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  • To Ignite a Personalization Practice, Run this Prepersonalization Workshop

    To Ignite a Personalization Practice, Run this Prepersonalization Workshop

    Photo this. You’ve joined a club at your business that’s designing innovative product features with an focus on technology or AI. Or your business has really implemented a personalization website. Either way, you’re designing with statistics. Then what? When it comes to designing for personalization, there are many warning stories, no immediately achievement, and some guidelines for the baffled.

    Between the dream of getting it right and the fear of it going wrong—like when we encounter “persofails” in the vein of a company constantly imploring daily consumers to buy more toilet seats—the personalization gap is true. It’s an particularly confusing place to be a modern professional without a map, a map, or a strategy.

    For those of you venturing into customisation, there’s no Lonely Planet and some tour guides because powerful personalization is so specific to each group’s skills, systems, and market place.

    But you can ensure that your team has packed its bags sensibly.

    There’s a DIY formula to increase your chances for success. At minimum, you’ll defuse your boss’s irrational exuberance. Before the party you’ll need to effectively prepare.

    We call it prepersonalization.

    Behind the music

    Consider Spotify’s DJ feature, which debuted this past year.

    We’re used to seeing the polished final result of a personalization feature. Before the year-end award, the making-of backstory, or the behind-the-scenes victory lap, a personalized feature had to be conceived, budgeted, and prioritized. Before any personalization feature goes live in your product or service, it lives amid a backlog of worthy ideas for expressing customer experiences more dynamically.

    So how do you know where to place your personalization bets? How do you design consistent interactions that won’t trip up users or—worse—breed mistrust? We’ve found that for many budgeted programs to justify their ongoing investments, they first needed one or more workshops to convene key stakeholders and internal customers of the technology. Make yours count.

    ​ From Big Tech to fledgling startups, we’ve seen the same evolution up close with our clients. In our experiences with working on small and large personalization efforts, a program’s ultimate track record—and its ability to weather tough questions, work steadily toward shared answers, and organize its design and technology efforts—turns on how effectively these prepersonalization activities play out.

    Time and again, we’ve seen effective workshops separate future success stories from unsuccessful efforts, saving countless time, resources, and collective well-being in the process.

    A personalization practice involves a multiyear effort of testing and feature development. It’s not a switch-flip moment in your tech stack. It’s best managed as a backlog that often evolves through three steps:

    1. customer experience optimization ( CXO, also known as A/B testing or experimentation )
    2. always-on automations ( whether rules-based or machine-generated )
    3. mature features or standalone product development ( such as Spotify’s DJ experience )

    This is why we created our progressive personalization framework and why we’re field-testing an accompanying deck of cards: we believe that there’s a base grammar, a set of “nouns and verbs” that your organization can use to design experiences that are customized, personalized, or automated. You won’t need these cards. But we strongly recommend that you create something similar, whether that might be digital or physical.

    Set your kitchen timer

    How long does it take to cook up a prepersonalization workshop? The surrounding assessment activities that we recommend including can ( and often do ) span weeks. For the core workshop, we recommend aiming for two to three days. Here’s a summary of our broader approach along with details on the essential first-day activities.

    The full arc of the wider workshop is threefold:

      Kickstart: This sets the terms of engagement as you focus on the opportunity as well as the readiness and drive of your team and your leadership..
    1. Plan your work: This is the heart of the card-based workshop activities where you specify a plan of attack and the scope of work.
    2. Work your plan: This phase is all about creating a competitive environment for team participants to individually pitch their own pilots that each contain a proof-of-concept project, its business case, and its operating model.

    Give yourself at least a day, split into two large time blocks, to power through a concentrated version of those first two phases.

    Kickstart: Whet your appetite

    We call the first lesson the “landscape of connected experience“. It explores the personalization possibilities in your organization. A connected experience, in our parlance, is any UX requiring the orchestration of multiple systems of record on the backend. This could be a content-management system combined with a marketing-automation platform. It could be a digital-asset manager combined with a customer-data platform.

    Spark conversation by naming consumer examples and business-to-business examples of connected experience interactions that you admire, find familiar, or even dislike. This should cover a representative range of personalization patterns, including automated app-based interactions ( such as onboarding sequences or wizards ), notifications, and recommenders. We have a catalog of these in the cards. Here’s a list of 142 different interactions to jog your thinking.

    This is all about setting the table. What are the possible paths for the practice in your organization? If you want a broader view, here’s a long-form primer and a strategic framework.

    Assess each example that you discuss for its complexity and the level of effort that you estimate that it would take for your team to deliver that feature ( or something similar ). In our cards, we divide connected experiences into five levels: functions, features, experiences, complete products, and portfolios. Size your own build here. This will help to focus the conversation on the merits of ongoing investment as well as the gap between what you deliver today and what you want to deliver in the future.

    Next, have your team plot each idea on the following 2×2 grid, which lays out the four enduring arguments for a personalized experience. This is critical because it emphasizes how personalization can not only help your external customers but also affect your own ways of working. It’s also a reminder ( which is why we used the word argument earlier ) of the broader effort beyond these tactical interventions.

    Each team member should vote on where they see your product or service putting its emphasis. Naturally, you can’t prioritize all of them. The intention here is to flesh out how different departments may view their own upsides to the effort, which can vary from one to the next. Documenting your desired outcomes lets you know how the team internally aligns across representatives from different departments or functional areas.

    The third and final kickstart activity is about naming your personalization gap. Is your customer journey well documented? Will data and privacy compliance be too big of a challenge? Do you have content metadata needs that you have to address? ( We’re pretty sure that you do: it’s just a matter of recognizing the relative size of that need and its remedy. ) In our cards, we’ve noted a number of program risks, including common team dispositions. Our Detractor card, for example, lists six stakeholder behaviors that hinder progress.

    Effectively collaborating and managing expectations is critical to your success. Consider the potential barriers to your future progress. Press the participants to name specific steps to overcome or mitigate those barriers in your organization. As studies have shown, personalization efforts face many common barriers.

    At this point, you’ve hopefully discussed sample interactions, emphasized a key area of benefit, and flagged key gaps? Good—you’re ready to continue.

    Hit that test kitchen

    Next, let’s look at what you’ll need to bring your personalization recipes to life. Personalization engines, which are robust software suites for automating and expressing dynamic content, can intimidate new customers. Their capabilities are sweeping and powerful, and they present broad options for how your organization can conduct its activities. This presents the question: Where do you begin when you’re configuring a connected experience?

    What’s important here is to avoid treating the installed software like it were a dream kitchen from some fantasy remodeling project ( as one of our client executives memorably put it ). These software engines are more like test kitchens where your team can begin devising, tasting, and refining the snacks and meals that will become a part of your personalization program’s regularly evolving menu.

    The ultimate menu of the prioritized backlog will come together over the course of the workshop. And creating “dishes” is the way that you’ll have individual team stakeholders construct personalized interactions that serve their needs or the needs of others.

    The dishes will come from recipes, and those recipes have set ingredients.

    Verify your ingredients

    Like a good product manager, you’ll make sure—andyou’ll validate with the right stakeholders present—that you have all the ingredients on hand to cook up your desired interaction ( or that you can work out what needs to be added to your pantry ). These ingredients include the audience that you’re targeting, content and design elements, the context for the interaction, and your measure for how it’ll come together.

    This isn’t just about discovering requirements. Documenting your personalizations as a series of if-then statements lets the team:

    1. compare findings toward a unified approach for developing features, not unlike when artists paint with the same palette,
    2. specify a consistent set of interactions that users find uniform or familiar,
    3. and develop parity across performance measurements and key performance indicators too.

    This helps you streamline your designs and your technical efforts while you deliver a shared palette of core motifs of your personalized or automated experience.

    Compose your recipe

    What ingredients are important to you? Think of a who-what-when-why construct:

    • Who are your key audience segments or groups?
    • What kind of content will you give them, in what design elements, and under what circumstances?
    • And for which business and user benefits?

    We first developed these cards and card categories five years ago. We regularly play-test their fit with conference audiences and clients. And we still encounter new possibilities. But they all follow an underlying who-what-when-why logic.

    Here are three examples for a subscription-based reading app, which you can generally follow along with right to left in the cards in the accompanying photo below.

    1. Nurture personalization: When a guest or an unknown visitor interacts with a product title, a banner or alert bar appears that makes it easier for them to encounter a related title they may want to read, saving them time.
    2. Welcome automation: When there’s a newly registered user, an email is generated to call out the breadth of the content catalog and to make them a happier subscriber.
    3. Winback automation: Before their subscription lapses or after a recent failed renewal, a user is sent an email that gives them a promotional offer to suggest that they reconsider renewing or to remind them to renew.

    A useful preworkshop activity may be to think through a first draft of what these cards might be for your organization, although we’ve also found that this process sometimes flows best through cocreating the recipes themselves. Start with a set of blank cards, and begin labeling and grouping them through the design process, eventually distilling them to a refined subset of highly useful candidate cards.

    You can think of the later stages of the workshop as moving from recipes toward a cookbook in focus—like a more nuanced customer-journey mapping. Individual” cooks” will pitch their recipes to the team, using a common jobs-to-be-done format so that measurability and results are baked in, and from there, the resulting collection will be prioritized for finished design and delivery to production.

