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  • AI Works Best as a Teammate, Not a Tool

    AI Works Best as a Teammate, Not a Tool

    AI Works Best as a Teammate, Not a Tool written by John Jantsch read more at Duct Tape Marketing

    Catch the full episode:   Episode Overview In this episode of the Duct Tape Marketing Podcast, John Jantsch speaks with Lauren Esposito, Chief Marketing Officer at Asymbl. They explore how the meaning of “hybrid workforce” has changed in the age of AI, why digital labor should be treated like human teammates, and what organizational shifts […]

    6 Marketing Trends You Need to Focus on in 2026 written by John Jantsch read more at Duct Tape Marketing

    Catch the full episode:

    john jantsch (1)Episode Overview

    In this solo episode of the Duct Tape Marketing Podcast, host John Jantsch shares six marketing trends he believes will shape 2026. Rather than speculative predictions, John focuses on developments that are already in motion and gaining momentum. He offers practical advice for businesses—especially local businesses—on how to leverage these trends for growth and visibility.

    About the Host

    John Jantsch is a marketing consultant, author, and creator of Duct Tape Marketing. With decades of experience helping small businesses grow, John is known for breaking down complex marketing concepts into actionable strategies. He hosts the Duct Tape Marketing Podcast to share insights, trends, and real-world advice for business owners and marketers.

    Key Takeaways & Timestamped Highlights

    00:00 – Introduction to the 2026 Trends

    John sets expectations: these are not radical predictions, but important trends gaining traction that marketers should be preparing for.

    01:30 – Trend #1: The Local Advantage Gets Louder

    Local SEO and Google Business Profiles remain critical for local businesses. John emphasizes using your profile as a publishing platform—not just a directory listing—to enhance visibility in local search results. Ensure images, services, posts, reviews, and engagement are optimized. Local directories beyond Google can also influence local search signals.

    03:48 – Trend #2: Real Is the New Viral

    Authenticity wins. AI-generated content increases noise, but real, human stories, behind-the-scenes content, and genuine client experiences cut through the clutter. Avoid stock photos and generic messaging; share what only you can share.

    06:13 – Trend #3: Mischief as a Marketing Strategy

    Creative, unexpected, and offline experiences can generate buzz. Think handwritten notes, spontaneous events, unconventional collaborations, or local street team activities. These experiences fuel word-of-mouth and online amplification.

    07:43 – Trend #4: Retention Is the New Acquisition

    Retention and lifecycle marketing unlock profit. Instead of allocating most budget to new customer acquisition, prioritize onboarding, upsells, referrals, and reactivation. Loyal customers are a key source of sustainable revenue.

    10:11 – Trend #5: The Rise of Trust Brokers

    Move beyond big influencers. Micro-influencers and niche creators—trust brokers—hold sway within tightly engaged communities. Build long-term, reciprocal relationships rather than one-off sponsored posts.

    11:30 – Trend #6: Be the Answer

    Search is evolving from keyword ranking to fulfilling user intent. Produce content that genuinely answers questions, solves problems, and assists your ideal customer. Useful content attracts engaged visitors rather than fleeting traffic.

    Memorable Quotes from the Episode

    “If everything from your organization starts to sound like it came from a robot, you’re going to have trouble standing out.”

    “Retention isn’t just a marketing technique, it’s where the real money hides in most businesses.”

    “Be the answer. Give people content that actually helps them solve problems.”

    Actionable Strategies From the Episode

    • Audit and update your Google Business Profile this week—treat it as an active content channel.
    • Commit to publishing at least one piece of authentic, behind-the-scenes content weekly.
    • Brainstorm one unexpected offline marketing activity each quarter to spark word-of-mouth.
    • Evaluate your customer journey—identify retention opportunities and lifecycle touchpoints.
    • Identify 3–5 niche creators aligned with your audience and develop partnership ideas.
    • Create content that answers real customer questions rather than chasing search algorithms.

    Connect with John Jantsch

    Visit the Duct Tape Marketing website for additional resources, tools, and episode archives. Follow John on LinkedIn for daily insights into marketing strategy and trends.

     

  • Design for Amiability: Lessons from Vienna

    Design for Amiability: Lessons from Vienna

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

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

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

    The Vienna Circle

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

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

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

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

    In the Café

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

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

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

    Hitler:  Destroying everybody is my business.

