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  • 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.”

  • Whistle: Inside Shudder and Dafne Keen’s Sinister New Curse Movie

    Whistle: Inside Shudder and Dafne Keen’s Sinister New Curse Movie

    This article appears in the new issue of DEN OF GEEK magazine. You can read all of our magazine stories here. Every generation gets the monster it deserves. For the Victorians, it was mad scientist Victor Frankenstein or regal bloodsucker Count Dracula; in the 1980s, Jason Voorhees and Freddy Krueger violated safe suburban and summer camp spaces; and […]

    The post Whistle: Inside Shudder and Dafne Keen’s Sinister New Curse Movie appeared first on Den of Geek.

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic in 2020/2021 or the writers’ and actors’ strikes in 2023. As a result, one glance at the upcoming release schedule indicates that 2026 could be the most packed year at the multiplex in a long time.

    Even narrowing this list down to fewer than 20 entries was difficult, and the films we list below show the breadth of releases coming our way: everything from Gothic romances to mythological epics to make-or-break superhero spectaculars. As William Goldman famously said, nobody knows anything, so each of the movies in our survey holds the potential for massive success or catastrophic failure. Whatever happens, we’ll be there for each one.

    Jack O'Connell in 28 Years Later Trailer
    Sony Pictures

    28 Years Later: The Bone Temple

    January 16

    After taking (ahem) 23 years off between installments, Danny Boyle and Alex Garland are continuing 28 Years Later‘s sordid legacy in faster succession, albeit this time with fresh blood. Candyman and Hedda helmer Nia DaCosta picks up the directorial reins in 28 Years Later: The Bone Temple, a movie which filmed simultaneously with last June’s zombie showdown. The new movie continues the story of Ralph Fiennes’ enigmatic good(ish?) doctor obsessed with memento mori and what happens to young Spike (Alfie Williams) when he falls into a band of “Jimmies,” led by Jack O’Connell’s eerily chipper and self-christened St. Jimmy.

    In an exclusive preview with Den of Geek, DaCosta hinted, “You have these two trains on a track, essentially, that are going to collide. They’re going to end up with these two worlds in a clash, because you kind of feel that Spike and Kelson are going to interact again.”

    Warner Bros. Pictures
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    Wuthering Heights

    February 13

    The always-provocative filmmaker Emerald Fennell is following up her Oscar-winning Promising Young Woman and divisive Saltburn with a splashy adaptation of Emily Brontë’s classic 1847 Gothic romance, and it stars no less than Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff. The castings are already raising eyebrows, with the latter earning accusations of whitewashing a literary character of famously ambiguous origin. But by working from source material that was considered scandalously edgy in its time, we can expect Fennell to welcome it all while amping up the tale’s eroticism and psychological melodrama—and with lots of heaving chests and Charli XCX songs if the trailer is anything to go by. In other words, don’t expect your high school teacher’s Wuthering Heights.

    Jessie Buckley in The Bride!
    Warner Bros. Pictures

    The Bride!

    March 6

    Maggie Gyllenhaal’s second outing as a director is a wild pivot from 2021’s The Lost Daughter: it’s been described as a musical, a satire, and an homage to The Bride of Frankenstein. Set in 1930s Chicago, the film finds Frankenstein’s Monster (Christian Bale) asking Dr. Euphronius (Annette Bening) to create a companion for him, which arrives in the form of the Bride (Jessie Buckley). What happens from there involves murder, mayhem, and, er, social change. It seems a gamble by Warners, but a bold one given the amount of talent involved, as well as the fact that Mary Shelley reworkings seem to be in season if Poor Things and Guillermo del Toro’s Frankenstein are anything to go by.

    Ryan Gosling in Project Hail Mary
    Amazon MGM

    Project Hail Mary

    March 20

    Phil Lord and Christopher Miller are at last in the director’s chairs again for a live-action film after they were dismissed from Solo: A Star Wars Story in 2018. (Their last completed live-action effort, 22 Jump Street, came out in 2014.) This time, though, the newly Spider-Verse emboldened duo is adapting Andy Weir’s sci-fi bestseller. The movie stars Ryan Gosling as a man who wakes up on an interstellar ship with no recollection of how he got there. And soon he learns that he is the last hope for humanity. The marketing promises a high-concept adventure with plenty of thrills, humor, and that ol’ Gosling charm. The Weir connection also suggests this is particularly well-suited to the screen. See Ridley Scott’s adaptation of The Martian for more.

    Rosalina in The Super Mario Galaxy Movie
    Universal Pictures

    The Super Mario Galaxy Movie

    April 3

    After 2023’s The Super Mario Bros. Movie became the most successful video game-based movie of all time (nearly $1.4 billion worldwide), there was no doubt that Illumination and Nintendo would immediately greenlight a sequel. And while the plot remains under wraps, any gamer with passing familiarity with the Nintendo Wii’s beloved Super Mario Galaxy is already expecting gravity-bending visuals and out-of-this-world shenanigans for the plumber brothers. Chris Pratt, Anya Taylor-Joy, Jack Black, Charlie Day, and Keegan-Michael Key are all returning to their signature roles from the first film, while Aaron Horvath and Michael Jelenic are again directing.

    Anne Hathaway and Meryl Streep in Devil Wears Prada 2
    20th Century Studios / Disney

    The Devil Wears Prada 2

    May 1

    It’s time to get the devil her due, because Miranda Priestly is back in the long-rumored and hoped-for The Devil Wears Prada 2. Story details remain relatively tight-lipped, but we do know that despite having very different lanes of journalism in their purviews, Meryl Streep’s ice queen and Anne Hathaway’s Andy Sachs wind up in the same room again. The Dave Frankel-directed film also features the return of fan-favorite characters played by Emily Blunt and Stanley Tucci.

    Karl Urban as Johnny Cage in Mortal Kombat II
    Warner Bros. Pictures

    Mortal Kombat II

    May 8

    Mortal Kombat II has certainly risen in the ranks of expectations. A sequel to the pretty-looking but somewhat divisively-received 2021 reboot of the franchise, Mortal Kombat, this sequel was originally pegged to be an October release date. But after enthusiastic test screenings and buzzy word-of-mouth, WB apparently got bullish about the Simon McQuoid-directed joint and moved the fighter to May of next year. It probably helps that the intended R-rated spectacle is bringing in a lot of fan-favorite characters and setups, including Karl Urban as an over-the-hill Johnny Cage who gets recruited into the titular tournament after his career as a movie star falls on hard times.

    “The point where we find Johnny in this movie is very relatable to everybody, because he’s on the back foot in life,” Urban tells us in an exclusive cover story interview. “His career is in the tank, the world’s forgotten him, and he’s at a real low point. His confidence has been knocked, and it is at this very juncture that he is called upon to be at his best and to use his skillset to defend Earthrealm.” That leads to stunt work which the star teases has both humor and dexterity. “You also see specifically Van Damme, who in my opinion, was phenomenal, and Jackie Chan, who I drew huge inspiration from for the tone of some of Johnny Cage’s fights.”

    The Mandalorian and Grogu Movie
    Lucasfilm / Disney

    Star Wars: The Mandalorian and Grogu

    May 22

    It will be nearly seven years since a Star Wars movie blasted across the big screen by the time this comes out, which is hopefully long enough for the bad taste left by The Rise of Skywalker to have disappeared. Either way, director Jon Favreau and co-writer Dave Filoni’s new film is set to answer a hard question for the franchise: will vast amounts of people come out for a story that requires viewing at least one, if not two, shows that aired on Disney+? A little Pedro Pascal charisma, even in a mask, can’t hurt. Meanwhile, the Lucasfilm braintrust appears to be betting that there’s enough good faith—and enough fans still in love with Baby Yoda—to restore this aging franchise to cinematic glory.

    Steven Spielberg at Hamnet premiere
    Photo by Rodin Eckenroth / Getty Images

    Untitled Steven Spielberg Movie

    June 12

    While Steven Spielberg is not the box office or cultural powerhouse that he was in previous decades, there is no question that the mind races with possibilities at the thought of what this movie could be. Here’s what we know: it’s a science fiction film, reportedly having something to do with UFOs, that’s based on an idea Spielberg personally had before handing it off to his go-to blockbuster scribe, David Koepp. Keep in mind that Spielberg also dreamed up the original concepts for Close Encounters and E.T. Furthermore, the cast—including Emily Blunt, Colman Domingo, Josh O’Connor, and Colin Firth—is top-notch. And the idea of Spielberg returning to a genre that has provided us with so many classic films is enough to get us there opening day.

    Woody and Buzz in Toy Story 5
    Pixar / Disney

    Toy Story 5

    June 19

    What do you do when you make a near-perfect trilogy of animated films? Why, you keep going, of course! And if you thought that Toy Story 4 was a risky add-on, then you’re probably even more fretful over Toy Story 5. But Pixar, in a bit of a slump these days, is going back to its original franchise one more time with Woody, Buzz, Jessie, Forky, and all the rest returning. This time, the gang must fight for Bonnie’s attention with a tablet named Lilypad (Anna Faris)—setting up a clash between toys and tech that has no doubt gripped many households in recent years.

    Milly alcock in superman ending
    Warner Bros. Pictures

    Supergirl

    June 26

    In some sense, Supergirl might be more of a test of James Gunn’s DC Studios than even 2025’s Superman. While that DCU kickoff had a lot to prove, Supergirl is the first follow-up to gauge how much audiences bought in, including to a cliffhanger of Milly Alcock’s party gal Kryptonian. Luckily, this spinoff is based on one of the best superhero stories of the decade, Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, which finds a far more haunted Kara Zor-El than CW fans might remember. It also comes from director Craig Gillespie, who’s had success in left-of-center genre-benders like I, Tonya, Cruella, and Lars and the Real Girl. Together with Alcock and Jason Momoa (as… Lobo?!), this one could have a whole different vibe.

    Matt Damon wearing ancient Greek armour in the first look at Christopher Nolan's The Odyssey

    The Odyssey

    July 17

    How do you follow up a three-hour, billion-dollar-grossing, Best Picture-winning historical drama about the invention of the atomic bomb? With an epic film based on an ancient Greek myth, naturally. Fantasy and mythology movies tend to sink at the box office unless the name Tolkien is attached to them, but if anyone can turn Homer’s landmark of Greek literature into box office gold, it’s Christopher Nolan, who did the same for a tormented nuclear physicist in Oppenheimer. As usual, the cast—led by Matt Damon as Odysseus—is stacked, and Nolan is perhaps the only director aside from James Cameron whose name alone puts butts in seats. Whatever The Odyssey ends up being, we don’t expect to call it modest.

    Spider-Man
    Sony Pictures

    Spider-Man: Brand New Day

    July 31

    Following up the $1.9 billion-grossing Spider-Man: No Way Home is no easy feat, but the MCU’s Tom Holland-led iteration of your friendly neighborhood webslinger seems to be one of the few bright spots of Marvel’s post-Infinity Saga daze. The usual rumors persist about villains, storylines, multiverse variants, and the like, but all we really know is that Spidey will once again be supported by other MCU favorites like Mark Ruffalo’s Hulk and Jon Bernthal’s Punisher, while the identity and exact nature of the main antagonist remain unknown. Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) replaces Jon Watts behind the camera for this one, and Stranger Things’ Sadie Sink joins returning cast members Zendaya and Jacob Batalon. Perhaps most interestingly, it’s speculated that this is Holland’s last non-Avengers stint in the red and blue suit.

    Tom Cruise and Iñárritu at Governors Ball
    Kevin Winter / Getty Images

    Untitled Cruise/Iñárritu Film

    October 2

    We know even less about this movie than Spielberg’s, but it’s notable for two reasons: it’s a new work by Birdman and The Revenant director Alejandro G. Iñárritu, and it’s Tom Cruise’s first original film in eight years, following his recent run of Top Gun/Mission: Impossible sequels. The supporting cast is also excellent, including Jesse Plemons, Sandra Hüller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and others. Shot in VistaVision, it’s said to be a black comedy about a man who sets out to save humanity after nearly destroying it. And that’s all we’ve got—except that the pairing of star and director may indicate a new phase of both their careers.

    Joseph Zada as Haymitch Abernathy in The Hunger Games: Sunrise on the Reaping. Photo Credit: Murray Close
    Lionsgate

    The Hunger Games: Sunrise on the Reaping

    November 20

    With the success of 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate and director Francis Lawrence adapting Suzanne Collins’ next prequel novel, Sunrise on the Reaping, is a smart bet. Set some four decades after Songbirds & Snakes, and just 24 years before the events of The Hunger Games (2012), this film stars Joseph Zada as a young Haymitch Abernathy (Woody Harrelson in the original movies) as he competes and (no spoiler) wins in the 50th Hunger Games. Yet the trials and tragedies he faces along the way have made this novel a fan favorite since its publication. Once again, the story’s young tributes will be supported by all-star veterans, including Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, and Glenn Close. Meanwhile, Mckenna Grace plays Maysilee Donner, a young tribute who has captured the minds of millions of readers.

    Poster for Avengers: Doomsday

    Avengers: Doomsday

    December 18

    This is it: high noon for the Marvel Cinematic Universe. This is the one that features the return of Infinity War/Endgame directors Anthony and Joe Russo, Robert Downey Jr. coming back not as Iron Man but Doctor Doom, the inclusion of the OG Fox X-Men cast, the rumored appearance of everyone from Chris Evans to Ryan Reynolds… and it all adds up to either a Hail Mary pass of titanic proportions or a glorious relaunch to box office dominance. Don’t let the reports of an unfinished script or extended reshoots fool you; Marvel can pull this off—they’ve done so in the past—but the question is whether the Avengers brand still has the power to bring the MCU back from its recent decline.