    Better kitchens require better architecture

    Simplifying a customer experience is a complicated effort for those who are inside delivering it. Beware anyone who says otherwise. With that being said,” Complicated problems can be hard to solve, but they are addressable with rules and recipes“.

    When personalization becomes a laugh line, it’s because a team is overfitting: they aren’t designing with their best data. Like a sparse pantry, every organization has metadata debt to go along with its technical debt, and this creates a drag on personalization effectiveness. Your AI’s output quality, for example, is indeed limited by your IA. Spotify’s poster-child prowess today was unfathomable before they acquired a seemingly modest metadata startup that now powers its underlying information architecture.

    You can definitely stand the heat …

    Personalization technology opens a doorway into a confounding ocean of possible designs. Only a disciplined and highly collaborative approach will bring about the necessary focus and intention to succeed. So banish the dream kitchen. Instead, hit the test kitchen to save time, preserve job satisfaction and security, and safely dispense with the fanciful ideas that originate upstairs of the doers in your organization. There are meals to serve and mouths to feed.

    This workshop framework gives you a fighting shot at lasting success as well as sound beginnings. Wiring up your information layer isn’t an overnight affair. But if you use the same cookbook and shared recipes, you’ll have solid footing for success. We designed these activities to make your organization’s needs concrete and clear, long before the hazards pile up.

    While there are associated costs toward investing in this kind of technology and product design, your ability to size up and confront your unique situation and your digital capabilities is time well spent. Don’t squander it. The proof, as they say, is in the pudding.

  • The Wax and the Wane of the Web

    The Wax and the Wane of the Web

    I offer a second bit of advice to friends and family when they become new families: When you start to believe that you’ve got everything figured out, everything will change. Simply as you start to get the hang of injections, diapers, and ordinary sleep, it’s time for solid foods, potty training, and nighttime sleep. When you figure those away, it’s time for school and unique sleep. The cycle goes on and on.

    The same applies for those of us working in design and development these times. Having worked on the web for about three years at this point, I’ve seen the typical wax and wane of concepts, strategies, and systems. Each day that we as developers and designers get into a regular rhythm, some innovative idea or technology comes down to shake things up and copy our world.

    How we got below

    I built my first website in the mid-’90s. Design and development on the web back then was a free-for-all, with few established norms. For any layout aside from a single column, we used table elements, often with empty cells containing a single pixel spacer GIF to add empty space. We styled text with numerous font tags, nesting the tags every time we wanted to vary the font style. And we had only three or four typefaces to choose from: Arial, Courier, or Times New Roman. When Verdana and Georgia came out in 1996, we rejoiced because our options had nearly doubled. The only safe colors to choose from were the 216 “web safe” colors known to work across platforms. The few interactive elements (like contact forms, guest books, and counters) were mostly powered by CGI scripts (predominantly written in Perl at the time). Achieving any kind of unique look involved a pile of hacks all the way down. Interaction was often limited to specific pages in a site.

    The beginning of website standards

    At the turn of the century, a new cycle started. Crufty code littered with table layouts and font tags waned, and a push for web standards waxed. Newer technologies like CSS got more widespread adoption by browsers makers, developers, and designers. This shift toward standards didn’t happen accidentally or overnight. It took active engagement between the W3C and browser vendors and heavy evangelism from folks like the Web Standards Project to build standards. A List Apart and books like Designing with Web Standards by Jeffrey Zeldman played key roles in teaching developers and designers why standards are important, how to implement them, and how to sell them to their organizations. And approaches like progressive enhancement introduced the idea that content should be available for all browsers—with additional enhancements available for more advanced browsers. Meanwhile, sites like the CSS Zen Garden showcased just how powerful and versatile CSS can be when combined with a solid semantic HTML structure.

    Server-side languages like PHP, Java, and.NET overtook Perl as the predominant back-end processors, and the cgi-bin was tossed in the trash bin. With these better server-side tools came the first era of web applications, starting with content-management systems ( particularly in the blogging space with tools like Blogger, Grey Matter, Movable Type, and WordPress ). In the mid-2000s, AJAX opened doors for asynchronous interaction between the front end and back end. Suddenly, pages could update their content without needing to reload. A crop of JavaScript frameworks like Prototype, YUI, and jQuery arose to help developers build more reliable client-side interaction across browsers that had wildly varying levels of standards support. Techniques like image replacement let crafty designers and developers display fonts of their choosing. And technologies like Flash made it possible to add animations, games, and even more interactivity.

    These new technologies, standards, and techniques reinvigorated the industry in many ways. Web design flourished as designers and developers explored more diverse styles and layouts. But we still relied on tons of hacks. Early CSS was a huge improvement over table-based layouts when it came to basic layout and text styling, but its limitations at the time meant that designers and developers still relied heavily on images for complex shapes ( such as rounded or angled corners ) and tiled backgrounds for the appearance of full-length columns (among other hacks ). Complicated layouts required all manner of nested floats or absolute positioning ( or both ). Flash and image replacement for custom fonts was a great start toward varying the typefaces from the big five, but both hacks introduced accessibility and performance problems. And JavaScript libraries made it easy for anyone to add a dash of interaction to pages, although at the cost of doubling or even quadrupling the download size of simple websites.

    The web as software platform

    The symbiosis between the front end and back end continued to improve, and that led to the current era of modern web applications. Between expanded server-side programming languages ( which kept growing to include Ruby, Python, Go, and others ) and newer front-end tools like React, Vue, and Angular, we could build fully capable software on the web. Alongside these tools came others, including collaborative version control, build automation, and shared package libraries. What was once primarily an environment for linked documents became a realm of infinite possibilities.

    At the same time, mobile devices became more capable, and they gave us internet access in our pockets. Mobile apps and responsive design opened up opportunities for new interactions anywhere and any time.

    This combination of capable mobile devices and powerful development tools contributed to the waxing of social media and other centralized tools for people to connect and consume. As it became easier and more common to connect with others directly on Twitter, Facebook, and even Slack, the desire for hosted personal sites waned. Social media offered connections on a global scale, with both the good and bad that that entails.

    Want a much more extensive history of how we got here, with some other takes on ways that we can improve? Jeremy Keith wrote” Of Time and the Web“. Or check out the” Web Design History Timeline” at the Web Design Museum. Neal Agarwal also has a fun tour through” Internet Artifacts“.

    Where we are now

    In the last couple of years, it’s felt like we’ve begun to reach another major inflection point. As social-media platforms fracture and wane, there’s been a growing interest in owning our own content again. There are many different ways to make a website, from the tried-and-true classic of hosting plain HTML files to static site generators to content management systems of all flavors. The fracturing of social media also comes with a cost: we lose crucial infrastructure for discovery and connection. Webmentions, RSS, ActivityPub, and other tools of the IndieWeb can help with this, but they’re still relatively underimplemented and hard to use for the less nerdy. We can build amazing personal websites and add to them regularly, but without discovery and connection, it can sometimes feel like we may as well be shouting into the void.

    Browser support for CSS, JavaScript, and other standards like web components has accelerated, especially through efforts like Interop. New technologies gain support across the board in a fraction of the time that they used to. I often learn about a new feature and check its browser support only to find that its coverage is already above 80 percent. Nowadays, the barrier to using newer techniques often isn’t browser support but simply the limits of how quickly designers and developers can learn what’s available and how to adopt it.

    Today, with a few commands and a couple of lines of code, we can prototype almost any idea. All the tools that we now have available make it easier than ever to start something new. But the upfront cost that these frameworks may save in initial delivery eventually comes due as upgrading and maintaining them becomes a part of our technical debt.

    If we rely on third-party frameworks, adopting new standards can sometimes take longer since we may have to wait for those frameworks to adopt those standards. These frameworks—which used to let us adopt new techniques sooner—have now become hindrances instead. These same frameworks often come with performance costs too, forcing users to wait for scripts to load before they can read or interact with pages. And when scripts fail ( whether through poor code, network issues, or other environmental factors ), there’s often no alternative, leaving users with blank or broken pages.

    Where do we go from here?

    Today’s hacks help to shape tomorrow’s standards. And there’s nothing inherently wrong with embracing hacks —for now—to move the present forward. Problems only arise when we’re unwilling to admit that they’re hacks or we hesitate to replace them. So what can we do to create the future we want for the web?

    Build for the long haul. Optimize for performance, for accessibility, and for the user. Weigh the costs of those developer-friendly tools. They may make your job a little easier today, but how do they affect everything else? What’s the cost to users? To future developers? To standards adoption? Sometimes the convenience may be worth it. Sometimes it’s just a hack that you’ve grown accustomed to. And sometimes it’s holding you back from even better options.

    Start from standards. Standards continue to evolve over time, but browsers have done a remarkably good job of continuing to support older standards. The same isn’t always true of third-party frameworks. Sites built with even the hackiest of HTML from the’ 90s still work just fine today. The same can’t always be said of sites built with frameworks even after just a couple years.

    Design with care. Whether your craft is code, pixels, or processes, consider the impacts of each decision. The convenience of many a modern tool comes at the cost of not always understanding the underlying decisions that have led to its design and not always considering the impact that those decisions can have. Rather than rushing headlong to “move fast and break things”, use the time saved by modern tools to consider more carefully and design with deliberation.