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

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

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

    The End Of Red Vienna

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

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

    Design for Amiability

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

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

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

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

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

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

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

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

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

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

  • Design Dialects: Breaking the Rules, Not the System

    Design Dialects: Breaking the Rules, Not the System

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

    The web has accents. So should our design systems.

    Design Systems as Living Languages

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

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

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

    Consistency becomes a prison

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

    Our design systems must learn to speak dialects.

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

    When Perfect Consistency Fails

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

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

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

    Task completion with standard Polaris: 0%.

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

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

    The Birth of a Dialect

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

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

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

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

    The Flexibility Framework

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

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

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

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

    The Decision Ladder

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

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

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

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

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

    Rules are tools, not relics.

    Unity Beats Uniformity

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

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

    Governance Without Gates

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

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

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

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

    A living dictionary scales better than a frozen rulebook.

    Start Small: Your First Dialect

    Ready to introduce dialects? Start with one broken experience:

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

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

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

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

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

    Beyond the Component Library

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

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

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

  • 6 Marketing Trends You Need to Focus on in 2026

    6 Marketing Trends You Need to Focus on in 2026

    6 Marketing Trends You Need to Focus on in 2026 written by John Jantsch read more at Duct Tape Marketing

    Catch the full episode: Episode Overview In this solo episode of the Duct Tape Marketing Podcast, host John Jantsch shares six marketing trends he believes will shape 2026. Rather than speculative predictions, John focuses on developments that are already in motion and gaining momentum. He offers practical advice for businesses—especially local businesses—on how to leverage […]

    6 Marketing Trends You Need to Focus on in 2026 written by John Jantsch read more at Duct Tape Marketing

    Catch the full episode:

    john jantsch (1)Episode Overview

    In this solo episode of the Duct Tape Marketing Podcast, host John Jantsch shares six marketing trends he believes will shape 2026. Rather than speculative predictions, John focuses on developments that are already in motion and gaining momentum. He offers practical advice for businesses—especially local businesses—on how to leverage these trends for growth and visibility.

    About the Host

    John Jantsch is a marketing consultant, author, and creator of Duct Tape Marketing. With decades of experience helping small businesses grow, John is known for breaking down complex marketing concepts into actionable strategies. He hosts the Duct Tape Marketing Podcast to share insights, trends, and real-world advice for business owners and marketers.

    Key Takeaways & Timestamped Highlights

    00:00 – Introduction to the 2026 Trends

    John sets expectations: these are not radical predictions, but important trends gaining traction that marketers should be preparing for.

    01:30 – Trend #1: The Local Advantage Gets Louder

    Local SEO and Google Business Profiles remain critical for local businesses. John emphasizes using your profile as a publishing platform—not just a directory listing—to enhance visibility in local search results. Ensure images, services, posts, reviews, and engagement are optimized. Local directories beyond Google can also influence local search signals.

    03:48 – Trend #2: Real Is the New Viral

    Authenticity wins. AI-generated content increases noise, but real, human stories, behind-the-scenes content, and genuine client experiences cut through the clutter. Avoid stock photos and generic messaging; share what only you can share.

    06:13 – Trend #3: Mischief as a Marketing Strategy

    Creative, unexpected, and offline experiences can generate buzz. Think handwritten notes, spontaneous events, unconventional collaborations, or local street team activities. These experiences fuel word-of-mouth and online amplification.

    07:43 – Trend #4: Retention Is the New Acquisition

    Retention and lifecycle marketing unlock profit. Instead of allocating most budget to new customer acquisition, prioritize onboarding, upsells, referrals, and reactivation. Loyal customers are a key source of sustainable revenue.

    10:11 – Trend #5: The Rise of Trust Brokers

    Move beyond big influencers. Micro-influencers and niche creators—trust brokers—hold sway within tightly engaged communities. Build long-term, reciprocal relationships rather than one-off sponsored posts.

    11:30 – Trend #6: Be the Answer

    Search is evolving from keyword ranking to fulfilling user intent. Produce content that genuinely answers questions, solves problems, and assists your ideal customer. Useful content attracts engaged visitors rather than fleeting traffic.

    Memorable Quotes from the Episode

    “If everything from your organization starts to sound like it came from a robot, you’re going to have trouble standing out.”