    Timothee Chalamet in Dune 2 Review
    WB

    Dune: Part Three

    December 18

    Denis Villeneuve’s first two Dune movies were arguably the most epic, visionary genre releases since Peter Jackson bestowed The Lord of the Rings on us 20 years earlier. But concluding a trilogy has been the downfall of many a filmmaker, and Villeneuve faces a formidable task here. The movie will ostensibly be based on Frank Herbert’s Dune Messiah, a very different story from the original and in many ways a more difficult one to imagine as a film. But if Villeneuve keeps the core of the novel—the willful self-destruction of Paul Atreides—intact, he can stick this landing like a breaking Shai-Hulud. We’re rooting for him all the way.

    Robert Eggers on Nosferatu Set
    Focus Features

    Werwulf

    December 25

    With his four previous movies, writer/director Robert Eggers has proven himself as the master of grim, atmospheric period horror (yes, even The Northman was a horror story in its own way). He immerses us in barbaric worlds of the past like no other filmmaker currently working. Having conquered the most seminal of vampire tales with Nosferatu, he’s now turning his attention to lycanthropy with what he himself calls “the darkest thing I have ever written,” an original werewolf story set in 13th-century England. Blood, gore, mud, and disease? Sounds like Eggers is going to have us howling in terror when this thing crawls toward holiday theaters.

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year appeared first on Den of Geek.

  • Marvel’s Wonder Man: A Timeline of the Iconic Ionic Hero

    Marvel’s Wonder Man: A Timeline of the Iconic Ionic Hero

    This article appears in the new issue of DEN OF GEEK magazine. You can read all of our magazine stories here. “For now they kill me with a living death.” – King Richard III, William Shakespeare. Death and rebirth have been the only constants in the ever-shifting life of Simon Williams, a.k.a. Wonder Man. Long before Marvel Comics […]

    The post Marvel’s Wonder Man: A Timeline of the Iconic Ionic Hero appeared first on Den of Geek.

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic in 2020/2021 or the writers’ and actors’ strikes in 2023. As a result, one glance at the upcoming release schedule indicates that 2026 could be the most packed year at the multiplex in a long time.

    Even narrowing this list down to fewer than 20 entries was difficult, and the films we list below show the breadth of releases coming our way: everything from Gothic romances to mythological epics to make-or-break superhero spectaculars. As William Goldman famously said, nobody knows anything, so each of the movies in our survey holds the potential for massive success or catastrophic failure. Whatever happens, we’ll be there for each one.

    Jack O'Connell in 28 Years Later Trailer
    Sony Pictures

    28 Years Later: The Bone Temple

    January 16

    After taking (ahem) 23 years off between installments, Danny Boyle and Alex Garland are continuing 28 Years Later‘s sordid legacy in faster succession, albeit this time with fresh blood. Candyman and Hedda helmer Nia DaCosta picks up the directorial reins in 28 Years Later: The Bone Temple, a movie which filmed simultaneously with last June’s zombie showdown. The new movie continues the story of Ralph Fiennes’ enigmatic good(ish?) doctor obsessed with memento mori and what happens to young Spike (Alfie Williams) when he falls into a band of “Jimmies,” led by Jack O’Connell’s eerily chipper and self-christened St. Jimmy.

    In an exclusive preview with Den of Geek, DaCosta hinted, “You have these two trains on a track, essentially, that are going to collide. They’re going to end up with these two worlds in a clash, because you kind of feel that Spike and Kelson are going to interact again.”

    Warner Bros. Pictures
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    Wuthering Heights

    February 13

    The always-provocative filmmaker Emerald Fennell is following up her Oscar-winning Promising Young Woman and divisive Saltburn with a splashy adaptation of Emily Brontë’s classic 1847 Gothic romance, and it stars no less than Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff. The castings are already raising eyebrows, with the latter earning accusations of whitewashing a literary character of famously ambiguous origin. But by working from source material that was considered scandalously edgy in its time, we can expect Fennell to welcome it all while amping up the tale’s eroticism and psychological melodrama—and with lots of heaving chests and Charli XCX songs if the trailer is anything to go by. In other words, don’t expect your high school teacher’s Wuthering Heights.

    Jessie Buckley in The Bride!
    Warner Bros. Pictures

    The Bride!

    March 6

    Maggie Gyllenhaal’s second outing as a director is a wild pivot from 2021’s The Lost Daughter: it’s been described as a musical, a satire, and an homage to The Bride of Frankenstein. Set in 1930s Chicago, the film finds Frankenstein’s Monster (Christian Bale) asking Dr. Euphronius (Annette Bening) to create a companion for him, which arrives in the form of the Bride (Jessie Buckley). What happens from there involves murder, mayhem, and, er, social change. It seems a gamble by Warners, but a bold one given the amount of talent involved, as well as the fact that Mary Shelley reworkings seem to be in season if Poor Things and Guillermo del Toro’s Frankenstein are anything to go by.

    Ryan Gosling in Project Hail Mary
    Amazon MGM

    Project Hail Mary

    March 20

    Phil Lord and Christopher Miller are at last in the director’s chairs again for a live-action film after they were dismissed from Solo: A Star Wars Story in 2018. (Their last completed live-action effort, 22 Jump Street, came out in 2014.) This time, though, the newly Spider-Verse emboldened duo is adapting Andy Weir’s sci-fi bestseller. The movie stars Ryan Gosling as a man who wakes up on an interstellar ship with no recollection of how he got there. And soon he learns that he is the last hope for humanity. The marketing promises a high-concept adventure with plenty of thrills, humor, and that ol’ Gosling charm. The Weir connection also suggests this is particularly well-suited to the screen. See Ridley Scott’s adaptation of The Martian for more.

    Rosalina in The Super Mario Galaxy Movie
    Universal Pictures

    The Super Mario Galaxy Movie

    April 3

    After 2023’s The Super Mario Bros. Movie became the most successful video game-based movie of all time (nearly $1.4 billion worldwide), there was no doubt that Illumination and Nintendo would immediately greenlight a sequel. And while the plot remains under wraps, any gamer with passing familiarity with the Nintendo Wii’s beloved Super Mario Galaxy is already expecting gravity-bending visuals and out-of-this-world shenanigans for the plumber brothers. Chris Pratt, Anya Taylor-Joy, Jack Black, Charlie Day, and Keegan-Michael Key are all returning to their signature roles from the first film, while Aaron Horvath and Michael Jelenic are again directing.

    Anne Hathaway and Meryl Streep in Devil Wears Prada 2
    20th Century Studios / Disney

    The Devil Wears Prada 2

    May 1

    It’s time to get the devil her due, because Miranda Priestly is back in the long-rumored and hoped-for The Devil Wears Prada 2. Story details remain relatively tight-lipped, but we do know that despite having very different lanes of journalism in their purviews, Meryl Streep’s ice queen and Anne Hathaway’s Andy Sachs wind up in the same room again. The Dave Frankel-directed film also features the return of fan-favorite characters played by Emily Blunt and Stanley Tucci.

    Karl Urban as Johnny Cage in Mortal Kombat II
    Warner Bros. Pictures

    Mortal Kombat II

    May 8

    Mortal Kombat II has certainly risen in the ranks of expectations. A sequel to the pretty-looking but somewhat divisively-received 2021 reboot of the franchise, Mortal Kombat, this sequel was originally pegged to be an October release date. But after enthusiastic test screenings and buzzy word-of-mouth, WB apparently got bullish about the Simon McQuoid-directed joint and moved the fighter to May of next year. It probably helps that the intended R-rated spectacle is bringing in a lot of fan-favorite characters and setups, including Karl Urban as an over-the-hill Johnny Cage who gets recruited into the titular tournament after his career as a movie star falls on hard times.

    “The point where we find Johnny in this movie is very relatable to everybody, because he’s on the back foot in life,” Urban tells us in an exclusive cover story interview. “His career is in the tank, the world’s forgotten him, and he’s at a real low point. His confidence has been knocked, and it is at this very juncture that he is called upon to be at his best and to use his skillset to defend Earthrealm.” That leads to stunt work which the star teases has both humor and dexterity. “You also see specifically Van Damme, who in my opinion, was phenomenal, and Jackie Chan, who I drew huge inspiration from for the tone of some of Johnny Cage’s fights.”

    The Mandalorian and Grogu Movie
    Lucasfilm / Disney

    Star Wars: The Mandalorian and Grogu

    May 22

    It will be nearly seven years since a Star Wars movie blasted across the big screen by the time this comes out, which is hopefully long enough for the bad taste left by The Rise of Skywalker to have disappeared. Either way, director Jon Favreau and co-writer Dave Filoni’s new film is set to answer a hard question for the franchise: will vast amounts of people come out for a story that requires viewing at least one, if not two, shows that aired on Disney+? A little Pedro Pascal charisma, even in a mask, can’t hurt. Meanwhile, the Lucasfilm braintrust appears to be betting that there’s enough good faith—and enough fans still in love with Baby Yoda—to restore this aging franchise to cinematic glory.

    Steven Spielberg at Hamnet premiere
    Photo by Rodin Eckenroth / Getty Images

    Untitled Steven Spielberg Movie

    June 12

    While Steven Spielberg is not the box office or cultural powerhouse that he was in previous decades, there is no question that the mind races with possibilities at the thought of what this movie could be. Here’s what we know: it’s a science fiction film, reportedly having something to do with UFOs, that’s based on an idea Spielberg personally had before handing it off to his go-to blockbuster scribe, David Koepp. Keep in mind that Spielberg also dreamed up the original concepts for Close Encounters and E.T. Furthermore, the cast—including Emily Blunt, Colman Domingo, Josh O’Connor, and Colin Firth—is top-notch. And the idea of Spielberg returning to a genre that has provided us with so many classic films is enough to get us there opening day.

    Woody and Buzz in Toy Story 5
    Pixar / Disney

    Toy Story 5

    June 19

    What do you do when you make a near-perfect trilogy of animated films? Why, you keep going, of course! And if you thought that Toy Story 4 was a risky add-on, then you’re probably even more fretful over Toy Story 5. But Pixar, in a bit of a slump these days, is going back to its original franchise one more time with Woody, Buzz, Jessie, Forky, and all the rest returning. This time, the gang must fight for Bonnie’s attention with a tablet named Lilypad (Anna Faris)—setting up a clash between toys and tech that has no doubt gripped many households in recent years.

    Milly alcock in superman ending
    Warner Bros. Pictures

    Supergirl

    June 26

    In some sense, Supergirl might be more of a test of James Gunn’s DC Studios than even 2025’s Superman. While that DCU kickoff had a lot to prove, Supergirl is the first follow-up to gauge how much audiences bought in, including to a cliffhanger of Milly Alcock’s party gal Kryptonian. Luckily, this spinoff is based on one of the best superhero stories of the decade, Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, which finds a far more haunted Kara Zor-El than CW fans might remember. It also comes from director Craig Gillespie, who’s had success in left-of-center genre-benders like I, Tonya, Cruella, and Lars and the Real Girl. Together with Alcock and Jason Momoa (as… Lobo?!), this one could have a whole different vibe.

    Matt Damon wearing ancient Greek armour in the first look at Christopher Nolan's The Odyssey

    The Odyssey

    July 17

    How do you follow up a three-hour, billion-dollar-grossing, Best Picture-winning historical drama about the invention of the atomic bomb? With an epic film based on an ancient Greek myth, naturally. Fantasy and mythology movies tend to sink at the box office unless the name Tolkien is attached to them, but if anyone can turn Homer’s landmark of Greek literature into box office gold, it’s Christopher Nolan, who did the same for a tormented nuclear physicist in Oppenheimer. As usual, the cast—led by Matt Damon as Odysseus—is stacked, and Nolan is perhaps the only director aside from James Cameron whose name alone puts butts in seats. Whatever The Odyssey ends up being, we don’t expect to call it modest.

    Spider-Man
    Sony Pictures

    Spider-Man: Brand New Day

    July 31

    Following up the $1.9 billion-grossing Spider-Man: No Way Home is no easy feat, but the MCU’s Tom Holland-led iteration of your friendly neighborhood webslinger seems to be one of the few bright spots of Marvel’s post-Infinity Saga daze. The usual rumors persist about villains, storylines, multiverse variants, and the like, but all we really know is that Spidey will once again be supported by other MCU favorites like Mark Ruffalo’s Hulk and Jon Bernthal’s Punisher, while the identity and exact nature of the main antagonist remain unknown. Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) replaces Jon Watts behind the camera for this one, and Stranger Things’ Sadie Sink joins returning cast members Zendaya and Jacob Batalon. Perhaps most interestingly, it’s speculated that this is Holland’s last non-Avengers stint in the red and blue suit.

    Tom Cruise and Iñárritu at Governors Ball
    Kevin Winter / Getty Images

    Untitled Cruise/Iñárritu Film

    October 2

    We know even less about this movie than Spielberg’s, but it’s notable for two reasons: it’s a new work by Birdman and The Revenant director Alejandro G. Iñárritu, and it’s Tom Cruise’s first original film in eight years, following his recent run of Top Gun/Mission: Impossible sequels. The supporting cast is also excellent, including Jesse Plemons, Sandra Hüller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and others. Shot in VistaVision, it’s said to be a black comedy about a man who sets out to save humanity after nearly destroying it. And that’s all we’ve got—except that the pairing of star and director may indicate a new phase of both their careers.

