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  • Design for Amiability: Lessons from Vienna

    Design for Amiability: Lessons from Vienna

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

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

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

    The Vienna Circle

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

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

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

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

    In the Café

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

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

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

    Hitler:  Destroying everybody is my business.

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

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

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

    The End Of Red Vienna

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

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

    Design for Amiability

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

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

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

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

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

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

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

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

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

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

  • Design Dialects: Breaking the Rules, Not the System

    Design Dialects: Breaking the Rules, Not the System

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

    The web has accents. So should our design systems.

    Design Systems as Living Languages

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

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

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

    Consistency becomes a prison

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

    Our design systems must learn to speak dialects.

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

    When Perfect Consistency Fails

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

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

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

    Task completion with standard Polaris: 0%.

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

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

    The Birth of a Dialect

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

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

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

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

    The Flexibility Framework

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

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

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

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

    The Decision Ladder

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

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

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

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

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

    Rules are tools, not relics.

    Unity Beats Uniformity

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

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

    Governance Without Gates

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

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

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

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

    A living dictionary scales better than a frozen rulebook.

    Start Small: Your First Dialect

    Ready to introduce dialects? Start with one broken experience:

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

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

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

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

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

    Beyond the Component Library

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

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

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

  • An Holistic Framework for Shared Design Leadership

    An Holistic Framework for Shared Design Leadership

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

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

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

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

    The Anatomy of a Healthy Design Team

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

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

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

    The Nervous System: People & Psychology

    Primary caretaker: Design Manager
    Supporting role: Lead Designer

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

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

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

    Design Manager tends to:

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

    Lead Designer supports by:

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

    The Muscular System: Craft & Execution

    Primary caretaker: Lead Designer
    Supporting role: Design Manager

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

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

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

    Lead Designer tends to:

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

    Design Manager supports by:

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

    The Circulatory System: Strategy & Flow

    Shared caretakers: Both Design Manager and Lead Designer

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

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

    Lead Designer contributes:

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

    Design Manager contributes:

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

    Both collaborate on:

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

    Keeping the Organism Healthy

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

    Be Explicit About Which System You’re Tending

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

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

    Create Healthy Feedback Loops

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

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

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

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

    Handle Handoffs Gracefully

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

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

    Stay Curious, Not Territorial

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

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

    When the Organism Gets Sick

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

    System Isolation

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

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

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

    Poor Circulation

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

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

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

    Autoimmune Response

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

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

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

    The Payoff

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

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

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

    The Bottom Line

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

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

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

  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

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

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

    The pitfalls of feature-first development

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

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

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

    The importance of bedrock

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

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

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

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

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

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

    Practical strategies for building financial products that stick

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

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

    The bedrock paradox

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

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

  • Walton Goggins Reveals His Hardest Fallout Acting Challenge Yet

    Walton Goggins Reveals His Hardest Fallout Acting Challenge Yet

    This article contains spoilers for Fallout season 2 episode 4. Playing the wrinkled, irradiated Ghoul on Prime Video’s game adaptation Fallout is not a walk in the post-apocalyptic park for Walton Goggins. Not only does the actor have to access the emotional interiority of a centuries-old cowboy wandering the wasteland, he has to undergo a […]

    The post Walton Goggins Reveals His Hardest Fallout Acting Challenge Yet appeared first on Den of Geek.

    With second seasons of The Night Manager and Red Eye already heating up U.K. telly, there’s still so much more to come in 2026. Russell T Davies, Steven Moffat, and Chris Chibnall all have new shows lined up this year. There are some big adaptations on the way, too, including a Kit Harington-led version of A Tale of Two Cities.

    Meanwhile, Richard Gadd will follow up his smash hit awards-grabber Baby Reindeer with a new show that is bound to be absolutely devastating, and Lisa McGee will follow up Derry Girls with her new Netflix series, How to Get to Heaven From Belfast.

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    The year also has some big returning shows in store! Line of Duty and Unforgotten are both coming back to the small screen with their seventh series.

    Let’s take a look at some of the big shows heading our way in 2026…

    Agatha Christie’s Seven Dials

    January 15 on Netflix

    We love a new Agatha Christie adaptation, and this one has a stacked cast (Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, and more!) and a classic 1929 mystery to unravel, courtesy of Broadchurch creator Chris Chibnall. This story follows a group of young, well-off Londoners who stumble into a strange puzzle involving time, coded messages, and a shadowy organization known as “Seven Dials,” after a seemingly harmless prank goes wrong.

    How To Get To Heaven From Belfast Season 1.  Roisin Gallagher as Saoirse Shaw, Caoilfhionn Dunne as Dara Friel & Sinead Keenan as Robyn Winters. Cr. Netflix 2025

    How to Get to Heaven From Belfast

    February on Netflix

    Originally envisioned as a Channel 4 series, How to Get to Heaven From Belfast has now moved to Netflix due to rising costs. It’s the new show from Derry Girls creator Lisa McGee, and it follows three childhood friends from Belfast – Saoirse, Robyn and Dara – who are now in their late thirties and living very different lives when they receive word that a fourth member of their school-friend group has died. Roísín Gallagher, Sinéad Keenan and Caoilfhionn Dunne lead the cast.

    Young Sherlock

    March 4 on Prime Video

    Guy Ritchie’s Sherlock Holmes is back, but he is definitely looking a bit younger than Robert Downey Jr. here as the director plans to explore the famous detective’s early years in Oxford for this Prime Video series, which adapts Andrew Lane’s Young Sherlock Holmes books. Hero Fiennes Tiffin (nephew of Ralph and young Voldemort in Harry Potter and the Half Blood Prince) stars as the titular deerstalker-botherer.

    Betrayal

    TBD on ITV

    From the mind of playwright David Eldridge, slick new spy show Betrayal will take us into the complex new reality of MI5, as veteran agent John Hughes (Endeavour’s Shaun Evans) navigates an evolving security landscape and a progressive workplace. When an assassination links him to a conspiracy, Hughes will have to figure out how to protect not only his marriage and career, but also Britain itself.

    Lord of the Flies

    TBD on BBC

    The Beeb has never attempted a TV adaptation of William Golding’s famous novel… until now! With Adolescence writer Jack Thorne behind the upcoming series, we could be in for a very special version of the classic book this year. If you’re not familiar with the story Golding wrote in 1954, it focuses on a group of schoolboys who are stranded on a tropical island. With no adults to tell them what to do, the boys soon try to organize. But hope is a fragile thing…

    The Lady

    TBD on ITV

    The gang behind The Crown have a new royal drama series for you in 2026! This one comes with its own true-life crime twist, as The Lady follows Sarah Ferguson’s royal dresser Jane Andrews (Mia McKenna-Bruce), who falls from grace after being convicted of murdering her stockbroker boyfriend Thomas Cressman. Natalie Dormer (Game of Thrones) and Ed Speelers (Star Trek: Picard) co-star.

    Maya

    TBD on Channel 4

    In the midst of filming HBO’s hit series The Last of Us, Bella Ramsey has also hopped onto Channel 4’s Maya, a psychological thriller about a mum (Breeders star Daisy Haggard, also on co-writing duties) and daughter who get put in a witness protection program in a remote Scottish village. So, are they then safe from the danger that pursues them and left to their own devices? Are they heck! Not with Tobias “Black Jack Randall” Menzies after them.

    Secret Service

    TBD on ITVX

    This 5-episode ITVX series stars Gemma Arterton as an MI6 officer who seems to have an ordinary but happy life. Still, she’s got a rather important job as the head of the Russia Desk of the Secret Intelligence Service to deal with behind the scenes, which is very much not ordinary. After she learns that a senior British politician could be a potential Russian asset, she finds herself in a political game of cat and mouse.

    Out of the Dust

    TBD on Netflix

    From the director of Oranges and Sunshine and the writer of Cuffs comes a new Netflix streaming series that follows a woman named Rosie, who ends up on a dangerous path after she starts questioning her conservative Christian sect. Asa Butterfield, Molly Windsor, Fra Fee, Siobhan Finneran and Christopher Eccleston make up the cast of this one.

    The Blame

    TBD on ITV

    Michelle Keegan and Douglas Booth play Emma Crane and Tom Radley in this ITV adaptation of Charlotte Langley’s debut novel. The pair are two detectives who have to investigate the murder of a teenage figure skater in a small town, while also falling in love. But when one of them becomes a suspect, things get a bit more complicated.

