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  • Yellowjackets Season 3 Episode 1 and 2 Review: It’s a Feral Girl Summer

    Yellowjackets Season 3 Episode 1 and 2 Review: It’s a Feral Girl Summer

    Season 3 shows 1 and 2, Episodes 1 and 2, and 2 of Yellowjackets are trailers in this review. The cold, cruel winter that Showtime’s Yellowjackets has left behind has been replaced by the hot comforts of the summer, and with this season change comes an extremely strong double episode season opener. What appears to be] ] begins the first episode.

    The article Yellowjackets Season 3 Episode 1 and 2 Review: It’s a Feral Girl Summer appeared initially on Den of Geek.

    This article contains spoilers for Captain America: Brave New World.

    No one would say that Captain America: Brave New World is a jam-packed film. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had more Marvel figures in it. It&#8217 ;s no solution that Brave New World underwent reshoots that fundamentally altered the finished product, including cutting various personalities who had previously been in the movie’s moments. It&#8217 ;s a testament to the cast and crew that Brave New World turned out to be a very enjoyable, soft action movie.

    It&#8217, s also hard to imagine what might have been had some of these lower characters been able to fit into the final cut. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217, s edge fell upon her, Rachel Leighton aka Diamondback definitely got the far into production. Before Diamondback was cut from the movie, there are also pictures of the figure on collection.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Her emotions didn’t develop until she and Sidewinder enlisted his assistance after the monster Viper overthrew the Society, despite the fact that she was immediately drawn to Captain America.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her perpetrator. After Rachel killed another Serpent Society part, the relationship ended, and the two have since had disagreements.

    It’s entirely possible that Sam would have had a passionate curiosity in Diamondback once the movie was finished. While she&#8217, s most frequently associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins as a member of the Serpent Society

    In terms of the Serpent Society, Seth Rollins, a WWE sun, is one of the most well-known additions and departures from Brave New World. No one has yet provided details, not yet Rollins, despite the fact that we knew he would be playing a part of Serpent ( as the group is known in the film, which gives it more of a James Bond Spectre think ). Most people assume that Rollins played a variant of Cobra or Anaconda, based on the set images of Rollins in outfit.

    Neither Cobra nor Anaconda are particularly rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    The fact that the finished movie still contains a Serpent heavy supports that theory. Strongman from Iceland Jóhannes Haukur Jóhannesson appears as Copperhead and does get tangled with Sam for a short while. Given that Cobra/Anaconda does suggest that Rollins was more of a bad genius, his loss provides a little more significant plot change.

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

    Amadeus Cho as portrayed by Logan Kim

    Like Kamala Khan and Miles Morales, Amadeus Cho points to Marvel&#8217, s future, an exciting young character created within the past 20years. Cho made his first appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and he won the title of the 7th Smartest Person in the World for it. His smarts also drew the attention of a jealous supergenius, who attacked Cho&#8217, s house and left his parents dead. Cho cobbled around with the Hulk and Hercules for a while before developing his own gamma abilities and becoming the Totally Awesome Hulk aka Brawn, a key member of the Champions.

    According to insider DanielRPK, Logan Kim, best known as Podcast from Ghostbusters: Afterlife, appeared in the an early screening of Brave New World as Cho. Sam first encountered Cho while working for Stark Industries, and Cho would later assist Sam in creating a Red Hulk counter. Although you should of course take this leak with a grain of salt, the rest of DanielRPK&#8217, s descriptions of the film match the finished version, lending some credibility to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He currently appears as a junior scientist at Oscorp in the excellent animated series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the finished version of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson portrays Eli in The Falcon and the Winter Soldier, and Eli lives with his grandfather, the disgruntled former Super Soldier, Isaiah Bradley. Isaiah plays a significant role in Brave New World, which is beautifully performed by Carl Lumbly. And yet, Eli neither appears on screen nor even gets a mention.

    As producer Nate Moore explained, Eli did appear in early drafts of the script. We want to make sure if a character is in the movie, they have something to do, according to Moore, and we started to feel like there were too many characters to track. Seemingly getting in the way of Isaiah&#8217, s relationship with Sam, Eli got cut.

    In the comics, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to have inherited the same abilities as his grandfather and is the team’s captain. He later acknowledges that he used a Mutant Growth Hormone to imitate the powers. Eli retired from the role of Patriot after the Young Avengers disbanded, but we&#8217, re sure to see a version of him as the MCU&#8217, s version of the team comes together.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val was a key character in early versions of Brave New World, according to a generally trustworthy insider, Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    Adamantium is undoubtedly important in the finished movie, and it is frequently suggested that we need a new cast of Avengers. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain of the Brave New World potential cast members, said he would appear in the film during an interview at the Santa Barbara Film Festival in 2024. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. It is a little odd that Brave New World would spend so much time discussing President Ross &#8217’s attempts to kill the Hulk without having the Hulk show up, despite Edward Norton and not Ruffalo playing Banner in that movie.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The post Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared first on Den of Geek.

  • The Best Karate Movies with Actual Karate (Sorry Cobra Kai)

    The Best Karate Movies with Actual Karate (Sorry Cobra Kai)

    Mr. Miyagi didn’t hear Karate at all. Noriyuki” Pat” Morita, who immortalized Mr. Miyagi into a social image with his personal “wax on, wax off” instructions, had never studied the Chinese martial arts due to taking on the role. Neither did Daniel LaRusso ( Ralph Macchio ) or Johnny Lawrence ( William Zabka ). The Karate Kid is the most prominent ]… ]

    The best Karate movies ever made ( Sorry Cobra Kai ) appeared first on Den of Geek.

    This article contains spoilers for Captain America: Brave New World.

    No one would say that Captain America: Brave New World is a jam-packed video. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had more Marvel figures in it. It’s no secret that Brave New World underwent reshoots that significantly altered the final product, including cutting out several of the movie’s original figures. The cast and crew made Brave New World into a very enjoyable, slick action movie, which is a testament to the team.

    It’s still difficult to imagine what might have been if some of these cut heroes had made it to the finished piece. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217, s edge fell upon her, Rachel Leighton aka Diamondback definitely got the far into production. Diamondback also made it into some leaked Happy Meal adverts before being cut from the film, not only are there pictures of the figure on the cast.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Although she was immediately drawn to Captain America, she didn’t really return until she and Sidewinder enlisted his assistance after the criminal Viper took control of the Society.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her perpetrator. After Rachel killed another Serpent Society part, the relationship ended, and the two have since had brushes, but they have never entirely reconciled.

    It is entirely possible that Sam would have had a passionate interest in Diamondback in the finished movie. While she&#8217, s most usually associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins joins the Serpent Society.

    In terms of the Serpent Society, Seth Rollins, a WWE star, was perhaps the most well-known inclusion and treatment from Brave New World. Seth Rollins is shown in the set photo above. No one has yet provided details, not yet Rollins, despite the fact that we knew he would be playing a part of Serpent ( as the group is known in the film, which gives it more of a James Bond Spectre think ). Most people assume that Rollins played a variant of Cobra or Anaconda, based on the set images of Rollins in outfit.

    Neither Cobra nor Anaconda are especially rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    That theory is supported by the fact that the finished movie still contains a Serpent heavy. Strongman from Iceland Jóhannes Haukur Jóhannesson appears as Copperhead and does get tangled with Sam for a short while. Given that Cobra/Anaconda does suggest that Rollins got to be more of an evil genius, his loss provides a little more of a significant plot change.

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

    Logan Kim portrays Amadeus Cho.

    Like Kamala Khan and Miles Morales, Amadeus Cho points to Marvel&#8217, s future, an exciting young character created within the past 20years. Cho made his first appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and he won the title of “7th Smartest Person in the World” for it. His smarts also drew the attention of a jealous supergenius, who attacked Cho&#8217, s house and left his parents dead. Cho chattered around with the Hulk and Hercules for a while before acquiring his own gamma abilities and transforming into the Totally Awesome Hulk aka Brawn, a key member of the Champions.

    According to insider DanielRPK, Logan Kim, best known as Podcast from Ghostbusters: Afterlife, appeared in the an early screening of Brave New World as Cho. Sam would later work with Cho to create a counter to the Red Hulk after learning about Cho while working for Stark Industries. Although you should of course take this leak with a grain of salt, the rest of DanielRPK&#8217, s descriptions of the film match the finished version, lending some credibility to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He currently works as a junior scientist at Oscorp and is featured in the excellent animated series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the finished version of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson, the disgruntled former Super Soldier, lives with his grandfather Isaiah Bradley, as portrayed by Elijah Richardson in The Falcon and the Winter Soldier. Isaiah plays a significant role in Brave New World, which is beautifully performed by Carl Lumbly. And yet, Eli neither appears on screen nor even gets a mention.

    As producer Nate Moore explained, Eli did appear in early drafts of the script. We want to make sure if a character is in the movie, they have something to do, according to Moore when we started to feel like there were too many characters to track. Seemingly getting in the way of Isaiah&#8217, s relationship with Sam, Eli got cut.

    In the comics, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to have inherited the same abilities as his grandfather and is the team’s captain. He later acknowledges that he simulated the powers using a mutant growth hormone. Eli retired from the role of Patriot after the Young Avengers disbanded, but we&#8217, re sure to see a version of him as the MCU&#8217, s version of the team comes together.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val was a key character in early versions of Brave New World, according to a generally trustworthy insider, Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    Adamantium is undoubtedly important in the finished movie, and there is much discussion about needing a new cast of Avengers. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain of the Brave New World potential cast members, said he would appear in the film during an interview at the Santa Barbara Film Festival in 2024. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. It is a little odd that Brave New World would spend so much time discussing President Ross ‘ attempts to kill the Hulk without having the Hulk appear in the movie, despite Edward Norton and not Ruffalo starring in Banner.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The post Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared first on Den of Geek.