    Joseph Zada as Haymitch Abernathy in The Hunger Games: Sunrise on the Reaping. Photo Credit: Murray Close
    Lionsgate

    The Hunger Games: Sunrise on the Reaping

    November 20

    With the success of 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate and director Francis Lawrence adapting Suzanne Collins’ next prequel novel, Sunrise on the Reaping, is a smart bet. Set some four decades after Songbirds & Snakes, and just 24 years before the events of The Hunger Games (2012), this film stars Joseph Zada as a young Haymitch Abernathy (Woody Harrelson in the original movies) as he competes and (no spoiler) wins in the 50th Hunger Games. Yet the trials and tragedies he faces along the way have made this novel a fan favorite since its publication. Once again, the story’s young tributes will be supported by all-star veterans, including Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, and Glenn Close. Meanwhile, Mckenna Grace plays Maysilee Donner, a young tribute who has captured the minds of millions of readers.

    Poster for Avengers: Doomsday

    Avengers: Doomsday

    December 18

    This is it: high noon for the Marvel Cinematic Universe. This is the one that features the return of Infinity War/Endgame directors Anthony and Joe Russo, Robert Downey Jr. coming back not as Iron Man but Doctor Doom, the inclusion of the OG Fox X-Men cast, the rumored appearance of everyone from Chris Evans to Ryan Reynolds… and it all adds up to either a Hail Mary pass of titanic proportions or a glorious relaunch to box office dominance. Don’t let the reports of an unfinished script or extended reshoots fool you; Marvel can pull this off—they’ve done so in the past—but the question is whether the Avengers brand still has the power to bring the MCU back from its recent decline.

    Timothee Chalamet in Dune 2 Review
    WB

    Dune: Part Three

    December 18

    Denis Villeneuve’s first two Dune movies were arguably the most epic, visionary genre releases since Peter Jackson bestowed The Lord of the Rings on us 20 years earlier. But concluding a trilogy has been the downfall of many a filmmaker, and Villeneuve faces a formidable task here. The movie will ostensibly be based on Frank Herbert’s Dune Messiah, a very different story from the original and in many ways a more difficult one to imagine as a film. But if Villeneuve keeps the core of the novel—the willful self-destruction of Paul Atreides—intact, he can stick this landing like a breaking Shai-Hulud. We’re rooting for him all the way.

    Robert Eggers on Nosferatu Set
    Focus Features

    Werwulf

    December 25

    With his four previous movies, writer/director Robert Eggers has proven himself as the master of grim, atmospheric period horror (yes, even The Northman was a horror story in its own way). He immerses us in barbaric worlds of the past like no other filmmaker currently working. Having conquered the most seminal of vampire tales with Nosferatu, he’s now turning his attention to lycanthropy with what he himself calls “the darkest thing I have ever written,” an original werewolf story set in 13th-century England. Blood, gore, mud, and disease? Sounds like Eggers is going to have us howling in terror when this thing crawls toward holiday theaters.

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year appeared first on Den of Geek.

  • A24’s The Drama Trailer Dares You to Pretend Robert Pattinson and Zendaya Have No Rizz

    A24’s The Drama Trailer Dares You to Pretend Robert Pattinson and Zendaya Have No Rizz

    Robert Pattinson and Zendaya are two of the most attractive people in Hollywood. And one’s wedding day is such an important event, an event that involves so many professional beauticians and photographers, that even schlubs look like stars for a bit. So why in the world do Pattinson and Zendaya look so weird in the […]

    The post A24’s The Drama Trailer Dares You to Pretend Robert Pattinson and Zendaya Have No Rizz appeared first on Den of Geek.

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic in 2020/2021 or the writers’ and actors’ strikes in 2023. As a result, one glance at the upcoming release schedule indicates that 2026 could be the most packed year at the multiplex in a long time.

    Even narrowing this list down to fewer than 20 entries was difficult, and the films we list below show the breadth of releases coming our way: everything from Gothic romances to mythological epics to make-or-break superhero spectaculars. As William Goldman famously said, nobody knows anything, so each of the movies in our survey holds the potential for massive success or catastrophic failure. Whatever happens, we’ll be there for each one.

    Jack O'Connell in 28 Years Later Trailer
    Sony Pictures

    28 Years Later: The Bone Temple

    January 16

    After taking (ahem) 23 years off between installments, Danny Boyle and Alex Garland are continuing 28 Years Later‘s sordid legacy in faster succession, albeit this time with fresh blood. Candyman and Hedda helmer Nia DaCosta picks up the directorial reins in 28 Years Later: The Bone Temple, a movie which filmed simultaneously with last June’s zombie showdown. The new movie continues the story of Ralph Fiennes’ enigmatic good(ish?) doctor obsessed with memento mori and what happens to young Spike (Alfie Williams) when he falls into a band of “Jimmies,” led by Jack O’Connell’s eerily chipper and self-christened St. Jimmy.

    In an exclusive preview with Den of Geek, DaCosta hinted, “You have these two trains on a track, essentially, that are going to collide. They’re going to end up with these two worlds in a clash, because you kind of feel that Spike and Kelson are going to interact again.”

    Warner Bros. Pictures
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    Wuthering Heights

    February 13

    The always-provocative filmmaker Emerald Fennell is following up her Oscar-winning Promising Young Woman and divisive Saltburn with a splashy adaptation of Emily Brontë’s classic 1847 Gothic romance, and it stars no less than Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff. The castings are already raising eyebrows, with the latter earning accusations of whitewashing a literary character of famously ambiguous origin. But by working from source material that was considered scandalously edgy in its time, we can expect Fennell to welcome it all while amping up the tale’s eroticism and psychological melodrama—and with lots of heaving chests and Charli XCX songs if the trailer is anything to go by. In other words, don’t expect your high school teacher’s Wuthering Heights.

    Jessie Buckley in The Bride!
    Warner Bros. Pictures

    The Bride!

    March 6

    Maggie Gyllenhaal’s second outing as a director is a wild pivot from 2021’s The Lost Daughter: it’s been described as a musical, a satire, and an homage to The Bride of Frankenstein. Set in 1930s Chicago, the film finds Frankenstein’s Monster (Christian Bale) asking Dr. Euphronius (Annette Bening) to create a companion for him, which arrives in the form of the Bride (Jessie Buckley). What happens from there involves murder, mayhem, and, er, social change. It seems a gamble by Warners, but a bold one given the amount of talent involved, as well as the fact that Mary Shelley reworkings seem to be in season if Poor Things and Guillermo del Toro’s Frankenstein are anything to go by.

    Ryan Gosling in Project Hail Mary
    Amazon MGM

    Project Hail Mary

    March 20

    Phil Lord and Christopher Miller are at last in the director’s chairs again for a live-action film after they were dismissed from Solo: A Star Wars Story in 2018. (Their last completed live-action effort, 22 Jump Street, came out in 2014.) This time, though, the newly Spider-Verse emboldened duo is adapting Andy Weir’s sci-fi bestseller. The movie stars Ryan Gosling as a man who wakes up on an interstellar ship with no recollection of how he got there. And soon he learns that he is the last hope for humanity. The marketing promises a high-concept adventure with plenty of thrills, humor, and that ol’ Gosling charm. The Weir connection also suggests this is particularly well-suited to the screen. See Ridley Scott’s adaptation of The Martian for more.

    Rosalina in The Super Mario Galaxy Movie
    Universal Pictures

    The Super Mario Galaxy Movie

    April 3

    After 2023’s The Super Mario Bros. Movie became the most successful video game-based movie of all time (nearly $1.4 billion worldwide), there was no doubt that Illumination and Nintendo would immediately greenlight a sequel. And while the plot remains under wraps, any gamer with passing familiarity with the Nintendo Wii’s beloved Super Mario Galaxy is already expecting gravity-bending visuals and out-of-this-world shenanigans for the plumber brothers. Chris Pratt, Anya Taylor-Joy, Jack Black, Charlie Day, and Keegan-Michael Key are all returning to their signature roles from the first film, while Aaron Horvath and Michael Jelenic are again directing.

    Anne Hathaway and Meryl Streep in Devil Wears Prada 2
    20th Century Studios / Disney

    The Devil Wears Prada 2

    May 1

    It’s time to get the devil her due, because Miranda Priestly is back in the long-rumored and hoped-for The Devil Wears Prada 2. Story details remain relatively tight-lipped, but we do know that despite having very different lanes of journalism in their purviews, Meryl Streep’s ice queen and Anne Hathaway’s Andy Sachs wind up in the same room again. The Dave Frankel-directed film also features the return of fan-favorite characters played by Emily Blunt and Stanley Tucci.

    Karl Urban as Johnny Cage in Mortal Kombat II
    Warner Bros. Pictures

    Mortal Kombat II

    May 8

    Mortal Kombat II has certainly risen in the ranks of expectations. A sequel to the pretty-looking but somewhat divisively-received 2021 reboot of the franchise, Mortal Kombat, this sequel was originally pegged to be an October release date. But after enthusiastic test screenings and buzzy word-of-mouth, WB apparently got bullish about the Simon McQuoid-directed joint and moved the fighter to May of next year. It probably helps that the intended R-rated spectacle is bringing in a lot of fan-favorite characters and setups, including Karl Urban as an over-the-hill Johnny Cage who gets recruited into the titular tournament after his career as a movie star falls on hard times.

    “The point where we find Johnny in this movie is very relatable to everybody, because he’s on the back foot in life,” Urban tells us in an exclusive cover story interview. “His career is in the tank, the world’s forgotten him, and he’s at a real low point. His confidence has been knocked, and it is at this very juncture that he is called upon to be at his best and to use his skillset to defend Earthrealm.” That leads to stunt work which the star teases has both humor and dexterity. “You also see specifically Van Damme, who in my opinion, was phenomenal, and Jackie Chan, who I drew huge inspiration from for the tone of some of Johnny Cage’s fights.”

    The Mandalorian and Grogu Movie
    Lucasfilm / Disney

    Star Wars: The Mandalorian and Grogu

    May 22

    It will be nearly seven years since a Star Wars movie blasted across the big screen by the time this comes out, which is hopefully long enough for the bad taste left by The Rise of Skywalker to have disappeared. Either way, director Jon Favreau and co-writer Dave Filoni’s new film is set to answer a hard question for the franchise: will vast amounts of people come out for a story that requires viewing at least one, if not two, shows that aired on Disney+? A little Pedro Pascal charisma, even in a mask, can’t hurt. Meanwhile, the Lucasfilm braintrust appears to be betting that there’s enough good faith—and enough fans still in love with Baby Yoda—to restore this aging franchise to cinematic glory.

    Steven Spielberg at Hamnet premiere
    Photo by Rodin Eckenroth / Getty Images

    Untitled Steven Spielberg Movie

    June 12

    While Steven Spielberg is not the box office or cultural powerhouse that he was in previous decades, there is no question that the mind races with possibilities at the thought of what this movie could be. Here’s what we know: it’s a science fiction film, reportedly having something to do with UFOs, that’s based on an idea Spielberg personally had before handing it off to his go-to blockbuster scribe, David Koepp. Keep in mind that Spielberg also dreamed up the original concepts for Close Encounters and E.T. Furthermore, the cast—including Emily Blunt, Colman Domingo, Josh O’Connor, and Colin Firth—is top-notch. And the idea of Spielberg returning to a genre that has provided us with so many classic films is enough to get us there opening day.

    Woody and Buzz in Toy Story 5
    Pixar / Disney

    Toy Story 5

    June 19

    What do you do when you make a near-perfect trilogy of animated films? Why, you keep going, of course! And if you thought that Toy Story 4 was a risky add-on, then you’re probably even more fretful over Toy Story 5. But Pixar, in a bit of a slump these days, is going back to its original franchise one more time with Woody, Buzz, Jessie, Forky, and all the rest returning. This time, the gang must fight for Bonnie’s attention with a tablet named Lilypad (Anna Faris)—setting up a clash between toys and tech that has no doubt gripped many households in recent years.

    Milly alcock in superman ending
    Warner Bros. Pictures

    Supergirl

    June 26

    In some sense, Supergirl might be more of a test of James Gunn’s DC Studios than even 2025’s Superman. While that DCU kickoff had a lot to prove, Supergirl is the first follow-up to gauge how much audiences bought in, including to a cliffhanger of Milly Alcock’s party gal Kryptonian. Luckily, this spinoff is based on one of the best superhero stories of the decade, Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, which finds a far more haunted Kara Zor-El than CW fans might remember. It also comes from director Craig Gillespie, who’s had success in left-of-center genre-benders like I, Tonya, Cruella, and Lars and the Real Girl. Together with Alcock and Jason Momoa (as… Lobo?!), this one could have a whole different vibe.

    Matt Damon wearing ancient Greek armour in the first look at Christopher Nolan's The Odyssey

    The Odyssey

    July 17

    How do you follow up a three-hour, billion-dollar-grossing, Best Picture-winning historical drama about the invention of the atomic bomb? With an epic film based on an ancient Greek myth, naturally. Fantasy and mythology movies tend to sink at the box office unless the name Tolkien is attached to them, but if anyone can turn Homer’s landmark of Greek literature into box office gold, it’s Christopher Nolan, who did the same for a tormented nuclear physicist in Oppenheimer. As usual, the cast—led by Matt Damon as Odysseus—is stacked, and Nolan is perhaps the only director aside from James Cameron whose name alone puts butts in seats. Whatever The Odyssey ends up being, we don’t expect to call it modest.