    Line of Duty Series 7

    TBD on BBC One

    We knew it wouldn’t be gone forever! Martin Compston, Vicky McClure, and Adrian Dunbar are back, as is writer Jed Mercurio, for a brand-new six-episode series of the Beeb’s hit cop series. Expect a slightly different setup in series 7, as AC-12 has been disbanded and rebranded as the Inspectorate of Police Standards. The team will be taking a deeper look into a sensitive case involving a celebrated detective inspector accused of abusing his position of trust.

    Legends

    TBD on Netflix

    Two ordinary men (Tom Burke and Steve Coogan) are sent undercover in Britain’s biggest drug networks during the early 1990s in this new show from The Gold creator Neil Forsyth. Based on a true story, the series will dramatize what happened when people who’d only gone through a basic training regime had to build new identities in the criminal underworld. These will be our titular “Legends.”

    Army of Shadows

    TBD on Channel 4

    The 1969 war movie Army of Shadows will be reimagined this year for C4, moving the film’s (and book’s) story of a resistance cell from WWII to a near-future authoritarian Britain under American occupation. The Day of the Jackal showrunner Ronan Bennett is behind this one, and more details should arrive soon, but it already sounds very intriguing indeed.

    Dear England

    TBD on BBC One

    This four-part BBC One and BBC iPlayer drama series is adapted from James Graham’s Olivier Award-winning stage play of the same name. It stars Joseph Fiennes, who is reprising his stage role as England football manager Gareth Southgate, and features a cast that includes Jodie Whittaker and Jason Watkins. The show will chronicle Southgate’s tenure as the team’s manager and draw on the play’s exploration of leadership, national identity, and, of course, footie.

    Number 10

    TBD on Channel 4

    Rafe Spall, Jenna Coleman, and Katherine Kelly lead the cast of Steven Moffat’s upcoming comedy drama, which explores life at Britain’s most famous address. Spall (Trying) will play the Prime Minister, Coleman (The Serpent) will be the Deputy Chief of Staff, and Kelly (Mr Bates vs The Post Office) will be the Chief of Staff. It’s a fictional government at Number 10, but they will be dealing with some all-too-familiar problems.

    Kill Jackie

    TBD on Prime Video

    Adapted from the Nick Harkaway novel The Price You Pay, this forthcoming series has gender-swapped its main character for the show. It will follow Jackie Price (Catherine Zeta-Jones), a wealthy art dealer who becomes the target of a hitman squad called The Seven Demons. Filming has been taking place in Bilbao, Lisbon, London and Swansea, but the show is still eyeing a 2026 release.

    Unforgotten Series 7

    TBD on ITVX

    Details on the seventh series of Unforgotten are being kept under wraps for now, but we can expect Sanjeev Bhaskar (DI Sunny Khan) and Sinéad Keenan (DCI Jess James) to be heading into a new cold case, following the success and strong ratings of series six.

    Tip Toe

    TBD on Channel 4

    Fellow Doctor Who showrunner vets Steven Moffat and Chris Chibnall have both got new shows for us this year, but what about Russell T Davies? Yes, indeed, Davies has a new drama called Tip Toe on the way, starring David Morrissey and Alan Cumming, where the Queer as Folk creator will revisit Manchester’s Canal Street to explore the current LGBTQ+ community and the dangers they face.

    A Tale of Two Cities

    TBD on BBC One

    There have been a few adaptations of Charles Dickens’ classic novel, but none of them starred Kit Harington, have they? Well, that’s all set to change this year as the Beeb will be rolling out four episodes to tell the tale of Charles Darnay (Harington), a French aristocrat who is tried for treason in England but manages to get acquitted thanks to a lookalike lawyer called Sydney Carton (François Civil). When he’s arrested again in France during the Revolution and sentenced to death, Carton has to make a difficult choice because he’s now very much in love with Darnay’s beautiful wife, Lucie (Mirren Mack).

    Under Salt Marsh

    TBD on Sky Atlantic

    As a massive storm gathers offshore, Jackie Ellis (Kelly Reilly), a teacher and former detective, discovers the body of her eight-year-old student, Cefin, who appears to have drowned. The shocking find forces the town to confront memories of a case left unresolved three years earlier, the disappearance of Jackie’s niece, Nessa, which destroyed her career. Cefin’s death also draws Jackie’s former partner, Detective Eric Bull (Rafe Spall), back to lead the investigation. Convinced the two cases are linked, Jackie and Bull work together to uncover buried secrets before the approaching storm erases key evidence.

    Rivals Series 2

    TBD on Disney+

    Rivals will return to our screens in 2026 with an expanded twelve-episode run. It continues the story of competing TV executives and social climbers in the glamorous, high-stakes world of 1980s British telly, picking up where the first season’s dramatic cliffhanger left off. Most of the main cast, including David Tennant as Lord Tony Baddingham, Alex Hassell as Rupert Campbell-Black, and Aidan Turner as Declan O’Hara, are set to return, with new additions Hayley Atwell and Rupert Everett also joining in the fun.

    Half Man

    TBD on BBC One

    Formerly known as Lions, Richard Gadd’s follow-up to Baby Reindeer is now called Half Man. It stars Gadd and Jamie Bell (All of Us Strangers) as estranged “brothers” Ruben and Niall, and tracks what happens when Ruben shows up at Niall’s wedding after a long absence from his life. The show will untangle 40 years of their relationship, from their teenage stretch to some violent encounters in their adult lives.

    War

    TBD on Sky

    George Kay is on a hot streak after creating Lupin and Criminal for Netflix and Hijack for Apple TV. Is this new series for Sky and HBO also worth your attention? Probably, because they’ve ordered not one but two series of it right off the bat. The first one (it’s in an anthology format) stars Dominic West and Sienna Miller, and centers on two of London’s most prestigious rival law firms as they battle over “the divorce case of the century” between tech titan Morgan Henderson (West) and his estranged wife, international film star Carla Duval (Miller).

    The Other Bennet Sister

    TBD on BBC One

    The Other Bennet Sister is adapted from Janice Hadlow’s novel of the same name. It reimagines Jane Austen’s Pride and Prejudice from the perspective of Mary Bennet, the often-overlooked middle sister. The 10‑episode series, written chiefly by Sarah Quintrell, follows Mary as she leaves Longbourn for London and the Lake District in Regency England. Ella Bruccoleri stars as Mary Bennett, with Richard E. Grant and Ruth Jones as Mr and Mrs Bennett.

    The post Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky appeared first on Den of Geek.

  • Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky

    Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky

    With second seasons of The Night Manager and Red Eye already heating up U.K. telly, there’s still so much more to come in 2026. Russell T Davies, Steven Moffat, and Chris Chibnall all have new shows lined up this year. There are some big adaptations on the way, too, including a Kit Harington-led version of […]

    The post Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky appeared first on Den of Geek.

    With second seasons of The Night Manager and Red Eye already heating up U.K. telly, there’s still so much more to come in 2026. Russell T Davies, Steven Moffat, and Chris Chibnall all have new shows lined up this year. There are some big adaptations on the way, too, including a Kit Harington-led version of A Tale of Two Cities.

    Meanwhile, Richard Gadd will follow up his smash hit awards-grabber Baby Reindeer with a new show that is bound to be absolutely devastating, and Lisa McGee will follow up Derry Girls with her new Netflix series, How to Get to Heaven From Belfast.

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    The year also has some big returning shows in store! Line of Duty and Unforgotten are both coming back to the small screen with their seventh series.

    Let’s take a look at some of the big shows heading our way in 2026…

    Agatha Christie’s Seven Dials

    January 15 on Netflix

    We love a new Agatha Christie adaptation, and this one has a stacked cast (Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, and more!) and a classic 1929 mystery to unravel, courtesy of Broadchurch creator Chris Chibnall. This story follows a group of young, well-off Londoners who stumble into a strange puzzle involving time, coded messages, and a shadowy organization known as “Seven Dials,” after a seemingly harmless prank goes wrong.

    How To Get To Heaven From Belfast Season 1.  Roisin Gallagher as Saoirse Shaw, Caoilfhionn Dunne as Dara Friel & Sinead Keenan as Robyn Winters. Cr. Netflix 2025

    How to Get to Heaven From Belfast

    February on Netflix

    Originally envisioned as a Channel 4 series, How to Get to Heaven From Belfast has now moved to Netflix due to rising costs. It’s the new show from Derry Girls creator Lisa McGee, and it follows three childhood friends from Belfast – Saoirse, Robyn and Dara – who are now in their late thirties and living very different lives when they receive word that a fourth member of their school-friend group has died. Roísín Gallagher, Sinéad Keenan and Caoilfhionn Dunne lead the cast.