    “Retention isn’t just a marketing technique, it’s where the real money hides in most businesses.”

    “Be the answer. Give people content that actually helps them solve problems.”

    Actionable Strategies From the Episode

    • Audit and update your Google Business Profile this week—treat it as an active content channel.
    • Commit to publishing at least one piece of authentic, behind-the-scenes content weekly.
    • Brainstorm one unexpected offline marketing activity each quarter to spark word-of-mouth.
    • Evaluate your customer journey—identify retention opportunities and lifecycle touchpoints.
    • Identify 3–5 niche creators aligned with your audience and develop partnership ideas.
    • Create content that answers real customer questions rather than chasing search algorithms.

    Connect with John Jantsch

    Visit the Duct Tape Marketing website for additional resources, tools, and episode archives. Follow John on LinkedIn for daily insights into marketing strategy and trends.

     

  • Industry Season 4 Is HBO’s Image Adjustment Service for TV Actors

    Industry Season 4 Is HBO’s Image Adjustment Service for TV Actors

    This article contains spoilers for Industry season 4 episode 1… and the Stranger Things finale, funnily enough. When it comes to acting talent, Industry boasts a pretty deep bench. Through its first three seasons, the HBO financial drama about London stockbrokers has enjoyed the presence of burgeoning stars like mononymic Instagram genius Myha’la, erstwhile Amy […]

    The post Industry Season 4 Is HBO’s Image Adjustment Service for TV Actors appeared first on Den of Geek.

    When you think about it, the Mummy is a weird horror movie monster. Dracula? Wolf Man? The Creature from the Black Lagoon? All those make sense, with their teeth and their claws. But the mummy is a dead guy in bandages, who chases you really, really slowly if you dig him up. How bad is that? The most famous Mummy movies handle that problem by making horror secondary to other genres, a gothic romance in 1932 and Indiana Jones style adventure in 1999.

    But if the first trailer for Lee Cronin’s The Mummy is any indication, the Irish director of Evil Dead Rise isn’t having any of that. The 65-second long teaser for the new Blumhouse flick is all Texas Chainsaw Massacre-style flash bulks and sharp noises, set to the sound of someone chanting in a foreign language that may not be “Klaatu barada nikto” but it sure is close. There’s even a kid smashing in his face with an intensity that would make the Philippou brothers jealous. The teaser ends with the question “What happened to Katie?” indicating that Cronin’s take will be neither romance nor adventure, but pure terror.

    While the director has his name in the title probably to distinguish this picture from the fourth entry in the Brendan Fraser Mummy series, which is currently in pre-production, it also serves to underscore how different Cronin’s take seems to be. The director established himself as an expert in creeping family-based horror with his 2019 debut The Hole in the Ground, and then supercharged in 2023 with Evil Dead Rise.

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    With The Mummy, Cronin plans to add some new tools to his horror kit. “The movie itself really is a mystery and it’s a puzzle box, which was part of my draw towards it,” he told IGN. “I think for me what’s really interesting and exciting, certainly even from childhood and being drawn towards Egyptian lore and that entire world, is the secrets that exist and the hidden things. So the movie that I wanted to make was reflective of that idea of deep, buried secrets and things we may not know about. This movie is coming from a very different place, and it’s not even a reinvention of mummy lore; it’s looking into darker places and doing something different with what we think we might already know.”

    Yet, when it came time for him to cite his influences, Cronin emphasized neither the 1932 nor the 1999 movies, but rather two more recent clips. “It’s an insane mashup to suggest, but [this film is] almost one part Poltergeist and one part Seven,” Cronin told IGN; “but put through my lens and the way that I like to entertain people.”

    Unlikely as that mash-up might seem, it does make a certain sense, especially when, as Cronin put it, put through his lens. Families, secrets, and arcane puzzles all play some part in both of Cronin’s previous films and the two blockbusters he cites. Moreover, we can see how they play out in the trailer, with shots of a coffin being uncovered and gauzy strips covered with writing, as well as the central question about the missing Katie.

    Will those combinations make for an entertaining movie, as Cronin hopes? We can’t tell for sure from the trailer, but one thing is clear. This is going to be one truly scary Mummy movie.

    Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.