    Always be learning. If you’re always learning, you’re also growing. Sometimes it may be hard to pinpoint what’s worth learning and what’s just today’s hack. You might end up focusing on something that won’t matter next year, even if you were to focus solely on learning standards. ( Remember XHTML? ) But constant learning opens up new connections in your brain, and the hacks that you learn one day may help to inform different experiments another day.

    Play, experiment, and be weird! This web that we’ve built is the ultimate experiment. It’s the single largest human endeavor in history, and yet each of us can create our own pocket within it. Be courageous and try new things. Build a playground for ideas. Make goofy experiments in your own mad science lab. Start your own small business. There has never been a more empowering place to be creative, take risks, and explore what we’re capable of.

    Share and amplify. As you experiment, play, and learn, share what’s worked for you. Write on your own website, post on whichever social media site you prefer, or shout it from a TikTok. Write something for A List Apart! But take the time to amplify others too: find new voices, learn from them, and share what they’ve taught you.

    Go forth and make

    As designers and developers for the web ( and beyond ), we’re responsible for building the future every day, whether that may take the shape of personal websites, social media tools used by billions, or anything in between. Let’s imbue our values into the things that we create, and let’s make the web a better place for everyone. Create that thing that only you are uniquely qualified to make. Then share it, make it better, make it again, or make something new. Learn. Make. Share. Grow. Rinse and repeat. Every time you think that you’ve mastered the web, everything will change.

  • Opportunities for AI in Accessibility

    Opportunities for AI in Accessibility

    In studying Joe Dolson’s new item on the crossroads of AI and affordability, I positively appreciated the suspicion that he has for AI in public as well as for the ways that many have been using it. In fact, I’m very skeptical of AI myself, despite my role at Microsoft as an accessibility technology strategist who helps manage the AI for Accessibility award program. As with any tool, AI can be used in quite productive, equitable, and visible ways, and it can also be used in dangerous, unique, and dangerous ones. And there are a ton of combines somewhere in the poor center as effectively.

    I’d like you to consider this a “yes … and” piece to complement Joe’s post. I’m not trying to reject any of what he’s saying but instead provide some awareness to projects and possibilities where AI can generate substantial differences for people with disabilities. To be clear, I’m not saying that there aren’t true threats or pressing problems with AI that need to be addressed—there are, and we’ve needed to address them, like, yesterday—but I want to take a little time to talk about what’s possible in hope that we’ll get there one day.

    Other text

    Joe’s part spends a lot of time talking about computer-vision types generating other words. He highlights a ton of true issues with the current state of things. And while computer-vision concepts continue to improve in the quality and complexity of information in their information, their benefits aren’t wonderful. As he rightly points out, the current state of image analysis is pretty poor—especially for certain image types—in large part because current AI systems examine images in isolation rather than within the contexts that they’re in ( which is a consequence of having separate “foundation” models for text analysis and image analysis ). Today’s models aren’t trained to distinguish between images that are contextually relevant ( that should probably have descriptions ) and those that are purely decorative ( which might not need a description ) either. Still, I still think there’s potential in this space.

    As Joe mentions, human-in-the-loop authoring of alt text should absolutely be a thing. And if AI can pop in to offer a starting point for alt text—even if that starting point might be a prompt saying What is this BS? That’s not right at all … Let me try to offer a starting point— I think that’s a win.

    Taking things a step further, if we can specifically train a model to analyze image usage in context, it could help us more quickly identify which images are likely to be decorative and which ones likely require a description. That will help reinforce which contexts call for image descriptions and it’ll improve authors ‘ efficiency toward making their pages more accessible.

    While complex images—like graphs and charts—are challenging to describe in any sort of succinct way ( even for humans ), the image example shared in the GPT4 announcement points to an interesting opportunity as well. Let’s suppose that you came across a chart whose description was simply the title of the chart and the kind of visualization it was, such as: Pie chart comparing smartphone usage to feature phone usage among US households making under$ 30, 000 a year. ( That would be a pretty awful alt text for a chart since that would tend to leave many questions about the data unanswered, but then again, let’s suppose that that was the description that was in place. ) If your browser knew that that image was a pie chart ( because an onboard model concluded this ), imagine a world where users could ask questions like these about the graphic:

    • Do more people use smartphones or feature phones?
    • How many more?
    • Is there a group of people that don’t fall into either of these buckets?
    • How many is that?

    Setting aside the realities of large language model ( LLM) hallucinations—where a model just makes up plausible-sounding “facts” —for a moment, the opportunity to learn more about images and data in this way could be revolutionary for blind and low-vision folks as well as for people with various forms of color blindness, cognitive disabilities, and so on. It could also be useful in educational contexts to help people who can see these charts, as is, to understand the data in the charts.

    Taking things a step further: What if you could ask your browser to simplify a complex chart? What if you could ask it to isolate a single line on a line graph? What if you could ask your browser to transpose the colors of the different lines to work better for form of color blindness you have? What if you could ask it to swap colors for patterns? Given these tools ‘ chat-based interfaces and our existing ability to manipulate images in today’s AI tools, that seems like a possibility.

    Now imagine a purpose-built model that could extract the information from that chart and convert it to another format. For example, perhaps it could turn that pie chart ( or better yet, a series of pie charts ) into more accessible ( and useful ) formats, like spreadsheets. That would be amazing!

    Matching algorithms

    Safiya Umoja Noble absolutely hit the nail on the head when she titled her book Algorithms of Oppression. While her book was focused on the ways that search engines reinforce racism, I think that it’s equally true that all computer models have the potential to amplify conflict, bias, and intolerance. Whether it’s Twitter always showing you the latest tweet from a bored billionaire, YouTube sending us into a Q-hole, or Instagram warping our ideas of what natural bodies look like, we know that poorly authored and maintained algorithms are incredibly harmful. A lot of this stems from a lack of diversity among the people who shape and build them. When these platforms are built with inclusively baked in, however, there’s real potential for algorithm development to help people with disabilities.

    Take Mentra, for example. They are an employment network for neurodivergent people. They use an algorithm to match job seekers with potential employers based on over 75 data points. On the job-seeker side of things, it considers each candidate’s strengths, their necessary and preferred workplace accommodations, environmental sensitivities, and so on. On the employer side, it considers each work environment, communication factors related to each job, and the like. As a company run by neurodivergent folks, Mentra made the decision to flip the script when it came to typical employment sites. They use their algorithm to propose available candidates to companies, who can then connect with job seekers that they are interested in, reducing the emotional and physical labor on the job-seeker side of things.

    When more people with disabilities are involved in the creation of algorithms, that can reduce the chances that these algorithms will inflict harm on their communities. That’s why diverse teams are so important.

    Imagine that a social media company’s recommendation engine was tuned to analyze who you’re following and if it was tuned to prioritize follow recommendations for people who talked about similar things but who were different in some key ways from your existing sphere of influence. For example, if you were to follow a bunch of nondisabled white male academics who talk about AI, it could suggest that you follow academics who are disabled or aren’t white or aren’t male who also talk about AI. If you took its recommendations, perhaps you’d get a more holistic and nuanced understanding of what’s happening in the AI field. These same systems should also use their understanding of biases about particular communities—including, for instance, the disability community—to make sure that they aren’t recommending any of their users follow accounts that perpetuate biases against (or, worse, spewing hate toward ) those groups.

    Other ways that AI can helps people with disabilities

    If I weren’t trying to put this together between other tasks, I’m sure that I could go on and on, providing all kinds of examples of how AI could be used to help people with disabilities, but I’m going to make this last section into a bit of a lightning round. In no particular order:

      Voice preservation. You may have seen the VALL-E paper or Apple’s Global Accessibility Awareness Day announcement or you may be familiar with the voice-preservation offerings from Microsoft, Acapela, or others. It’s possible to train an AI model to replicate your voice, which can be a tremendous boon for people who have ALS ( Lou Gehrig’s disease ) or motor-neuron disease or other medical conditions that can lead to an inability to talk. This is, of course, the same tech that can also be used to create audio deepfakes, so it’s something that we need to approach responsibly, but the tech has truly transformative potential.
    • Voice recognition. Researchers like those in the Speech Accessibility Project are paying people with disabilities for their help in collecting recordings of people with atypical speech. As I type, they are actively recruiting people with Parkinson’s and related conditions, and they have plans to expand this to other conditions as the project progresses. This research will result in more inclusive data sets that will let more people with disabilities use voice assistants, dictation software, and voice-response services as well as control their computers and other devices more easily, using only their voice.
    • Text transformation. The current generation of LLMs is quite capable of adjusting existing text content without injecting hallucinations. This is hugely empowering for people with cognitive disabilities who may benefit from text summaries or simplified versions of text or even text that’s prepped for Bionic Reading.

    The importance of diverse teams and data

    We need to recognize that our differences matter. Our lived experiences are influenced by the intersections of the identities that we exist in. These lived experiences—with all their complexities ( and joys and pain ) —are valuable inputs to the software, services, and societies that we shape. Our differences need to be represented in the data that we use to train new models, and the folks who contribute that valuable information need to be compensated for sharing it with us. Inclusive data sets yield more robust models that foster more equitable outcomes.