    Young Sherlock

    March 4 on Prime Video

    Guy Ritchie’s Sherlock Holmes is back, but he is definitely looking a bit younger than Robert Downey Jr. here as the director plans to explore the famous detective’s early years in Oxford for this Prime Video series, which adapts Andrew Lane’s Young Sherlock Holmes books. Hero Fiennes Tiffin (nephew of Ralph and young Voldemort in Harry Potter and the Half Blood Prince) stars as the titular deerstalker-botherer.

    Betrayal

    TBD on ITV

    From the mind of playwright David Eldridge, slick new spy show Betrayal will take us into the complex new reality of MI5, as veteran agent John Hughes (Endeavour’s Shaun Evans) navigates an evolving security landscape and a progressive workplace. When an assassination links him to a conspiracy, Hughes will have to figure out how to protect not only his marriage and career, but also Britain itself.

    Lord of the Flies

    TBD on BBC

    The Beeb has never attempted a TV adaptation of William Golding’s famous novel… until now! With Adolescence writer Jack Thorne behind the upcoming series, we could be in for a very special version of the classic book this year. If you’re not familiar with the story Golding wrote in 1954, it focuses on a group of schoolboys who are stranded on a tropical island. With no adults to tell them what to do, the boys soon try to organize. But hope is a fragile thing…

    The Lady

    TBD on ITV

    The gang behind The Crown have a new royal drama series for you in 2026! This one comes with its own true-life crime twist, as The Lady follows Sarah Ferguson’s royal dresser Jane Andrews (Mia McKenna-Bruce), who falls from grace after being convicted of murdering her stockbroker boyfriend Thomas Cressman. Natalie Dormer (Game of Thrones) and Ed Speelers (Star Trek: Picard) co-star.

    Maya

    TBD on Channel 4

    In the midst of filming HBO’s hit series The Last of Us, Bella Ramsey has also hopped onto Channel 4’s Maya, a psychological thriller about a mum (Breeders star Daisy Haggard, also on co-writing duties) and daughter who get put in a witness protection program in a remote Scottish village. So, are they then safe from the danger that pursues them and left to their own devices? Are they heck! Not with Tobias “Black Jack Randall” Menzies after them.

    Secret Service

    TBD on ITVX

    This 5-episode ITVX series stars Gemma Arterton as an MI6 officer who seems to have an ordinary but happy life. Still, she’s got a rather important job as the head of the Russia Desk of the Secret Intelligence Service to deal with behind the scenes, which is very much not ordinary. After she learns that a senior British politician could be a potential Russian asset, she finds herself in a political game of cat and mouse.

    Out of the Dust

    TBD on Netflix

    From the director of Oranges and Sunshine and the writer of Cuffs comes a new Netflix streaming series that follows a woman named Rosie, who ends up on a dangerous path after she starts questioning her conservative Christian sect. Asa Butterfield, Molly Windsor, Fra Fee, Siobhan Finneran and Christopher Eccleston make up the cast of this one.

    The Blame

    TBD on ITV

    Michelle Keegan and Douglas Booth play Emma Crane and Tom Radley in this ITV adaptation of Charlotte Langley’s debut novel. The pair are two detectives who have to investigate the murder of a teenage figure skater in a small town, while also falling in love. But when one of them becomes a suspect, things get a bit more complicated.

    Line of Duty Series 7

    TBD on BBC One

    We knew it wouldn’t be gone forever! Martin Compston, Vicky McClure, and Adrian Dunbar are back, as is writer Jed Mercurio, for a brand-new six-episode series of the Beeb’s hit cop series. Expect a slightly different setup in series 7, as AC-12 has been disbanded and rebranded as the Inspectorate of Police Standards. The team will be taking a deeper look into a sensitive case involving a celebrated detective inspector accused of abusing his position of trust.

    Legends

    TBD on Netflix

    Two ordinary men (Tom Burke and Steve Coogan) are sent undercover in Britain’s biggest drug networks during the early 1990s in this new show from The Gold creator Neil Forsyth. Based on a true story, the series will dramatize what happened when people who’d only gone through a basic training regime had to build new identities in the criminal underworld. These will be our titular “Legends.”

    Army of Shadows

    TBD on Channel 4

    The 1969 war movie Army of Shadows will be reimagined this year for C4, moving the film’s (and book’s) story of a resistance cell from WWII to a near-future authoritarian Britain under American occupation. The Day of the Jackal showrunner Ronan Bennett is behind this one, and more details should arrive soon, but it already sounds very intriguing indeed.

    Dear England

    TBD on BBC One

    This four-part BBC One and BBC iPlayer drama series is adapted from James Graham’s Olivier Award-winning stage play of the same name. It stars Joseph Fiennes, who is reprising his stage role as England football manager Gareth Southgate, and features a cast that includes Jodie Whittaker and Jason Watkins. The show will chronicle Southgate’s tenure as the team’s manager and draw on the play’s exploration of leadership, national identity, and, of course, footie.

    Number 10

    TBD on Channel 4

    Rafe Spall, Jenna Coleman, and Katherine Kelly lead the cast of Steven Moffat’s upcoming comedy drama, which explores life at Britain’s most famous address. Spall (Trying) will play the Prime Minister, Coleman (The Serpent) will be the Deputy Chief of Staff, and Kelly (Mr Bates vs The Post Office) will be the Chief of Staff. It’s a fictional government at Number 10, but they will be dealing with some all-too-familiar problems.

    Kill Jackie

    TBD on Prime Video

    Adapted from the Nick Harkaway novel The Price You Pay, this forthcoming series has gender-swapped its main character for the show. It will follow Jackie Price (Catherine Zeta-Jones), a wealthy art dealer who becomes the target of a hitman squad called The Seven Demons. Filming has been taking place in Bilbao, Lisbon, London and Swansea, but the show is still eyeing a 2026 release.

    Unforgotten Series 7

    TBD on ITVX

    Details on the seventh series of Unforgotten are being kept under wraps for now, but we can expect Sanjeev Bhaskar (DI Sunny Khan) and Sinéad Keenan (DCI Jess James) to be heading into a new cold case, following the success and strong ratings of series six.

    Tip Toe

    TBD on Channel 4

    Fellow Doctor Who showrunner vets Steven Moffat and Chris Chibnall have both got new shows for us this year, but what about Russell T Davies? Yes, indeed, Davies has a new drama called Tip Toe on the way, starring David Morrissey and Alan Cumming, where the Queer as Folk creator will revisit Manchester’s Canal Street to explore the current LGBTQ+ community and the dangers they face.

    A Tale of Two Cities

    TBD on BBC One

    There have been a few adaptations of Charles Dickens’ classic novel, but none of them starred Kit Harington, have they? Well, that’s all set to change this year as the Beeb will be rolling out four episodes to tell the tale of Charles Darnay (Harington), a French aristocrat who is tried for treason in England but manages to get acquitted thanks to a lookalike lawyer called Sydney Carton (François Civil). When he’s arrested again in France during the Revolution and sentenced to death, Carton has to make a difficult choice because he’s now very much in love with Darnay’s beautiful wife, Lucie (Mirren Mack).

    Under Salt Marsh

    TBD on Sky Atlantic

    As a massive storm gathers offshore, Jackie Ellis (Kelly Reilly), a teacher and former detective, discovers the body of her eight-year-old student, Cefin, who appears to have drowned. The shocking find forces the town to confront memories of a case left unresolved three years earlier, the disappearance of Jackie’s niece, Nessa, which destroyed her career. Cefin’s death also draws Jackie’s former partner, Detective Eric Bull (Rafe Spall), back to lead the investigation. Convinced the two cases are linked, Jackie and Bull work together to uncover buried secrets before the approaching storm erases key evidence.

    Rivals Series 2

    TBD on Disney+

    Rivals will return to our screens in 2026 with an expanded twelve-episode run. It continues the story of competing TV executives and social climbers in the glamorous, high-stakes world of 1980s British telly, picking up where the first season’s dramatic cliffhanger left off. Most of the main cast, including David Tennant as Lord Tony Baddingham, Alex Hassell as Rupert Campbell-Black, and Aidan Turner as Declan O’Hara, are set to return, with new additions Hayley Atwell and Rupert Everett also joining in the fun.