    The post Lee Cronin’s The Mummy Trailer Remembers These Things Are Supposed to Be Scary appeared first on Den of Geek.

  • His & Hers: The Final Twist of This Netflix Show Is Worth Waiting For

    His & Hers: The Final Twist of This Netflix Show Is Worth Waiting For

    This article contains spoilers for His & Hers. Netflix’s latest thriller series, His & Hers, has one hell of a final twist. Based on Alice Feeney’s 2020 novel of the same name, the adaptation has received mixed reviews from critics, but it’s hard not to be impressed by its shocking ending, which arrives after everything […]

    The post His & Hers: The Final Twist of This Netflix Show Is Worth Waiting For appeared first on Den of Geek.

    When you think about it, the Mummy is a weird horror movie monster. Dracula? Wolf Man? The Creature from the Black Lagoon? All those make sense, with their teeth and their claws. But the mummy is a dead guy in bandages, who chases you really, really slowly if you dig him up. How bad is that? The most famous Mummy movies handle that problem by making horror secondary to other genres, a gothic romance in 1932 and Indiana Jones style adventure in 1999.

    But if the first trailer for Lee Cronin’s The Mummy is any indication, the Irish director of Evil Dead Rise isn’t having any of that. The 65-second long teaser for the new Blumhouse flick is all Texas Chainsaw Massacre-style flash bulks and sharp noises, set to the sound of someone chanting in a foreign language that may not be “Klaatu barada nikto” but it sure is close. There’s even a kid smashing in his face with an intensity that would make the Philippou brothers jealous. The teaser ends with the question “What happened to Katie?” indicating that Cronin’s take will be neither romance nor adventure, but pure terror.

    While the director has his name in the title probably to distinguish this picture from the fourth entry in the Brendan Fraser Mummy series, which is currently in pre-production, it also serves to underscore how different Cronin’s take seems to be. The director established himself as an expert in creeping family-based horror with his 2019 debut The Hole in the Ground, and then supercharged in 2023 with Evil Dead Rise.

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    With The Mummy, Cronin plans to add some new tools to his horror kit. “The movie itself really is a mystery and it’s a puzzle box, which was part of my draw towards it,” he told IGN. “I think for me what’s really interesting and exciting, certainly even from childhood and being drawn towards Egyptian lore and that entire world, is the secrets that exist and the hidden things. So the movie that I wanted to make was reflective of that idea of deep, buried secrets and things we may not know about. This movie is coming from a very different place, and it’s not even a reinvention of mummy lore; it’s looking into darker places and doing something different with what we think we might already know.”

    Yet, when it came time for him to cite his influences, Cronin emphasized neither the 1932 nor the 1999 movies, but rather two more recent clips. “It’s an insane mashup to suggest, but [this film is] almost one part Poltergeist and one part Seven,” Cronin told IGN; “but put through my lens and the way that I like to entertain people.”

    Unlikely as that mash-up might seem, it does make a certain sense, especially when, as Cronin put it, put through his lens. Families, secrets, and arcane puzzles all play some part in both of Cronin’s previous films and the two blockbusters he cites. Moreover, we can see how they play out in the trailer, with shots of a coffin being uncovered and gauzy strips covered with writing, as well as the central question about the missing Katie.

    Will those combinations make for an entertaining movie, as Cronin hopes? We can’t tell for sure from the trailer, but one thing is clear. This is going to be one truly scary Mummy movie.

    Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.

    The post Lee Cronin’s The Mummy Trailer Remembers These Things Are Supposed to Be Scary appeared first on Den of Geek.

  • The Running Man Will Find its Real Audience on Streaming

    The Running Man Will Find its Real Audience on Streaming

    After an underwhelming theatrical run and mixed reviews, Edgar Wright’s adaptation of Stephen King’s 1982 novel The Running Man hits streaming this week on Paramount+, where it’s likely to find a more forgiving audience. The satirical sci-fi action flick stars Glen Powell (Twisters) as Ben Richards, a struggling laborer who enters a deadly TV game […]

    The post The Running Man Will Find its Real Audience on Streaming appeared first on Den of Geek.

    When you think about it, the Mummy is a weird horror movie monster. Dracula? Wolf Man? The Creature from the Black Lagoon? All those make sense, with their teeth and their claws. But the mummy is a dead guy in bandages, who chases you really, really slowly if you dig him up. How bad is that? The most famous Mummy movies handle that problem by making horror secondary to other genres, a gothic romance in 1932 and Indiana Jones style adventure in 1999.