    Want a model that doesn’t demean or patronize or objectify people with disabilities? Make sure that you have content about disabilities that’s authored by people with a range of disabilities, and make sure that that’s well represented in the training data.

    Want a model that doesn’t use ableist language? You may be able to use existing data sets to build a filter that can intercept and remediate ableist language before it reaches readers. That being said, when it comes to sensitivity reading, AI models won’t be replacing human copy editors anytime soon.

    Want a coding copilot that gives you accessible recommendations from the jump? Train it on code that you know to be accessible.


    I have no doubt that AI can and will harm people … today, tomorrow, and well into the future. But I also believe that we can acknowledge that and, with an eye towards accessibility ( and, more broadly, inclusion ), make thoughtful, considerate, and intentional changes in our approaches to AI that will reduce harm over time as well. Today, tomorrow, and well into the future.


    Many thanks to Kartik Sawhney for helping me with the development of this piece, Ashley Bischoff for her invaluable editorial assistance, and, of course, Joe Dolson for the prompt.

  • I am a creative.

    I am a creative.

    I am a innovative. What I do is alchemy. It is a puzzle. I do not so little do it, when let it be done through me.

    I am a artistic. Not all imaginative people like this brand. No all see themselves this method. Some creative individuals see knowledge in what they do. That is their reality, and I respect it. Sometimes I even envy them, a minor. But my approach is different—my becoming is unique.

    Apologizing and qualifying in progress is a diversion. That’s what my head does to destroy me. I set it aside for today. I may come back later to forgive and qualify. After I’ve said what I came to say. Which is challenging enough.

    Except when it is simple and flows like a river of liquor.

    Sometimes it does come that method. Maybe what I need to build comes in an instant. I have learned not to say it at that time, because if you admit that sometimes the idea only comes and it is the best idea and you know it is the best idea, they think you don’t work hard enough.

    Maybe I work and work and work until the plan comes. Often it comes suddenly and I don’t tell people for three weeks. Maybe I’m so excited by the idea that came immediately that I blurt it out, can’t help myself. Like a child who found a medal in his Cracker Jacks. Maybe I get away with this. Maybe other people agree: yes, that is the best plan. Most times they don’t and I regret having given way to joy.

    Joy is best saved for the conference where it will make a difference. Certainly the casual get-together that accompanies that gathering by two different meetings. Anyone knows why we have all these sessions. We keep saying we’re doing away with them, but then only finding other ways to include them. Sometimes they are also good. But other days they are a distraction from the actual labor. The percentages between when conferences are important, and when they are a sad distraction, vary, depending on what you do and where you do it. And who you are and how you do it. Once I digress. I am a artistic. That is the design.

    Often many hours of hard and persistent work produce something that is rarely serviceable. Often I have to accept that and move on to the next task.

    Don’t question about method. I am a artistic.

    I am a artistic. I don’t command my goals. And I don’t handle my best tips.

    I can nail aside, surround myself with information or photos, and maybe that works. I can go for a walk, and occasionally that functions. I may be making breakfast and there’s a Eureka having nothing to do with sizzling oil and flowing pots. Usually I know what to do the instant I wake up. And then, nearly as often, as I become aware and part of the world once, the idea that may have saved me turns to vanishing sand in a senseless storm of nothingness. For imagination, I believe, comes from that other planet. The one we enter in aspirations, and possibly, before conception and after death. But that’s for authors to know, and I am not a writer. I am a innovative. And it’s for theologians to large armies about in their artistic world that they insist is true. But that is another diversion. And a miserable one. Even on a much more important issue than whether I am a inventive or not. But nevertheless a tangent from what I came here to say.

    Often the process is mitigation. And horror. You know the cliché about the tortured designer? It’s true, even when the artist ( and let’s put that noun in quotes ) is trying to write a soft drink jingle, a callback in a tired sitcom, a budget request.

    Some people who hate being called innovative may be closeted artists, but that’s between them and their angels. No offence meant. Your wisdom is correct, too. But mine is for me.

    Creatives understand creatives.

    Creatives identify creatives like faggots recognize queers, like true rappers recognize true performers, like cons know cons. Creatives feel large regard for creatives. We love, respect, emulate, and nearly deify the excellent ones. To revere any man is, of course, a dreadful mistake. We have been warned. We know much. We know people are simply people. They dispute, they are depressed, they regret their most critical decisions, they are weak and thirsty, they can be cruel, they can be just as terrible as we can, if, like us, they are clay. But. But. But they make this wonderful issue. They beginning anything that did not exist before them, and could not occur without them. They are the mother of tips. And I suppose, since it’s only lying it, I have to put that they are the mother of technology. Ba ho bum! Okay, that’s done. Continue.

    Creatives belittle our personal small successes, because we compare them to those of the wonderful people. Wonderful graphics! Also, I‘m no Miyazaki. Now THAT is brilliance. That is brilliance directly from the mind of God. This half-starved small item that I made? It more or less fell off the back of the pumpkin trailer. And the carrots weren’t even clean.

    Creatives knows that, at best, they are Salieri. Yet the creatives who are He feel that.

    I am a artistic. I haven’t worked in advertising in 30 years, but in my hallucinations, it’s my former artistic managers who judge me. And they are appropriate to do so. I am very lazy, overly simplistic, and when it actually counts, my mind goes blank. There is no supplement for artistic function.

    I am a artistic. Every date I make is an experience that makes Indiana Jones look like a retiree snoring in a balcony seat. The longer I remain a artistic, the faster I am when I do my job and the longer I brood and move in circles and gaze blankly before I do that job.

    I am also 10 times faster than people who are not artistic, or people who have just been imaginative a short while, or people who have just been properly imaginative a short while. It’s just that, before I work 10 times as fast as they do, I spend twice as long as they do putting the work down. I am that confident in my ability to do a wonderful work when I put my mind to it. I am that attached to the excitement scramble of delay. I am also that scared of the climb.

    I am not an actor.

    I am a artistic. No an actor. Though I dreamed, as a boy, of eventually being that. Some of us disparage our products and like ourselves because we are not Michelangelos and Warhols. That is narcissism—but at least we aren’t in elections.

    I am a artistic. Though I believe in reason and science, I decide by intelligence and desire. And sit with what follows—the disasters as well as the successes.

    I am a artistic. Every term I’ve said these may offend another artists, who see things differently. Ask two artists a problem, get three ideas. Our dispute, our enthusiasm about it, and our responsibility to our own reality are, at least to me, the facts that we are artists, no matter how we may think about it.

    I am a artistic. I lament my lack of taste in the places about which I know quite small, which is to say almost all areas of human knowledge. And I trust my preference above all other items in the regions closest to my soul, or perhaps, more precisely, to my passions. Without my passions, I would probably have to spend my time looking career in the eye, and virtually none of us can do that for longer. No seriously. No actually. Because many in existence, if you really look at it, is intolerable.

    I am a artistic. I believe, as a family believes, that when I am gone, some little good part of me will take on in the head of at least one other people.

    Working saves me from worrying about function.

    I am a artistic. I live in horror of my little present immediately going ahead.

    I am a artistic. I am very active making the next thing to spend too much time seriously considering that almost nothing I make does come anywhere near the glory I awkwardly aspire to.

    I am a artistic. I believe in the greatest mystery of operation. I believe in it so much, I am actually foolish enough to submit an essay I dictated into a small machine and didn’t take time to evaluate or update. I won’t do this often, I promise. But I did it just now, because, as afraid as I might be of your seeing through my pitiful gestures toward the beautiful, I was even more afraid of forgetting what I came to say.

    There. I think I’ve said it.

  • SXSW 2025 Narrative Film Preview Guide

    SXSW 2025 Narrative Film Preview Guide

    Spring has sprung in Austin, which may mean only one thing: it’s time for the many-hyphenated SXSW Festival! A strange, beautiful, and utterly Austin crossing of music, systems, games, and of course film and television, this event in many ways kicks off the next month’s itinerary in culture and fun. But there is so much ]… ]

    The article SXSW 2025 Narrative Film Preview Guide appeared second on Den of Geek.

    Whether it &#8217, s in your living space on a flatscreen, in bed on a product, or at your office on a computer, watching tv is usually a relatively private practice. That&#8217, s not the case at South by Southwest.

    cnx. cmd. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The 2025 SXSW Film and TV Festival is filled with small screen series getting their public debut on big screens. Some are appropriately huge like the star-studded Apple TV + comedy The Studio, while others are lowkey indie and international pilots looking for a home. Here are all the shows you &#8217, re going to want to keep an eye on from this year &#8217, s festival.

    Prime Video

    # 1 Happy Family USA

    When the Hussein family’s neighbors start to see them as enemy #1 in the aftermath of 9/11, they only have one option: to become # 1 Happy Family USA. Patriotism! Smiles! Fitting in! This satirical adult animated series, created by Ramy Youssef with South Park producer Pam Brady and A24, mines the early 2000s Muslim-American experience for sharp, absurd comedy. It’ll make its world premiere at SXSW before launching the first of two already-commissioned seasons on Prime Video in March. 