    Half Man

    TBD on BBC One

    Formerly known as Lions, Richard Gadd’s follow-up to Baby Reindeer is now called Half Man. It stars Gadd and Jamie Bell (All of Us Strangers) as estranged “brothers” Ruben and Niall, and tracks what happens when Ruben shows up at Niall’s wedding after a long absence from his life. The show will untangle 40 years of their relationship, from their teenage stretch to some violent encounters in their adult lives.

    War

    TBD on Sky

    George Kay is on a hot streak after creating Lupin and Criminal for Netflix and Hijack for Apple TV. Is this new series for Sky and HBO also worth your attention? Probably, because they’ve ordered not one but two series of it right off the bat. The first one (it’s in an anthology format) stars Dominic West and Sienna Miller, and centers on two of London’s most prestigious rival law firms as they battle over “the divorce case of the century” between tech titan Morgan Henderson (West) and his estranged wife, international film star Carla Duval (Miller).

    The Other Bennet Sister

    TBD on BBC One

    The Other Bennet Sister is adapted from Janice Hadlow’s novel of the same name. It reimagines Jane Austen’s Pride and Prejudice from the perspective of Mary Bennet, the often-overlooked middle sister. The 10‑episode series, written chiefly by Sarah Quintrell, follows Mary as she leaves Longbourn for London and the Lake District in Regency England. Ella Bruccoleri stars as Mary Bennett, with Richard E. Grant and Ruth Jones as Mr and Mrs Bennett.

    The post Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky appeared first on Den of Geek.

  • MrBeast Reveals Biggest Changes to BEAST GAMES [video]

    MrBeast Reveals Biggest Changes to BEAST GAMES [video]

    The massive reality competition series BEAST GAMES is back on Prime Video! Setting records at every turn, the series continues to be quite the undertaking, in line with the  @MrBeast  brand. MrBeast himself, Jimmy Donaldson, spoke with Matthew Shuchman of Den of Geek about what it took to pull it off, and what to look […]

    The post MrBeast Reveals Biggest Changes to BEAST GAMES appeared first on Den of Geek.

    With second seasons of The Night Manager and Red Eye already heating up U.K. telly, there’s still so much more to come in 2026. Russell T Davies, Steven Moffat, and Chris Chibnall all have new shows lined up this year. There are some big adaptations on the way, too, including a Kit Harington-led version of A Tale of Two Cities.

    Meanwhile, Richard Gadd will follow up his smash hit awards-grabber Baby Reindeer with a new show that is bound to be absolutely devastating, and Lisa McGee will follow up Derry Girls with her new Netflix series, How to Get to Heaven From Belfast.

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

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

    The year also has some big returning shows in store! Line of Duty and Unforgotten are both coming back to the small screen with their seventh series.

    Let’s take a look at some of the big shows heading our way in 2026…

    Agatha Christie’s Seven Dials

    January 15 on Netflix

    We love a new Agatha Christie adaptation, and this one has a stacked cast (Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, and more!) and a classic 1929 mystery to unravel, courtesy of Broadchurch creator Chris Chibnall. This story follows a group of young, well-off Londoners who stumble into a strange puzzle involving time, coded messages, and a shadowy organization known as “Seven Dials,” after a seemingly harmless prank goes wrong.

    How To Get To Heaven From Belfast Season 1.  Roisin Gallagher as Saoirse Shaw, Caoilfhionn Dunne as Dara Friel & Sinead Keenan as Robyn Winters. Cr. Netflix 2025

    How to Get to Heaven From Belfast

    February on Netflix

    Originally envisioned as a Channel 4 series, How to Get to Heaven From Belfast has now moved to Netflix due to rising costs. It’s the new show from Derry Girls creator Lisa McGee, and it follows three childhood friends from Belfast – Saoirse, Robyn and Dara – who are now in their late thirties and living very different lives when they receive word that a fourth member of their school-friend group has died. Roísín Gallagher, Sinéad Keenan and Caoilfhionn Dunne lead the cast.

    Young Sherlock

    March 4 on Prime Video

    Guy Ritchie’s Sherlock Holmes is back, but he is definitely looking a bit younger than Robert Downey Jr. here as the director plans to explore the famous detective’s early years in Oxford for this Prime Video series, which adapts Andrew Lane’s Young Sherlock Holmes books. Hero Fiennes Tiffin (nephew of Ralph and young Voldemort in Harry Potter and the Half Blood Prince) stars as the titular deerstalker-botherer.

    Betrayal

    TBD on ITV

    From the mind of playwright David Eldridge, slick new spy show Betrayal will take us into the complex new reality of MI5, as veteran agent John Hughes (Endeavour’s Shaun Evans) navigates an evolving security landscape and a progressive workplace. When an assassination links him to a conspiracy, Hughes will have to figure out how to protect not only his marriage and career, but also Britain itself.

    Lord of the Flies

    TBD on BBC

    The Beeb has never attempted a TV adaptation of William Golding’s famous novel… until now! With Adolescence writer Jack Thorne behind the upcoming series, we could be in for a very special version of the classic book this year. If you’re not familiar with the story Golding wrote in 1954, it focuses on a group of schoolboys who are stranded on a tropical island. With no adults to tell them what to do, the boys soon try to organize. But hope is a fragile thing…

    The Lady

    TBD on ITV

    The gang behind The Crown have a new royal drama series for you in 2026! This one comes with its own true-life crime twist, as The Lady follows Sarah Ferguson’s royal dresser Jane Andrews (Mia McKenna-Bruce), who falls from grace after being convicted of murdering her stockbroker boyfriend Thomas Cressman. Natalie Dormer (Game of Thrones) and Ed Speelers (Star Trek: Picard) co-star.

    Maya

    TBD on Channel 4

    In the midst of filming HBO’s hit series The Last of Us, Bella Ramsey has also hopped onto Channel 4’s Maya, a psychological thriller about a mum (Breeders star Daisy Haggard, also on co-writing duties) and daughter who get put in a witness protection program in a remote Scottish village. So, are they then safe from the danger that pursues them and left to their own devices? Are they heck! Not with Tobias “Black Jack Randall” Menzies after them.

    Secret Service

    TBD on ITVX

    This 5-episode ITVX series stars Gemma Arterton as an MI6 officer who seems to have an ordinary but happy life. Still, she’s got a rather important job as the head of the Russia Desk of the Secret Intelligence Service to deal with behind the scenes, which is very much not ordinary. After she learns that a senior British politician could be a potential Russian asset, she finds herself in a political game of cat and mouse.

    Out of the Dust

    TBD on Netflix

    From the director of Oranges and Sunshine and the writer of Cuffs comes a new Netflix streaming series that follows a woman named Rosie, who ends up on a dangerous path after she starts questioning her conservative Christian sect. Asa Butterfield, Molly Windsor, Fra Fee, Siobhan Finneran and Christopher Eccleston make up the cast of this one.

    The Blame

    TBD on ITV

    Michelle Keegan and Douglas Booth play Emma Crane and Tom Radley in this ITV adaptation of Charlotte Langley’s debut novel. The pair are two detectives who have to investigate the murder of a teenage figure skater in a small town, while also falling in love. But when one of them becomes a suspect, things get a bit more complicated.

    Line of Duty Series 7

    TBD on BBC One

    We knew it wouldn’t be gone forever! Martin Compston, Vicky McClure, and Adrian Dunbar are back, as is writer Jed Mercurio, for a brand-new six-episode series of the Beeb’s hit cop series. Expect a slightly different setup in series 7, as AC-12 has been disbanded and rebranded as the Inspectorate of Police Standards. The team will be taking a deeper look into a sensitive case involving a celebrated detective inspector accused of abusing his position of trust.

    Legends

    TBD on Netflix

    Two ordinary men (Tom Burke and Steve Coogan) are sent undercover in Britain’s biggest drug networks during the early 1990s in this new show from The Gold creator Neil Forsyth. Based on a true story, the series will dramatize what happened when people who’d only gone through a basic training regime had to build new identities in the criminal underworld. These will be our titular “Legends.”

    Army of Shadows

    TBD on Channel 4

    The 1969 war movie Army of Shadows will be reimagined this year for C4, moving the film’s (and book’s) story of a resistance cell from WWII to a near-future authoritarian Britain under American occupation. The Day of the Jackal showrunner Ronan Bennett is behind this one, and more details should arrive soon, but it already sounds very intriguing indeed.