    Spider-Man
    Sony Pictures

    Spider-Man: Brand New Day

    July 31

    Following up the $1.9 billion-grossing Spider-Man: No Way Home is no easy feat, but the MCU’s Tom Holland-led iteration of your friendly neighborhood webslinger seems to be one of the few bright spots of Marvel’s post-Infinity Saga daze. The usual rumors persist about villains, storylines, multiverse variants, and the like, but all we really know is that Spidey will once again be supported by other MCU favorites like Mark Ruffalo’s Hulk and Jon Bernthal’s Punisher, while the identity and exact nature of the main antagonist remain unknown. Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) replaces Jon Watts behind the camera for this one, and Stranger Things’ Sadie Sink joins returning cast members Zendaya and Jacob Batalon. Perhaps most interestingly, it’s speculated that this is Holland’s last non-Avengers stint in the red and blue suit.

    Tom Cruise and Iñárritu at Governors Ball
    Kevin Winter / Getty Images

    Untitled Cruise/Iñárritu Film

    October 2

    We know even less about this movie than Spielberg’s, but it’s notable for two reasons: it’s a new work by Birdman and The Revenant director Alejandro G. Iñárritu, and it’s Tom Cruise’s first original film in eight years, following his recent run of Top Gun/Mission: Impossible sequels. The supporting cast is also excellent, including Jesse Plemons, Sandra Hüller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and others. Shot in VistaVision, it’s said to be a black comedy about a man who sets out to save humanity after nearly destroying it. And that’s all we’ve got—except that the pairing of star and director may indicate a new phase of both their careers.

    Joseph Zada as Haymitch Abernathy in The Hunger Games: Sunrise on the Reaping. Photo Credit: Murray Close
    Lionsgate

    The Hunger Games: Sunrise on the Reaping

    November 20

    With the success of 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate and director Francis Lawrence adapting Suzanne Collins’ next prequel novel, Sunrise on the Reaping, is a smart bet. Set some four decades after Songbirds & Snakes, and just 24 years before the events of The Hunger Games (2012), this film stars Joseph Zada as a young Haymitch Abernathy (Woody Harrelson in the original movies) as he competes and (no spoiler) wins in the 50th Hunger Games. Yet the trials and tragedies he faces along the way have made this novel a fan favorite since its publication. Once again, the story’s young tributes will be supported by all-star veterans, including Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, and Glenn Close. Meanwhile, Mckenna Grace plays Maysilee Donner, a young tribute who has captured the minds of millions of readers.

    Poster for Avengers: Doomsday

    Avengers: Doomsday

    December 18

    This is it: high noon for the Marvel Cinematic Universe. This is the one that features the return of Infinity War/Endgame directors Anthony and Joe Russo, Robert Downey Jr. coming back not as Iron Man but Doctor Doom, the inclusion of the OG Fox X-Men cast, the rumored appearance of everyone from Chris Evans to Ryan Reynolds… and it all adds up to either a Hail Mary pass of titanic proportions or a glorious relaunch to box office dominance. Don’t let the reports of an unfinished script or extended reshoots fool you; Marvel can pull this off—they’ve done so in the past—but the question is whether the Avengers brand still has the power to bring the MCU back from its recent decline.

    Timothee Chalamet in Dune 2 Review
    WB

    Dune: Part Three

    December 18

    Denis Villeneuve’s first two Dune movies were arguably the most epic, visionary genre releases since Peter Jackson bestowed The Lord of the Rings on us 20 years earlier. But concluding a trilogy has been the downfall of many a filmmaker, and Villeneuve faces a formidable task here. The movie will ostensibly be based on Frank Herbert’s Dune Messiah, a very different story from the original and in many ways a more difficult one to imagine as a film. But if Villeneuve keeps the core of the novel—the willful self-destruction of Paul Atreides—intact, he can stick this landing like a breaking Shai-Hulud. We’re rooting for him all the way.

    Robert Eggers on Nosferatu Set
    Focus Features

    Werwulf

    December 25

    With his four previous movies, writer/director Robert Eggers has proven himself as the master of grim, atmospheric period horror (yes, even The Northman was a horror story in its own way). He immerses us in barbaric worlds of the past like no other filmmaker currently working. Having conquered the most seminal of vampire tales with Nosferatu, he’s now turning his attention to lycanthropy with what he himself calls “the darkest thing I have ever written,” an original werewolf story set in 13th-century England. Blood, gore, mud, and disease? Sounds like Eggers is going to have us howling in terror when this thing crawls toward holiday theaters.

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year appeared first on Den of Geek.

  • Ella McCay Review: A ’90s Dramedy Throwback Without the Drama or Comedy

    Ella McCay Review: A ’90s Dramedy Throwback Without the Drama or Comedy

    Why do they not make movies like the old days? It’s a refrain we hear time and again, be it among critic groups, awards voters, or vocal Letterboxd users looking for a fight. The broad sentiment can go back to the silent stars of yesteryear, reminiscing about an era before the pictures got small, but […]

    The post Ella McCay Review: A ’90s Dramedy Throwback Without the Drama or Comedy appeared first on Den of Geek.

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic in 2020/2021 or the writers’ and actors’ strikes in 2023. As a result, one glance at the upcoming release schedule indicates that 2026 could be the most packed year at the multiplex in a long time.

    Even narrowing this list down to fewer than 20 entries was difficult, and the films we list below show the breadth of releases coming our way: everything from Gothic romances to mythological epics to make-or-break superhero spectaculars. As William Goldman famously said, nobody knows anything, so each of the movies in our survey holds the potential for massive success or catastrophic failure. Whatever happens, we’ll be there for each one.

    Jack O'Connell in 28 Years Later Trailer
    Sony Pictures

    28 Years Later: The Bone Temple

    January 16

    After taking (ahem) 23 years off between installments, Danny Boyle and Alex Garland are continuing 28 Years Later‘s sordid legacy in faster succession, albeit this time with fresh blood. Candyman and Hedda helmer Nia DaCosta picks up the directorial reins in 28 Years Later: The Bone Temple, a movie which filmed simultaneously with last June’s zombie showdown. The new movie continues the story of Ralph Fiennes’ enigmatic good(ish?) doctor obsessed with memento mori and what happens to young Spike (Alfie Williams) when he falls into a band of “Jimmies,” led by Jack O’Connell’s eerily chipper and self-christened St. Jimmy.

    In an exclusive preview with Den of Geek, DaCosta hinted, “You have these two trains on a track, essentially, that are going to collide. They’re going to end up with these two worlds in a clash, because you kind of feel that Spike and Kelson are going to interact again.”

    Warner Bros. Pictures
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    Wuthering Heights

    February 13

    The always-provocative filmmaker Emerald Fennell is following up her Oscar-winning Promising Young Woman and divisive Saltburn with a splashy adaptation of Emily Brontë’s classic 1847 Gothic romance, and it stars no less than Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff. The castings are already raising eyebrows, with the latter earning accusations of whitewashing a literary character of famously ambiguous origin. But by working from source material that was considered scandalously edgy in its time, we can expect Fennell to welcome it all while amping up the tale’s eroticism and psychological melodrama—and with lots of heaving chests and Charli XCX songs if the trailer is anything to go by. In other words, don’t expect your high school teacher’s Wuthering Heights.

    Jessie Buckley in The Bride!
    Warner Bros. Pictures

    The Bride!

    March 6

    Maggie Gyllenhaal’s second outing as a director is a wild pivot from 2021’s The Lost Daughter: it’s been described as a musical, a satire, and an homage to The Bride of Frankenstein. Set in 1930s Chicago, the film finds Frankenstein’s Monster (Christian Bale) asking Dr. Euphronius (Annette Bening) to create a companion for him, which arrives in the form of the Bride (Jessie Buckley). What happens from there involves murder, mayhem, and, er, social change. It seems a gamble by Warners, but a bold one given the amount of talent involved, as well as the fact that Mary Shelley reworkings seem to be in season if Poor Things and Guillermo del Toro’s Frankenstein are anything to go by.

    Ryan Gosling in Project Hail Mary
    Amazon MGM

    Project Hail Mary

    March 20

    Phil Lord and Christopher Miller are at last in the director’s chairs again for a live-action film after they were dismissed from Solo: A Star Wars Story in 2018. (Their last completed live-action effort, 22 Jump Street, came out in 2014.) This time, though, the newly Spider-Verse emboldened duo is adapting Andy Weir’s sci-fi bestseller. The movie stars Ryan Gosling as a man who wakes up on an interstellar ship with no recollection of how he got there. And soon he learns that he is the last hope for humanity. The marketing promises a high-concept adventure with plenty of thrills, humor, and that ol’ Gosling charm. The Weir connection also suggests this is particularly well-suited to the screen. See Ridley Scott’s adaptation of The Martian for more.

    Rosalina in The Super Mario Galaxy Movie
    Universal Pictures

    The Super Mario Galaxy Movie

    April 3

    After 2023’s The Super Mario Bros. Movie became the most successful video game-based movie of all time (nearly $1.4 billion worldwide), there was no doubt that Illumination and Nintendo would immediately greenlight a sequel. And while the plot remains under wraps, any gamer with passing familiarity with the Nintendo Wii’s beloved Super Mario Galaxy is already expecting gravity-bending visuals and out-of-this-world shenanigans for the plumber brothers. Chris Pratt, Anya Taylor-Joy, Jack Black, Charlie Day, and Keegan-Michael Key are all returning to their signature roles from the first film, while Aaron Horvath and Michael Jelenic are again directing.

    Anne Hathaway and Meryl Streep in Devil Wears Prada 2
    20th Century Studios / Disney

    The Devil Wears Prada 2

    May 1

    It’s time to get the devil her due, because Miranda Priestly is back in the long-rumored and hoped-for The Devil Wears Prada 2. Story details remain relatively tight-lipped, but we do know that despite having very different lanes of journalism in their purviews, Meryl Streep’s ice queen and Anne Hathaway’s Andy Sachs wind up in the same room again. The Dave Frankel-directed film also features the return of fan-favorite characters played by Emily Blunt and Stanley Tucci.

    Karl Urban as Johnny Cage in Mortal Kombat II
    Warner Bros. Pictures

    Mortal Kombat II

    May 8

    Mortal Kombat II has certainly risen in the ranks of expectations. A sequel to the pretty-looking but somewhat divisively-received 2021 reboot of the franchise, Mortal Kombat, this sequel was originally pegged to be an October release date. But after enthusiastic test screenings and buzzy word-of-mouth, WB apparently got bullish about the Simon McQuoid-directed joint and moved the fighter to May of next year. It probably helps that the intended R-rated spectacle is bringing in a lot of fan-favorite characters and setups, including Karl Urban as an over-the-hill Johnny Cage who gets recruited into the titular tournament after his career as a movie star falls on hard times.

    “The point where we find Johnny in this movie is very relatable to everybody, because he’s on the back foot in life,” Urban tells us in an exclusive cover story interview. “His career is in the tank, the world’s forgotten him, and he’s at a real low point. His confidence has been knocked, and it is at this very juncture that he is called upon to be at his best and to use his skillset to defend Earthrealm.” That leads to stunt work which the star teases has both humor and dexterity. “You also see specifically Van Damme, who in my opinion, was phenomenal, and Jackie Chan, who I drew huge inspiration from for the tone of some of Johnny Cage’s fights.”

    The Mandalorian and Grogu Movie
    Lucasfilm / Disney

    Star Wars: The Mandalorian and Grogu

    May 22

    It will be nearly seven years since a Star Wars movie blasted across the big screen by the time this comes out, which is hopefully long enough for the bad taste left by The Rise of Skywalker to have disappeared. Either way, director Jon Favreau and co-writer Dave Filoni’s new film is set to answer a hard question for the franchise: will vast amounts of people come out for a story that requires viewing at least one, if not two, shows that aired on Disney+? A little Pedro Pascal charisma, even in a mask, can’t hurt. Meanwhile, the Lucasfilm braintrust appears to be betting that there’s enough good faith—and enough fans still in love with Baby Yoda—to restore this aging franchise to cinematic glory.

    Steven Spielberg at Hamnet premiere
    Photo by Rodin Eckenroth / Getty Images

    Untitled Steven Spielberg Movie

    June 12

    While Steven Spielberg is not the box office or cultural powerhouse that he was in previous decades, there is no question that the mind races with possibilities at the thought of what this movie could be. Here’s what we know: it’s a science fiction film, reportedly having something to do with UFOs, that’s based on an idea Spielberg personally had before handing it off to his go-to blockbuster scribe, David Koepp. Keep in mind that Spielberg also dreamed up the original concepts for Close Encounters and E.T. Furthermore, the cast—including Emily Blunt, Colman Domingo, Josh O’Connor, and Colin Firth—is top-notch. And the idea of Spielberg returning to a genre that has provided us with so many classic films is enough to get us there opening day.

    Woody and Buzz in Toy Story 5
    Pixar / Disney

    Toy Story 5

    June 19

    What do you do when you make a near-perfect trilogy of animated films? Why, you keep going, of course! And if you thought that Toy Story 4 was a risky add-on, then you’re probably even more fretful over Toy Story 5. But Pixar, in a bit of a slump these days, is going back to its original franchise one more time with Woody, Buzz, Jessie, Forky, and all the rest returning. This time, the gang must fight for Bonnie’s attention with a tablet named Lilypad (Anna Faris)—setting up a clash between toys and tech that has no doubt gripped many households in recent years.

    Milly alcock in superman ending
    Warner Bros. Pictures

    Supergirl

    June 26

    In some sense, Supergirl might be more of a test of James Gunn’s DC Studios than even 2025’s Superman. While that DCU kickoff had a lot to prove, Supergirl is the first follow-up to gauge how much audiences bought in, including to a cliffhanger of Milly Alcock’s party gal Kryptonian. Luckily, this spinoff is based on one of the best superhero stories of the decade, Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, which finds a far more haunted Kara Zor-El than CW fans might remember. It also comes from director Craig Gillespie, who’s had success in left-of-center genre-benders like I, Tonya, Cruella, and Lars and the Real Girl. Together with Alcock and Jason Momoa (as… Lobo?!), this one could have a whole different vibe.