    But if the first trailer for Lee Cronin’s The Mummy is any indication, the Irish director of Evil Dead Rise isn’t having any of that. The 65-second long teaser for the new Blumhouse flick is all Texas Chainsaw Massacre-style flash bulks and sharp noises, set to the sound of someone chanting in a foreign language that may not be “Klaatu barada nikto” but it sure is close. There’s even a kid smashing in his face with an intensity that would make the Philippou brothers jealous. The teaser ends with the question “What happened to Katie?” indicating that Cronin’s take will be neither romance nor adventure, but pure terror.

    While the director has his name in the title probably to distinguish this picture from the fourth entry in the Brendan Fraser Mummy series, which is currently in pre-production, it also serves to underscore how different Cronin’s take seems to be. The director established himself as an expert in creeping family-based horror with his 2019 debut The Hole in the Ground, and then supercharged in 2023 with Evil Dead Rise.

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    With The Mummy, Cronin plans to add some new tools to his horror kit. “The movie itself really is a mystery and it’s a puzzle box, which was part of my draw towards it,” he told IGN. “I think for me what’s really interesting and exciting, certainly even from childhood and being drawn towards Egyptian lore and that entire world, is the secrets that exist and the hidden things. So the movie that I wanted to make was reflective of that idea of deep, buried secrets and things we may not know about. This movie is coming from a very different place, and it’s not even a reinvention of mummy lore; it’s looking into darker places and doing something different with what we think we might already know.”

    Yet, when it came time for him to cite his influences, Cronin emphasized neither the 1932 nor the 1999 movies, but rather two more recent clips. “It’s an insane mashup to suggest, but [this film is] almost one part Poltergeist and one part Seven,” Cronin told IGN; “but put through my lens and the way that I like to entertain people.”

    Unlikely as that mash-up might seem, it does make a certain sense, especially when, as Cronin put it, put through his lens. Families, secrets, and arcane puzzles all play some part in both of Cronin’s previous films and the two blockbusters he cites. Moreover, we can see how they play out in the trailer, with shots of a coffin being uncovered and gauzy strips covered with writing, as well as the central question about the missing Katie.

    Will those combinations make for an entertaining movie, as Cronin hopes? We can’t tell for sure from the trailer, but one thing is clear. This is going to be one truly scary Mummy movie.

    Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.

    The post Lee Cronin’s The Mummy Trailer Remembers These Things Are Supposed to Be Scary appeared first on Den of Geek.

  • Charlie Heaton Shares His Take on That Stranger Things Breakup

    Charlie Heaton Shares His Take on That Stranger Things Breakup

    This article contains spoilers for the final season of Stranger Things. Charlie Heaton, who starred as Jonathan Byers in Netflix’s hit sci-fi show Stranger Things, has recently opened up about one of the most debated moments in its fifth and final season: the breakdown of the relationship between his character and Nancy Wheeler (played by […]

    The post Charlie Heaton Shares His Take on That Stranger Things Breakup appeared first on Den of Geek.

    When you think about it, the Mummy is a weird horror movie monster. Dracula? Wolf Man? The Creature from the Black Lagoon? All those make sense, with their teeth and their claws. But the mummy is a dead guy in bandages, who chases you really, really slowly if you dig him up. How bad is that? The most famous Mummy movies handle that problem by making horror secondary to other genres, a gothic romance in 1932 and Indiana Jones style adventure in 1999.

    But if the first trailer for Lee Cronin’s The Mummy is any indication, the Irish director of Evil Dead Rise isn’t having any of that. The 65-second long teaser for the new Blumhouse flick is all Texas Chainsaw Massacre-style flash bulks and sharp noises, set to the sound of someone chanting in a foreign language that may not be “Klaatu barada nikto” but it sure is close. There’s even a kid smashing in his face with an intensity that would make the Philippou brothers jealous. The teaser ends with the question “What happened to Katie?” indicating that Cronin’s take will be neither romance nor adventure, but pure terror.