    Dear England

    TBD on BBC One

    This four-part BBC One and BBC iPlayer drama series is adapted from James Graham’s Olivier Award-winning stage play of the same name. It stars Joseph Fiennes, who is reprising his stage role as England football manager Gareth Southgate, and features a cast that includes Jodie Whittaker and Jason Watkins. The show will chronicle Southgate’s tenure as the team’s manager and draw on the play’s exploration of leadership, national identity, and, of course, footie.

    Number 10

    TBD on Channel 4

    Rafe Spall, Jenna Coleman, and Katherine Kelly lead the cast of Steven Moffat’s upcoming comedy drama, which explores life at Britain’s most famous address. Spall (Trying) will play the Prime Minister, Coleman (The Serpent) will be the Deputy Chief of Staff, and Kelly (Mr Bates vs The Post Office) will be the Chief of Staff. It’s a fictional government at Number 10, but they will be dealing with some all-too-familiar problems.

    Kill Jackie

    TBD on Prime Video

    Adapted from the Nick Harkaway novel The Price You Pay, this forthcoming series has gender-swapped its main character for the show. It will follow Jackie Price (Catherine Zeta-Jones), a wealthy art dealer who becomes the target of a hitman squad called The Seven Demons. Filming has been taking place in Bilbao, Lisbon, London and Swansea, but the show is still eyeing a 2026 release.

    Unforgotten Series 7

    TBD on ITVX

    Details on the seventh series of Unforgotten are being kept under wraps for now, but we can expect Sanjeev Bhaskar (DI Sunny Khan) and Sinéad Keenan (DCI Jess James) to be heading into a new cold case, following the success and strong ratings of series six.

    Tip Toe

    TBD on Channel 4

    Fellow Doctor Who showrunner vets Steven Moffat and Chris Chibnall have both got new shows for us this year, but what about Russell T Davies? Yes, indeed, Davies has a new drama called Tip Toe on the way, starring David Morrissey and Alan Cumming, where the Queer as Folk creator will revisit Manchester’s Canal Street to explore the current LGBTQ+ community and the dangers they face.

    A Tale of Two Cities

    TBD on BBC One

    There have been a few adaptations of Charles Dickens’ classic novel, but none of them starred Kit Harington, have they? Well, that’s all set to change this year as the Beeb will be rolling out four episodes to tell the tale of Charles Darnay (Harington), a French aristocrat who is tried for treason in England but manages to get acquitted thanks to a lookalike lawyer called Sydney Carton (François Civil). When he’s arrested again in France during the Revolution and sentenced to death, Carton has to make a difficult choice because he’s now very much in love with Darnay’s beautiful wife, Lucie (Mirren Mack).

    Under Salt Marsh

    TBD on Sky Atlantic

    As a massive storm gathers offshore, Jackie Ellis (Kelly Reilly), a teacher and former detective, discovers the body of her eight-year-old student, Cefin, who appears to have drowned. The shocking find forces the town to confront memories of a case left unresolved three years earlier, the disappearance of Jackie’s niece, Nessa, which destroyed her career. Cefin’s death also draws Jackie’s former partner, Detective Eric Bull (Rafe Spall), back to lead the investigation. Convinced the two cases are linked, Jackie and Bull work together to uncover buried secrets before the approaching storm erases key evidence.

    Rivals Series 2

    TBD on Disney+

    Rivals will return to our screens in 2026 with an expanded twelve-episode run. It continues the story of competing TV executives and social climbers in the glamorous, high-stakes world of 1980s British telly, picking up where the first season’s dramatic cliffhanger left off. Most of the main cast, including David Tennant as Lord Tony Baddingham, Alex Hassell as Rupert Campbell-Black, and Aidan Turner as Declan O’Hara, are set to return, with new additions Hayley Atwell and Rupert Everett also joining in the fun.

    Half Man

    TBD on BBC One

    Formerly known as Lions, Richard Gadd’s follow-up to Baby Reindeer is now called Half Man. It stars Gadd and Jamie Bell (All of Us Strangers) as estranged “brothers” Ruben and Niall, and tracks what happens when Ruben shows up at Niall’s wedding after a long absence from his life. The show will untangle 40 years of their relationship, from their teenage stretch to some violent encounters in their adult lives.

    War

    TBD on Sky

    George Kay is on a hot streak after creating Lupin and Criminal for Netflix and Hijack for Apple TV. Is this new series for Sky and HBO also worth your attention? Probably, because they’ve ordered not one but two series of it right off the bat. The first one (it’s in an anthology format) stars Dominic West and Sienna Miller, and centers on two of London’s most prestigious rival law firms as they battle over “the divorce case of the century” between tech titan Morgan Henderson (West) and his estranged wife, international film star Carla Duval (Miller).

    The Other Bennet Sister

    TBD on BBC One

    The Other Bennet Sister is adapted from Janice Hadlow’s novel of the same name. It reimagines Jane Austen’s Pride and Prejudice from the perspective of Mary Bennet, the often-overlooked middle sister. The 10‑episode series, written chiefly by Sarah Quintrell, follows Mary as she leaves Longbourn for London and the Lake District in Regency England. Ella Bruccoleri stars as Mary Bennett, with Richard E. Grant and Ruth Jones as Mr and Mrs Bennett.

    The post Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky appeared first on Den of Geek.

  • SAG Nominee Snubs Reveal Continued Bias Against Non-English Movies in Oscar Race

    SAG Nominee Snubs Reveal Continued Bias Against Non-English Movies in Oscar Race

    The Screen Actors Guild nominations for the best of 2025 are in. And for awards prognosticators speculating on what the Oscars will do next, this is a big one. After all, the acting branch remains the largest bloc of the Academy of Motion Picture Arts and Sciences, and there is plenty of crossover between Oscar […]

    The post SAG Nominee Snubs Reveal Continued Bias Against Non-English Movies in Oscar Race appeared first on Den of Geek.

    With second seasons of The Night Manager and Red Eye already heating up U.K. telly, there’s still so much more to come in 2026. Russell T Davies, Steven Moffat, and Chris Chibnall all have new shows lined up this year. There are some big adaptations on the way, too, including a Kit Harington-led version of A Tale of Two Cities.

    Meanwhile, Richard Gadd will follow up his smash hit awards-grabber Baby Reindeer with a new show that is bound to be absolutely devastating, and Lisa McGee will follow up Derry Girls with her new Netflix series, How to Get to Heaven From Belfast.

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    The year also has some big returning shows in store! Line of Duty and Unforgotten are both coming back to the small screen with their seventh series.

    Let’s take a look at some of the big shows heading our way in 2026…

    Agatha Christie’s Seven Dials

    January 15 on Netflix

    We love a new Agatha Christie adaptation, and this one has a stacked cast (Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, and more!) and a classic 1929 mystery to unravel, courtesy of Broadchurch creator Chris Chibnall. This story follows a group of young, well-off Londoners who stumble into a strange puzzle involving time, coded messages, and a shadowy organization known as “Seven Dials,” after a seemingly harmless prank goes wrong.

    How To Get To Heaven From Belfast Season 1.  Roisin Gallagher as Saoirse Shaw, Caoilfhionn Dunne as Dara Friel & Sinead Keenan as Robyn Winters. Cr. Netflix 2025

    How to Get to Heaven From Belfast

    February on Netflix

    Originally envisioned as a Channel 4 series, How to Get to Heaven From Belfast has now moved to Netflix due to rising costs. It’s the new show from Derry Girls creator Lisa McGee, and it follows three childhood friends from Belfast – Saoirse, Robyn and Dara – who are now in their late thirties and living very different lives when they receive word that a fourth member of their school-friend group has died. Roísín Gallagher, Sinéad Keenan and Caoilfhionn Dunne lead the cast.

    Young Sherlock

    March 4 on Prime Video

    Guy Ritchie’s Sherlock Holmes is back, but he is definitely looking a bit younger than Robert Downey Jr. here as the director plans to explore the famous detective’s early years in Oxford for this Prime Video series, which adapts Andrew Lane’s Young Sherlock Holmes books. Hero Fiennes Tiffin (nephew of Ralph and young Voldemort in Harry Potter and the Half Blood Prince) stars as the titular deerstalker-botherer.

    Betrayal

    TBD on ITV

    From the mind of playwright David Eldridge, slick new spy show Betrayal will take us into the complex new reality of MI5, as veteran agent John Hughes (Endeavour’s Shaun Evans) navigates an evolving security landscape and a progressive workplace. When an assassination links him to a conspiracy, Hughes will have to figure out how to protect not only his marriage and career, but also Britain itself.