    Matt Damon wearing ancient Greek armour in the first look at Christopher Nolan's The Odyssey

    The Odyssey

    July 17

    How do you follow up a three-hour, billion-dollar-grossing, Best Picture-winning historical drama about the invention of the atomic bomb? With an epic film based on an ancient Greek myth, naturally. Fantasy and mythology movies tend to sink at the box office unless the name Tolkien is attached to them, but if anyone can turn Homer’s landmark of Greek literature into box office gold, it’s Christopher Nolan, who did the same for a tormented nuclear physicist in Oppenheimer. As usual, the cast—led by Matt Damon as Odysseus—is stacked, and Nolan is perhaps the only director aside from James Cameron whose name alone puts butts in seats. Whatever The Odyssey ends up being, we don’t expect to call it modest.

    Spider-Man
    Sony Pictures

    Spider-Man: Brand New Day

    July 31

    Following up the $1.9 billion-grossing Spider-Man: No Way Home is no easy feat, but the MCU’s Tom Holland-led iteration of your friendly neighborhood webslinger seems to be one of the few bright spots of Marvel’s post-Infinity Saga daze. The usual rumors persist about villains, storylines, multiverse variants, and the like, but all we really know is that Spidey will once again be supported by other MCU favorites like Mark Ruffalo’s Hulk and Jon Bernthal’s Punisher, while the identity and exact nature of the main antagonist remain unknown. Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) replaces Jon Watts behind the camera for this one, and Stranger Things’ Sadie Sink joins returning cast members Zendaya and Jacob Batalon. Perhaps most interestingly, it’s speculated that this is Holland’s last non-Avengers stint in the red and blue suit.

    Tom Cruise and Iñárritu at Governors Ball
    Kevin Winter / Getty Images

    Untitled Cruise/Iñárritu Film

    October 2

    We know even less about this movie than Spielberg’s, but it’s notable for two reasons: it’s a new work by Birdman and The Revenant director Alejandro G. Iñárritu, and it’s Tom Cruise’s first original film in eight years, following his recent run of Top Gun/Mission: Impossible sequels. The supporting cast is also excellent, including Jesse Plemons, Sandra Hüller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and others. Shot in VistaVision, it’s said to be a black comedy about a man who sets out to save humanity after nearly destroying it. And that’s all we’ve got—except that the pairing of star and director may indicate a new phase of both their careers.

    Joseph Zada as Haymitch Abernathy in The Hunger Games: Sunrise on the Reaping. Photo Credit: Murray Close
    Lionsgate

    The Hunger Games: Sunrise on the Reaping

    November 20

    With the success of 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate and director Francis Lawrence adapting Suzanne Collins’ next prequel novel, Sunrise on the Reaping, is a smart bet. Set some four decades after Songbirds & Snakes, and just 24 years before the events of The Hunger Games (2012), this film stars Joseph Zada as a young Haymitch Abernathy (Woody Harrelson in the original movies) as he competes and (no spoiler) wins in the 50th Hunger Games. Yet the trials and tragedies he faces along the way have made this novel a fan favorite since its publication. Once again, the story’s young tributes will be supported by all-star veterans, including Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, and Glenn Close. Meanwhile, Mckenna Grace plays Maysilee Donner, a young tribute who has captured the minds of millions of readers.

    Poster for Avengers: Doomsday

    Avengers: Doomsday

    December 18

    This is it: high noon for the Marvel Cinematic Universe. This is the one that features the return of Infinity War/Endgame directors Anthony and Joe Russo, Robert Downey Jr. coming back not as Iron Man but Doctor Doom, the inclusion of the OG Fox X-Men cast, the rumored appearance of everyone from Chris Evans to Ryan Reynolds… and it all adds up to either a Hail Mary pass of titanic proportions or a glorious relaunch to box office dominance. Don’t let the reports of an unfinished script or extended reshoots fool you; Marvel can pull this off—they’ve done so in the past—but the question is whether the Avengers brand still has the power to bring the MCU back from its recent decline.

    Timothee Chalamet in Dune 2 Review
    WB

    Dune: Part Three

    December 18

    Denis Villeneuve’s first two Dune movies were arguably the most epic, visionary genre releases since Peter Jackson bestowed The Lord of the Rings on us 20 years earlier. But concluding a trilogy has been the downfall of many a filmmaker, and Villeneuve faces a formidable task here. The movie will ostensibly be based on Frank Herbert’s Dune Messiah, a very different story from the original and in many ways a more difficult one to imagine as a film. But if Villeneuve keeps the core of the novel—the willful self-destruction of Paul Atreides—intact, he can stick this landing like a breaking Shai-Hulud. We’re rooting for him all the way.

    Robert Eggers on Nosferatu Set
    Focus Features

    Werwulf

    December 25

    With his four previous movies, writer/director Robert Eggers has proven himself as the master of grim, atmospheric period horror (yes, even The Northman was a horror story in its own way). He immerses us in barbaric worlds of the past like no other filmmaker currently working. Having conquered the most seminal of vampire tales with Nosferatu, he’s now turning his attention to lycanthropy with what he himself calls “the darkest thing I have ever written,” an original werewolf story set in 13th-century England. Blood, gore, mud, and disease? Sounds like Eggers is going to have us howling in terror when this thing crawls toward holiday theaters.

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year appeared first on Den of Geek.

  • John Cena: The WWE Legend Who Never Feared Risks or Failure

    John Cena: The WWE Legend Who Never Feared Risks or Failure

    How does one sum up the career of a pro-wrestling icon like John Cena, especially when he is always claiming we can’t see him? By remembering what once was, and not by the end—which by many standards has been flat and featured unnecessarily convoluted stories for someone who was not on every TV show each […]

    The post John Cena: The WWE Legend Who Never Feared Risks or Failure appeared first on Den of Geek.

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic in 2020/2021 or the writers’ and actors’ strikes in 2023. As a result, one glance at the upcoming release schedule indicates that 2026 could be the most packed year at the multiplex in a long time.

    Even narrowing this list down to fewer than 20 entries was difficult, and the films we list below show the breadth of releases coming our way: everything from Gothic romances to mythological epics to make-or-break superhero spectaculars. As William Goldman famously said, nobody knows anything, so each of the movies in our survey holds the potential for massive success or catastrophic failure. Whatever happens, we’ll be there for each one.

    Jack O'Connell in 28 Years Later Trailer
    Sony Pictures

    28 Years Later: The Bone Temple

    January 16

    After taking (ahem) 23 years off between installments, Danny Boyle and Alex Garland are continuing 28 Years Later‘s sordid legacy in faster succession, albeit this time with fresh blood. Candyman and Hedda helmer Nia DaCosta picks up the directorial reins in 28 Years Later: The Bone Temple, a movie which filmed simultaneously with last June’s zombie showdown. The new movie continues the story of Ralph Fiennes’ enigmatic good(ish?) doctor obsessed with memento mori and what happens to young Spike (Alfie Williams) when he falls into a band of “Jimmies,” led by Jack O’Connell’s eerily chipper and self-christened St. Jimmy.

    In an exclusive preview with Den of Geek, DaCosta hinted, “You have these two trains on a track, essentially, that are going to collide. They’re going to end up with these two worlds in a clash, because you kind of feel that Spike and Kelson are going to interact again.”

    Warner Bros. Pictures
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    Wuthering Heights

    February 13

    The always-provocative filmmaker Emerald Fennell is following up her Oscar-winning Promising Young Woman and divisive Saltburn with a splashy adaptation of Emily Brontë’s classic 1847 Gothic romance, and it stars no less than Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff. The castings are already raising eyebrows, with the latter earning accusations of whitewashing a literary character of famously ambiguous origin. But by working from source material that was considered scandalously edgy in its time, we can expect Fennell to welcome it all while amping up the tale’s eroticism and psychological melodrama—and with lots of heaving chests and Charli XCX songs if the trailer is anything to go by. In other words, don’t expect your high school teacher’s Wuthering Heights.

    Jessie Buckley in The Bride!
    Warner Bros. Pictures

    The Bride!

    March 6

    Maggie Gyllenhaal’s second outing as a director is a wild pivot from 2021’s The Lost Daughter: it’s been described as a musical, a satire, and an homage to The Bride of Frankenstein. Set in 1930s Chicago, the film finds Frankenstein’s Monster (Christian Bale) asking Dr. Euphronius (Annette Bening) to create a companion for him, which arrives in the form of the Bride (Jessie Buckley). What happens from there involves murder, mayhem, and, er, social change. It seems a gamble by Warners, but a bold one given the amount of talent involved, as well as the fact that Mary Shelley reworkings seem to be in season if Poor Things and Guillermo del Toro’s Frankenstein are anything to go by.

    Ryan Gosling in Project Hail Mary
    Amazon MGM

    Project Hail Mary

    March 20

    Phil Lord and Christopher Miller are at last in the director’s chairs again for a live-action film after they were dismissed from Solo: A Star Wars Story in 2018. (Their last completed live-action effort, 22 Jump Street, came out in 2014.) This time, though, the newly Spider-Verse emboldened duo is adapting Andy Weir’s sci-fi bestseller. The movie stars Ryan Gosling as a man who wakes up on an interstellar ship with no recollection of how he got there. And soon he learns that he is the last hope for humanity. The marketing promises a high-concept adventure with plenty of thrills, humor, and that ol’ Gosling charm. The Weir connection also suggests this is particularly well-suited to the screen. See Ridley Scott’s adaptation of The Martian for more.

    Rosalina in The Super Mario Galaxy Movie
    Universal Pictures

    The Super Mario Galaxy Movie

    April 3

    After 2023’s The Super Mario Bros. Movie became the most successful video game-based movie of all time (nearly $1.4 billion worldwide), there was no doubt that Illumination and Nintendo would immediately greenlight a sequel. And while the plot remains under wraps, any gamer with passing familiarity with the Nintendo Wii’s beloved Super Mario Galaxy is already expecting gravity-bending visuals and out-of-this-world shenanigans for the plumber brothers. Chris Pratt, Anya Taylor-Joy, Jack Black, Charlie Day, and Keegan-Michael Key are all returning to their signature roles from the first film, while Aaron Horvath and Michael Jelenic are again directing.

    Anne Hathaway and Meryl Streep in Devil Wears Prada 2
    20th Century Studios / Disney

    The Devil Wears Prada 2

    May 1

    It’s time to get the devil her due, because Miranda Priestly is back in the long-rumored and hoped-for The Devil Wears Prada 2. Story details remain relatively tight-lipped, but we do know that despite having very different lanes of journalism in their purviews, Meryl Streep’s ice queen and Anne Hathaway’s Andy Sachs wind up in the same room again. The Dave Frankel-directed film also features the return of fan-favorite characters played by Emily Blunt and Stanley Tucci.

    Karl Urban as Johnny Cage in Mortal Kombat II
    Warner Bros. Pictures

    Mortal Kombat II

    May 8

    Mortal Kombat II has certainly risen in the ranks of expectations. A sequel to the pretty-looking but somewhat divisively-received 2021 reboot of the franchise, Mortal Kombat, this sequel was originally pegged to be an October release date. But after enthusiastic test screenings and buzzy word-of-mouth, WB apparently got bullish about the Simon McQuoid-directed joint and moved the fighter to May of next year. It probably helps that the intended R-rated spectacle is bringing in a lot of fan-favorite characters and setups, including Karl Urban as an over-the-hill Johnny Cage who gets recruited into the titular tournament after his career as a movie star falls on hard times.

    “The point where we find Johnny in this movie is very relatable to everybody, because he’s on the back foot in life,” Urban tells us in an exclusive cover story interview. “His career is in the tank, the world’s forgotten him, and he’s at a real low point. His confidence has been knocked, and it is at this very juncture that he is called upon to be at his best and to use his skillset to defend Earthrealm.” That leads to stunt work which the star teases has both humor and dexterity. “You also see specifically Van Damme, who in my opinion, was phenomenal, and Jackie Chan, who I drew huge inspiration from for the tone of some of Johnny Cage’s fights.”

    The Mandalorian and Grogu Movie
    Lucasfilm / Disney

    Star Wars: The Mandalorian and Grogu

    May 22

    It will be nearly seven years since a Star Wars movie blasted across the big screen by the time this comes out, which is hopefully long enough for the bad taste left by The Rise of Skywalker to have disappeared. Either way, director Jon Favreau and co-writer Dave Filoni’s new film is set to answer a hard question for the franchise: will vast amounts of people come out for a story that requires viewing at least one, if not two, shows that aired on Disney+? A little Pedro Pascal charisma, even in a mask, can’t hurt. Meanwhile, the Lucasfilm braintrust appears to be betting that there’s enough good faith—and enough fans still in love with Baby Yoda—to restore this aging franchise to cinematic glory.

    Steven Spielberg at Hamnet premiere
    Photo by Rodin Eckenroth / Getty Images

    Untitled Steven Spielberg Movie

    June 12

    While Steven Spielberg is not the box office or cultural powerhouse that he was in previous decades, there is no question that the mind races with possibilities at the thought of what this movie could be. Here’s what we know: it’s a science fiction film, reportedly having something to do with UFOs, that’s based on an idea Spielberg personally had before handing it off to his go-to blockbuster scribe, David Koepp. Keep in mind that Spielberg also dreamed up the original concepts for Close Encounters and E.T. Furthermore, the cast—including Emily Blunt, Colman Domingo, Josh O’Connor, and Colin Firth—is top-notch. And the idea of Spielberg returning to a genre that has provided us with so many classic films is enough to get us there opening day.