  • Paddington 4 Needs to Keep the Bear in London

    Paddington 4 Needs to Keep the Bear in London

    ” Paddington tries to make toffee”,” Paddington makes a disaster cleaning the chimney”,” Paddington investigates the departure of Mr Brown’s award marrow”. Such are the kinds of adventures that Michael Bond, the inventor of Paddington, created for his soft creation. The bear serves as an unwitting cause of conflict in little, private settings in the Bond publications.

    The first article on Den of Geek was Paddington 4 Needs to Keep the Bear in London.

    This article contains spoilers for Captain America: Brave New World.

    No one would argue that Captain America: Brave New World is a jam-packed film. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had more Marvel figures in it. It’s no secret that Brave New World underwent reshoots that significantly altered the final product, including cutting out several of the movie’s original figures. It&#8217 ;s a testament to the cast and crew that Brave New World turned out to be a very enjoyable, polished action movie.

    It&#8217, s also hard to imagine what might have been had some of these cut figures been able to fit into the final cut. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217, s edge fell upon her, Rachel Leighton aka Diamondback definitely got the far into production. Diamondback also made it into some leaked Happy Meal adverts before being cut from the film, not only are there pictures of the figure on the cast.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Although she was immediately drawn to Captain America, she didn’t really return until she and Sidewinder enlisted his assistance after the monster Viper took control of the Society.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her offender. After Rachel killed another Serpent Society part, the relationship ended, and the two have had brushes always since, but they have never entirely reconciled.

    It is entirely possible that Sam would have had a passionate interest in Diamondback in the completed movie. While she&#8217, s most frequently associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins as a member of the Serpent Society

    In terms of the Serpent Society, Seth Rollins, a WWE star, was perhaps the most well-known improvement and treatment from Brave New World. Seth Rollins is shown in the set photo above. No one has yet released details, not yet Rollins, despite the fact that we knew he would be playing a part of Serpent ( as the group is called in the film, giving it more of a James Bond Spectre think ). Most people assume that Rollins played a variant of Cobra or Anaconda, based on the set images of Rollins in outfit.

    Neither Cobra nor Anaconda are particularly rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    That theory is supported by the fact that the finished movie still contains a Serpent heavy. Jóhannes Haukur Jóhannesson, an island warrior, appears as Copperhead and briefly gets into a fight with Sam. Given that Cobra/Anaconda does suggest that Rollins was more of a bad genius, his loss provides a little more significant plot change.

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

    Logan Kim portrays Amadeus Cho.

    Like Kamala Khan and Miles Morales, Amadeus Cho points to Marvel&#8217, s future, an exciting young character created within the past 20years. Cho made his first appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and his brilliant intellect earned him the title of the 7th Smartest Person in the World. His smarts also drew the attention of a jealous supergenius, who attacked Cho&#8217, s house and left his parents dead. Cho coexisted briefly with the Hulk and Hercules before developing his own gamma abilities and becoming the Totally Awesome Hulk aka Brawn, a key member of the Champions.

    According to insider DanielRPK, Logan Kim, best known as Podcast from Ghostbusters: Afterlife, appeared in the an early screening of Brave New World as Cho. Sam would later work with Cho to create a counter to the Red Hulk after learning about Cho while working for Stark Industries. Although you should of course take this leak with a grain of salt, the rest of DanielRPK&#8217, s descriptions of the film match the finished version, lending some credibility to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He currently works as a junior scientist at Oscorp and is featured in the excellent animated series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the finished version of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson, the disgruntled former Super Soldier, lives with his grandfather Isaiah Bradley, as portrayed by Elijah Richardson in The Falcon and the Winter Soldier. Isaiah is superbly played by Carl Lumbly in Brave New World. And yet, Eli neither appears on screen nor even gets a mention.

    As producer Nate Moore explained, Eli did appear in early drafts of the script. We started to think that there were too many characters to track, and we want to make sure if a character is in the movie, they have something to do, according to Moore. Seemingly getting in the way of Isaiah&#8217, s relationship with Sam, Eli got cut.

    In the comics, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to have inherited the same abilities as his grandfather and is the team’s captain. He later acknowledges that he simulated the powers using a mutant growth hormone. Eli retired from the role of Patriot after the Young Avengers disbanded, but we&#8217, re sure to see a version of him as the MCU&#8217, s version of the team comes together.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val figured in early versions of Brave New World, according to the generally trustworthy insider Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    In the final scene, Adamantium is unquestionably important, and it is frequently suggested that we need a new Avengers cast. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain potential Brave New World characters, said he would be in the film during an interview at the Santa Barbara Film Festival in 2024. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. It is a little odd that Brave New World would spend so much time discussing President Ross ‘ attempts to kill the Hulk without having the Hulk appear in the movie, despite Edward Norton and not Ruffalo starring in Banner.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The post Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared first on Den of Geek.

  • The Best Romantic Movies Under 90 Minutes

    The Best Romantic Movies Under 90 Minutes

    You may possess too much of a positive trait. If you’re looking for romance movie nights with Titanic or Gone with the Wind, you’d better have eaten early, planned your breaks, and made some serious investments in the lumber supporting of your living room furniture. Bringing up with a loved one to see […]

    The second article on Den of Geek was The Best Romantic Shows Under 90 Days.

    This article contains spoilers for Captain America: Brave New World.

    No one would say that Captain America: Brave New World is a jam-packed film. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had more Marvel figures as heroes. It’s no secret that Brave New World underwent reshoots that fundamentally altered the finished product, including cutting out several of the movie’s original figures who had scenes. The cast and crew made Brave New World into a lovely enjoyable, slick action movie, which is a testament to the team.

    It&#8217, s also hard to imagine what might have been had some of these cut figures been able to fit into the final cut. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217, s edge fell upon her, Rachel Leighton aka Diamondback definitely got the far into production. Diamondback also made it into some leaked Happy Meal adverts before being cut from the film, not only are there pictures of the figure on the cast.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Although she was immediately drawn to Captain America, she didn’t really return until she and Sidewinder enlisted his assistance after the criminal Viper took control of the Society.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her perpetrator. After Rachel killed another Serpent Society part, the relationship ended, and the two have since had disagreements.

    It’s entirely possible that Sam would have had a passionate interest in Diamondback once the movie was finished. While she&#8217, s most usually associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins joins the Serpent Society.

    In terms of the Serpent Society, Seth Rollins, a WWE sun, is one of the most well-known additions and departures from Brave New World. No one has yet provided details, not yet Rollins, despite the fact that we knew he would be playing a part of Serpent ( as the group is known in the film, which gives it more of a James Bond Spectre think ). Most people assume that Rollins played a variant of Cobra or Anaconda, based on the established images of Rollins in outfit.

    Neither Cobra nor Anaconda are especially rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    That theory is supported by the fact that the finished movie still contains a Serpent heavy. Strongman from Iceland Jóhannes Haukur Jóhannesson appears as Copperhead and does get tangled with Sam for a short while. Given that Cobra/Anaconda does suggest that Rollins got to be more of an evil genius, his loss provides a little more of a significant plot change.

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

    Logan Kim portrays Amadeus Cho.

    Like Kamala Khan and Miles Morales, Amadeus Cho points to Marvel&#8217, s future, an exciting young character created within the past 20years. Cho made his first appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and he won the title of “7th Smartest Person in the World” for it. His smarts also drew the attention of a jealous supergenius, who attacked Cho&#8217, s house and left his parents dead. Cho coexisted briefly with the Hulk and Hercules before developing his own gamma abilities and becoming the Totally Awesome Hulk aka Brawn, a key member of the Champions.

    According to insider DanielRPK, Logan Kim, best known as Podcast from Ghostbusters: Afterlife, appeared in the an early screening of Brave New World as Cho. Sam would later work with Cho to create a Red Hulk counter after Sam came across Cho while working for Stark Industries. Although you should of course take this leak with a grain of salt, the rest of DanielRPK&#8217, s descriptions of the film match the finished version, lending some credibility to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He currently works as a junior scientist at Oscorp and is featured in the excellent animated series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the finished version of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson portrays Eli in The Falcon and the Winter Soldier, and Eli lives with his grandfather, a disgruntled former Super Soldier, Isaiah Bradley. Isaiah plays a significant role in Brave New World, which is beautifully performed by Carl Lumbly. And yet, Eli neither appears on screen nor even gets a mention.

    As producer Nate Moore explained, Eli did appear in early drafts of the script. We want to make sure if a character is in the movie, they have something to do, according to Moore when we started to feel like there were too many characters to track. Seemingly getting in the way of Isaiah&#8217, s relationship with Sam, Eli got cut.

    In the comics, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to have inherited the same abilities as his grandfather and is the team’s captain. He later acknowledges that he used a Mutant Growth Hormone to imitate the powers. Eli retired from the role of Patriot after the Young Avengers disbanded, but we&#8217, re sure to see a version of him as the MCU&#8217, s version of the team comes together.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val figured in early versions of Brave New World, according to the generally trustworthy insider Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    Adamantium is undoubtedly important in the finished movie, and there is much discussion about needing a new cast of Avengers. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain potential Brave New World characters, said he would be in the film during an interview at the Santa Barbara Film Festival in 2024. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. Although Banner was portrayed by Edward Norton and not Ruffalo in that movie, it is a little strange that Brave New World would discuss President Ross’s unsuccessful attempts to kill the Hulk without having the Hulk appear.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The post Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared first on Den of Geek.