    Apple TV +

    Government Cheese

    The ambitious, unconventional Chambers family were doing just fine in 1969 San Fernando Valley without patriarch Hampton while he served his jail time. Now, he’s a free man hoping to shake off his criminal past, reunite with his wife and sons, and make sense of what appear to be episodes of divine intervention in his life. &nbsp,

    Created by acclaimed music video director Paul Hunter and screenwriter-producer Ayesha Carr, Government Cheese is a surrealist dramedy based on Hunter’s short film of the same name, which will stream on Apple TV + in April. The 10-episode series stars Silo and Lawmen: Bass Reeves’ David Oyelowo as Hampton Chambers, with Simone Missick (Luke Cage’s Misty Knight) as his wife, Astoria. Expect strangeness.

    Paramount+

    Happy Face

    The Dropout, Dirty John, Dr. Death … behind every hit true crime TV show is a podcast telling the same story, but without pictures and with more ads for Mailchimp. Eight-episode Paramount + series Happy Face is based on the pod of the same name by Melissa G. Moore, a creator with a unique perspective on real-life serial killer Keith” Happy Face” Hunter Jesperson by dint of being his daughter. Starring Dennis Quaid as Jesperson and Annaleigh Ashford as Moore, it lands on March 20.

    Philadelphia Inquirer/MCT/Sipa US

    Spy High

    You remember that one teacher with eyes in the back of their head? In 2010, a Philadelphia school district decided to go one better. Using webcams in school-issued laptops, they were alleged to have spied on students in their bedrooms at home, leading to an accusation that 15-year-old Blake Robbins was selling drugs. Robbins brought a lawsuit against them and successfully won damages, and Mark Wahlberg’s production company is here to tell the story in this four-part Prime Video docuseries.

    Apple TV +

    The Studio

    Matt Remick (Seth Rogen) got into the film biz because he loves movies, but now that he’s the head of Continental Studios, he’s worried that his job is to ruin them. Thanks to bottom lines, in-fighting execs, and narcissist creatives, it’ll certainly ruin him in this 10-episode industry satire coming to Apple TV + on March 26.

    From longtime collaborators Rogen and Evan Goldberg ( Superbad, Knocked Up, This is the End ), The Studio stars Beetlejuice Beetlejuice‘s CatherineO’Hara and Agatha All Along‘s Kathryn Hahn, with Breaking Bad‘s Bryan Cranston, The Batman‘s Paul Dano, and star cameos aplenty ( Rogen and Goldberg are connected, so expect to see appearances by Martin Scorsese, Charlize Theron, and more ). Can The Studio reach the same cynical depths as Robert Altman’s 1992 classic The Player? It can try! With any luck, it’ll fare better than HBO’s superhero movie satire The Franchise, which didn’t last longer than a season.

    Torjus Thesen/Maipo Film

    Dates in Real Life

    From Norway comes the dramedy Dates in Real Life, a sideways look at dating in the age of technology. Dates in Real Life stars Gina Bernhoft Gørvell as Ida, a woman who thought her virtual relationship with her boyfriend was fulfilling—that is until she sees him in person with another woman. Her virtual reality shattered, Ida must figure out how to relate with others face-to-face. Creator Jakob Rørvik goes beyond banal observations for his award-winning series. &nbsp,

    Foxtel Group

    Mix Tape

    Jim Sturgess is no stranger to the intersection of romance and music, having starred in the 2007 Beatles jukebox musical Across the Universe. Now, music is set to take him someplace even more exotic than across the universe: a 1989 house party in Sheffield.

    A collaborative effort among Canadian, Australian, Finnish, and Irish producers, Mix Tape follows two teens who bond over their love of music and then meet again 20 years later to reflect on what could have been. &nbsp,

    Michelle Lawler

    Bulldozer

    Amid a successful career in casting, voice acting, and playing background roles in sitcoms ( perhaps you remember” Vanessa’s Friend” in Curb Your Enthusiasm season 9? ), Joanna Leeds takes center stage by creating and starring in comedy pilot Bulldozer. &nbsp,

    Assisted by notable performers like Nat Faxon, Harvey Guillen, and Mary Steenburgen, Bulldozer depicts one passionate, if misguided, woman trying to find love while lurching from crisis to crisis like some kind of…motorized construction machine. &nbsp,

    The American Standard Film Co

    Stars Diner

    Fun fact: the statistic that 90 % of restaurants fail in their first year is a myth. Truthfully, “only” 17 % of restaurants close after year one. But what are the statistics for restaurants that happen to be situated next to a massive volcano that could end all life in Fresno, California?

    That’s the situation facing the employees of Stars Diner. This indie TV pilot is directed by Fidel Ruiz-Healy and Tyler Walker and features&nbsp, Natalie Palamides ( who stopped by last year’s SXSW to promote fellow indie TV project The Broadcast ).

    The post SXSW 2025 TV Preview: The Studio, Happy Face, # 1 Happy Family USA, and More appeared first on Den of Geek.

  • The Best UK TV Quiz Shows Ranked

    The Best UK TV Quiz Shows Ranked

    Individuals think it’s really questions and answers. It’s not just questions and answers. The best TV survey shows are areas you drop into that feeling immediately like home. They’re a school common room, or a friend’s sofa, or your local pub – somewhere familiar and unchanging that lets you relax and know that you belong… ]…]

    The article The Best British TV Quiz Shows Ranked appeared initially on Den of Geek.

    Whether it &#8217, s in your living space on a flatscreen, in sleep on a product, or at your office on a computer, watching tv is usually a relatively private practice. That&#8217, s not the case at South by Southwest.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The 2025 SXSW Film and Television Festival is filled with smaller screen collection getting their common debut on large screens. Some are correctly great like the star-studded Apple Television + humor The Studio, while others are lowkey independent and global planes looking for a home. Here are all the shows you &#8217, re going to want to keep an eye on from this year &#8217, s event.

    Prime Video

    # 1 Happy Family USA

    When the Hussein family’s neighbors start to see them as enemy #1 in the aftermath of 9/11, they only have one option: to become # 1 Happy Family USA. Patriotism! Smiles! Fitting in! This satirical adult animated series, created by Ramy Youssef with South Park producer Pam Brady and A24, mines the early 2000s Muslim-American experience for sharp, absurd comedy. It’ll make its world premiere at SXSW before launching the first of two already-commissioned seasons on Prime Video in March. 

    Apple TV +

    Government Cheese

    The ambitious, unconventional Chambers family were doing just fine in 1969 San Fernando Valley without patriarch Hampton while he served his jail time. Now, he’s a free man hoping to shake off his criminal past, reunite with his wife and sons, and make sense of what appear to be episodes of divine intervention in his life. &nbsp,

    Created by acclaimed music video director Paul Hunter and screenwriter-producer Ayesha Carr, Government Cheese is a surrealist dramedy based on Hunter’s short film of the same name, which will stream on Apple TV + in April. The 10-episode series stars Silo and Lawmen: Bass Reeves’ David Oyelowo as Hampton Chambers, with Simone Missick (Luke Cage’s Misty Knight) as his wife, Astoria. Expect strangeness.

    Paramount+

    Happy Face

    The Dropout, Dirty John, Dr. Death … behind every hit true crime TV show is a podcast telling the same story, but without pictures and with more ads for Mailchimp. Eight-episode Paramount + series Happy Face is based on the pod of the same name by Melissa G. Moore, a creator with a unique perspective on real-life serial killer Keith” Happy Face” Hunter Jesperson by dint of being his daughter. Starring Dennis Quaid as Jesperson and Annaleigh Ashford as Moore, it lands on March 20.

    Philadelphia Inquirer/MCT/Sipa US

    Spy High

    You remember that one teacher with eyes in the back of their head? In 2010, a Philadelphia school district decided to go one better. Using webcams in school-issued laptops, they were alleged to have spied on students in their bedrooms at home, leading to an accusation that 15-year-old Blake Robbins was selling drugs. Robbins brought a lawsuit against them and successfully won damages, and Mark Wahlberg’s production company is here to tell the story in this four-part Prime Video docuseries.

    Apple TV +

    The Studio

    Matt Remick (Seth Rogen) got into the film biz because he loves movies, but now that he’s the head of Continental Studios, he’s worried that his job is to ruin them. Thanks to bottom lines, in-fighting execs, and narcissist creatives, it’ll certainly ruin him in this 10-episode industry satire coming to Apple TV + on March 26.

    From longtime collaborators Rogen and Evan Goldberg ( Superbad, Knocked Up, This is the End ), The Studio stars Beetlejuice Beetlejuice‘s CatherineO’Hara and Agatha All Along‘s Kathryn Hahn, with Breaking Bad‘s Bryan Cranston, The Batman‘s Paul Dano, and star cameos aplenty ( Rogen and Goldberg are connected, so expect to see appearances by Martin Scorsese, Charlize Theron, and more ). Can The Studio reach the same cynical depths as Robert Altman’s 1992 classic The Player? It can try! With any luck, it’ll fare better than HBO’s superhero movie satire The Franchise, which didn’t last longer than a season.

    Torjus Thesen/Maipo Film

    Dates in Real Life

    From Norway comes the dramedy Dates in Real Life, a sideways look at dating in the age of technology. Dates in Real Life stars Gina Bernhoft Gørvell as Ida, a woman who thought her virtual relationship with her boyfriend was fulfilling—that is until she sees him in person with another woman. Her virtual reality shattered, Ida must figure out how to relate with others face-to-face. Creator Jakob Rørvik goes beyond banal observations for his award-winning series. &nbsp,

    Foxtel Group

    Mix Tape

    Jim Sturgess is no stranger to the intersection of romance and music, having starred in the 2007 Beatles jukebox musical Across the Universe. Now, music is set to take him someplace even more exotic than across the universe: a 1989 house party in Sheffield.