    While the director has his name in the title probably to distinguish this picture from the fourth entry in the Brendan Fraser Mummy series, which is currently in pre-production, it also serves to underscore how different Cronin’s take seems to be. The director established himself as an expert in creeping family-based horror with his 2019 debut The Hole in the Ground, and then supercharged in 2023 with Evil Dead Rise.

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    With The Mummy, Cronin plans to add some new tools to his horror kit. “The movie itself really is a mystery and it’s a puzzle box, which was part of my draw towards it,” he told IGN. “I think for me what’s really interesting and exciting, certainly even from childhood and being drawn towards Egyptian lore and that entire world, is the secrets that exist and the hidden things. So the movie that I wanted to make was reflective of that idea of deep, buried secrets and things we may not know about. This movie is coming from a very different place, and it’s not even a reinvention of mummy lore; it’s looking into darker places and doing something different with what we think we might already know.”

    Yet, when it came time for him to cite his influences, Cronin emphasized neither the 1932 nor the 1999 movies, but rather two more recent clips. “It’s an insane mashup to suggest, but [this film is] almost one part Poltergeist and one part Seven,” Cronin told IGN; “but put through my lens and the way that I like to entertain people.”

    Unlikely as that mash-up might seem, it does make a certain sense, especially when, as Cronin put it, put through his lens. Families, secrets, and arcane puzzles all play some part in both of Cronin’s previous films and the two blockbusters he cites. Moreover, we can see how they play out in the trailer, with shots of a coffin being uncovered and gauzy strips covered with writing, as well as the central question about the missing Katie.

    Will those combinations make for an entertaining movie, as Cronin hopes? We can’t tell for sure from the trailer, but one thing is clear. This is going to be one truly scary Mummy movie.

    Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.

    The post Lee Cronin’s The Mummy Trailer Remembers These Things Are Supposed to Be Scary appeared first on Den of Geek.

  • Did the Golden Globes Hurt Sinners’ Oscar Chances?

    Did the Golden Globes Hurt Sinners’ Oscar Chances?

    The morning after the 83rd annual Golden Globes Awards has set a media narrative that could define the next month of awards shows: this is the year of One Battle After Another or Hamnet, at least per an organization that gave both the title “Best Picture,” with the dubious claim of Paul Thomas Anderson’s tense, […]

    The post Did the Golden Globes Hurt Sinners’ Oscar Chances? appeared first on Den of Geek.

    When you think about it, the Mummy is a weird horror movie monster. Dracula? Wolf Man? The Creature from the Black Lagoon? All those make sense, with their teeth and their claws. But the mummy is a dead guy in bandages, who chases you really, really slowly if you dig him up. How bad is that? The most famous Mummy movies handle that problem by making horror secondary to other genres, a gothic romance in 1932 and Indiana Jones style adventure in 1999.

    But if the first trailer for Lee Cronin’s The Mummy is any indication, the Irish director of Evil Dead Rise isn’t having any of that. The 65-second long teaser for the new Blumhouse flick is all Texas Chainsaw Massacre-style flash bulks and sharp noises, set to the sound of someone chanting in a foreign language that may not be “Klaatu barada nikto” but it sure is close. There’s even a kid smashing in his face with an intensity that would make the Philippou brothers jealous. The teaser ends with the question “What happened to Katie?” indicating that Cronin’s take will be neither romance nor adventure, but pure terror.

    While the director has his name in the title probably to distinguish this picture from the fourth entry in the Brendan Fraser Mummy series, which is currently in pre-production, it also serves to underscore how different Cronin’s take seems to be. The director established himself as an expert in creeping family-based horror with his 2019 debut The Hole in the Ground, and then supercharged in 2023 with Evil Dead Rise.

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

    With The Mummy, Cronin plans to add some new tools to his horror kit. “The movie itself really is a mystery and it’s a puzzle box, which was part of my draw towards it,” he told IGN. “I think for me what’s really interesting and exciting, certainly even from childhood and being drawn towards Egyptian lore and that entire world, is the secrets that exist and the hidden things. So the movie that I wanted to make was reflective of that idea of deep, buried secrets and things we may not know about. This movie is coming from a very different place, and it’s not even a reinvention of mummy lore; it’s looking into darker places and doing something different with what we think we might already know.”