  • Captain America Brave New World Just Introduced the Most Pathetic Avenger to the MCU

    Captain America Brave New World Just Introduced the Most Pathetic Avenger to the MCU

    This article contains spoilers for Captain America: Brave New World. Captain America: Brave New World finds Sam Wilson on his feet. A great plot has entangled Sam’s leader Isaiah Bradley, and Sam doesn’t know who to trust. He surely can’t believe President Thaddeus Ross, nor does he respect Ross’s new secretary Ruth Bat-Seraph. He can’t ]… ]

    The first article from Den of Geek was Captain America Brave New World Only Introduced the Most Pathetic Avenger to the MCU.

    This article contains spoilers for Captain America: Brave New World.

    No one would argue that Captain America: Brave New World is a jam-packed film. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had more Marvel figures as heroes. It&#8217 ;s no solution that Brave New World underwent reshoots that fundamentally altered the finished product, including cutting various figures who had previously been in the movie’s scenes. The cast and crew made Brave New World into a very enjoyable, slick action movie, which is a testament to the team.

    It&#8217 ;s still hard to imagine what might have been if some of these cut characters had made it to the final cut. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217 ,’s blade fell upon her, Rachel Leighton, aka Diamondback, probably went the furthest into production. Diamondback also made it into some leaked Happy Meal adverts before she was cut from the film, not only are there pictures of the figure on collection.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Her feelings didn’t develop until she and Sidewinder enlisted his assistance after the criminal Viper overthrew the Society, despite the fact that she was immediately drawn to Captain America.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her offender. After Rachel killed another Serpent Society part, the relationship ended, and the two have had brushes always since, but they have never entirely reconciled.

    It’s entirely possible that Sam would have had a passionate interest in Diamondback once the movie was finished. While she&#8217, s most frequently associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins joins the Serpent Society.

    In terms of the Serpent Society, Seth Rollins, a WWE sun, is one of the most well-known additions and departures from Brave New World. No one has yet provided details, not yet Rollins, despite the fact that we knew he would be playing a part of Serpent ( as the group is known in the film, which gives it more of a James Bond Spectre think ). Most people assume Rollins played a Cobra or Anaconda, based on the established photos of his wardrobe.

    Neither Cobra nor Anaconda are especially rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    The fact that the finished movie still contains a Serpent heavy supports that theory. Strongman from Iceland Jóhannes Haukur Jóhannesson appears as Copperhead and does briefly get into a tangle with Sam. Given that Cobra/Anaconda does suggest that Rollins was more of a bad genius, his loss provides a little more significant plot change.

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

    Logan Kim portrays Amadeus Cho.

    Like Kamala Khan and Miles Morales, Amadeus Cho points to Marvel&#8217, s future, an exciting young character created within the past 20years. Cho made his first appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and he won the title of the 7th Smartest Person in the World for it. His smarts also drew the attention of a jealous supergenius, who attacked Cho&#8217, s house and left his parents dead. Cho cobbled around with the Hulk and Hercules for a while before developing his own gamma abilities and becoming the Totally Awesome Hulk aka Brawn, a key member of the Champions.

    According to insider DanielRPK, Logan Kim, best known as Podcast from Ghostbusters: Afterlife, appeared in the an early screening of Brave New World as Cho. Sam would later work with Cho to create a Red Hulk counter after Sam came across Cho while working for Stark Industries. Although you should of course take this leak with a grain of salt, the rest of DanielRPK&#8217, s descriptions of the film match the finished version, lending some credibility to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He currently appears as a junior scientist at Oscorp in the excellent animated series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the finished version of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson portrays Eli in The Falcon and the Winter Soldier, and Eli lives with his grandfather, the disgruntled former Super Soldier, Isaiah Bradley. Isaiah plays a significant role in Brave New World, which is beautifully performed by Carl Lumbly. And yet, Eli neither appears on screen nor even gets a mention.

    As producer Nate Moore explained, Eli did appear in early drafts of the script. We started to think that there were too many characters to track, and we want to make sure if a character is in the movie, they have something to do, according to Moore. Seemingly getting in the way of Isaiah&#8217, s relationship with Sam, Eli got cut.

    In the comics, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to have inherited the same abilities as his grandfather and is the team’s captain. He later acknowledges that he used a mutant growth hormone to imitate the powers. Eli retired from the role of Patriot after the Young Avengers disbanded, but we&#8217, re sure to see a version of him as the MCU&#8217, s version of the team comes together.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val was a key character in early versions of Brave New World, according to a generally trustworthy insider, Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    Adamantium is undoubtedly important in the finished movie, and it is frequently suggested that we need a new cast of Avengers. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain of the Brave New World potential characters, said he would be in the film during an interview at the 2024 Santa Barbara Film Festival. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. It is a little odd that Brave New World would spend so much time discussing President Ross &#8217’s attempts to kill the Hulk without having the Hulk show up, despite Edward Norton and not Ruffalo playing Banner in that movie.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The post Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared first on Den of Geek.

  • The Hottest LEGO Star Wars Set Leaks and Rumors 2025: All of the New Prequel Era Sets

    The Hottest LEGO Star Wars Set Leaks and Rumors 2025: All of the New Prequel Era Sets

    The Star Wars universe’s Prologue and Clone War age is reviving. This once-maligned region of the Star Wars cosmos is now more well-known than ever thanks in large part to the children who grew up watching those movies as people. And while Disney had a moment to […]

    On Den of Geek, the second publish The Hottest LEGO Star Wars Set Leaks and Rumors 2025: All of the New Prequel Era Sets.

    This article contains spoilers for Captain America: Brave New World.

    No one would say that Captain America: Brave New World is a jam-packed film. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had even more World figures in it. It’s no secret that Brave New World underwent reshoots that significantly altered the final product, including cutting out several of the movie’s original figures. It&#8217 ;s a testament to the cast and crew that Brave New World turned out to be a very enjoyable, polished action movie.

    It&#8217 ;s still hard to imagine what might have been if some of these cut characters had made it to the final cut. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217, s edge fell upon her, Rachel Leighton aka Diamondback definitely got the far into production. Before Diamondback was cut from the movie, there are also pictures of the figure on collection.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Her feelings didn’t develop until she and Sidewinder enlisted his assistance after the criminal Viper overthrew the Society, despite the fact that she was immediately drawn to Captain America.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her perpetrator. After Rachel killed another Serpent Society part, the relationship ended, and the two have since had disagreements.

    It is entirely possible that Sam would have had a passionate interest in Diamondback in the finished movie. While she&#8217, s most usually associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins as a member of the Serpent Society

    In terms of the Serpent Society, Seth Rollins, a WWE sun, is one of the most well-known additions and departures from Brave New World. No one has yet disclosed specifics, not even Rollins, despite the fact that we were aware that he would be playing a Spider part ( as the group is known in the movie, which lends it more to a James Bond Spectre sense ). Most people assume that Rollins played a variant of Cobra or Anaconda, based on the set images of Rollins in outfit.

    Neither Cobra nor Anaconda are especially rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    The fact that the finished movie still contains a Serpent large supports that idea. Jóhannes Haukur Jóhannesson, an island warrior, appears as Copperhead and briefly gets into a fight with Sam. Given that Redback is still alive and Cobra/Anaconda does suggest Rollins got to be a more terrible genius, it makes his lost a little bit more of a significant plot change.

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

    Logan Kim portrays Amadeus Cho.

    Like Kamala Khan and Miles Morales, Amadeus Cho items to Marvel&#8217, s future, an exciting fresh character created within the previous 20years. Cho made his initial appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and he won the title of the 7th Finest Person in the World for it. His intellect also drew the attention of a angry supergenius, who attacked Cho&#8217, s house and left his parents useless. Cho chattered around with the Hulk and Hercules for a while before acquiring his own beta abilities and transforming into the Totally Awesome Hulk aka Brawn, a vital part of the Champions.

    According to inside DanielRPK, Logan Kim, finest known as Podcast from Ghostbusters: Future, appeared in the an earlier monitoring of Brave New World as Cho. Sam would eventually work with Cho to create a counter to the Red Hulk after learning about Cho while working for Stark Industries. Although you should of course take this hole with a grain of salt, the rest of DanielRPK&#8217, s explanations of the film complement the finished type, lending some legitimacy to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He already appears as a young scholar at Oscorp in the exceptional lively series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the completed type of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson portrays Eli in The Falcon and the Winter Soldier, and Eli lives with his uncle, a disgruntled former Super Soldier, Isaiah Bradley. Isaiah is superbly played by Carl Lumbly in Brave New World. And still, Eli neither appears on screen nor yet gets a mention.

    As manufacturer Nate Moore explained, Eli did look in earlier drafts of the text. We want to make certain if a character is in the movie, they have something to do, according to Moore, and we started to feel like there were too many figures to monitor. Apparently getting in the way of Isaiah&#8217, s marriage with Sam, Eli got cut.

