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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.

  • Design Dialects: Breaking the Rules, Not the System

    Design Dialects: Breaking the Rules, Not the System

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

    The web has accents. So should our design systems.

    Design Systems as Living Languages

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

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

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

    Consistency becomes a prison

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

    Our design systems must learn to speak dialects.

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

    When Perfect Consistency Fails

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

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

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

    Task completion with standard Polaris: 0%.

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

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

    The Birth of a Dialect

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

    ConstraintFluent MoveRationale
    Glare & low lightDark surfaces + light textReduce glare on low-DPI screens
    Gloves & haste90px tap targets (~2cm)Accommodate thick gloves
    MultilingualSingle-task screens, plain languageReduce cognitive load

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

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

    The Flexibility Framework

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

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

    TierActionOwnership
    ConsistentAdopt unchangedPlatform locks design + code
    OpinionatedAdapt within boundsPlatform provides smart defaults, products customize
    FlexibleExtend freelyPlatform defines behavior, products own presentation

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

    The Decision Ladder

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

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

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

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

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

    Rules are tools, not relics.

    Unity Beats Uniformity

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

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

    Governance Without Gates

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

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

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

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

    A living dictionary scales better than a frozen rulebook.

    Start Small: Your First Dialect

    Ready to introduce dialects? Start with one broken experience:

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

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

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

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

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

    Beyond the Component Library

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

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

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

  • 22 Movie Facts You Weren’t Aware You Didn’t Know

    22 Movie Facts You Weren’t Aware You Didn’t Know

    Movies are full of secrets, oddities, and little-known tidbits that can surprise even the most devoted fans. From unexpected actor choices to behind-the-scenes quirks, these fun facts reveal the hidden stories that audiences don’t always get to find out. Some are hilarious, some are bizarre, and some are just plain weird, but all are true. In this gallery, we explore 22 random movie facts that you probably didn’t even realize you didn’t know.

    The post 22 Movie Facts You Weren’t Aware You Didn’t Know appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • 15 Times the Budget Didn’t Meet Ambition

    15 Times the Budget Didn’t Meet Ambition

    Hollywood dreams big, but sometimes even the most ambitious films can’t stretch a budget far enough. Elaborate sets get simplified, CGI gets scaled back, and practical effects are cut or replaced entirely. But these compromises don’t always ruin the movie, in fact, they often lead to creative solutions. In this gallery, we explore 15 films where the budget couldn’t fully match the ambition. From grandiose action sequences to intricate period details, these movies pushed the limits of what money could buy, showing that filmmaking is as much about ingenuity as it is about dollars.

    The post 15 Times the Budget Didn’t Meet Ambition appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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

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

    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • Invincible Showrunners on Why Lee Pace Was Perfect for the Story’s Big Bad Thragg

    Invincible Showrunners on Why Lee Pace Was Perfect for the Story’s Big Bad Thragg

    By the end of Invincible‘s third season, Mark Grayson (Steven Yeun) seemed to have defeated the strongest Viltrumite out there. It nearly cost him his life and his principles, but Mark managed to stop the powerful Conquest, giving him and his friends hope that the Viltrum Empire could be nearing its end. But he has […]

    The post Invincible Showrunners on Why Lee Pace Was Perfect for the Story’s Big Bad Thragg appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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

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

    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • V for Vendetta Director Has Some Advice for Adapting Alan Moore

    V for Vendetta Director Has Some Advice for Adapting Alan Moore

    It’s too early to call James Gunn‘s new DCU an unqualified success, but things have been going very well so far. Creature Commandos and Peacemaker have been hits among critics despite modest streaming numbers, Superman was one of the biggest movies of 2025, and anticipation for Supergirl and Lanterns couldn’t be higher. Gunn is already […]

    The post V for Vendetta Director Has Some Advice for Adapting Alan Moore appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • What Really Happens Inside the Love Island USA Villa?

    What Really Happens Inside the Love Island USA Villa?

    For years, the U.S. version of Love Island felt like the franchise’s overlooked sibling. While the original U.K. series dominated global conversation, Love Island USA struggled to capture the same cultural impact. That changed dramatically with season 6, when the show suddenly became impossible to ignore—especially for those on social media.  Over the past two […]

    The post What Really Happens Inside the Love Island USA Villa? appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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    }).render(“0270c398a82f44f49c23c16122516796”);
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    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • Sarah Michele Gellar Reveals the Real Reason Behind the Buffy Reboot’s Cancellation

    Sarah Michele Gellar Reveals the Real Reason Behind the Buffy Reboot’s Cancellation

    Buffy the Vampire Slayer star Sarah Michelle Gellar says she fought an “uphill battle” since “day one” to get Hulu reboot series New Sunnydale made. In a new interview with People, Gellar broke down the decision to cancel the show after the pilot and how she heard the news. The timing sounds absolutely diabolical; she […]