    Yet, when it came time for him to cite his influences, Cronin emphasized neither the 1932 nor the 1999 movies, but rather two more recent clips. “It’s an insane mashup to suggest, but [this film is] almost one part Poltergeist and one part Seven,” Cronin told IGN; “but put through my lens and the way that I like to entertain people.”

    Unlikely as that mash-up might seem, it does make a certain sense, especially when, as Cronin put it, put through his lens. Families, secrets, and arcane puzzles all play some part in both of Cronin’s previous films and the two blockbusters he cites. Moreover, we can see how they play out in the trailer, with shots of a coffin being uncovered and gauzy strips covered with writing, as well as the central question about the missing Katie.

    Will those combinations make for an entertaining movie, as Cronin hopes? We can’t tell for sure from the trailer, but one thing is clear. This is going to be one truly scary Mummy movie.

    Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.

    The post Lee Cronin’s The Mummy Trailer Remembers These Things Are Supposed to Be Scary appeared first on Den of Geek.

  • Godzilla Minus Zero Deserves a Full Theatrical Push

    Godzilla Minus Zero Deserves a Full Theatrical Push

    Godzilla is the King of the Monsters, on that we can all agree. But which Godzilla are we talking about? Just limiting to the past few years, there are two Godzillas in the mix. There’s the Godzilla in the MonsterVerse franchise, the American series produced by Legendary Pictures that began with 2014’s Godzilla and have […]

    The post Godzilla Minus Zero Deserves a Full Theatrical Push appeared first on Den of Geek.

    When you think about it, the Mummy is a weird horror movie monster. Dracula? Wolf Man? The Creature from the Black Lagoon? All those make sense, with their teeth and their claws. But the mummy is a dead guy in bandages, who chases you really, really slowly if you dig him up. How bad is that? The most famous Mummy movies handle that problem by making horror secondary to other genres, a gothic romance in 1932 and Indiana Jones style adventure in 1999.

    But if the first trailer for Lee Cronin’s The Mummy is any indication, the Irish director of Evil Dead Rise isn’t having any of that. The 65-second long teaser for the new Blumhouse flick is all Texas Chainsaw Massacre-style flash bulks and sharp noises, set to the sound of someone chanting in a foreign language that may not be “Klaatu barada nikto” but it sure is close. There’s even a kid smashing in his face with an intensity that would make the Philippou brothers jealous. The teaser ends with the question “What happened to Katie?” indicating that Cronin’s take will be neither romance nor adventure, but pure terror.

    While the director has his name in the title probably to distinguish this picture from the fourth entry in the Brendan Fraser Mummy series, which is currently in pre-production, it also serves to underscore how different Cronin’s take seems to be. The director established himself as an expert in creeping family-based horror with his 2019 debut The Hole in the Ground, and then supercharged in 2023 with Evil Dead Rise.

    cnx.cmd.push(function() {
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    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    With The Mummy, Cronin plans to add some new tools to his horror kit. “The movie itself really is a mystery and it’s a puzzle box, which was part of my draw towards it,” he told IGN. “I think for me what’s really interesting and exciting, certainly even from childhood and being drawn towards Egyptian lore and that entire world, is the secrets that exist and the hidden things. So the movie that I wanted to make was reflective of that idea of deep, buried secrets and things we may not know about. This movie is coming from a very different place, and it’s not even a reinvention of mummy lore; it’s looking into darker places and doing something different with what we think we might already know.”

    Yet, when it came time for him to cite his influences, Cronin emphasized neither the 1932 nor the 1999 movies, but rather two more recent clips. “It’s an insane mashup to suggest, but [this film is] almost one part Poltergeist and one part Seven,” Cronin told IGN; “but put through my lens and the way that I like to entertain people.”

    Unlikely as that mash-up might seem, it does make a certain sense, especially when, as Cronin put it, put through his lens. Families, secrets, and arcane puzzles all play some part in both of Cronin’s previous films and the two blockbusters he cites. Moreover, we can see how they play out in the trailer, with shots of a coffin being uncovered and gauzy strips covered with writing, as well as the central question about the missing Katie.

    Will those combinations make for an entertaining movie, as Cronin hopes? We can’t tell for sure from the trailer, but one thing is clear. This is going to be one truly scary Mummy movie.

    Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.

    The post Lee Cronin’s The Mummy Trailer Remembers These Things Are Supposed to Be Scary appeared first on Den of Geek.