    In the cartoons, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to had inherited the same abilities as his father and is the team’s captain. He eventually acknowledges that he simulated the powers using a mutated growth hormone. Eli retired from the position of Patriot after the Young Avengers disbanded, but we&#8217, be sure to see a variation of him as the MCU&#8217, s version of the team comes up.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val was a key character in early versions of Brave New World, according to a reliable insider like Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    In the final scene, Adamantium is unquestionably important, and it is frequently suggested that we need a new Avengers cast. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain potential Brave New World characters, said he would be in the film during an interview at the Santa Barbara Film Festival in 2024. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. It is a little odd that Brave New World would spend so much time discussing President Ross &#8217’s attempts to kill the Hulk without having the Hulk show up, despite Edward Norton and not Ruffalo playing Banner in that movie.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The post Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared first on Den of Geek.

  • Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie

    Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie

    This article contains spoilers for Captain America: Brave New World. No one would say that Captain America: Brave New World is a jam-packed video. Sam Wilson doesn’t feel like the main character in [ ] because it’s so full of characters and subplots from [ ] The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier…

    The article Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared second on Den of Geek.

    This article contains spoilers for Captain America: Brave New World.

    No one would say that Captain America: Brave New World is a jam-packed video. It&#8217, s stuffed with so many heroes and storylines from The Incredible Hulk, Eternals, and The Falcon and the Winter Soldier that Sam Wilson does n&#8217, t often feel like the main figure in his own movie.

    However, it could have had even more World characters in it. It’s no secret that Brave New World underwent reshoots that fundamentally altered the finished product, including cutting out several of the movie’s original figures who had scenes. It&#8217 ;s a testament to the cast and crew that Brave New World turned out to be a very enjoyable, soft action movie.

    It&#8217, s also hard to imagine what might have been had some of these lower figures been able to fit into the final cut. But let&#8217, s take a look at what about was, and how these figures may have affected Brave New World.

    Rosa Salazar as Diamondback

    Before the editor&#8217, s edge fell upon her, Rachel Leighton aka Diamondback definitely got the far into production. Diamondback also made it into some leaked Happy Meal adverts before being cut from the film, not only are there pictures of the figure on the cast.

    Played by Rosa Salazar of Alita: Battle Angel and the Short Treks standout &#8220, The Trouble With Edward, &#8221, Diamondback debuted during writer Mark Gruenwald &#8217, s defining run on Captain America. 1985 &#8217, s Captain America# 310, penciled by Paul Neary, introduced Rachel Leighton as a member of the Serpent Society. Her feelings didn’t develop until she and Sidewinder enlisted his assistance after the criminal Viper overthrew the Society, despite the fact that she was immediately drawn to Captain America.

    Finally, Rachel and Steve Rogers became fans, albeit in a troubled relationship. While Steve wanted to see the best in her, he couldn&#8217, t help but take problem with her associations to ugly characters, particularly the selfish Crossbones. Rachel, for her portion, resented Steve&#8217, s trust, especially since Crossbones was her perpetrator. After Rachel killed another Serpent Society part, the relationship ended, and the two have had brushes always since, but they have never entirely reconciled.

    It is entirely possible that Sam would have had a passionate attention in Diamondback in the finished movie. While she&#8217, s most usually associated with Rogers, Sam&#8217, s counseling history may have made him a natural to help her move from malevolence to courage. However, with Sam&#8217, s common graphic like curiosity Leila Taylor added to the film, played by Xosha Roquemore, and Giancarlo Esposito added as Serpent Society leader Sidewinder, Diamondback was perhaps deemed useless and removed late in the process.

    Seth Rollins as a member of the Serpent Society

    Seth Rollins, a WWE star, was perhaps the most well-known improvement and treatment from Brave New World, according to the Serpent Society, which is depicted in the above set photo. No one has yet released details, not yet Rollins, despite the fact that we knew he would be playing a part of Serpent ( as the group is called in the film, giving it more of a James Bond Spectre think ). Most people assume that Rollins played a variant of Cobra or Anaconda, based on the set images of Rollins in outfit.

    Neither Cobra nor Anaconda are particularly rich figures, which suggests that Rollins may have just had the responsibility of lieutenant or big, somebody who gives Sam some problem in a single set-piece, but does n&#8217, t influence much of the story. However, rumors suggested that Rollins &#8217, s character would connect to plot involving the U. S. government stealing adamantium as its own counter to vibranium ( more on that later ).

    The fact that the finished movie still contains a Serpent heavy supports that theory. Jóhannes Haukur Jóhannesson, an island warrior, appears as Copperhead and briefly gets into a fight with Sam. Given that Cobra/Anaconda does suggest that Rollins got to be more of an evil genius, his loss provides a little more of a significant plot change.

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

    Logan Kim portrays Amadeus Cho.

    Like Kamala Khan and Miles Morales, Amadeus Cho points to Marvel&#8217, s future, an exciting young character created within the past 20years. Cho made his first appearance in Greg Pak and Takeshi Miyazawa’s Amazing Fantasy# 15 in 2005, and he won the title of the 7th Smartest Person in the World for it. His smarts also drew the attention of a jealous supergenius, who attacked Cho&#8217, s house and left his parents dead. Cho coexisted briefly with the Hulk and Hercules before developing his own gamma abilities and becoming the Totally Awesome Hulk aka Brawn, a key member of the Champions.

    According to insider DanielRPK, Logan Kim, best known as Podcast from Ghostbusters: Afterlife, appeared in the an early screening of Brave New World as Cho. Sam first encountered Cho while working for Stark Industries, and Cho would later assist Sam in creating a Red Hulk counter. Although you should of course take this leak with a grain of salt, the rest of DanielRPK&#8217, s descriptions of the film match the finished version, lending some credibility to his claims.

    At any rate, Cho does n&#8217, t make it into Brave New World, but that does n&#8217, t mean he&#8217, s off the screen. He currently works as a junior scientist at Oscorp and is a part of the excellent animated series Your Friendly Neighborhood Spider-Man.

    Elijah Richardson as Eli Bradley

    In the finished version of Brave New World, Eli Bradley’s absence stands out in particular. Elijah Richardson portrays Eli in The Falcon and the Winter Soldier, and Eli lives with his grandfather, a disgruntled former Super Soldier, Isaiah Bradley. Isaiah is superbly played by Carl Lumbly in Brave New World. And yet, Eli neither appears on screen nor even gets a mention.

    As producer Nate Moore explained, Eli did appear in early drafts of the script. We want to make sure if a character is in the movie, they have something to do, according to Moore when we started to feel like there were too many characters to track. Seemingly getting in the way of Isaiah&#8217, s relationship with Sam, Eli got cut.

    In the comics, Eli is a founding member of the Young Avengers. Patriot, who was created by Allan Heinberg and Jim Cheung, claims to have inherited the same abilities as his grandfather and is the team’s captain. He later acknowledges that he used a mutant growth hormone to imitate the powers. Eli retired from the role of Patriot after the Young Avengers disbanded, but we&#8217, re sure to see a version of him as the MCU&#8217, s version of the team comes together.

    Julia Louis-Dreyfuss as Valentina Allegra de Fontaine

    Given how often she&#8217, s popped up in recent MCU entries, it &#8217, s almost shocking that Valentina Allegra de Fontaine didn&#8217, t show up to meddle in Sam Wilson&#8217, s first Captain America outing. Val figured in early versions of Brave New World, according to the generally trustworthy insider Jeff Sneider. In Black Panther: Wakanda Forever, Val was frustrated by her unsuccessful attempts to obtain vibranium and worked diligently to secure it. Her efforts involved the Serpent Society, which probably involved Seth Rollins &#8217, s character.

    Adamantium is undoubtedly important in the finished movie, and there is much discussion about needing a new cast of Avengers. However, Thunderbolts * gets set up through a cameo by Bucky, now apparently a U. S. Senator, and not by Val&#8217, s machinations.

    Mark Ruffalo as Bruce Banner

    Mark Ruffalo, one of the most uncertain potential Brave New World characters, said he would be in the film during an interview at the Santa Barbara Film Festival in 2024. It didn&#8217, t take long for other sources to clarify he would n&#8217, t be in the movie, but the confusion makes sense. Similar to a Captain America film, Brave New World functions as a sequel to The Incredible Hulk. It is a little odd that Brave New World would spend so much time discussing President Ross &#8217’s attempts to kill the Hulk without having the Hulk show up, despite Edward Norton and not Ruffalo playing Banner in that movie.

    Still, it &#8217, s probably good that Banner didn&#8217, t drop by, making the movie even less of a Sam Wilson film than it already is.

    Captain America: Brave New World is now in theaters.

    The article Captain America 4: Diamondback, Seth Rollins, and the Marvel Characters Cut From the Movie appeared second on Den of Geek.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

    A machine learning algorithm uses this man does not occur to create individual faces. It takes actual photos and recombines them into false people faces. We just squirted past a LinkedIn post that claimed this website might be helpful “if you are developing a image and looking for a photo.”

    We concur that personas could be excellent matches for computer-generated eyes, but not for the purpose you might think. Ironically, the website highlights the core issue of this very common design method: the person ( a ) does not exist. Personas are deliberately created, much like in the pictures. Data is combined with natural environment to create a singular, unrealized preview.

    But strangely enough, manufacturers use personalities to encourage their style for the real world.

    A step up, personalities

    Most manufacturers have at least once in their careers created, used, or encountered personalities. In their content” Personas- A Plain Introduction”, the Interaction Design Foundation defines profile as “fictional characters, which you create based upon your study in order to reflect the unique user types that might use your service, product, site, or brand”. Personas typically consist of a name, profile picture, quotes, demographics, goals, needs, behavior in relation to a particular service/product, emotions, and motivations ( for example, see Creative Companion’s Persona Core Poster ). According to design firm Designit, the goal of personas is” to make the research relatable, ]and ] easy to communicate, digest, reference, and apply to product and service development.”

