconic Movie Moments That Almost Never Happened

    Iconic Movie Moments That Almost Never Happened

    Some of the most unforgettable moments in movie history were never guaranteed to make it onto the screen. A line was changed at the last second, an actor improvised something unexpected, or a production problem forced filmmakers to rethink an entire scene. Sometimes, the moment existed only because someone took a chance when the original plan stopped working. These little twists created scenes audiences still remember decades later, even though they could have easily disappeared before anyone saw them. Here are 15 iconic movie moments that came remarkably close to never happening, and the surprising stories behind how they ended up in the final cut

    The post Iconic Movie Moments That Almost Never Happened appeared first on Den of Geek.

    Not all that long ago, few expected a superhero movie to actually care about the comics. We just had to accept that the Batman of the movies would blow up a chemical factory, the Red Skull would be an Italian guy who got facial reconstruction surgery as soon as possible, and that the X-Men would scoff at the very idea of yellow spandex. Of course that really began to change with the incredible suit that Tobey Maguire sported in his Spider-Man movies, and by the time that the Avengers wearing outrageous costumes on multiversal adventures, it seemed as if comic books had finally hit the mainstream.

    But some recently leaked set photos from the upcoming HBO series The People vs. Gorilla Grodd have shown just how far superhero adaptations had yet to go… and what they’ve finally achieved with this series about Superman’s pal Jimmy Olsen (Skyler Gisondo) investigating a super simian. In these photos, we clearly see someone on set in an old-school gorilla costume as Grodd graduates college (complete with cap and gown) or has a romantic outing (dressed in a fancy tux). With those photos, we have reason to believe that the perfect superhero adaptation has arrived.

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    The People vs. Gorilla Grodd takes the form of a true crime documentary, which makes sense when you realize that the showrunners are Dan Perrault and Tony Yacenda, creators of the Netflix series American Vandal. They reteam with American Vandal star Jimmy Tatro, who plays Gorilla Grodd, a classic nemesis of the Flash. First introduced in The Flash #106 (1959), by John Broome and Carmine Infantino, Gorilla Grodd hails from Gorilla City, an enclave of intelligent gorillas. Although most of Gorilla City’s citizens are peaceful, including the wise leader Solovar, our dear Grodd thirsts for power and uses his psychic abilities to attempt to conquer the world.

    As the title The People vs. Gorilla Grodd indicates, Grodd will be just as ambitious in the DCU. However, the set photos suggest that there’s more to Grodd than just a maniacal lust for power. The show will focus on a report put together by Olsen and other reporters at the Daily Planet from Superman, including Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and editor Perry White (Wendell Pierce). Together, they’ll uncover the backstory of the would-be world-ruler, which apparently includes time at a university and a potential romance.

    Which is, of course, great. Ever since James Gunn and Peter Safran took over as heads of DC Studios, Warner Bros. superhero projects have begun embracing the weirdest part of comic books, while still telling moving, character-driven stories. Peacemaker is indeed about a guy with a shiny helmet who fends off alien invasions and visits a Nazi alternate reality, but it’s also about a man recovering from toxic masculinity to understand his feelings. Superman addressed black site prisons, and Supergirl dealt with human trafficking, but both did so through weird concepts like pocket dimensions and intergalactic bounty hunters. Even Lanterns, which initially seemed like a grounded buddy cop mystery, has shape-shifting androids and all-powerful alien overseers.

    Yet it’s still exciting and refreshing to see The People vs. Gorilla Grodd so openly embrace super-simians. As weird and goofy as the concept of a monkey or ape with superpowers is, it’s also baked into superhero comics, especially those at DC. Sure, Marvel has characters like the Fantastic Four villain the Red Ghost, who commands an army of Super Apes, and Gorilla-Man, but its DC who really perfected the trope. In addition to Gorilla Grodd and Solovar, the company has featured Beppo the Supermonkey from Krypton, Congorilla (a pulp adventurer has his mind placed inside that of a golden ape), Titano (think King Kong, if the Eighth Wonder of the World also shot kryptonite lasers from his eyes), the Francophone revolutionary Monsieur Mallah, and the Ultra-Humanite, DC’s first supervillain.

    Given how integral to the DC Universe these primates are, it’s no surprise that some have shown up in previous comic book adaptations. Most famously, Gorilla Grodd appeared in several CW shows, and even went back in time to try to kill a young Barak Obama in Legends of Tomorrow.

    But those were shoddy CGI recreations. As we see in the new set photos, The People vs. Gorilla Grodd is going practical, at least as a base (surely, the on-set suit will be enhanced with CGI effects, not unlike the Thing suit that Ebon Moss-Bachrach wore while shooting Fantastic Four: First Steps). That they’re letting a silly premise be as weird as possible and still finding places for real pathos proves that the series will take this goofy concept with complete seriousness. Which is what superhero stories fundamentally are, silly ideas taken seriously and given weight. Previous adaptations have come close, but if these photos are to be believed, then The People vs. Gorilla Grodd will be the point where superhero adaptations finally evolve.

    The People vs. Gorilla Grodd is now in production.

    The post DC’s Gorilla Grodd Set Leaks Reveal Incredibly Promising Details appeared first on Den of Geek.