    Woody and Buzz in Toy Story 5
    Pixar / Disney

    Toy Story 5

    June 19

    What do you do when you make a near-perfect trilogy of animated films? Why, you keep going, of course! And if you thought that Toy Story 4 was a risky add-on, then you’re probably even more fretful over Toy Story 5. But Pixar, in a bit of a slump these days, is going back to its original franchise one more time with Woody, Buzz, Jessie, Forky, and all the rest returning. This time, the gang must fight for Bonnie’s attention with a tablet named Lilypad (Anna Faris)—setting up a clash between toys and tech that has no doubt gripped many households in recent years.

    Milly alcock in superman ending
    Warner Bros. Pictures

    Supergirl

    June 26

    In some sense, Supergirl might be more of a test of James Gunn’s DC Studios than even 2025’s Superman. While that DCU kickoff had a lot to prove, Supergirl is the first follow-up to gauge how much audiences bought in, including to a cliffhanger of Milly Alcock’s party gal Kryptonian. Luckily, this spinoff is based on one of the best superhero stories of the decade, Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, which finds a far more haunted Kara Zor-El than CW fans might remember. It also comes from director Craig Gillespie, who’s had success in left-of-center genre-benders like I, Tonya, Cruella, and Lars and the Real Girl. Together with Alcock and Jason Momoa (as… Lobo?!), this one could have a whole different vibe.

    Matt Damon wearing ancient Greek armour in the first look at Christopher Nolan's The Odyssey

    The Odyssey

    July 17

    How do you follow up a three-hour, billion-dollar-grossing, Best Picture-winning historical drama about the invention of the atomic bomb? With an epic film based on an ancient Greek myth, naturally. Fantasy and mythology movies tend to sink at the box office unless the name Tolkien is attached to them, but if anyone can turn Homer’s landmark of Greek literature into box office gold, it’s Christopher Nolan, who did the same for a tormented nuclear physicist in Oppenheimer. As usual, the cast—led by Matt Damon as Odysseus—is stacked, and Nolan is perhaps the only director aside from James Cameron whose name alone puts butts in seats. Whatever The Odyssey ends up being, we don’t expect to call it modest.

    Spider-Man
    Sony Pictures

    Spider-Man: Brand New Day

    July 31

    Following up the $1.9 billion-grossing Spider-Man: No Way Home is no easy feat, but the MCU’s Tom Holland-led iteration of your friendly neighborhood webslinger seems to be one of the few bright spots of Marvel’s post-Infinity Saga daze. The usual rumors persist about villains, storylines, multiverse variants, and the like, but all we really know is that Spidey will once again be supported by other MCU favorites like Mark Ruffalo’s Hulk and Jon Bernthal’s Punisher, while the identity and exact nature of the main antagonist remain unknown. Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) replaces Jon Watts behind the camera for this one, and Stranger Things’ Sadie Sink joins returning cast members Zendaya and Jacob Batalon. Perhaps most interestingly, it’s speculated that this is Holland’s last non-Avengers stint in the red and blue suit.

    Tom Cruise and Iñárritu at Governors Ball
    Kevin Winter / Getty Images

    Untitled Cruise/Iñárritu Film

    October 2

    We know even less about this movie than Spielberg’s, but it’s notable for two reasons: it’s a new work by Birdman and The Revenant director Alejandro G. Iñárritu, and it’s Tom Cruise’s first original film in eight years, following his recent run of Top Gun/Mission: Impossible sequels. The supporting cast is also excellent, including Jesse Plemons, Sandra Hüller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and others. Shot in VistaVision, it’s said to be a black comedy about a man who sets out to save humanity after nearly destroying it. And that’s all we’ve got—except that the pairing of star and director may indicate a new phase of both their careers.

    Joseph Zada as Haymitch Abernathy in The Hunger Games: Sunrise on the Reaping. Photo Credit: Murray Close
    Lionsgate

    The Hunger Games: Sunrise on the Reaping

    November 20

    With the success of 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate and director Francis Lawrence adapting Suzanne Collins’ next prequel novel, Sunrise on the Reaping, is a smart bet. Set some four decades after Songbirds & Snakes, and just 24 years before the events of The Hunger Games (2012), this film stars Joseph Zada as a young Haymitch Abernathy (Woody Harrelson in the original movies) as he competes and (no spoiler) wins in the 50th Hunger Games. Yet the trials and tragedies he faces along the way have made this novel a fan favorite since its publication. Once again, the story’s young tributes will be supported by all-star veterans, including Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, and Glenn Close. Meanwhile, Mckenna Grace plays Maysilee Donner, a young tribute who has captured the minds of millions of readers.

    Poster for Avengers: Doomsday

    Avengers: Doomsday

    December 18

    This is it: high noon for the Marvel Cinematic Universe. This is the one that features the return of Infinity War/Endgame directors Anthony and Joe Russo, Robert Downey Jr. coming back not as Iron Man but Doctor Doom, the inclusion of the OG Fox X-Men cast, the rumored appearance of everyone from Chris Evans to Ryan Reynolds… and it all adds up to either a Hail Mary pass of titanic proportions or a glorious relaunch to box office dominance. Don’t let the reports of an unfinished script or extended reshoots fool you; Marvel can pull this off—they’ve done so in the past—but the question is whether the Avengers brand still has the power to bring the MCU back from its recent decline.

    Timothee Chalamet in Dune 2 Review
    WB

    Dune: Part Three

    December 18

    Denis Villeneuve’s first two Dune movies were arguably the most epic, visionary genre releases since Peter Jackson bestowed The Lord of the Rings on us 20 years earlier. But concluding a trilogy has been the downfall of many a filmmaker, and Villeneuve faces a formidable task here. The movie will ostensibly be based on Frank Herbert’s Dune Messiah, a very different story from the original and in many ways a more difficult one to imagine as a film. But if Villeneuve keeps the core of the novel—the willful self-destruction of Paul Atreides—intact, he can stick this landing like a breaking Shai-Hulud. We’re rooting for him all the way.

    Robert Eggers on Nosferatu Set
    Focus Features

    Werwulf

    December 25

    With his four previous movies, writer/director Robert Eggers has proven himself as the master of grim, atmospheric period horror (yes, even The Northman was a horror story in its own way). He immerses us in barbaric worlds of the past like no other filmmaker currently working. Having conquered the most seminal of vampire tales with Nosferatu, he’s now turning his attention to lycanthropy with what he himself calls “the darkest thing I have ever written,” an original werewolf story set in 13th-century England. Blood, gore, mud, and disease? Sounds like Eggers is going to have us howling in terror when this thing crawls toward holiday theaters.

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year appeared first on Den of Geek.

  • Upcoming Movies in 2026: The Most Anticipated Films of Next Year

    Upcoming Movies in 2026: The Most Anticipated Films of Next Year

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic […]

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year appeared first on Den of Geek.

    It feels strange to be talking about 2026 movies when we haven’t even escaped 2025 yet, but here we are! What makes the coming 12 months notable is that it might be the first full calendar year in which the cycle of film production and distribution has not been suffering residual effects from the pandemic in 2020/2021 or the writers’ and actors’ strikes in 2023. As a result, one glance at the upcoming release schedule indicates that 2026 could be the most packed year at the multiplex in a long time.

    Even narrowing this list down to fewer than 20 entries was difficult, and the films we list below show the breadth of releases coming our way: everything from Gothic romances to mythological epics to make-or-break superhero spectaculars. As William Goldman famously said, nobody knows anything, so each of the movies in our survey holds the potential for massive success or catastrophic failure. Whatever happens, we’ll be there for each one.

    Jack O'Connell in 28 Years Later Trailer
    Sony Pictures

    28 Years Later: The Bone Temple

    January 16

    After taking (ahem) 23 years off between installments, Danny Boyle and Alex Garland are continuing 28 Years Later‘s sordid legacy in faster succession, albeit this time with fresh blood. Candyman and Hedda helmer Nia DaCosta picks up the directorial reins in 28 Years Later: The Bone Temple, a movie which filmed simultaneously with last June’s zombie showdown. The new movie continues the story of Ralph Fiennes’ enigmatic good(ish?) doctor obsessed with memento mori and what happens to young Spike (Alfie Williams) when he falls into a band of “Jimmies,” led by Jack O’Connell’s eerily chipper and self-christened St. Jimmy.

    In an exclusive preview with Den of Geek, DaCosta hinted, “You have these two trains on a track, essentially, that are going to collide. They’re going to end up with these two worlds in a clash, because you kind of feel that Spike and Kelson are going to interact again.”

    Warner Bros. Pictures
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    Wuthering Heights

    February 13

    The always-provocative filmmaker Emerald Fennell is following up her Oscar-winning Promising Young Woman and divisive Saltburn with a splashy adaptation of Emily Brontë’s classic 1847 Gothic romance, and it stars no less than Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff. The castings are already raising eyebrows, with the latter earning accusations of whitewashing a literary character of famously ambiguous origin. But by working from source material that was considered scandalously edgy in its time, we can expect Fennell to welcome it all while amping up the tale’s eroticism and psychological melodrama—and with lots of heaving chests and Charli XCX songs if the trailer is anything to go by. In other words, don’t expect your high school teacher’s Wuthering Heights.

    Jessie Buckley in The Bride!
    Warner Bros. Pictures

    The Bride!

    March 6

    Maggie Gyllenhaal’s second outing as a director is a wild pivot from 2021’s The Lost Daughter: it’s been described as a musical, a satire, and an homage to The Bride of Frankenstein. Set in 1930s Chicago, the film finds Frankenstein’s Monster (Christian Bale) asking Dr. Euphronius (Annette Bening) to create a companion for him, which arrives in the form of the Bride (Jessie Buckley). What happens from there involves murder, mayhem, and, er, social change. It seems a gamble by Warners, but a bold one given the amount of talent involved, as well as the fact that Mary Shelley reworkings seem to be in season if Poor Things and Guillermo del Toro’s Frankenstein are anything to go by.

    Ryan Gosling in Project Hail Mary
    Amazon MGM

    Project Hail Mary

    March 20

    Phil Lord and Christopher Miller are at last in the director’s chairs again for a live-action film after they were dismissed from Solo: A Star Wars Story in 2018. (Their last completed live-action effort, 22 Jump Street, came out in 2014.) This time, though, the newly Spider-Verse emboldened duo is adapting Andy Weir’s sci-fi bestseller. The movie stars Ryan Gosling as a man who wakes up on an interstellar ship with no recollection of how he got there. And soon he learns that he is the last hope for humanity. The marketing promises a high-concept adventure with plenty of thrills, humor, and that ol’ Gosling charm. The Weir connection also suggests this is particularly well-suited to the screen. See Ridley Scott’s adaptation of The Martian for more.

    Rosalina in The Super Mario Galaxy Movie
    Universal Pictures

    The Super Mario Galaxy Movie

    April 3

    After 2023’s The Super Mario Bros. Movie became the most successful video game-based movie of all time (nearly $1.4 billion worldwide), there was no doubt that Illumination and Nintendo would immediately greenlight a sequel. And while the plot remains under wraps, any gamer with passing familiarity with the Nintendo Wii’s beloved Super Mario Galaxy is already expecting gravity-bending visuals and out-of-this-world shenanigans for the plumber brothers. Chris Pratt, Anya Taylor-Joy, Jack Black, Charlie Day, and Keegan-Michael Key are all returning to their signature roles from the first film, while Aaron Horvath and Michael Jelenic are again directing.

    Anne Hathaway and Meryl Streep in Devil Wears Prada 2
    20th Century Studios / Disney

    The Devil Wears Prada 2

    May 1

    It’s time to get the devil her due, because Miranda Priestly is back in the long-rumored and hoped-for The Devil Wears Prada 2. Story details remain relatively tight-lipped, but we do know that despite having very different lanes of journalism in their purviews, Meryl Streep’s ice queen and Anne Hathaway’s Andy Sachs wind up in the same room again. The Dave Frankel-directed film also features the return of fan-favorite characters played by Emily Blunt and Stanley Tucci.

    Karl Urban as Johnny Cage in Mortal Kombat II
    Warner Bros. Pictures

    Mortal Kombat II

    May 8

    Mortal Kombat II has certainly risen in the ranks of expectations. A sequel to the pretty-looking but somewhat divisively-received 2021 reboot of the franchise, Mortal Kombat, this sequel was originally pegged to be an October release date. But after enthusiastic test screenings and buzzy word-of-mouth, WB apparently got bullish about the Simon McQuoid-directed joint and moved the fighter to May of next year. It probably helps that the intended R-rated spectacle is bringing in a lot of fan-favorite characters and setups, including Karl Urban as an over-the-hill Johnny Cage who gets recruited into the titular tournament after his career as a movie star falls on hard times.

    “The point where we find Johnny in this movie is very relatable to everybody, because he’s on the back foot in life,” Urban tells us in an exclusive cover story interview. “His career is in the tank, the world’s forgotten him, and he’s at a real low point. His confidence has been knocked, and it is at this very juncture that he is called upon to be at his best and to use his skillset to defend Earthrealm.” That leads to stunt work which the star teases has both humor and dexterity. “You also see specifically Van Damme, who in my opinion, was phenomenal, and Jackie Chan, who I drew huge inspiration from for the tone of some of Johnny Cage’s fights.”