    The decontextualization of identities

    People are well-known because they make “dry” research information relevant and more people. However, this approach places a cap on the author’s data analysis, making it impossible for the investigated users to be excluded from their particular contexts. As a result, personalities don’t describe important factors that make you realize their decision-making method or allow you to connect to users ‘ thoughts and behavior, they lack stories. You are aware of the persona’s actions, but you lack the knowledge to know why. You end up with less human-like user images.

    This “decontextualization” we see in identities happens in four way, which we’ll discuss below.

    People are assumed to be stable, according to people.

    Here’s a painfully obvious truth: people are not a fixed set of features, despite the fact that many businesses still try to recruit and retain their employees and customers using outdated personality tests ( referring to you, Myers-Briggs ). You act, think, and feel different according to the conditions you experience. You may work helpful to some people and harshly to others because you come across as different from everyone. And you constantly change your mind about the choices you’ve made.

    Modern psychology agree that while persons usually behave according to certain styles, it’s actually a combination of history and culture that determines how people act and take decisions. The context determines the kind of person you are at each particular time, including the environment, the effect of other persons, your mood, and the whole story that led up to a situation.

    Personas do not account for this variability in their attempt to simplify reality; instead, they present a user as a set of features. Like personality tests, personas snatch people away from real life. Even worse, people are labeled as” that kind of person” with no means to exercise their natural flexibility. This behavior discredits diversity, perpetuates stereotypes, and doesn’t reflect reality.

    Personas focus on individuals, not the environment

    You’re designing for a context, not an individual, in the real world. There are environmental, political, and social factors that you need to take into account when living in a family, a community, or an ecosystem. A design is never meant for a single user. Instead, you create a design for one or more specific situations where a large number of people might use that product. However, personal experiences don’t explicitly describe how a user feels about the environment. Instead, they show the user only.

    Would you always make the same decision over and over again? Despite your pledge to eat vegan, you may still choose to purchase some meat when your relatives visit. Your decisions, including your behavior, opinions, and statements, are not only completely accurate but highly contextual because they depend on a range of circumstances and variables. The persona that “represents” you wouldn’t take into account this dependency, because it doesn’t specify the premises of your decisions. It doesn’t offer a justification for why you act in the way you do. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

    As mentioned by the Interaction Design Foundation, personas are usually placed in a scenario that’s a” specific context with a problem they want to or have to solve “—does that mean context actually is considered? Unfortunately, what frequently occurs is that you choose a fictional character to play with a particular circumstance based on the fiction. How could you possibly comprehend how someone you want to represent behave in new circumstances given that you haven’t even fully investigated and understood the current context of the people you want to represent?

    Personas are meaningless averages

    A persona is depicted as a specific person but is not a real person, as stated in Shlomo Goltz’s introduction article on Smashing Magazine; rather, it is synthesized from observations of many people. The famous example of the USA Air Force designing planes based on the average of 140 of their pilots ‘ physical dimensions and not a single pilot actually fit within that average seat is a well-known criticism of this aspect of personas.

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say something was taken out of context? They uttered my words, but I didn’t mean it that way. The celebrity’s statement was reported literally, but the reporter failed to explain the context around the statement and didn’t describe the non-verbal expressions. The intended purpose was lost as a result. You collect someone’s statement ( or need, or emotion ) into whose own specific context you specify it, and then report it as an isolated finding ( or goal, need, or emotion ).

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. The resultant set of findings frequently does not make sense because it is unclear or even contradictory because it lacks the underlying causes for and how that finding came about. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What then is the persona’s purposeful purpose?

    The validity of personas can be deceiving.

    To a certain extent, designers realize that a persona is a lifeless average. Designers create “relatable” personas to make them appear like real people in order to overcome this. Nothing better explains the absurdity of this than the Interaction Design Foundation’s phrase,” Add a few fictional personal details to make the persona a realistic character.” In other words, you add non-realism in an attempt to create more realism. Wouldn’t it be much more responsible to emphasize that John is only an abstraction if you purposefully conceal the fact that” John Doe” is an abstract representation of research findings? Let’s say something is artificial, and let’s say it’s that.

    It’s the finishing touch of a persona’s decontextualization: after having assumed that people’s personalities are fixed, dismissed the importance of their environment, and hidden meaning by joining isolated, non-generalizable findings, designers invent new context to create ( their own ) meaning. As with everything they produce, they do so by introducing a lot of biases. As Designit suggests, as designers, we can” contextualize]the persona” based on our experience and reality. We create connections that are familiar to us“. With every new detail added, this practice furthers stereotypes, doesn’t reflect real-world diversity, and gets further away from people’s actual reality.

    To conduct effective design research, we must report the actual situation and make it relatable for our audience, so that everyone can use their own empathy and develop their own interpretation and emotional response.

    Dynamic Selves: The alternative to personas

    What should we do instead if we shouldn’t use personas?

    Designit suggests using mindsets rather than personas. Each Mindset is a” spectrum of attitudes and emotional responses that different people have within the same context or life experience”. It challenges designers to avoid getting fixated on just one person’s way of being. Unfortunately, despite being a step in the right direction, this proposal disregards the fact that people are influenced by how their personality, behavior, and, yes, mindset are shaped by their surroundings. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a certain Mindset, remains to be seen.

    Margaret P., the author of the article” Kill Your Personas,” who has argued for replacing personas with persona spectrums that include a range of user abilities, offers another alternative. For example, a visual impairment could be permanent ( blindness ), temporary ( recovery from eye surgery ), or situational (screen glare ). Because they are based on the idea that the context is the pattern, not the personality ,ersona spectrums are very useful for more inclusive and context-based design. However, their only drawback is that they have a very functional perspective on users that misses the relatability of a real person taken from within a spectrum.

    In developing an alternative to personas, we aim to transform the standard design process to be context-based. Similar to how we tried to do this before with people, contexts are generalizable and have patterns that we can identify. How can we identify these patterns, then? How do we ensure truly context-based design?

    Understand real people in a variety of settings

    Nothing can be more relatable and inspiring than reality. Therefore, we have to understand real individuals in their multi-faceted contexts, and use this understanding to fuel our design. We refer to this method as Dynamic Selves.

    Let’s take a look at how the approach looks based on an illustration from a recent study that examined Italians ‘ habits around energy consumption. We drafted a design research plan aimed at investigating people’s attitudes toward energy consumption and sustainable behavior, with a focus on smart thermostats.

    1. Select the appropriate sample.

    When we argue against personas, we’re often challenged with quotes such as” Where are you going to find a single person that encapsulates all the information from one of these advanced personas]? ]” You don’t need to, which is the simple answer. You don’t need to know a lot about everyone to have deep and meaningful insights.

    In qualitative research, validity does not derive from quantity but from accurate sampling. You choose the individuals who best fit the “population” you’re designing for. If you select the right sample and have a deep understanding of the sampled people, you can infer how the rest of the population thinks and acts. There’s no need to study seven Susans and five Yuriys, one of each will do.

    In the same way, you don’t need to comprehend Susan in fifteen different ways. You have understood Susan’s plan of action once you have seen her in a few different settings. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations.

    It becomes clear why each should be represented as an individual because each is already an abstraction of a larger group of individuals in similar circumstances because each person is representative of a portion of the total population you’re researching. You don’t want to see abstracts of them! These selected people need to be understood and shown in their full expression, remaining in their microcosmos—and if you want to identify patterns you can focus on identifying patterns in contexts.

    However, the question persists: how do you choose a sample representative? First of all, you must consider who the target market is for the product or service you are designing. It might be helpful to examine the company’s objectives and strategy, the current customer base, and/or a potential future target audience.

    In our example project, we were designing an application for those who own a smart thermostat. Everyone in their home could have a smart thermostat in the future. However, only early adopters currently own one. To build a significant sample, we needed to understand the reason why these early adopters became such. We then recruited by enticing customers to explain their needs and sources of purchase. There were those who had made the decision to purchase it, those who had been influenced by others to do so, and those who had located it in their homes. So we selected representatives of these three situations, from different age groups and geographical locations, with an equal balance of tech savvy and non-tech savvy participants.

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. Given COVID-19 restrictions, we turned an internal ethnographic research project into home-based remote family interviews that were followed by diary research in our example project.

    To gain an in-depth understanding of attitudes and decision-making trade-offs, the research focus was not limited to the interviewee alone but deliberately included the whole family. With the additions or corrections made by wives, husbands, children, or occasionally even pets, each interviewee would tell a story that would then become much more engaging and precise. We also paid attention to the behaviors that came from having relationships with other important people ( such as coworkers or distant relatives ), as well as the relationships that came into being with them. This wide research focus allowed us to shape a vivid mental image of dynamic situations with multiple actors.

    It’s crucial that the research’s scope remain broad enough to cover all potential actors. Therefore, it typically works best to define broad research areas with broad questions. Interviews are best set up in a semi-structured way, where follow-up questions will dive into topics mentioned spontaneously by the interviewee. This “plan to be surprised” will allow for the most enlightening findings. One of our participants responded,” My wife has not installed the thermostat’s app; she uses WhatsApp instead,” when we asked how his family controlled the house temperature. If she wants to turn on the heater and she is not home, she will text me. I serve as her thermostat.