    A collaborative effort among Canadian, Australian, Finnish, and Irish producers, Mix Tape follows two teens who bond over their love of music and then meet again 20 years later to reflect on what could have been. &nbsp,

    Michelle Lawler

    Bulldozer

    Amid a successful career in casting, voice acting, and playing background roles in sitcoms ( perhaps you remember” Vanessa’s Friend” in Curb Your Enthusiasm season 9? ), Joanna Leeds takes center stage by creating and starring in comedy pilot Bulldozer. &nbsp,

    Assisted by notable performers like Nat Faxon, Harvey Guillen, and Mary Steenburgen, Bulldozer depicts one passionate, if misguided, woman trying to find love while lurching from crisis to crisis like some kind of…motorized construction machine. &nbsp,

    The American Standard Film Co

    Stars Diner

    Fun fact: the statistic that 90 % of restaurants fail in their first year is a myth. Truthfully, “only” 17 % of restaurants close after year one. But what are the statistics for restaurants that happen to be situated next to a massive volcano that could end all life in Fresno, California?

    That’s the situation facing the employees of Stars Diner. This indie TV pilot is directed by Fidel Ruiz-Healy and Tyler Walker and features&nbsp, Natalie Palamides ( who stopped by last year’s SXSW to promote fellow indie TV project The Broadcast ).

    The post SXSW 2025 TV Preview: The Studio, Happy Face, # 1 Happy Family USA, and More appeared first on Den of Geek.

  • 25 Years On, American Psycho’s Ending Is Still Misunderstood

    25 Years On, American Psycho’s Ending Is Still Misunderstood

    Late last year, it was reported that director Luca Guadagnino is developing a new movie adaptation of Bret Easton Ellis ‘ 1991 book, American Psycho. Ellis has cast doubts on that statement by suggesting it’s more of an idea than a dedicated project, but the announcement sparked mixed emotions. Guadagnino tackling this relevant text through a]… ]

    The article 25 Times On, American Psycho’s Finishing Is Also Misunderstood appeared first on Den of Geek.

    Whether it &#8217, s in your living space on a flatscreen, in sleep on a product, or at your office on a computer, watching tv is usually a relatively private practice. That&#8217, s not the case at South by Southwest.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The 2025 SXSW Film and Television Festival is filled with smaller screen collection getting their common debut on large screens. Some are properly great like the star-studded Apple Television + humor The Studio, while others are lowkey independent and global planes looking for a home. Here are all the shows you &#8217, re going to want to keep an eye on from this year &#8217, s event.

    Prime Video

    # 1 Happy Family USA

    When the Hussein family’s neighbors start to see them as enemy #1 in the aftermath of 9/11, they only have one option: to become # 1 Happy Family USA. Patriotism! Smiles! Fitting in! This satirical adult animated series, created by Ramy Youssef with South Park producer Pam Brady and A24, mines the early 2000s Muslim-American experience for sharp, absurd comedy. It’ll make its world premiere at SXSW before launching the first of two already-commissioned seasons on Prime Video in March. 

    Apple TV +

    Government Cheese

    The optimistic, innovative Chambers relatives were doing just fine in 1969 San Fernando Valley without father Virginia while he served his prison time. Now, he’s a free man hoping to shake off his criminal past, reunite with his wife and sons, and make sense of what appear to be episodes of divine intervention in his life. &nbsp,

    Created by acclaimed music video director Paul Hunter and screenwriter-producer Ayesha Carr, Government Cheese is a surrealist dramedy based on Hunter’s short film of the same name, which will stream on Apple TV + in April. The 10-episode series stars Silo and Lawmen: Bass Reeves’ David Oyelowo as Hampton Chambers, with Simone Missick (Luke Cage’s Misty Knight) as his wife, Astoria. Expect strangeness.

    Paramount+

    Happy Face

    The Dropout, Dirty John, Dr. Death … behind every hit true crime TV show is a podcast telling the same story, but without pictures and with more ads for Mailchimp. Eight-episode Paramount + series Happy Face is based on the pod of the same name by Melissa G. Moore, a creator with a unique perspective on real-life serial killer Keith” Happy Face” Hunter Jesperson by dint of being his daughter. Starring Dennis Quaid as Jesperson and Annaleigh Ashford as Moore, it lands on March 20.

    Philadelphia Inquirer/MCT/Sipa US

    Spy High

    You remember that one teacher with eyes in the back of their head? In 2010, a Philadelphia school district decided to go one better. Using webcams in school-issued laptops, they were alleged to have spied on students in their bedrooms at home, leading to an accusation that 15-year-old Blake Robbins was selling drugs. Robbins brought a lawsuit against them and successfully won damages, and Mark Wahlberg’s production company is here to tell the story in this four-part Prime Video docuseries.

    Apple TV +

    The Studio

    Matt Remick (Seth Rogen) got into the film biz because he loves movies, but now that he’s the head of Continental Studios, he’s worried that his job is to ruin them. Thanks to bottom lines, in-fighting execs, and narcissist creatives, it’ll certainly ruin him in this 10-episode industry satire coming to Apple TV + on March 26.

    From longtime collaborators Rogen and Evan Goldberg ( Superbad, Knocked Up, This is the End ), The Studio stars Beetlejuice Beetlejuice‘s CatherineO’Hara and Agatha All Along‘s Kathryn Hahn, with Breaking Bad‘s Bryan Cranston, The Batman‘s Paul Dano, and star cameos aplenty ( Rogen and Goldberg are connected, so expect to see appearances by Martin Scorsese, Charlize Theron, and more ). Can The Studio reach the same cynical depths as Robert Altman’s 1992 classic The Player? It can try! With any luck, it’ll fare better than HBO’s superhero movie satire The Franchise, which didn’t last longer than a season.

    Torjus Thesen/Maipo Film

    Dates in Real Life

    From Norway comes the dramedy Dates in Real Life, a sideways look at dating in the age of technology. Dates in Real Life stars Gina Bernhoft Gørvell as Ida, a woman who thought her virtual relationship with her boyfriend was fulfilling—that is until she sees him in person with another woman. Her virtual reality shattered, Ida must figure out how to relate with others face-to-face. Creator Jakob Rørvik goes beyond banal observations for his award-winning series. &nbsp,

    Foxtel Group

    Mix Tape

    Jim Sturgess is no stranger to the intersection of romance and music, having starred in the 2007 Beatles jukebox musical Across the Universe. Now, music is set to take him someplace even more exotic than across the universe: a 1989 house party in Sheffield.

    A collaborative effort among Canadian, Australian, Finnish, and Irish producers, Mix Tape follows two teens who bond over their love of music and then meet again 20 years later to reflect on what could have been. &nbsp,

    Michelle Lawler

    Bulldozer

    Amid a successful career in casting, voice acting, and playing background roles in sitcoms ( perhaps you remember” Vanessa’s Friend” in Curb Your Enthusiasm season 9? ), Joanna Leeds takes center stage by creating and starring in comedy pilot Bulldozer. &nbsp,

    Assisted by notable performers like Nat Faxon, Harvey Guillen, and Mary Steenburgen, Bulldozer depicts one passionate, if misguided, woman trying to find love while lurching from crisis to crisis like some kind of…motorized construction machine. &nbsp,

    The American Standard Film Co

    Stars Diner

    Fun fact: the statistic that 90 % of restaurants fail in their first year is a myth. Truthfully, “only” 17 % of restaurants close after year one. But what are the statistics for restaurants that happen to be situated next to a massive volcano that could end all life in Fresno, California?

    That’s the situation facing the employees of Stars Diner. This indie TV pilot is directed by Fidel Ruiz-Healy and Tyler Walker and features&nbsp, Natalie Palamides ( who stopped by last year’s SXSW to promote fellow indie TV project The Broadcast ).

    The post SXSW 2025 TV Preview: The Studio, Happy Face, # 1 Happy Family USA, and More appeared first on Den of Geek.

  • Wednesday: Jenna Ortega Confirms Season 2 Will Dive Deeper into Addams Family Lore

    Wednesday: Jenna Ortega Confirms Season 2 Will Dive Deeper into Addams Family Lore

    Jenna Ortega has more than once acknowledged that before Wednesday came down, friends and family in her life were now comparing her to the Addams Family’s sad girl, a figure originally created by Charles Addams more than 90 decades earlier. With season 2 almost upon us, she appears poised to create that image specific. During ]… ]

    The article Wednesday: Jenna Ortega Confirms Season 2 May Swim Deeper into Addams Family Lore appeared first on Den of Geek.

    Whether it &#8217, s in your living space on a flatscreen, in sleep on a product, or at your office on a computer, watching tv is usually a relatively private practice. That&#8217, s not the case at South by Southwest.

    cnx. cmd. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The 2025 SXSW Film and TV Festival is filled with small screen series getting their public debut on big screens. Some are appropriately huge like the star-studded Apple TV + comedy The Studio, while others are lowkey indie and international pilots looking for a home. Here are all the shows you &#8217, re going to want to keep an eye on from this year &#8217, s festival.