    The post Sarah Michele Gellar Reveals the Real Reason Behind the Buffy Reboot’s Cancellation appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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

    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • Green Lantern: The Damon Lindelof and Grant Morrison Dispute Reveals the Problem With Comic Book Adaptations

    Green Lantern: The Damon Lindelof and Grant Morrison Dispute Reveals the Problem With Comic Book Adaptations

    Damon Lindelof has done it again. He’s made the nerds mad. This time, it’s not because Lost ended in purgatory or because he remixed Watchmen or because of, well, everything in Prometheus. It’s because he said that Green Lantern was a stupid name. Those comments would have irritated Green Lantern fans regardless, but it especially […]

    The post Green Lantern: The Damon Lindelof and Grant Morrison Dispute Reveals the Problem With Comic Book Adaptations appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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

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

    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.

  • How Robert Pattinson’s Zendaya Connection on The Drama Might Have Led to Dune 3

    How Robert Pattinson’s Zendaya Connection on The Drama Might Have Led to Dune 3

    The Dune movies hold a singular place in Zendaya’s memory. She has, after all, starred in three of them. And as she admits to a wide assembly of press during a special event revealing the Dune: Part Three trailer, they mark a crucial part of her life. “These movies have meant so much to me […]

    The post How Robert Pattinson’s Zendaya Connection on The Drama Might Have Led to Dune 3 appeared first on Den of Geek.

    As with any sequel, part of the appeal of the first trailer for Dune: Part Three is seeing all the familiar faces. The teaser gives us new looks at Paul and Chani, now older and weathered from the former’s role as Emperor. We see Lady Jessica’s face, covered in tattoos, and what appears to be the face of Duncan Idaho, somehow alive after his death in the first Dune. But the most interesting face is that of Robert Pattinson, who plays a suspicious new character.

    Pattinson plays Scytale, a Face-Dancer who serves a key role in a conspiracy formed against House Atreides. Scytale is a mysterious character, one whose true nature and purpose are opaque to everyone. Yet, the trailer forces us to ask, “Is Scytale a hero or villain?”

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

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

    Directed once again by Denis Villeneuve, who co-writes the script with comic scribe Brian K. Vaughn, Dune: Part Three adapts Dune Messiah, the second book in Frank Herbert‘s series. Set approximately twelve years after the first book, Messiah finds Paul seemingly all powerful because of Muad’Dib’s Jihad, and able to enact his vision for the future of humanity. However, a conspiracy rises against Paul, with roots that extend even into his inner circle.

    One of the main players in that conspiracy is Pattinson’s character, Scytale. Scytale is a Face-Dancer, the term for shapeshifters within Herbert’s world. Shapeshifters are certainly nothing new to genre fiction, the unique history of Dune‘s reality requires a bit more explanation. Because Dune takes place several millennia after the Butlerian Jihad that destroyed all advanced computers, technology evolved differently.

    Where the Bene Gesseret, the order that includes Paul’s mother Jessica, cultivated religious practices that gave them abilities such as the Voice and finger-talking, the Bene Tleilax practiced genetic modification. Eventually, the Bene Tleilax developed complete control over their bodies, allowing themselves to change their makeup on a cellular level, essentially shapeshifting.

    Face-dancers aren’t completely new to those who only watch the Dune movies and haven’t read the books. Sister Theodosia, the Bene Gesserit acolyte played by Jade Anouka in Dune: Prophecy was a Face Dancer, who used her abilities to advance Valya Harkonnen’s (Emily Watson) plans. As seen in that show, Face Dancers are a pariah among the larger society, an issue that only grows worse in the 10,000 years between that show and the events of the first Dune movie.

    Thus, when Scytale enters the story, he has good reason to doubt Paul’s empire. As such, Scytale serves an important thematic role for Dune: Part Three. Herbert wrote Messiah, in part, as a rejoinder to those who saw Paul as a more or less straightforward hero. In Messiah, the critique of charismatic leaders is more obvious, making Paul feel more morally ambiguous.

    It’s hard to make your readers mistrust your main character. It’s all the harder for movie audiences watching glamorous Hollywood stars to criticize the actions of the protagonist, especially when he’s played by Timothée Chalamet. Fortunately, Pattinson is the ideal counter to Chalamet. A magnetic and handsome performer in his own right, Pattinson has built his career around his ability to play against type. From Tenet to The Batman to Mickey 17, Pattinson knows how to embody people who are weirder than they seem, who shouldn’t be fully trusted.

    Does that ability mean that Scytale will be a villain in Dune: Part Three? The answer depends in part on how we view Paul, but it depends just as much as on what we see when we look at the face of Scytale, a face that’s always changing.

    Dune 3 arrives in theaters on December 18, 2026.

    The post Dune 3: Is Robert Pattinson’s New Character Hero or Villain? appeared first on Den of Geek.