    3. Analysis: Create the Dynamic Selves

    You begin to represent each individual with several Dynamic Selves, each” Self” representing one of the circumstances you have examined throughout the research analysis. A quote serves as the foundation of each Dynamic Self, which is supported by a photo and a few relevant demographics that serve as examples of the larger picture. The research findings themselves will show which demographics are relevant to show. The important demographics were family type, number and type of houses owned, economic status, and technological maturity in our case because our research focused on families and their way of life to understand their needs for thermal regulation. To facilitate the stakeholders ‘ transition from personas and be able to connect multiple actions and contexts to the same person, we also included the individual’s name and age, but they are optional.

    To capture exact quotes, interviews need to be video-recorded and notes need to be taken verbatim as much as possible. This is crucial to the completeness of each participant’s various selves. To create authentic selves in ethnographic research using real-world actors and photos of the setting are necessary. Ideally, these photos should come directly from field research, but an evocative and representative image will work, too, as long as it’s realistic and depicts meaningful actions that you associate with your participants. One of our interviewees, for instance, shared a story of how he used to spend weekends with his family in his mountain home. Therefore, we depicted him taking a hike with his young daughter.

    At the end of the research analysis, we displayed all of the Selves ‘” cards” on a single canvas, categorized by activities. Each card featured a situation, which was indicated by a quote and a distinctive image. Each participant had a different deck full of self-assessments.

    4. Identify creative uses

    You will notice patterns beginning to appear once you have taken all of the main quotes from the interview transcripts and diaries and written them down as self-cards. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

    There was a particularly intriguing insight around the concept of humidity in our example project. We became aware of the importance of monitoring humidity for health and how a climate that is too dry or wet can cause respiratory problems or worsen already existing ones. This highlighted a big opportunity for our client to educate users on this concept and become a health advisor.

    Benefits of Dynamic Selves

    When you conduct your research using the Dynamic Selves method, you start to notice peculiar social relations, peculiar circumstances that people face, and the consequences of their actions, as well as the fact that people are surrounded by constantly changing environments. In our thermostat project, we have come to know one of the participants, Davide, as a boyfriend, dog-lover, and tech enthusiast.

    Davide is a person we might have once consigned to the persona of a “tech enthusiast.” However, there are also those who are wealthy or poor who are tech enthusiasts, whether they are single or have families. Their motivations and priorities when deciding to purchase a new thermostat can be opposite according to these different frames.

    You can generalize how he would act in a different situation once you have understood Davide in more detail and have fully understood the underlying causes of his behavior for each circumstance. You can use your understanding of him to predict what he would think and act in the situations ( or scenarios ) you create.

    The Dynamic Selves approach aims to dismiss the conflicted dual purpose of personas—to summarize and empathize at the same time—by separating your research summary from the people you’re seeking to empathize with. This is crucial because scale affects how we feel empathy for people and how difficult it is to do so with other people. We have the deepest compassion for people with whom we can directly relate.

    If you take a real person as inspiration for your design, you no longer need to create an artificial character. No more developing plot devices to “realize” the character, and no more need for additional bias. Simply put, this is how they are in real life. In fact, in our experience, personas quickly become nothing more than a name in our priority guides and prototype screens, as we all know that these characters don’t really exist.

    Another important benefit of Dynamic Selves is that it raises the stakes of your work: someone you and the team know and have met will experience the consequences if you violate your design. It might prompt you to perform daily design checks and may prevent you from taking shortcuts.

    And finally, real people in their specific contexts are a better basis for anecdotal storytelling and therefore are more effective in persuasion. Real research documentation is necessary to obtain this result. It reinforces your design arguments by adding more weight and urgency:” When I met Alessandra, the conditions of her workplace struck me. Noise, bad ergonomics, lack of light, you name it. I’m afraid that if we choose to use this functionality, she’ll find her life more complicated.

    Conclusion

    In their article on Mindsets, Designit mentioned that “design thinking tools provide a shortcut to deal with reality’s complexities, but this process of simplification can occasionally flatten out people’s lives into a few general characteristics.” Unfortunately, personas have been culprits in a crime of oversimplification. They fail to account for the complex nature of our users ‘ decision-making processes and don’t take into account the fact that people are immersed in contexts.

    Design needs to be simplified, but not generalized. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Use those to characterize the person in all of their contexts, and portray them. People and insights are subject to a context, but they cannot be removed because it would detract from the context’s meaning.

    It’s high time for design to move away from fiction, and embrace reality—in its messy, surprising, and unquantifiable beauty—as our guide and inspiration.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have conversations started to be written, and only recently have we outsourced them to the system, a device that exhibits a significantly higher affinity for written communications than for the vernacular rigors of spoken language.

    Computers have issues because conversation is more important than written language, between spoken and written. To have productive conversations with us, machines may struggle with the messiness of mortal speech: the disfluencies and pauses, the gestures and body language, and the variations in word choice and spoken dialect that is stymie even the most carefully crafted human-computer interaction. Speaking language also has the advantage of face-to-face contact, which allows us to perceive visual social cues in the human-to-human scenario.

    In contrast, written language develops its own fossil record of dated terms and phrases as we commit to recording and keeping usages long after they are no longer relevant in spoken communication ( for example, the salutation” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written word is necessarily far easier for devices to interpret and know.

    Spoken dialect is not a pleasure in this regard. There are verbal cues and outspoken behaviors that mimic conversation in complex ways, including how something is said, never what. These are the nonverbal cues that ornament conversations with emphasis and emotional context. Whether rapid-fire, low-pitched, or high-decibel, whether satirical, awkward, or groaning, our spoken speech conveys much more than the written word had ever muster. As designers and content managers, we face exciting difficulties when it comes to words interfaces, the machines we use to communicate over the phone.

    Voice-to-text relationships

    We interact with voice interfaces for a variety of reasons, but according to Michael McTear, Zoraida Callejas, and David Griol in The Conversational Interface, those motivations by and large mirror the reasons we initiate conversations with other people, too ( ). We typically strike up a discussion in the following ways:

    • we require something to be done ( such as a transaction ),
    • we want to know something ( information of some sort ), or
    • We are social creatures and seek out a conversation partner ( for the purpose of chat ).

    These three categories, which I refer to as interpersonal, technical, and prosocial, also apply to virtually every voice interaction: a solitary conversation that begins with the voice interface’s initial greeting and ends with the user leaving the interface. Notice here that a discussion in our individual sense—a talk between people that leads to some result and lasts an arbitrary length of time—could encompass many interpersonal, technical, and interpersonal voice interactions in succession. In other words, a voice interaction is a conversation, but it may not always be one voice interaction.

    Most voice interfaces are more gimmicky than captivating in pure prosocial conversations because most people find it difficult to trust their machines to actually understand how we’re doing and to give them the kind of glad-handing we crave. There’s also ongoing debate as to whether users actually prefer the sort of organic human conversation that begins with a prosocial voice interaction and shifts seamlessly into other types. In Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh advise sticking to user expectations by imitating how they interact with other voice interfaces rather than trying too hard to be human, which could lead to alienation ( ).

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, including one that is transactional and one that is informational, teaching us something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. The conversation quickly shifts from an initial smattering of neighborly small talk to the actual task at hand, which is ordering a pizza ( generously topped with pineapple, as it should be ).

    Alison: Hey, how’s it going?

    Burhan: Hello and welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison, can I get a pineapple-onion pizza in Hawaii?

    Burhan: Yes, but what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    Alison, I’ll have a bottle of Coke.

    Burhan: You know it. That’ll be$ 13.55 and about fifteen minutes.

    A service rendered or a product delivered: each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction. Transactional conversations exhibit a few key characteristics: they’re direct, to the point, and economical. They quickly dispense with pleasantries.

    Informational voice interactions

    In the meantime, some conversations are primarily about getting information. Though Alison might visit Crust Deluxe with the sole purpose of placing an order, she might not actually want to walk out with a pizza at all. She might be interested in trying halal or kosher dishes, gluten-free options, or something else entirely. Even though we have a prosocial mini-conversation once more at the beginning to establish politeness, we’re after much more.

    Alison: Hey, how’s it going?

    Burhan: Hello and welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Continue straight ahead.

    Alison: Do you have any halal options on the menu?

    Burhan: Totally! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Do you have any other dietary restrictions in mind?

    Alison, what about pizzas that are gluten-free?

    Burhan: We can definitely do a gluten-free crust for you, no problem, for both our deep-dish and thin-crust pizzas. Anything else I can say to you to help?

    Alison: That’s it for now. Good to know. Thank you.

    Burhan: Anytime, please.

    This is a very different dialogue. Here, the goal is to obtain a particular set of facts. Informational conversations are research expeditions to gather data, news, or facts in search of the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated so that the customer is aware of the important lessons.

    Voice interfaces

    At their core, voice interfaces employ speech to support users in reaching their goals. However, just because an interface has a voice component doesn’t mean that every user interaction with it is mediated by voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

    Though voice interfaces have long been integral to the imagined future of humanity in science fiction, only recently have those lofty visions become fully realized in genuine voice interfaces.

    IVR ( interactive voice response ) systems

    Written conversational interfaces have been used for computing for many years, but voice interfaces first started to appear in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud and speech-enabled in-car systems that gave directions to a user-provided address. With the advent of interactive voice response ( IVR ) systems, intended as an alternative to overburdened customer service representatives, we became acquainted with the first true voice interfaces that engaged in authentic conversation.

    IVR systems made it easier for businesses to cut down on call centers, but they soon gained notoriety for their clunkiness. These systems, which are commonplace in the corporate world, were primarily intended as metaphorical switchboards to direct customers to real phone agents (” Say Reservations to book a flight or check an itinerary” ), and it is likely that when you call an airline or hotel conglomerate, you will have the opportunity to have a conversation with one. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    IVR systems have a reputation for having less scintillating conversation than we’re used to in real life ( or even in science fiction ), but they are great for highly repetitive, monotonous conversations that typically don’t veer from a single format.