    Lord of the Flies

    TBD on BBC

    The Beeb has never attempted a TV adaptation of William Golding’s famous novel… until now! With Adolescence writer Jack Thorne behind the upcoming series, we could be in for a very special version of the classic book this year. If you’re not familiar with the story Golding wrote in 1954, it focuses on a group of schoolboys who are stranded on a tropical island. With no adults to tell them what to do, the boys soon try to organize. But hope is a fragile thing…

    The Lady

    TBD on ITV

    The gang behind The Crown have a new royal drama series for you in 2026! This one comes with its own true-life crime twist, as The Lady follows Sarah Ferguson’s royal dresser Jane Andrews (Mia McKenna-Bruce), who falls from grace after being convicted of murdering her stockbroker boyfriend Thomas Cressman. Natalie Dormer (Game of Thrones) and Ed Speelers (Star Trek: Picard) co-star.

    Maya

    TBD on Channel 4

    In the midst of filming HBO’s hit series The Last of Us, Bella Ramsey has also hopped onto Channel 4’s Maya, a psychological thriller about a mum (Breeders star Daisy Haggard, also on co-writing duties) and daughter who get put in a witness protection program in a remote Scottish village. So, are they then safe from the danger that pursues them and left to their own devices? Are they heck! Not with Tobias “Black Jack Randall” Menzies after them.

    Secret Service

    TBD on ITVX

    This 5-episode ITVX series stars Gemma Arterton as an MI6 officer who seems to have an ordinary but happy life. Still, she’s got a rather important job as the head of the Russia Desk of the Secret Intelligence Service to deal with behind the scenes, which is very much not ordinary. After she learns that a senior British politician could be a potential Russian asset, she finds herself in a political game of cat and mouse.

    Out of the Dust

    TBD on Netflix

    From the director of Oranges and Sunshine and the writer of Cuffs comes a new Netflix streaming series that follows a woman named Rosie, who ends up on a dangerous path after she starts questioning her conservative Christian sect. Asa Butterfield, Molly Windsor, Fra Fee, Siobhan Finneran and Christopher Eccleston make up the cast of this one.

    The Blame

    TBD on ITV

    Michelle Keegan and Douglas Booth play Emma Crane and Tom Radley in this ITV adaptation of Charlotte Langley’s debut novel. The pair are two detectives who have to investigate the murder of a teenage figure skater in a small town, while also falling in love. But when one of them becomes a suspect, things get a bit more complicated.

    Line of Duty Series 7

    TBD on BBC One

    We knew it wouldn’t be gone forever! Martin Compston, Vicky McClure, and Adrian Dunbar are back, as is writer Jed Mercurio, for a brand-new six-episode series of the Beeb’s hit cop series. Expect a slightly different setup in series 7, as AC-12 has been disbanded and rebranded as the Inspectorate of Police Standards. The team will be taking a deeper look into a sensitive case involving a celebrated detective inspector accused of abusing his position of trust.

    Legends

    TBD on Netflix

    Two ordinary men (Tom Burke and Steve Coogan) are sent undercover in Britain’s biggest drug networks during the early 1990s in this new show from The Gold creator Neil Forsyth. Based on a true story, the series will dramatize what happened when people who’d only gone through a basic training regime had to build new identities in the criminal underworld. These will be our titular “Legends.”

    Army of Shadows

    TBD on Channel 4

    The 1969 war movie Army of Shadows will be reimagined this year for C4, moving the film’s (and book’s) story of a resistance cell from WWII to a near-future authoritarian Britain under American occupation. The Day of the Jackal showrunner Ronan Bennett is behind this one, and more details should arrive soon, but it already sounds very intriguing indeed.

    Dear England

    TBD on BBC One

    This four-part BBC One and BBC iPlayer drama series is adapted from James Graham’s Olivier Award-winning stage play of the same name. It stars Joseph Fiennes, who is reprising his stage role as England football manager Gareth Southgate, and features a cast that includes Jodie Whittaker and Jason Watkins. The show will chronicle Southgate’s tenure as the team’s manager and draw on the play’s exploration of leadership, national identity, and, of course, footie.

    Number 10

    TBD on Channel 4

    Rafe Spall, Jenna Coleman, and Katherine Kelly lead the cast of Steven Moffat’s upcoming comedy drama, which explores life at Britain’s most famous address. Spall (Trying) will play the Prime Minister, Coleman (The Serpent) will be the Deputy Chief of Staff, and Kelly (Mr Bates vs The Post Office) will be the Chief of Staff. It’s a fictional government at Number 10, but they will be dealing with some all-too-familiar problems.

    Kill Jackie

    TBD on Prime Video

    Adapted from the Nick Harkaway novel The Price You Pay, this forthcoming series has gender-swapped its main character for the show. It will follow Jackie Price (Catherine Zeta-Jones), a wealthy art dealer who becomes the target of a hitman squad called The Seven Demons. Filming has been taking place in Bilbao, Lisbon, London and Swansea, but the show is still eyeing a 2026 release.

    Unforgotten Series 7

    TBD on ITVX

    Details on the seventh series of Unforgotten are being kept under wraps for now, but we can expect Sanjeev Bhaskar (DI Sunny Khan) and Sinéad Keenan (DCI Jess James) to be heading into a new cold case, following the success and strong ratings of series six.

    Tip Toe

    TBD on Channel 4

    Fellow Doctor Who showrunner vets Steven Moffat and Chris Chibnall have both got new shows for us this year, but what about Russell T Davies? Yes, indeed, Davies has a new drama called Tip Toe on the way, starring David Morrissey and Alan Cumming, where the Queer as Folk creator will revisit Manchester’s Canal Street to explore the current LGBTQ+ community and the dangers they face.

    A Tale of Two Cities

    TBD on BBC One

    There have been a few adaptations of Charles Dickens’ classic novel, but none of them starred Kit Harington, have they? Well, that’s all set to change this year as the Beeb will be rolling out four episodes to tell the tale of Charles Darnay (Harington), a French aristocrat who is tried for treason in England but manages to get acquitted thanks to a lookalike lawyer called Sydney Carton (François Civil). When he’s arrested again in France during the Revolution and sentenced to death, Carton has to make a difficult choice because he’s now very much in love with Darnay’s beautiful wife, Lucie (Mirren Mack).

    Under Salt Marsh

    TBD on Sky Atlantic

    As a massive storm gathers offshore, Jackie Ellis (Kelly Reilly), a teacher and former detective, discovers the body of her eight-year-old student, Cefin, who appears to have drowned. The shocking find forces the town to confront memories of a case left unresolved three years earlier, the disappearance of Jackie’s niece, Nessa, which destroyed her career. Cefin’s death also draws Jackie’s former partner, Detective Eric Bull (Rafe Spall), back to lead the investigation. Convinced the two cases are linked, Jackie and Bull work together to uncover buried secrets before the approaching storm erases key evidence.

    Rivals Series 2

    TBD on Disney+

    Rivals will return to our screens in 2026 with an expanded twelve-episode run. It continues the story of competing TV executives and social climbers in the glamorous, high-stakes world of 1980s British telly, picking up where the first season’s dramatic cliffhanger left off. Most of the main cast, including David Tennant as Lord Tony Baddingham, Alex Hassell as Rupert Campbell-Black, and Aidan Turner as Declan O’Hara, are set to return, with new additions Hayley Atwell and Rupert Everett also joining in the fun.

    Half Man

    TBD on BBC One

    Formerly known as Lions, Richard Gadd’s follow-up to Baby Reindeer is now called Half Man. It stars Gadd and Jamie Bell (All of Us Strangers) as estranged “brothers” Ruben and Niall, and tracks what happens when Ruben shows up at Niall’s wedding after a long absence from his life. The show will untangle 40 years of their relationship, from their teenage stretch to some violent encounters in their adult lives.

    War

    TBD on Sky

    George Kay is on a hot streak after creating Lupin and Criminal for Netflix and Hijack for Apple TV. Is this new series for Sky and HBO also worth your attention? Probably, because they’ve ordered not one but two series of it right off the bat. The first one (it’s in an anthology format) stars Dominic West and Sienna Miller, and centers on two of London’s most prestigious rival law firms as they battle over “the divorce case of the century” between tech titan Morgan Henderson (West) and his estranged wife, international film star Carla Duval (Miller).