    The Mandalorian and Grogu Movie
    Lucasfilm / Disney

    Star Wars: The Mandalorian and Grogu

    May 22

    It will be nearly seven years since a Star Wars movie blasted across the big screen by the time this comes out, which is hopefully long enough for the bad taste left by The Rise of Skywalker to have disappeared. Either way, director Jon Favreau and co-writer Dave Filoni’s new film is set to answer a hard question for the franchise: will vast amounts of people come out for a story that requires viewing at least one, if not two, shows that aired on Disney+? A little Pedro Pascal charisma, even in a mask, can’t hurt. Meanwhile, the Lucasfilm braintrust appears to be betting that there’s enough good faith—and enough fans still in love with Baby Yoda—to restore this aging franchise to cinematic glory.

    Steven Spielberg at Hamnet premiere
    Photo by Rodin Eckenroth / Getty Images

    Untitled Steven Spielberg Movie

    June 12

    While Steven Spielberg is not the box office or cultural powerhouse that he was in previous decades, there is no question that the mind races with possibilities at the thought of what this movie could be. Here’s what we know: it’s a science fiction film, reportedly having something to do with UFOs, that’s based on an idea Spielberg personally had before handing it off to his go-to blockbuster scribe, David Koepp. Keep in mind that Spielberg also dreamed up the original concepts for Close Encounters and E.T. Furthermore, the cast—including Emily Blunt, Colman Domingo, Josh O’Connor, and Colin Firth—is top-notch. And the idea of Spielberg returning to a genre that has provided us with so many classic films is enough to get us there opening day.

    Woody and Buzz in Toy Story 5
    Pixar / Disney

    Toy Story 5

    June 19

    What do you do when you make a near-perfect trilogy of animated films? Why, you keep going, of course! And if you thought that Toy Story 4 was a risky add-on, then you’re probably even more fretful over Toy Story 5. But Pixar, in a bit of a slump these days, is going back to its original franchise one more time with Woody, Buzz, Jessie, Forky, and all the rest returning. This time, the gang must fight for Bonnie’s attention with a tablet named Lilypad (Anna Faris)—setting up a clash between toys and tech that has no doubt gripped many households in recent years.

    Milly alcock in superman ending
    Warner Bros. Pictures

    Supergirl

    June 26

    In some sense, Supergirl might be more of a test of James Gunn’s DC Studios than even 2025’s Superman. While that DCU kickoff had a lot to prove, Supergirl is the first follow-up to gauge how much audiences bought in, including to a cliffhanger of Milly Alcock’s party gal Kryptonian. Luckily, this spinoff is based on one of the best superhero stories of the decade, Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, which finds a far more haunted Kara Zor-El than CW fans might remember. It also comes from director Craig Gillespie, who’s had success in left-of-center genre-benders like I, Tonya, Cruella, and Lars and the Real Girl. Together with Alcock and Jason Momoa (as… Lobo?!), this one could have a whole different vibe.

    Matt Damon wearing ancient Greek armour in the first look at Christopher Nolan's The Odyssey

    The Odyssey

    July 17

    How do you follow up a three-hour, billion-dollar-grossing, Best Picture-winning historical drama about the invention of the atomic bomb? With an epic film based on an ancient Greek myth, naturally. Fantasy and mythology movies tend to sink at the box office unless the name Tolkien is attached to them, but if anyone can turn Homer’s landmark of Greek literature into box office gold, it’s Christopher Nolan, who did the same for a tormented nuclear physicist in Oppenheimer. As usual, the cast—led by Matt Damon as Odysseus—is stacked, and Nolan is perhaps the only director aside from James Cameron whose name alone puts butts in seats. Whatever The Odyssey ends up being, we don’t expect to call it modest.

    Spider-Man
    Sony Pictures

    Spider-Man: Brand New Day

    July 31

    Following up the $1.9 billion-grossing Spider-Man: No Way Home is no easy feat, but the MCU’s Tom Holland-led iteration of your friendly neighborhood webslinger seems to be one of the few bright spots of Marvel’s post-Infinity Saga daze. The usual rumors persist about villains, storylines, multiverse variants, and the like, but all we really know is that Spidey will once again be supported by other MCU favorites like Mark Ruffalo’s Hulk and Jon Bernthal’s Punisher, while the identity and exact nature of the main antagonist remain unknown. Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) replaces Jon Watts behind the camera for this one, and Stranger Things’ Sadie Sink joins returning cast members Zendaya and Jacob Batalon. Perhaps most interestingly, it’s speculated that this is Holland’s last non-Avengers stint in the red and blue suit.

    Tom Cruise and Iñárritu at Governors Ball
    Kevin Winter / Getty Images

    Untitled Cruise/Iñárritu Film

    October 2

    We know even less about this movie than Spielberg’s, but it’s notable for two reasons: it’s a new work by Birdman and The Revenant director Alejandro G. Iñárritu, and it’s Tom Cruise’s first original film in eight years, following his recent run of Top Gun/Mission: Impossible sequels. The supporting cast is also excellent, including Jesse Plemons, Sandra Hüller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and others. Shot in VistaVision, it’s said to be a black comedy about a man who sets out to save humanity after nearly destroying it. And that’s all we’ve got—except that the pairing of star and director may indicate a new phase of both their careers.

    Joseph Zada as Haymitch Abernathy in The Hunger Games: Sunrise on the Reaping. Photo Credit: Murray Close
    Lionsgate

    The Hunger Games: Sunrise on the Reaping

    November 20

    With the success of 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate and director Francis Lawrence adapting Suzanne Collins’ next prequel novel, Sunrise on the Reaping, is a smart bet. Set some four decades after Songbirds & Snakes, and just 24 years before the events of The Hunger Games (2012), this film stars Joseph Zada as a young Haymitch Abernathy (Woody Harrelson in the original movies) as he competes and (no spoiler) wins in the 50th Hunger Games. Yet the trials and tragedies he faces along the way have made this novel a fan favorite since its publication. Once again, the story’s young tributes will be supported by all-star veterans, including Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, and Glenn Close. Meanwhile, Mckenna Grace plays Maysilee Donner, a young tribute who has captured the minds of millions of readers.

    Poster for Avengers: Doomsday

    Avengers: Doomsday

    December 18

    This is it: high noon for the Marvel Cinematic Universe. This is the one that features the return of Infinity War/Endgame directors Anthony and Joe Russo, Robert Downey Jr. coming back not as Iron Man but Doctor Doom, the inclusion of the OG Fox X-Men cast, the rumored appearance of everyone from Chris Evans to Ryan Reynolds… and it all adds up to either a Hail Mary pass of titanic proportions or a glorious relaunch to box office dominance. Don’t let the reports of an unfinished script or extended reshoots fool you; Marvel can pull this off—they’ve done so in the past—but the question is whether the Avengers brand still has the power to bring the MCU back from its recent decline.

    Timothee Chalamet in Dune 2 Review
    WB

    Dune: Part Three

    December 18

    Denis Villeneuve’s first two Dune movies were arguably the most epic, visionary genre releases since Peter Jackson bestowed The Lord of the Rings on us 20 years earlier. But concluding a trilogy has been the downfall of many a filmmaker, and Villeneuve faces a formidable task here. The movie will ostensibly be based on Frank Herbert’s Dune Messiah, a very different story from the original and in many ways a more difficult one to imagine as a film. But if Villeneuve keeps the core of the novel—the willful self-destruction of Paul Atreides—intact, he can stick this landing like a breaking Shai-Hulud. We’re rooting for him all the way.

    Robert Eggers on Nosferatu Set
    Focus Features

    Werwulf

    December 25

    With his four previous movies, writer/director Robert Eggers has proven himself as the master of grim, atmospheric period horror (yes, even The Northman was a horror story in its own way). He immerses us in barbaric worlds of the past like no other filmmaker currently working. Having conquered the most seminal of vampire tales with Nosferatu, he’s now turning his attention to lycanthropy with what he himself calls “the darkest thing I have ever written,” an original werewolf story set in 13th-century England. Blood, gore, mud, and disease? Sounds like Eggers is going to have us howling in terror when this thing crawls toward holiday theaters.

    The post Upcoming Movies in 2026: The Most Anticipated Films of Next Year 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.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been having conversations for thousands of years. Whether to convey information, conduct transactions, or simply to check in on one another, people have yammered away, chattering and gesticulating, through spoken conversation for countless generations. Only in the last few millennia have we begun to commit our conversations to writing, and only in the last few decades have we begun to outsource them to the computer, a machine that shows much more affinity for written correspondence than for the slangy vagaries of spoken language.

    Computers have trouble because between spoken and written language, speech is more primordial. To have successful conversations with us, machines must grapple with the messiness of human speech: the disfluencies and pauses, the gestures and body language, and the variations in word choice and spoken dialect that can stymie even the most carefully crafted human-computer interaction. In the human-to-human scenario, spoken language also has the privilege of face-to-face contact, where we can readily interpret nonverbal social cues.

    In contrast, written language immediately concretizes as we commit it to record and retains usages long after they become obsolete in spoken communication (the salutation “To whom it may concern,” for example), generating its own fossil record of outdated terms and phrases. Because it tends to be more consistent, polished, and formal, written text is fundamentally much easier for machines to parse and understand.

    Spoken language has no such luxury. Besides the nonverbal cues that decorate conversations with emphasis and emotional context, there are also verbal cues and vocal behaviors that modulate conversation in nuanced ways: how something is said, not what. Whether rapid-fire, low-pitched, or high-decibel, whether sarcastic, stilted, or sighing, our spoken language conveys much more than the written word could ever muster. So when it comes to voice interfaces—the machines we conduct spoken conversations with—we face exciting challenges as designers and content strategists.

    Voice Interactions

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

    • we need something done (such as a transaction),
    • we want to know something (information of some sort), or
    • we are social beings and want someone to talk to (conversation for conversation’s sake).

    These three categories—which I call transactional, informational, and prosocial—also characterize essentially every voice interaction: a single conversation from beginning to end that realizes some outcome for the user, starting with the voice interface’s first greeting and ending with the user exiting the interface. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but a conversation is not necessarily a single voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. There’s also ongoing debate as to whether users actually prefer the sort of organic human conversation that begins with a prosocial voice interaction and shifts seamlessly into other types. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users’ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ().

    That leaves two genres of conversations we can have with one another that a voice interface can easily have with us, too: a transactional voice interaction realizing some outcome (“buy iced tea”) and an informational voice interaction teaching us something new (“discuss a musical”).

    Transactional voice interactions

    Unless you’re tapping buttons on a food delivery app, you’re generally having a conversation—and therefore a voice interaction—when you order a Hawaiian pizza with extra pineapple. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza (generously topped with pineapple, as it should be).

    Alison: Hey, how’s it going?

    Burhan: Hi, welcome to Crust Deluxe! It’s cold out there. How can I help you?

    Alison: Can I get a Hawaiian pizza with extra pineapple?

    Burhan: Sure, what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    Alison: I’ll have a bottle of Coke.

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

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

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Though Alison might visit Crust Deluxe with the sole purpose of placing an order, she might not actually want to walk out with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. Here, though we again have a prosocial mini-conversation at the beginning to establish politeness, we’re after much more.

    Alison: Hey, how’s it going?

    Burhan: Hi, welcome to Crust Deluxe! It’s cold out there. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

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

    Burhan: Absolutely! We can make any pie halal by request. We also have lots of vegetarian, ovo-lacto, and vegan options. Are you thinking about any other dietary restrictions?

    Alison: What about gluten-free pizzas?

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

    Alison: That’s it for now. Good to know. Thanks!

    Burhan: Anytime, come back soon!

    This is a very different dialogue. Here, the goal is to get a certain set of facts. Informational conversations are investigative quests for the truth—research expeditions to gather data, news, or facts. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses tend to be lengthier, more informative, and carefully communicated so the customer understands the key takeaways.

    Voice Interfaces

    At their core, voice interfaces employ speech to support users in reaching their goals. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. Because multimodal voice interfaces can lean on visual components like screens as crutches, we’re most concerned in this book with pure voice interfaces, which depend entirely on spoken conversation, lack any visual component whatsoever, and are therefore much more nuanced and challenging to tackle.

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

    Interactive voice response (IVR) systems

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

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. Commonplace in the corporate world, these systems were primarily designed as metaphorical switchboards to guide customers to a real phone agent (“Say Reservations to book a flight or check an itinerary”); chances are you will enter a conversation with one when you call an airline or hotel conglomerate. Despite their functional issues and users’ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

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

    Screen readers

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

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

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

    Though deeply instructive for voice interface designers, there’s one significant problem with screen readers: they’re difficult to use and unremittingly verbose. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. For many screen reader users, working with web-based interfaces exacts a cognitive toll.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    From the beginning, I hated the way that Screen Readers work. Why are they designed the way they are? It makes no sense to present information visually and then, and only then, translate that into audio. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. ()

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, visual interface users have the benefit of darting around the viewport freely to find information, ignoring areas irrelevant to them. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Disabled users who have long had no choice but to employ clunky screen readers may find that voice interfaces, particularly more modern voice assistants, offer a more streamlined experience.

    Voice assistants

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

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others formulated their vision for a Semantic Web “agent” that would perform typical errands like “checking calendars, making appointments, and finding locations” (, behind paywall). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    Thanks to the plethora of voice assistants available today, there is considerable variation in how programmable and customizable certain voice assistants are over others (Fig 1.1). At one extreme, everything except vendor-provided features is locked down; for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. Even today, it isn’t possible to program Siri to perform arbitrary functions, because there’s no means by which developers can interact with Siri at a low level, apart from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and certain others.