    Readers of screens

    Parallel to the evolution of IVR systems was the invention of the screen reader, a tool that transcribes visual content into synthesized speech. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Readers of screens represent perhaps the closest equivalent we have today to an out-of-the-box implementation of content delivered through voice.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). The first IBM Screen Reader for text-based computers was created by Jim Thatcher in the same year, which was later recreated for a computer with graphical user interfaces ( GUIs ) ( ).

    With the rapid expansion of the web in the 1990s, there was an explosion in the demand for user-friendly tools. Thanks to the introduction of semantic HTML and especially ARIA roles beginning in 2008, screen readers started facilitating speedy interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one. In other words, web screen readers “provide mechanisms that translate visual design constructs—proximity, proportion, etc. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    There’s a big deal with screen readers: they’re difficult to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. Sometimes unwieldy pronouncements that name every manipulable HTML element and announce every formatting change are made because the visual structures of websites and web navigation don’t translate well to screen readers. For many screen reader users, working with web-based interfaces exacts a cognitive toll.

    Chris Maury, an advocate for voice quality and voice engineer, examines why the screen reader experience is not appropriate for users who rely on voice in Wired:

    I hated the way Screen Readers operated from the beginning. Why are they designed the way they are? It makes no sense to present information visually and then only to have that information translated into audio. All the effort and effort put into creating the ideal app user experience is wasted, or worse, having a negative effect on blind users ‘ experience. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    In many cases, well-designed voice interfaces can deliver users ‘ requests more quickly than rambling screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information, ignoring areas that are unimportant to them. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might benefit from more streamlined user interfaces, especially more advanced voice assistants.

    Voice-overseers

    When we think of voice assistants (the subset of voice interfaces now commonplace in living rooms, smart homes, and offices), many of us immediately picture HAL from 2001: A Space Odyssey or hear Majel Barrett’s voice as the omniscient computer in Star Trek. Voice-overseers are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And they’re rapidly gaining more attention from accessibility advocates for their assistive potential.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a Semantic Web “agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” (, behind paywall ). Apple’s Siri only became a reality until 2011 when it finally made voice assistants a reality for consumers.

    Thanks to the plethora of voice assistants available today, there is considerable variation in how programmable and customizable certain voice assistants are over others ( Fig 1.1 ). At one extreme, everything but vendor-provided features are locked down. For instance, when they were released, core functionality for Apple’s Siri and Microsoft’s Cortana couldn’t be expanded beyond their already-existing capabilities. There are no other means of developers communicating with Siri at a low level, aside from predefined categories of tasks like messaging, hailing rideshares, making restaurant reservations, and other things, which are still possible today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel constrained by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are extensibable and customizable. Google Home has the ability to program arbitrary Google Assistant skills, while Amazon offers the Alexa Skills Kit, a developer framework for creating custom voice interfaces for Amazon Alexa. Today, users can choose from among thousands of custom-built skills within both the Amazon Alexa and Google Assistant ecosystems.

    As businesses like Amazon, Apple, Microsoft, and Google continue to dominate their markets, they are also selling and open-sourcing an unmatched range of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without the use of any code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, like Google’s Dialogflow, now support omnichannel features, allowing users to create a single conversational interface that then becomes a voice interface, textual chatbot, and IVR system upon deployment. In this design-focused book, I don’t recommend any specific implementation strategies, but in Chapter 4 we’ll discuss some of the possible effects that these variables might have on the way you construct your design artifacts.

    Voice Content

    Simply put, voice content is content that is delivered through voice. Voice content must be free-flowing and organic, contextless and concise—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the audiobook content being delivered as a requirement rather than an option.

    Our initial foray into informational voice interfaces will likely be to provide user content, for many of us. There’s only one problem: any content we already have isn’t in any way ready for this new habitat. So how can we make the content on our websites more conversational? And how do we create fresh copy that works with voice-recognition?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, massive vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window while being viewed in microfilm format in newspaper archives. Microcontent was defined by technologist Anil Dash as permalinked pieces of content that could be read in any environment, such as email or text messages, in 2002, well before the current-day ubiquity of voice assistants:

    A day’s weather forcast]sic], the arrival and departure times for an airplane flight, an abstract from a long publication, or a single instant message can all be examples of microcontent. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. The best way to learn how to stretch your content to the limits of its potential is through microcontent, which will inform both established and new delivery methods.

    Voice content stands out as being unique because it’s an illustration of how content is experienced in space rather than time. We can glance at a digital sign underground for an instant and know when the next train is arriving, but voice interfaces hold our attention captive for periods of time that we can’t easily escape or skip, something screen reader users are all too familiar with.

    We must ensure that our microcontent performs well as voice content because it is essentially composed of individual blobs without any connection to the channels in which they will eventually end up. This means focusing on the two most crucial characteristics of robust voice content: voice content legibility and voice content discoverability.

    Our voice content’s legibility and discoverability in general both depend on how it manifests in terms of perceived space and time.

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not certain when I first heard this statement, it has over the centuries stuck in my mind. How do you generate solutions for scenarios you can’t think? Or create items that are functional on products that have not yet been created?

    Flash, Photoshop, and flexible pattern

    My go-to program when I first started designing sites was Photoshop. I created a 960px paint and set about creating a design that I would eventually lose information in. Using set widths, fixed heights, and overall positioning, the development phase aimed to achieve pixel-perfect precision.

    Ethan Marcotte’s speak at An Event Off and subsequent content” Responsive Web Design” in A List Off in 2010 changed all this. As soon as I learned about reactive style, I was convinced, but I also was terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with flexible design didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. What I discovered the hard manner was that you can’t really put adaptability at the end of a job. To make smooth design, you need to prepare throughout the style phase.

    A novel method of architecture

    Developing flexible or smooth sites has always been about removing limitations, producing material that can be viewed on any system. It relies on using percentage-based layouts, which I immediately achieved using native CSS and power courses:

    .column-span-6 { width: 49%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-4 { width: 32%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-3 { width: 24%; float: left; margin-right: 0.5%; margin-left: 0.5%;}

    Then with Sass so I could take advantage of @includes to re-use repeated slabs of script and walk up to more semantic html:

    .logo { @include colSpan(6);}.search { @include colSpan(3);}.social-share { @include colSpan(3);}

    Media inquiries

    The next ingredient for reactive design is press queries. Without them, regardless of whether the content remained readable, would shrink to fit the available space. ( The exact opposite issue developed with the introduction of a mobile-first approach. )

    Media inquiries prevented this by allowing us to add breakpoints where the design could adapt. Like most people, I started out with three breakpoints: one for desktop, one for tablets, and one for mobile. Over the years, I added more and more for phablets, wide screens, and so on. 

    For years, I happily worked this way and improved both my design and front-end skills in the process. The only problem I encountered was making changes to content, since with our Sass grid system in place, there was no way for the site owners to add content without amending the markup—something a small business owner might struggle with. This is because each row in the grid was defined using a div as a container. Adding content meant creating new row markup, which requires a level of HTML knowledge.

    String premium was a mainstay of early flexible design, present in all the frequently used systems like Bootstrap and Skeleton.

    1 of 7
    2 of 7
    3 of 7
    4 of 7
    5 of 7
    6 of 7
    7 of 7

    Another difficulty arose as I moved from a design firm building websites for tiny- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those positions, I began to work more frequently with washable pieces.

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If part libraries are intended to be reused, this is a real problem because you can just use these components if the devices you’re designing for match the style library’s screen sizes, which prevents you from actually achieving the “devices that don’t yet exist” purpose.

    Then there’s the problem of space. Media inquiries allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: a false dawn or our lord?

    Container concerns have long been touted as an improvement upon advertising questions, but at the time of writing are unsupported in most computers. Workarounds for JavaScript exist, but they can lead to dependencies and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

    One of the biggest arguments in favor of container queries is that they help us create components or design patterns that are truly reusable because they can be picked up and placed anywhere in a layout. This is a significant step in the direction of a component-based design that can be used on any device of any size.

    In other words, responsive components to replace responsive layouts.

    Container queries will enable us to design components that can be placed in a sidebar or in the main content and respond accordingly rather than designing pages that respond to the browser or device size.

    My concern is that we are still using layout to determine when a design needs to adapt. We will still require predetermined breakpoints, so this approach will always be restrictive. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    The best place to make that choice is probably a component library that is disconnected from context and real content.

    As the diagrams below illustrate, we can use container queries to create designs for specific container widths, but what if I want to change the design based on the image size or ratio?

    The container’s dimensions shouldn’t be the design’s, but rather the image should.

    It’s hard to say for sure whether container queries will be a success story until we have solid cross-browser support for them. Responsive component libraries would undoubtedly change the way we design, enhancing reuse possibilities and scaling. But maybe we will always need to adjust these components to suit our content.

    CSS is evolving.

    Whilst the container query debate rumbles on, there have been numerous advances in CSS that change the way we think about design. The days of fixed-width elements measured in pixels and floated div elements used to cobble layouts together are long gone, consigned to history along with table layouts. Flexbox and CSS Grid have revolutionized layouts for the web. We can now create elements that wrap onto new rows when they run out of space, not when the device changes.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, 450px); gap: 10px;}

    The repeat() function paired with auto-fit or auto-fill allows us to specify how much space each column should use while leaving it up to the browser to decide when to spill the columns onto a new line. Similar things can be achieved with Flexbox, as elements can wrap over multiple rows and “flex” to fill available space. 