    The Other Bennet Sister

    TBD on BBC One

    The Other Bennet Sister is adapted from Janice Hadlow’s novel of the same name. It reimagines Jane Austen’s Pride and Prejudice from the perspective of Mary Bennet, the often-overlooked middle sister. The 10‑episode series, written chiefly by Sarah Quintrell, follows Mary as she leaves Longbourn for London and the Lake District in Regency England. Ella Bruccoleri stars as Mary Bennett, with Richard E. Grant and Ruth Jones as Mr and Mrs Bennett.

    The post Upcoming British TV Series for 2026: BBC, Netflix, ITV, Channel 4, Prime Video, Sky appeared first on Den of Geek.

  • Designing for the Unexpected

    Designing for the Unexpected

    I’m not sure when I first heard this quote, but it’s something that has stayed with me over the years. How do you create services for situations you can’t imagine? Or design products that work on devices yet to be invented?

    Flash, Photoshop, and responsive design

    When I first started designing websites, my go-to software was Photoshop. I created a 960px canvas and set about creating a layout that I would later drop content in. The development phase was about attaining pixel-perfect accuracy using fixed widths, fixed heights, and absolute positioning.

    Ethan Marcotte’s talk at An Event Apart and subsequent article “Responsive Web Design” in A List Apart in 2010 changed all this. I was sold on responsive design as soon as I heard about it, but I was also terrified. The pixel-perfect designs full of magic numbers that I had previously prided myself on producing were no longer good enough.

    The fear wasn’t helped by my first experience with responsive design. My first project was to take an existing fixed-width website and make it responsive. What I learned the hard way was that you can’t just add responsiveness at the end of a project. To create fluid layouts, you need to plan throughout the design phase.

    A new way to design

    Designing responsive or fluid sites has always been about removing limitations, producing content that can be viewed on any device. It relies on the use of percentage-based layouts, which I initially achieved with native CSS and utility classes:

    .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 blocks of code and move back to more semantic markup:

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

    Media queries

    The second ingredient for responsive design is media queries. Without them, content would shrink to fit the available space regardless of whether that content remained readable (The exact opposite problem occurred with the introduction of a mobile-first approach).

    Media queries 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.

    Row markup was a staple of early responsive design, present in all the widely used frameworks 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 problem arose as I moved from a design agency building websites for small- to medium-sized businesses, to larger in-house teams where I worked across a suite of related sites. In those roles I started to work much more with reusable components. 

    Our reliance on media queries resulted in components that were tied to common viewport sizes. If the goal of component libraries is reuse, then this is a real problem because you can only use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process not really hitting that “devices that don’t yet exist”  goal.

    Then there’s the problem of space. Media queries 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: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. There are JavaScript workarounds, but they can create dependency 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 an important step in moving toward a form of component-based design that works at any size on any device.

    In other words, responsive components to replace responsive layouts.

    Container queries will help us move from designing pages that respond to the browser or device size to designing components that can be placed in a sidebar or in the main content, and respond accordingly.

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

    A component library removed from context and real content is probably not the best place for that decision. 

    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?

    In this example, the dimensions of the container are not what should dictate the design; rather, the image is.

    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 definitely evolve how we design and would improve the possibilities for reuse and design at scale. But maybe we will always need to adjust these components to suit our content.

    CSS is changing

    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 isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

    This is a big step forward when it comes to creating designs that allow for evolving content, but the real game changer for flexible designs is CSS Subgrid. 

    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. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing 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. 

    Responsive layouts have flexible columns using percentages. 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.

    fr units is a way to say I want you to distribute the extra space in this way, but…don’t ever make it smaller than the content that’s inside of it.

    —Jen Simmons, “Designing Intrinsic Layouts”

    Intrinsic layouts can also utilize a mixture of fixed and flexible units, allowing the content to dictate the space it takes up.

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design 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 create designs that adapt to the space they have, the content within them, 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. For me, it’s another “everything changed” moment. 

    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 reason for that could be that I now work in a large organization, which is quite different from the design agency role I had in 2010. In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase. 

    Another could be that I feel more prepared for change now. In 2010 I was new to design in general; the shift was frightening and required 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 framework your way out of a content problem

    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. 

    Responsive grid systems were all over the place ten years ago. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

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

    And then there are 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 now, with each component responding to content and layouts flexing as and when they need to? This type of design must happen in the browser, which personally I’m a big fan of. 

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. To do this in a graphics-based software package is far from ideal. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Does it still work? Is the design too reliant on the current content?

    Personally, I look forward to the day intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    Content first 

    Content is not constant. 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.

    Instead of old 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. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to 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, now we have native logical properties, removing the reliance on both Sass (or a similar tool) and pre-planning that 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.

    Fixed and fluid 

    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);
    }

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

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

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

    Now the element will be 50% of its container as long as the element’s width is at least 300px. 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% (the preferred value) of its container but never less than 300px and never more than 600px.

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. We can start to future-proof designs by planning for unexpected changes in language or direction. And we can increase flexibility by setting desired dimensions alongside flexible alternatives, allowing for more or less content to be displayed correctly.

    Situation first

    Thanks to what we’ve discussed so far, we can cover device flexibility by changing our approach, designing around content and space instead of catering to devices. But what about that last bit of Jeffrey Zeldman’s quote, “…situations you haven’t imagined”?

    It’s a very different thing to design for someone seated at a desktop computer as opposed to someone using a mobile phone and moving through a crowded street in glaring sunshine. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    This is why choice is so important. 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 provide choice.

    Responsible design 

    “There are parts of 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. But in the real world, our users may be commuters traveling on trains or other forms of transport using smaller mobile devices that can experience drops in connectivity. 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. 

     
     

    There’s also native lazy loading, which indicates assets that should only be downloaded when they are needed.

    …

    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 return of media queries 

    Media queries 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. These checks allow us to provide options that suit more than one scenario; it’s less about one-size-fits-all and more about serving adaptable content. 

    As of this writing, the Media Queries Level 5 spec is still under development. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or darkness. Paired with custom properties, these features allow us to quickly create designs or themes for specific 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 queries like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, the one thing we should always expect is for things to change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

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

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. From responsive components to fixed and fluid units, there is so much more we can do to take a more intrinsic approach. 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 situations, we need to make sure our products are usable when people need them, whenever and wherever that might be. 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. 

    Good design for the unexpected should allow for change, provide choice, and give control to those we serve: our users themselves.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    In the 1950s, many in the elite running community had begun to believe it wasn’t possible to run a mile in less than four minutes. Runners had been attempting it since the late 19th century and were beginning to draw the conclusion that the human body simply wasn’t built for the task. 

    But on May 6, 1956, Roger Bannister took everyone by surprise. It was a cold, wet day in Oxford, England—conditions no one expected to lend themselves to record-setting—and yet Bannister did just that, running a mile in 3:59.4 and becoming the first person in the record books to run a mile in under four minutes. 

    This shift in the benchmark had profound effects; the world now knew that the four-minute mile was possible. Bannister’s record lasted only forty-six days, when it was snatched away by Australian runner John Landy. Then a year later, three runners all beat the four-minute barrier together in the same race. Since then, over 1,400 runners have officially run a mile in under four minutes; the current record is 3:43.13, held by Moroccan athlete Hicham El Guerrouj.

    We achieve far more when we believe that something is possible, and we will believe it’s possible only when we see someone else has already done it—and as with human running speed, so it is with what we believe are the hard limits for how a website needs to perform.

    Establishing standards for a sustainable web

    In most major industries, the key metrics of environmental performance are fairly well established, such as miles per gallon for cars or energy per square meter for homes. The tools and methods for calculating those metrics are standardized as well, which keeps everyone on the same page when doing environmental assessments. In the world of websites and apps, however, we aren’t held to any particular environmental standards, and only recently have gained the tools and methods we need to even make an environmental assessment.

    The primary goal in sustainable web design is to reduce carbon emissions. However, it’s almost impossible to actually measure the amount of CO2 produced by a web product. We can’t measure the fumes coming out of the exhaust pipes on our laptops. The emissions of our websites are far away, out of sight and out of mind, coming out of power stations burning coal and gas. We have no way to trace the electrons from a website or app back to the power station where the electricity is being generated and actually know the exact amount of greenhouse gas produced. So what do we do? 

    If we can’t measure the actual carbon emissions, then we need to find what we can measure. The primary factors that could be used as indicators of carbon emissions are:

    1. Data transfer 
    2. Carbon intensity of electricity

    Let’s take a look at how we can use these metrics to quantify the energy consumption, and in turn the carbon footprint, of the websites and web apps we create.