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

    As corporations like Amazon, Apple, Microsoft, and Google continue to stake their territory, they’re also selling and open-sourcing an unprecedented array of tools and frameworks for designers and developers that aim to make building voice interfaces as easy as possible, even without code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. By contrast, many development platforms like Google’s Dialogflow have introduced omnichannel capabilities so users can build a single conversational interface that then manifests as a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice Content

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

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. In this book, we’re most concerned with content delivered auditorily—not as an option, but as a necessity.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. There’s only one problem: any content we already have isn’t in any way ready for this new habitat. So how do we make the content trapped on our websites more conversational? And how do we write new copy that lends itself to voice interactions?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many respects, colossal vaults of what I call macrocontent: lengthy prose that can extend for infinitely scrollable miles in a browser window, like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

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

    I’d update Dash’s definition of microcontent to include all examples of bite-sized content that go well beyond written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. Microcontent offers the best opportunity to gauge how your content can be stretched to the very edges of its capabilities, informing delivery channels both established and novel.

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

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Fundamentally, the legibility and discoverability of our voice content both have to do with how voice content manifests in perceived time and space.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

    Antiracist economist Kim Crayton says that “intention without strategy is chaos.” We’ve discussed how our biases, assumptions, and inattention toward marginalized and vulnerable groups lead to dangerous and unethical tech—but what, specifically, do we need to do to fix it? The intention to make our tech safer is not enough; we need a strategy.

    This chapter will equip you with that plan of action. It covers how to integrate safety principles into your design work in order to create tech that’s safe, how to convince your stakeholders that this work is necessary, and how to respond to the critique that what we actually need is more diversity. (Spoiler: we do, but diversity alone is not the antidote to fixing unethical, unsafe tech.)

    The process for inclusive safety

    When you are designing for safety, your goals are to:

    • identify ways your product can be used for abuse,
    • design ways to prevent the abuse, and
    • provide support for vulnerable users to reclaim power and control.

    The Process for Inclusive Safety is a tool to help you reach those goals (Fig 5.1). It’s a methodology I created in 2018 to capture the various techniques I was using when designing products with safety in mind. Whether you are creating an entirely new product or adding to an existing feature, the Process can help you make your product safe and inclusive. The Process includes five general areas of action:

    • Conducting research
    • Creating archetypes
    • Brainstorming problems
    • Designing solutions
    • Testing for safety

    The Process is meant to be flexible—it won’t make sense for teams to implement every step in some situations. Use the parts that are relevant to your unique work and context; this is meant to be something you can insert into your existing design practice.

    And once you use it, if you have an idea for making it better or simply want to provide context of how it helped your team, please get in touch with me. It’s a living document that I hope will continue to be a useful and realistic tool that technologists can use in their day-to-day work.

    If you’re working on a product specifically for a vulnerable group or survivors of some form of trauma, such as an app for survivors of domestic violence, sexual assault, or drug addiction, be sure to read Chapter 7, which covers that situation explicitly and should be handled a bit differently. The guidelines here are for prioritizing safety when designing a more general product that will have a wide user base (which, we already know from statistics, will include certain groups that should be protected from harm). Chapter 7 is focused on products that are specifically for vulnerable groups and people who have experienced trauma.

    Step 1: Conduct research

    Design research should include a broad analysis of how your tech might be weaponized for abuse as well as specific insights into the experiences of survivors and perpetrators of that type of abuse. At this stage, you and your team will investigate issues of interpersonal harm and abuse, and explore any other safety, security, or inclusivity issues that might be a concern for your product or service, like data security, racist algorithms, and harassment.

    Broad research

    Your project should begin with broad, general research into similar products and issues around safety and ethical concerns that have already been reported. For example, a team building a smart home device would do well to understand the multitude of ways that existing smart home devices have been used as tools of abuse. If your product will involve AI, seek to understand the potentials for racism and other issues that have been reported in existing AI products. Nearly all types of technology have some kind of potential or actual harm that’s been reported on in the news or written about by academics. Google Scholar is a useful tool for finding these studies.

    Specific research: Survivors

    When possible and appropriate, include direct research (surveys and interviews) with people who are experts in the forms of harm you have uncovered. Ideally, you’ll want to interview advocates working in the space of your research first so that you have a more solid understanding of the topic and are better equipped to not retraumatize survivors. If you’ve uncovered possible domestic violence issues, for example, the experts you’ll want to speak with are survivors themselves, as well as workers at domestic violence hotlines, shelters, other related nonprofits, and lawyers.

    Especially when interviewing survivors of any kind of trauma, it is important to pay people for their knowledge and lived experiences. Don’t ask survivors to share their trauma for free, as this is exploitative. While some survivors may not want to be paid, you should always make the offer in the initial ask. An alternative to payment is to donate to an organization working against the type of violence that the interviewee experienced. We’ll talk more about how to appropriately interview survivors in Chapter 6.

    Specific research: Abusers

    It’s unlikely that teams aiming to design for safety will be able to interview self-proclaimed abusers or people who have broken laws around things like hacking. Don’t make this a goal; rather, try to get at this angle in your general research. Aim to understand how abusers or bad actors weaponize technology to use against others, how they cover their tracks, and how they explain or rationalize the abuse.

    Step 2: Create archetypes

    Once you’ve finished conducting your research, use your insights to create abuser and survivor archetypes. Archetypes are not personas, as they’re not based on real people that you interviewed and surveyed. Instead, they’re based on your research into likely safety issues, much like when we design for accessibility: we don’t need to have found a group of blind or low-vision users in our interview pool to create a design that’s inclusive of them. Instead, we base those designs on existing research into what this group needs. Personas typically represent real users and include many details, while archetypes are broader and can be more generalized.

    The abuser archetype is someone who will look at the product as a tool to perform harm (Fig 5.2). They may be trying to harm someone they don’t know through surveillance or anonymous harassment, or they may be trying to control, monitor, abuse, or torment someone they know personally.

    The survivor archetype is someone who is being abused with the product. There are various situations to consider in terms of the archetype’s understanding of the abuse and how to put an end to it: Do they need proof of abuse they already suspect is happening, or are they unaware they’ve been targeted in the first place and need to be alerted (Fig 5.3)?

    You may want to make multiple survivor archetypes to capture a range of different experiences. They may know that the abuse is happening but not be able to stop it, like when an abuser locks them out of IoT devices; or they know it’s happening but don’t know how, such as when a stalker keeps figuring out their location (Fig 5.4). Include as many of these scenarios as you need to in your survivor archetype. You’ll use these later on when you design solutions to help your survivor archetypes achieve their goals of preventing and ending abuse.

    It may be useful for you to create persona-like artifacts for your archetypes, such as the three examples shown. Instead of focusing on the demographic information we often see in personas, focus on their goals. The goals of the abuser will be to carry out the specific abuse you’ve identified, while the goals of the survivor will be to prevent abuse, understand that abuse is happening, make ongoing abuse stop, or regain control over the technology that’s being used for abuse. Later, you’ll brainstorm how to prevent the abuser’s goals and assist the survivor’s goals.

    And while the “abuser/survivor” model fits most cases, it doesn’t fit all, so modify it as you need to. For example, if you uncovered an issue with security, such as the ability for someone to hack into a home camera system and talk to children, the malicious hacker would get the abuser archetype and the child’s parents would get survivor archetype.

    Step 3: Brainstorm problems

    After creating archetypes, brainstorm novel abuse cases and safety issues. “Novel” means things not found in your research; you’re trying to identify completely new safety issues that are unique to your product or service. The goal with this step is to exhaust every effort of identifying harms your product could cause. You aren’t worrying about how to prevent the harm yet—that comes in the next step.

    How could your product be used for any kind of abuse, outside of what you’ve already identified in your research? I recommend setting aside at least a few hours with your team for this process.

    If you’re looking for somewhere to start, try doing a Black Mirror brainstorm. This exercise is based on the show Black Mirror, which features stories about the dark possibilities of technology. Try to figure out how your product would be used in an episode of the show—the most wild, awful, out-of-control ways it could be used for harm. When I’ve led Black Mirror brainstorms, participants usually end up having a good deal of fun (which I think is great—it’s okay to have fun when designing for safety!). I recommend time-boxing a Black Mirror brainstorm to half an hour, and then dialing it back and using the rest of the time thinking of more realistic forms of harm.

    After you’ve identified as many opportunities for abuse as possible, you may still not feel confident that you’ve uncovered every potential form of harm. A healthy amount of anxiety is normal when you’re doing this kind of work. It’s common for teams designing for safety to worry, “Have we really identified every possible harm? What if we’ve missed something?” If you’ve spent at least four hours coming up with ways your product could be used for harm and have run out of ideas, go to the next step.

    It’s impossible to guarantee you’ve thought of everything; instead of aiming for 100 percent assurance, recognize that you’ve taken this time and have done the best you can, and commit to continuing to prioritize safety in the future. Once your product is released, your users may identify new issues that you missed; aim to receive that feedback graciously and course-correct quickly.

    Step 4: Design solutions

    At this point, you should have a list of ways your product can be used for harm as well as survivor and abuser archetypes describing opposing user goals. The next step is to identify ways to design against the identified abuser’s goals and to support the survivor’s goals. This step is a good one to insert alongside existing parts of your design process where you’re proposing solutions for the various problems your research uncovered.

    Some questions to ask yourself to help prevent harm and support your archetypes include:

    • Can you design your product in such a way that the identified harm cannot happen in the first place? If not, what roadblocks can you put up to prevent the harm from happening?
    • How can you make the victim aware that abuse is happening through your product?
    • How can you help the victim understand what they need to do to make the problem stop?
    • Can you identify any types of user activity that would indicate some form of harm or abuse? Could your product help the user access support?

    In some products, it’s possible to proactively recognize that harm is happening. For example, a pregnancy app might be modified to allow the user to report that they were the victim of an assault, which could trigger an offer to receive resources for local and national organizations. This sort of proactiveness is not always possible, but it’s worth taking a half hour to discuss if any type of user activity would indicate some form of harm or abuse, and how your product could assist the user in receiving help in a safe manner.

    That said, use caution: you don’t want to do anything that could put a user in harm’s way if their devices are being monitored. If you do offer some kind of proactive help, always make it voluntary, and think through other safety issues, such as the need to keep the user in-app in case an abuser is checking their search history. We’ll walk through a good example of this in the next chapter.

    Step 5: Test for safety

    The final step is to test your prototypes from the point of view of your archetypes: the person who wants to weaponize the product for harm and the victim of the harm who needs to regain control over the technology. Just like any other kind of product testing, at this point you’ll aim to rigorously test out your safety solutions so that you can identify gaps and correct them, validate that your designs will help keep your users safe, and feel more confident releasing your product into the world.

    Ideally, safety testing happens along with usability testing. If you’re at a company that doesn’t do usability testing, you might be able to use safety testing to cleverly perform both; a user who goes through your design attempting to weaponize the product against someone else can also be encouraged to point out interactions or other elements of the design that don’t make sense to them.

    You’ll want to conduct safety testing on either your final prototype or the actual product if it’s already been released. There’s nothing wrong with testing an existing product that wasn’t designed with safety goals in mind from the onset—“retrofitting” it for safety is a good thing to do.

    Remember that testing for safety involves testing from the perspective of both an abuser and a survivor, though it may not make sense for you to do both. Alternatively, if you made multiple survivor archetypes to capture multiple scenarios, you’ll want to test from the perspective of each one.

    As with other sorts of usability testing, you as the designer are most likely too close to the product and its design by this point to be a valuable tester; you know the product too well. Instead of doing it yourself, set up testing as you would with other usability testing: find someone who is not familiar with the product and its design, set the scene, give them a task, encourage them to think out loud, and observe how they attempt to complete it.

    Abuser testing

    The goal of this testing is to understand how easy it is for someone to weaponize your product for harm. Unlike with usability testing, you want to make it impossible, or at least difficult, for them to achieve their goal. Reference the goals in the abuser archetype you created earlier, and use your product in an attempt to achieve them.

    For example, for a fitness app with GPS-enabled location features, we can imagine that the abuser archetype would have the goal of figuring out where his ex-girlfriend now lives. With this goal in mind, you’d try everything possible to figure out the location of another user who has their privacy settings enabled. You might try to see her running routes, view any available information on her profile, view anything available about her location (which she has set to private), and investigate the profiles of any other users somehow connected with her account, such as her followers.

    If by the end of this you’ve managed to uncover some of her location data, despite her having set her profile to private, you know now that your product enables stalking. Your next step is to go back to step 4 and figure out how to prevent this from happening. You may need to repeat the process of designing solutions and testing them more than once.

    Survivor testing

    Survivor testing involves identifying how to give information and power to the survivor. It might not always make sense based on the product or context. Thwarting the attempt of an abuser archetype to stalk someone also satisfies the goal of the survivor archetype to not be stalked, so separate testing wouldn’t be needed from the survivor’s perspective.

    However, there are cases where it makes sense. For example, for a smart thermostat, a survivor archetype’s goals would be to understand who or what is making the temperature change when they aren’t doing it themselves. You could test this by looking for the thermostat’s history log and checking for usernames, actions, and times; if you couldn’t find that information, you would have more work to do in step 4.

    Another goal might be regaining control of the thermostat once the survivor realizes the abuser is remotely changing its settings. Your test would involve attempting to figure out how to do this: are there instructions that explain how to remove another user and change the password, and are they easy to find? This might again reveal that more work is needed to make it clear to the user how they can regain control of the device or account.

    Stress testing

    To make your product more inclusive and compassionate, consider adding stress testing. This concept comes from Design for Real Life by Eric Meyer and Sara Wachter-Boettcher. The authors pointed out that personas typically center people who are having a good day—but real users are often anxious, stressed out, having a bad day, or even experiencing tragedy. These are called “stress cases,” and testing your products for users in stress-case situations can help you identify places where your design lacks compassion. Design for Real Life has more details about what it looks like to incorporate stress cases into your design as well as many other great tactics for compassionate design.