    Prime Video

    # 1 Happy Family USA

    When the Hussein family’s neighbors start to see them as enemy #1 in the aftermath of 9/11, they only have one option: to become # 1 Happy Family USA. Patriotism! Smiles! Fitting in! This satirical adult animated series, created by Ramy Youssef with South Park producer Pam Brady and A24, mines the early 2000s Muslim-American experience for sharp, absurd comedy. It’ll make its world premiere at SXSW before launching the first of two already-commissioned seasons on Prime Video in March. 

    Apple TV +

    Government Cheese

    The ambitious, unconventional Chambers family were doing just fine in 1969 San Fernando Valley without patriarch Hampton while he served his jail time. Now, he’s a free man hoping to shake off his criminal past, reunite with his wife and sons, and make sense of what appear to be episodes of divine intervention in his life. &nbsp,

    Created by acclaimed music video director Paul Hunter and screenwriter-producer Ayesha Carr, Government Cheese is a surrealist dramedy based on Hunter’s short film of the same name, which will stream on Apple TV + in April. The 10-episode series stars Silo and Lawmen: Bass Reeves’ David Oyelowo as Hampton Chambers, with Simone Missick (Luke Cage’s Misty Knight) as his wife, Astoria. Expect strangeness.

    Paramount+

    Happy Face

    The Dropout, Dirty John, Dr. Death … behind every hit true crime TV show is a podcast telling the same story, but without pictures and with more ads for Mailchimp. Eight-episode Paramount + series Happy Face is based on the pod of the same name by Melissa G. Moore, a creator with a unique perspective on real-life serial killer Keith” Happy Face” Hunter Jesperson by dint of being his daughter. Starring Dennis Quaid as Jesperson and Annaleigh Ashford as Moore, it lands on March 20.

    Philadelphia Inquirer/MCT/Sipa US

    Spy High

    You remember that one teacher with eyes in the back of their head? In 2010, a Philadelphia school district decided to go one better. Using webcams in school-issued laptops, they were alleged to have spied on students in their bedrooms at home, leading to an accusation that 15-year-old Blake Robbins was selling drugs. Robbins brought a lawsuit against them and successfully won damages, and Mark Wahlberg’s production company is here to tell the story in this four-part Prime Video docuseries.

    Apple TV +

    The Studio

    Matt Remick (Seth Rogen) got into the film biz because he loves movies, but now that he’s the head of Continental Studios, he’s worried that his job is to ruin them. Thanks to bottom lines, in-fighting execs, and narcissist creatives, it’ll certainly ruin him in this 10-episode industry satire coming to Apple TV + on March 26.

    From longtime collaborators Rogen and Evan Goldberg ( Superbad, Knocked Up, This is the End ), The Studio stars Beetlejuice Beetlejuice‘s CatherineO’Hara and Agatha All Along‘s Kathryn Hahn, with Breaking Bad‘s Bryan Cranston, The Batman‘s Paul Dano, and star cameos aplenty ( Rogen and Goldberg are connected, so expect to see appearances by Martin Scorsese, Charlize Theron, and more ). Can The Studio reach the same cynical depths as Robert Altman’s 1992 classic The Player? It can try! With any luck, it’ll fare better than HBO’s superhero movie satire The Franchise, which didn’t last longer than a season.

    Torjus Thesen/Maipo Film

    Dates in Real Life

    From Norway comes the dramedy Dates in Real Life, a sideways look at dating in the age of technology. Dates in Real Life stars Gina Bernhoft Gørvell as Ida, a woman who thought her virtual relationship with her boyfriend was fulfilling—that is until she sees him in person with another woman. Her virtual reality shattered, Ida must figure out how to relate with others face-to-face. Creator Jakob Rørvik goes beyond banal observations for his award-winning series. &nbsp,

    Foxtel Group

    Mix Tape

    Jim Sturgess is no stranger to the intersection of romance and music, having starred in the 2007 Beatles jukebox musical Across the Universe. Now, music is set to take him someplace even more exotic than across the universe: a 1989 house party in Sheffield.

    A collaborative effort among Canadian, Australian, Finnish, and Irish producers, Mix Tape follows two teens who bond over their love of music and then meet again 20 years later to reflect on what could have been. &nbsp,

    Michelle Lawler

    Bulldozer

    Amid a successful career in casting, voice acting, and playing background roles in sitcoms ( perhaps you remember” Vanessa’s Friend” in Curb Your Enthusiasm season 9? ), Joanna Leeds takes center stage by creating and starring in comedy pilot Bulldozer. &nbsp,

    Assisted by notable performers like Nat Faxon, Harvey Guillen, and Mary Steenburgen, Bulldozer depicts one passionate, if misguided, woman trying to find love while lurching from crisis to crisis like some kind of…motorized construction machine. &nbsp,

    The American Standard Film Co

    Stars Diner

    Fun fact: the statistic that 90 % of restaurants fail in their first year is a myth. Truthfully, “only” 17 % of restaurants close after year one. But what are the statistics for restaurants that happen to be situated next to a massive volcano that could end all life in Fresno, California?

    That’s the situation facing the employees of Stars Diner. This indie TV pilot is directed by Fidel Ruiz-Healy and Tyler Walker and features&nbsp, Natalie Palamides ( who stopped by last year’s SXSW to promote fellow indie TV project The Broadcast ).

    The post SXSW 2025 TV Preview: The Studio, Happy Face, # 1 Happy Family USA, and More appeared first on Den of Geek.

  • Link Tank: New RSVLTS Collection Will ‘Power The Force’ for Star Wars Fans

    Link Tank: New RSVLTS Collection Will ‘Power The Force’ for Star Wars Fans

    The Star Wars” Power The Force” series from RSVLTS enjoys several fan-favorite characters and special devices that have powered the world throughout the ages. ” The collection includes fantastical tech-themed array of Star Wars designs that feature some classic and new droids and lightsabers from over the decades, all available on RSVLTS signature KUNUFLEX™ material with ]… ]

    The article Link Tank: New RSVLTS Collection Will ‘ Power The Force ‘ for Star Wars Fans appeared second on Den of Geek.

    Whether it &#8217, s in your living space on a flatscreen, in sleep on a product, or at your office on a computer, watching tv is usually a relatively private practice. That&#8217, s not the case at South by Southwest.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The 2025 SXSW Film and Television Festival is filled with smaller screen collection getting their common debut on large screens. Some are properly great like the star-studded Apple TV + humor The Studio, while others are lowkey independent and global planes looking for a home. Here are all the shows you &#8217, re going to want to keep an eye on from this year &#8217, s festival.

    Prime Video

    # 1 Happy Family USA

    When the Hussein family’s neighbors start to see them as enemy #1 in the aftermath of 9/11, they only have one option: to become # 1 Happy Family USA. Patriotism! Smiles! Fitting in! This satirical adult animated series, created by Ramy Youssef with South Park producer Pam Brady and A24, mines the early 2000s Muslim-American experience for sharp, absurd comedy. It’ll make its world premiere at SXSW before launching the first of two already-commissioned seasons on Prime Video in March. 

    Apple TV +

    Government Cheese

    The ambitious, unconventional Chambers family were doing just fine in 1969 San Fernando Valley without patriarch Hampton while he served his jail time. Now, he’s a free man hoping to shake off his criminal past, reunite with his wife and sons, and make sense of what appear to be episodes of divine intervention in his life. &nbsp,

    Created by acclaimed music video director Paul Hunter and screenwriter-producer Ayesha Carr, Government Cheese is a surrealist dramedy based on Hunter’s short film of the same name, which will stream on Apple TV + in April. The 10-episode series stars Silo and Lawmen: Bass Reeves’ David Oyelowo as Hampton Chambers, with Simone Missick (Luke Cage’s Misty Knight) as his wife, Astoria. Expect strangeness.

    Paramount+

    Happy Face

    The Dropout, Dirty John, Dr. Death … behind every hit true crime TV show is a podcast telling the same story, but without pictures and with more ads for Mailchimp. Eight-episode Paramount + series Happy Face is based on the pod of the same name by Melissa G. Moore, a creator with a unique perspective on real-life serial killer Keith” Happy Face” Hunter Jesperson by dint of being his daughter. Starring Dennis Quaid as Jesperson and Annaleigh Ashford as Moore, it lands on March 20.

    Philadelphia Inquirer/MCT/Sipa US

    Spy High

    You remember that one teacher with eyes in the back of their head? In 2010, a Philadelphia school district decided to go one better. Using webcams in school-issued laptops, they were alleged to have spied on students in their bedrooms at home, leading to an accusation that 15-year-old Blake Robbins was selling drugs. Robbins brought a lawsuit against them and successfully won damages, and Mark Wahlberg’s production company is here to tell the story in this four-part Prime Video docuseries.

    Apple TV +

    The Studio

    Matt Remick (Seth Rogen) got into the film biz because he loves movies, but now that he’s the head of Continental Studios, he’s worried that his job is to ruin them. Thanks to bottom lines, in-fighting execs, and narcissist creatives, it’ll certainly ruin him in this 10-episode industry satire coming to Apple TV + on March 26.