    Data transfer

    Most researchers use kilowatt-hours per gigabyte (kWh/GB) as a metric of energy efficiency when measuring the amount of data transferred over the internet when a website or application is used. This provides a great reference point for energy consumption and carbon emissions. As a rule of thumb, the more data transferred, the more energy used in the data center, telecoms networks, and end user devices.

    For web pages, data transfer for a single visit can be most easily estimated by measuring the page weight, meaning the transfer size of the page in kilobytes the first time someone visits the page. It’s fairly easy to measure using the developer tools in any modern web browser. Often your web hosting account will include statistics for the total data transfer of any web application (Fig 2.1).

    The nice thing about page weight as a metric is that it allows us to compare the efficiency of web pages on a level playing field without confusing the issue with constantly changing traffic volumes. 

    Reducing page weight requires a large scope. By early 2020, the median page weight was 1.97 MB for setups the HTTP Archive classifies as “desktop” and 1.77 MB for “mobile,” with desktop increasing 36 percent since January 2016 and mobile page weights nearly doubling in the same period (Fig 2.2). Roughly half of this data transfer is image files, making images the single biggest source of carbon emissions on the average website. 

    History clearly shows us that our web pages can be smaller, if only we set our minds to it. While most technologies become ever more energy efficient, including the underlying technology of the web such as data centers and transmission networks, websites themselves are a technology that becomes less efficient as time goes on.

    You might be familiar with the concept of performance budgeting as a way of focusing a project team on creating faster user experiences. For example, we might specify that the website must load in a maximum of one second on a broadband connection and three seconds on a 3G connection. Much like speed limits while driving, performance budgets are upper limits rather than vague suggestions, so the goal should always be to come in under budget.

    Designing for fast performance does often lead to reduced data transfer and emissions, but it isn’t always the case. Web performance is often more about the subjective perception of load times than it is about the true efficiency of the underlying system, whereas page weight and transfer size are more objective measures and more reliable benchmarks for sustainable web design. 

    We can set a page weight budget in reference to a benchmark of industry averages, using data from sources like HTTP Archive. We can also benchmark page weight against competitors or the old version of the website we’re replacing. For example, we might set a maximum page weight budget as equal to our most efficient competitor, or we could set the benchmark lower to guarantee we are best in class. 

    If we want to take it to the next level, then we could also start looking at the transfer size of our web pages for repeat visitors. Although page weight for the first time someone visits is the easiest thing to measure, and easy to compare on a like-for-like basis, we can learn even more if we start looking at transfer size in other scenarios too. For example, visitors who load the same page multiple times will likely have a high percentage of the files cached in their browser, meaning they don’t need to transfer all of the files on subsequent visits. Likewise, a visitor who navigates to new pages on the same website will likely not need to load the full page each time, as some global assets from areas like the header and footer may already be cached in their browser. Measuring transfer size at this next level of detail can help us learn even more about how we can optimize efficiency for users who regularly visit our pages, and enable us to set page weight budgets for additional scenarios beyond the first visit.

    Page weight budgets are easy to track throughout a design and development process. Although they don’t actually tell us carbon emission and energy consumption analytics directly, they give us a clear indication of efficiency relative to other websites. And as transfer size is an effective analog for energy consumption, we can actually use it to estimate energy consumption too.

    In summary, reduced data transfer translates to energy efficiency, a key factor to reducing carbon emissions of web products. The more efficient our products, the less electricity they use, and the less fossil fuels need to be burned to produce the electricity to power them. But as we’ll see next, since all web products demand some power, it’s important to consider the source of that electricity, too.

    Carbon intensity of electricity

    Regardless of energy efficiency, the level of pollution caused by digital products depends on the carbon intensity of the energy being used to power them. Carbon intensity is a term used to define the grams of CO2 produced for every kilowatt-hour of electricity (gCO2/kWh). This varies widely, with renewable energy sources and nuclear having an extremely low carbon intensity of less than 10 gCO2/kWh (even when factoring in their construction); whereas fossil fuels have very high carbon intensity of approximately 200–400 gCO2/kWh. 

    Most electricity comes from national or state grids, where energy from a variety of different sources is mixed together with varying levels of carbon intensity. The distributed nature of the internet means that a single user of a website or app might be using energy from multiple different grids simultaneously; a website user in Paris uses electricity from the French national grid to power their home internet and devices, but the website’s data center could be in Dallas, USA, pulling electricity from the Texas grid, while the telecoms networks use energy from everywhere between Dallas and Paris.

    We don’t have control over the full energy supply of web services, but we do have some control over where we host our projects. With a data center using a significant proportion of the energy of any website, locating the data center in an area with low carbon energy will tangibly reduce its carbon emissions. Danish startup Tomorrow reports and maps this user-contributed data, and a glance at their map shows how, for example, choosing a data center in France will have significantly lower carbon emissions than a data center in the Netherlands (Fig 2.3).

    That said, we don’t want to locate our servers too far away from our users; it takes energy to transmit data through the telecom’s networks, and the further the data travels, the more energy is consumed. Just like food miles, we can think of the distance from the data center to the website’s core user base as “megabyte miles”—and we want it to be as small as possible.

    Using the distance itself as a benchmark, we can use website analytics to identify the country, state, or even city where our core user group is located and measure the distance from that location to the data center used by our hosting company. This will be a somewhat fuzzy metric as we don’t know the precise center of mass of our users or the exact location of a data center, but we can at least get a rough idea. 

    For example, if a website is hosted in London but the primary user base is on the West Coast of the USA, then we could look up the distance from London to San Francisco, which is 5,300 miles. That’s a long way! We can see that hosting it somewhere in North America, ideally on the West Coast, would significantly reduce the distance and thus the energy used to transmit the data. In addition, locating our servers closer to our visitors helps reduce latency and delivers better user experience, so it’s a win-win.

    Converting it back to carbon emissions

    If we combine carbon intensity with a calculation for energy consumption, we can calculate the carbon emissions of our websites and apps. A tool my team created does this by measuring the data transfer over the wire when loading a web page, calculating the amount of electricity associated, and then converting that into a figure for CO2 (Fig 2.4). It also factors in whether or not the web hosting is powered by renewable energy.

    If you want to take it to the next level and tailor the data more accurately to the unique aspects of your project, the Energy and Emissions Worksheet accompanying this book shows you how.

    With the ability to calculate carbon emissions for our projects, we could actually take a page weight budget one step further and set carbon budgets as well. CO2 is not a metric commonly used in web projects; we’re more familiar with kilobytes and megabytes, and can fairly easily look at design options and files to assess how big they are. Translating that into carbon adds a layer of abstraction that isn’t as intuitive—but carbon budgets do focus our minds on the primary thing we’re trying to reduce, and support the core objective of sustainable web design: reducing carbon emissions.

    Browser Energy

    Data transfer might be the simplest and most complete analog for energy consumption in our digital projects, but by giving us one number to represent the energy used in the data center, the telecoms networks, and the end user’s devices, it can’t offer us insights into the efficiency in any specific part of the system.

    One part of the system we can look at in more detail is the energy used by end users’ devices. As front-end web technologies become more advanced, the computational load is increasingly moving from the data center to users’ devices, whether they be phones, tablets, laptops, desktops, or even smart TVs. Modern web browsers allow us to implement more complex styling and animation on the fly using CSS and JavaScript. Furthermore, JavaScript libraries such as Angular and React allow us to create applications where the “thinking” work is done partly or entirely in the browser. 

    All of these advances are exciting and open up new possibilities for what the web can do to serve society and create positive experiences. However, more computation in the user’s web browser means more energy used by their devices. This has implications not just environmentally, but also for user experience and inclusivity. Applications that put a heavy processing load on the user’s device can inadvertently exclude users with older, slower devices and cause batteries on phones and laptops to drain faster. Furthermore, if we build web applications that require the user to have up-to-date, powerful devices, people throw away old devices much more frequently. This isn’t just bad for the environment, but it puts a disproportionate financial burden on the poorest in society.

    In part because the tools are limited, and partly because there are so many different models of devices, it’s difficult to measure website energy consumption on end users’ devices. One tool we do currently have is the Energy Impact monitor inside the developer console of the Safari browser (Fig 2.5).

    You know when you load a website and your computer’s cooling fans start spinning so frantically you think it might actually take off? That’s essentially what this tool is measuring. 

    It shows us the percentage of CPU used and the duration of CPU usage when loading the web page, and uses these figures to generate an energy impact rating. It doesn’t give us precise data for the amount of electricity used in kilowatts, but the information it does provide can be used to benchmark how efficiently your websites use energy and set targets for improvement.