    .wrapper { display: flex; flex-wrap: wrap; justify-content: space-between;}.child { flex-basis: 32%; margin-bottom: 20px;}

    The biggest benefit of all this is you don’t need to wrap elements in container rows. Without rows, content is not directly linked to page markup, allowing for content removals or additions without further development.

    This is a significant improvement when it comes to developing designs that allow for dynamic content, but CSS Subgrid is the real game changer for flexible designs.

    Remember the days of crafting perfectly aligned interfaces, only for the customer to add an unbelievably long header almost as soon as they’re given CMS access, like the illustration below?

    Subgrid allows elements to respond to adjustments in their own content and in the content of sibling elements, helping us create designs more resilient to change.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, minmax(150px, 1fr)); grid-template-rows: auto 1fr auto; gap: 10px;}.sub-grid { display: grid; grid-row: span 3; grid-template-rows: subgrid; /* sets rows to parent grid */}

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Subgrid, in contrast, allows us to create designs that can be modified to fit changing content. Subgrid at the time of writing is only supported in Firefox but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, the term created by Jen Simmons to describe a mixture of new and old CSS features used to create layouts that respond to available space.

    Columns with percentages are flexible in responsive layouts. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says,” I want you to distribute the extra space in this way, but never make it smaller than the content that is inside.”

    —Jen Simmons,” Designing Intrinsic Layouts”

    Intrinsic layouts can also make use of a mix of fixed and flexible units, letting the content choose how much space it occupies.

    What distinguishes intrinsic design is that it not only creates designs that can withstand future devices but also helps scale designs without losing flexibility. Components and patterns can be lifted and reused without the prerequisite of having the same breakpoints or the same amount of content as in the previous implementation.

    We can now make designs that work in harmony with the content inside and the content around them. With an intrinsic approach, we can construct responsive components without depending on container queries.

    Another 2010 moment?

    This intrinsic approach should in my view be every bit as groundbreaking as responsive web design was ten years ago. It’s another “everything changed” moment for me.

    But it doesn’t seem to be moving quite as fast, I haven’t yet had that same career-changing moment I had with responsive design, despite the widely shared and brilliant talk that brought it to my attention.

    One possible explanation for that is that I now work for a sizable company, which is quite different from the design agency position I held in 2010. In my agency days, every new project was a clean slate, a chance to try something new. Modern projects frequently improve existing websites using an existing codebase and use existing tools and frameworks.

    Another could be that I feel more prepared for change now. I was relatively new to design in 2010; the shift was frightening and involved a lot of learning. Also, an intrinsic approach isn’t exactly all-new, it’s about using existing skills and existing CSS knowledge in a different way.

    You can’t “frame” your way out of” a content issue.

    Another reason for the slightly slower adoption of intrinsic design could be the lack of quick-fix framework solutions available to kick-start the change.

    Ten years ago, responsive grid systems were everywhere. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Because the benefit of having a selection of units is a hindrance when it comes to creating layout templates, intrinsic design and frameworks do not go hand in hand quite as well. The beauty of intrinsic design is combining different units and experimenting with techniques to get the best for your content.

    There are also design tools. We probably all, at some point in our careers, used Photoshop templates for desktop, tablet, and mobile devices to drop designs in and show how the site would look at all three stages.

    How do you do that right away, with each component responding to content and layout flexing as and when necessary? This type of design must happen in the browser, which personally I’m a big fan of.

    Another topic that has persisted for years is the debate over whether designers should code. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to do this in a graphics-based software package. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Still in use? Is the design too reliant on the current content?

    I’m personally anticipating the day when a design component can truly be flexible and adapt to both its space and content without relying on the device or container dimensions.

    Content first

    Content is variable. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of sibling elements.

    Thankfully, there’s more to CSS than layout, and plenty of properties and values can help us put content first. Subgrid and pseudo-elements like ::first-line and ::first-letter help to separate design from markup so we can create designs that allow for changes.

    This is not the same as previous markup hacks like this.

    First line of text with different styling...

    —we can target content based on where it appears.

    .element::first-line { font-size: 1.4em;}.element::first-letter { color: red;}

    Much bigger additions to CSS include logical properties, which change the way we construct designs using logical dimensions (start and end) instead of physical ones (left and right), something CSS Grid also does with functions like min(), max(), and clamp().

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. This was frequently accomplished with Sass mixins in the past, but it was frequently limited to a left-to-right or right-to-left orientation.

    In the Sass version, directional variables need to be set.

    $direction: rtl;$opposite-direction: ltr;$start-direction: right;$end-direction: left;

    These variables can be used as values—

    body { direction: $direction; text-align: $start-direction;}

    —or as properties.

    margin-#{$end-direction}: 10px;padding-#{$start-direction}: 10px;

    However, with the addition of native logical properties, there is no longer a need to rely on Sass ( or a comparable tool ) and pre-planning that would have necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

    margin-block-end: 10px;padding-block-start: 10px;

    There are also native start and end values for properties like text-align, which means we can replace text-align: right with text-align: start.

    Like the earlier examples, these properties help to build out designs that aren’t constrained to one language, the design will reflect the content’s needs.

    Fluid and fixed

    We briefly covered the power of combining fixed widths with fluid widths with intrinsic layouts. The min() and max() functions are a similar concept, allowing you to specify a fixed value with a flexible alternative. 

    For min() this means setting a fluid minimum value and a maximum fixed value.

    .element { width: min(50%, 300px);}

    As long as the element’s width doesn’t exceed 300px, the element in the figure above will be 50 % of its container.

    For max() we can set a flexible max value and a minimum fixed value.

    .element { width: max(50%, 300px);}

    As long as the element’s width is at least 300px, it will now cover 50 % of its container. This means we can set limits but allow content to react to the available space.

    The clamp() function builds on this by allowing us to set a preferred value with a third parameter. Now we can allow the element to shrink or grow if it needs to without getting to a point where it becomes unusable.

    .element { width: clamp(300px, 50%, 600px);}

    This time, the element’s width will be 50 % of its container’s preferred value, with no exceptions for 300px and 600px.

    With these techniques, we have a content-first approach to responsive design. We can distinguish between markup and content, which means that user modifications will not have an impact on the design. We can start to future-proof designs by planning for unexpected changes in language or direction. Additionally, we can increase flexibility by specifying desired dimensions alongside adaptable alternatives, which will allow for more or less content to be displayed correctly.

    Situation first

    We can address device flexibility by changing our approach, designing around content and space, and responding to what we’ve already discussed. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    It’s a lot different to design for someone using a mobile phone and walking through a crowded street in glaring sunshine than it is for someone using a desktop computer. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    Choice is so crucial because of this. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to give people choices.

    Responsible design

    There are places in the world where mobile data is prohibitively expensive and where there is little or no broadband infrastructure.

    I Used the Web for a Day on a 50 MB Budget

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, our users may be commuters using smaller mobile devices that may experience disconnects in connectivity in the real world. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

    The srcset attribute allows the browser to decide which image to serve. This means we can create smaller ‘cropped’ images to display on mobile devices in turn using less bandwidth and less data.

    Image alt text

    The preload attribute can also help us to think about how and when media is downloaded. It can be used to tell a browser about any critical assets that need to be downloaded with high priority, improving perceived performance and the user experience. 

      

    Additionally, there is native lazy loading, which indicates that only required files should be downloaded for use.

    …

    With srcset, preload, and lazy loading, we can start to tailor a user’s experience based on the situation they find themselves in. What none of this does, however, is allow the user themselves to decide what they want downloaded, as the decision is usually the browser’s to make. 

    So how can we put users in control?

    The media queries are now being returned.

    Media inquiries have always been about much more than device sizes. They allow content to adapt to different situations, with screen size being just one of them.

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. Because of these checks, we can offer options that work for more than one situation. It’s less about one-size-fits-all and more about providing adaptable content.

    As of this writing, the Media Queries Level 5 spec is still under development. It brings up some really intriguing queries that will eventually help us design for a number of other unanticipated situations.

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or darkness. These features, which have custom properties, make it simple to create designs or themes for particular environments.

    @media (light-level: normal) { --background-color: #fff; --text-color: #0b0c0c; }@media (light-level: dim) { --background-color: #efd226; --text-color: #0b0c0c;}

    Another key feature of the Level 5 spec is personalization. Instead of creating designs that are the same for everyone, users can choose what works for them. This is achieved by using features like prefers-reduced-data, prefers-color-scheme, and prefers-reduced-motion, the latter two of which already enjoy broad browser support. These features tap into preferences set via the operating system or browser so people don’t have to spend time making each site they visit more usable. 

    Media inquiries like this go beyond choices made by a browser to grant more control to the user.

    Expect the unanticipated

    In the end, the one thing we should always expect is for things to change. With foldable screens already available, especially in the form of tablets, we can’t keep up with them.

    We can’t design the same way we have for this ever-changing landscape, but we can design for content. We can create more robust, flexible designs that increase the longevity of our products by putting the customer first and allowing that customer to adapt to whatever environment surrounds them.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is a lot more we can do to adopt a more intrinsic approach, from responsive components to fixed and fluid units. Even better, we can test these techniques during the design phase by designing in-browser and watching how our designs adapt in real-time.

    When it comes to unexpected circumstances, we must make sure our goods are accessible whenever and wherever needed. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

    Unexpected design should give our users, who we serve, choice and control over how they interact with the environment.