    From longtime collaborators Rogen and Evan Goldberg ( Superbad, Knocked Up, This is the End ), The Studio stars Beetlejuice Beetlejuice‘s CatherineO’Hara and Agatha All Along‘s Kathryn Hahn, with Breaking Bad‘s Bryan Cranston, The Batman‘s Paul Dano, and star cameos aplenty ( Rogen and Goldberg are connected, so expect to see appearances by Martin Scorsese, Charlize Theron, and more ). Can The Studio reach the same cynical depths as Robert Altman’s 1992 classic The Player? It can try! With any luck, it’ll fare better than HBO’s superhero movie satire The Franchise, which didn’t last longer than a season.

    Torjus Thesen/Maipo Film

    Dates in Real Life

    From Norway comes the dramedy Dates in Real Life, a sideways look at dating in the age of technology. Dates in Real Life stars Gina Bernhoft Gørvell as Ida, a woman who thought her virtual relationship with her boyfriend was fulfilling—that is until she sees him in person with another woman. Her virtual reality shattered, Ida must figure out how to relate with others face-to-face. Creator Jakob Rørvik goes beyond banal observations for his award-winning series. &nbsp,

    Foxtel Group

    Mix Tape

    Jim Sturgess is no stranger to the intersection of romance and music, having starred in the 2007 Beatles jukebox musical Across the Universe. Now, music is set to take him someplace even more exotic than across the universe: a 1989 house party in Sheffield.

    A collaborative effort among Canadian, Australian, Finnish, and Irish producers, Mix Tape follows two teens who bond over their love of music and then meet again 20 years later to reflect on what could have been. &nbsp,

    Michelle Lawler

    Bulldozer

    Amid a successful career in casting, voice acting, and playing background roles in sitcoms ( perhaps you remember” Vanessa’s Friend “in Curb Your Enthusiasm season 9? ), Joanna Leeds takes center stage by creating and starring in comedy pilot Bulldozer. &nbsp,

    Assisted by notable performers like Nat Faxon, Harvey Guillen, and Mary Steenburgen, Bulldozer depicts one passionate, if misguided, woman trying to find love while lurching from crisis to crisis like some kind of…motorized construction machine. &nbsp,

    The American Standard Film Co

    Stars Diner

    Fun fact: the statistic that 90 % of restaurants fail in their first year is a myth. Truthfully”, only” 17 % of restaurants close after year one. But what are the statistics for restaurants that happen to be situated next to a massive volcano that could end all life in Fresno, California?

    That’s the situation facing the employees of Stars Diner. This indie TV pilot is directed by Fidel Ruiz-Healy and Tyler Walker and features&nbsp, Natalie Palamides ( who stopped by last year’s SXSW to promote fellow indie TV project The Broadcast ).

    The post SXSW 2025 TV Preview: The Studio, Happy Face, # 1 Happy Family USA, and More appeared first on Den of Geek.

  • SXSW 2025 TV Preview: The Studio, Happy Face, #1 Happy Family USA, and More

    SXSW 2025 TV Preview: The Studio, Happy Face, #1 Happy Family USA, and More

    Whether it’s in your living space on a flatscreen, in bed on a product, or at your office on a computer, watching tv is usually a fairly personal experience. That’s not the situation at South by Southwest. The 2025 SXSW Film and Television Festival is filled with smaller screen set getting their common debut on ]…]

    The article SXSW 2025 Screen Preview: The Studio, Happy Face,# 1 Happy Family USA, and More appeared first on Den of Geek.

    Whether it &#8217, s in your living space on a flatscreen, in sleep on a product, or at your office on a computer, watching tv is usually a relatively private practice. That&#8217, s not the case at South by Southwest.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    The 2025 SXSW Film and Television Festival is filled with smaller screen collection getting their common debut on large screens. Some are properly great like the star-studded Apple Television + sitcom The Studio, while others are lowkey indie and global planes looking for a home. Here are all the shows you &#8217, re going to want to keep an eye on from this year &#8217, s festival.

    Prime Video

    # 1 Happy Family USA

    When the Hussein family’s neighbors start to see them as enemy #1 in the aftermath of 9/11, they only have one option: to become # 1 Happy Family USA. Patriotism! Smiles! Fitting in! This satirical adult animated series, created by Ramy Youssef with South Park producer Pam Brady and A24, mines the early 2000s Muslim-American experience for sharp, absurd comedy. It’ll make its world premiere at SXSW before launching the first of two already-commissioned seasons on Prime Video in March. 

    Apple TV +

    Government Cheese

    The ambitious, unconventional Chambers family were doing just fine in 1969 San Fernando Valley without patriarch Hampton while he served his jail time. Now, he’s a free man hoping to shake off his criminal past, reunite with his wife and sons, and make sense of what appear to be episodes of divine intervention in his life. &nbsp,

    Created by acclaimed music video director Paul Hunter and screenwriter-producer Ayesha Carr, Government Cheese is a surrealist dramedy based on Hunter’s short film of the same name, which will stream on Apple TV + in April. The 10-episode series stars Silo and Lawmen: Bass Reeves’ David Oyelowo as Hampton Chambers, with Simone Missick (Luke Cage’s Misty Knight) as his wife, Astoria. Expect strangeness.

    Paramount+

    Happy Face

    The Dropout, Dirty John, Dr. Death … behind every hit true crime TV show is a podcast telling the same story, but without pictures and with more ads for Mailchimp. Eight-episode Paramount + series Happy Face is based on the pod of the same name by Melissa G. Moore, a creator with a unique perspective on real-life serial killer Keith” Happy Face” Hunter Jesperson by dint of being his daughter. Starring Dennis Quaid as Jesperson and Annaleigh Ashford as Moore, it lands on March 20.

    Philadelphia Inquirer/MCT/Sipa US

    Spy High

    You remember that one teacher with eyes in the back of their head? In 2010, a Philadelphia school district decided to go one better. Using webcams in school-issued laptops, they were alleged to have spied on students in their bedrooms at home, leading to an accusation that 15-year-old Blake Robbins was selling drugs. Robbins brought a lawsuit against them and successfully won damages, and Mark Wahlberg’s production company is here to tell the story in this four-part Prime Video docuseries.

    Apple TV +

    The Studio

    Matt Remick (Seth Rogen) got into the film biz because he loves movies, but now that he’s the head of Continental Studios, he’s worried that his job is to ruin them. Thanks to bottom lines, in-fighting execs, and narcissist creatives, it’ll certainly ruin him in this 10-episode industry satire coming to Apple TV + on March 26.

    From longtime collaborators Rogen and Evan Goldberg ( Superbad, Knocked Up, This is the End ), The Studio stars Beetlejuice Beetlejuice‘s CatherineO’Hara and Agatha All Along‘s Kathryn Hahn, with Breaking Bad‘s Bryan Cranston, The Batman‘s Paul Dano, and star cameos aplenty ( Rogen and Goldberg are connected, so expect to see appearances by Martin Scorsese, Charlize Theron, and more ). Can The Studio reach the same cynical depths as Robert Altman’s 1992 classic The Player? It can try! With any luck, it’ll fare better than HBO’s superhero movie satire The Franchise, which didn’t last longer than a season.

    Torjus Thesen/Maipo Film

    Dates in Real Life

    From Norway comes the dramedy Dates in Real Life, a sideways look at dating in the age of technology. Dates in Real Life stars Gina Bernhoft Gørvell as Ida, a woman who thought her virtual relationship with her boyfriend was fulfilling—that is until she sees him in person with another woman. Her virtual reality shattered, Ida must figure out how to relate with others face-to-face. Creator Jakob Rørvik goes beyond banal observations for his award-winning series. &nbsp,

    Foxtel Group

    Mix Tape

    Jim Sturgess is no stranger to the intersection of romance and music, having starred in the 2007 Beatles jukebox musical Across the Universe. Now, music is set to take him someplace even more exotic than across the universe: a 1989 house party in Sheffield.

    A collaborative effort among Canadian, Australian, Finnish, and Irish producers, Mix Tape follows two teens who bond over their love of music and then meet again 20 years later to reflect on what could have been. &nbsp,

    Michelle Lawler

    Bulldozer

    Amid a successful career in casting, voice acting, and playing background roles in sitcoms ( perhaps you remember” Vanessa’s Friend” in Curb Your Enthusiasm season 9? ), Joanna Leeds takes center stage by creating and starring in comedy pilot Bulldozer. &nbsp,

    Assisted by notable performers like Nat Faxon, Harvey Guillen, and Mary Steenburgen, Bulldozer depicts one passionate, if misguided, woman trying to find love while lurching from crisis to crisis like some kind of…motorized construction machine. &nbsp,

    The American Standard Film Co

    Stars Diner

    Fun fact: the statistic that 90 % of restaurants fail in their first year is a myth. Truthfully, “only” 17 % of restaurants close after year one. But what are the statistics for restaurants that happen to be situated next to a massive volcano that could end all life in Fresno, California?

    That’s the situation facing the employees of Stars Diner. This indie TV pilot is directed by Fidel Ruiz-Healy and Tyler Walker and features&nbsp, Natalie Palamides ( who stopped by last year’s SXSW to promote fellow indie TV project The Broadcast ).

    The article SXSW 2025 Screen Preview: The Studio, Happy Face,# 1 Happy Family USA, and More appeared first on Den of Geek.