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  • Stranger Things Finale Spoilers Are So Real Even the Cast Isn’t Allowed to Watch It

    Stranger Things Finale Spoilers Are So Real Even the Cast Isn’t Allowed to Watch It

    The cast of Stranger Things won’t see the series finale before its release on New Year’s Day. They’ll have to wait, just like us. Noah Schnapp, who plays Will Byers in the hit Netflix series, confirmed to EW that the final episode is being kept under wraps, saying that he’s watched episodes five and six, […]

    The post Stranger Things Finale Spoilers Are So Real Even the Cast Isn’t Allowed to Watch It appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

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    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Toy Story 5 Trailer Makes Buzz and Woody Obsolete

    Toy Story 5 Trailer Makes Buzz and Woody Obsolete

    At the climax of Toy Story 3, the unthinkable seemed to be happening. Buzz, Woody, Jessie, and the rest of Andy’s toys found themselves in a trash heap, riding a conveyor belt toward an incinerator. Although the toys try for a while to find some means of escape, they finally realize it’s useless. And so […]

    The post Toy Story 5 Trailer Makes Buzz and Woody Obsolete appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Why Is the Pope Listing His Four Favorite Movies to Anyone But Letterboxd?

    Why Is the Pope Listing His Four Favorite Movies to Anyone But Letterboxd?

    For the millions of people who follow Letterboxd on social media, the online film cataloging service’s regular “Four Favorites” segment is usually must-watch stuff. Whether it’s celebs on the red carpet narrowing down their four favorite movies or ordinary patrons getting the opportunity to pick their own, the interview series is endlessly compelling because a […]

    The post Why Is the Pope Listing His Four Favorite Movies to Anyone But Letterboxd? appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Werewolf by Night Sequel Shows Marvel’s Commitment to Supernatural MCU

    Werewolf by Night Sequel Shows Marvel’s Commitment to Supernatural MCU

    Tucked away in a recent Deadline interview with celebrated composer-turned-director Michael Giacchino was welcome news – a sequel to his 2022 TV special, Werewolf by Night, is finally on the way. Werewolf by Night came along at a point in the MCU when it seemed like Marvel was keen to develop a supernatural corner of […]

    The post Werewolf by Night Sequel Shows Marvel’s Commitment to Supernatural MCU appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Elizabeth Olsen Predicts VisionQuest Will Complete WandaVision Trifecta

    Elizabeth Olsen Predicts VisionQuest Will Complete WandaVision Trifecta

    These days, it’s hard to love Marvel television. Not only has much of it been so substandard or immediately forgettable (remember Ironheart? That happened this year!), but it’s also often blamed for the lack of quality that’s plagued even the mainline MCU movies. Yet, there is one TV series that has avoided all that criticism, […]

    The post Elizabeth Olsen Predicts VisionQuest Will Complete WandaVision Trifecta appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Predator: Badlands Director Almost Made Guardians of the Galaxy

    Predator: Badlands Director Almost Made Guardians of the Galaxy

    Even though he now runs DC Studios and makes movies about Superman and shows about the Peacemaker, it’s hard not to think James Gunn when you hear the words “Guardians of the Galaxy.” Who else in Hollywood would look at weirdos like Drax the Destroyer or Rocket Raccoon and decide to make them the main […]

    The post Predator: Badlands Director Almost Made Guardians of the Galaxy appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Shang-Chi Star Calls for Fan Favorite Marvel Character to Make His MCU Debut

    Shang-Chi Star Calls for Fan Favorite Marvel Character to Make His MCU Debut

    When Steve Englehart and Jim Starlin introduced Shang-Chi in 1973’s Special Marvel Edition #15, they gave him an impressive title: the Master of Kung Fu. In the 50 years that followed, Shang-Chi has not only cemented his position in the Marvel Universe, often working with top-level characters and serving with the Avengers. Moreover, his MCU […]

    The post Shang-Chi Star Calls for Fan Favorite Marvel Character to Make His MCU Debut appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina

    The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant […]

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

    The first trailer for The Super Mario Galaxy Movie features a lot of familiar faces and voices. There’s Jack Black as Bowser, Chris Pratt as Mario, Charlie Day as Luigi, etc. We even get a new favorite with Benny Safdie as Bowser Jr., bringing in a new dimension from the games. But the most significant character is the one who only gets a couple lines in the trailer, even if the person speaking them is notable.

    The trailer features Rosalina, voiced by Brie Larson. Although a relatively recent addition to the Super Mario canon, Rosalina has already endeared herself to gamers, and she’s sure to do the same for moviegoers.

    Rosalina debuted, appropriately enough, in Super Mario Galaxy, the 2007 video game for the Nintendo Wii. While Galaxy contains the standard Mario plot in which Bowser kidnaps Princess Peach, forcing Mario and his brother Luigi to travel the cosmos to rescue her, director Yoshiaki Koizumi adds another wrinkle in the form of Rosalina.

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    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

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

    Rosalina lives within the Cosmic Observatory alongside Lumas, living star creatures (like the adorable lil’ nihilist previously seen in The Super Mario Bros. Movie. When Bowser steals the Power Stars from the Cosmic Observatory to make his escape with Peach, Rosalina tasks Mario with recovering the Stars so that she can turn the Observatory into a rocket to chase after his beloved.

    In other words, Rosalina serves as a gameplay driver in Super Mario Galaxy, giving a reason for the star collecting mechanic of the title. Were she just that, she probably wouldn’t have garnered the fan-following she has. However, Rosalina has won over so many gamers because backstory that unfolds throughout Mario’s adventure. Through a storybook conceit, players learn that the orphaned Rosalina helped reunite a Luma with its parents when she was a girl, and has since become something of a mother figure for all of the star creatures.

    That combination of familial warmth and cosmic reach makes Rosalina an ethereal figure, a warm and reassuring character at the center of the Mario universe. Later games in the franchise only underscore those qualities. In 2010’s Super Mario Galaxy 2, Rosalina initially appears as a Cosmic Spirit who aids Mario, particularly when the player dies too many times. Later, she sends support to Baby Mario and tells the Lumas about magical Green Stars.

    Since then, Rosalina has gone the way of most supporting characters in a Mario game, joining in on their racing and sports activities. Players can put Rosalina behind the steering wheel for Mario Kart, they can have her compete for the gold against Sonic the Hedgehog characters in Mario & Sonic at the Rio 2016 Olympic Games, and she can beat up Solid Snake in Super Smash Bros. Those who want to put Rosalina into more of a traditional adventure can choose her as the player character after unlocking her in Super Mario 3D World.

    Fun as all of these off-shoot games are, they don’t get at the true appeal of the character, established in the two Super Mario Galaxy games. Rosalina represents a cosmic good that lends meaning to the Mario story. Fans love her for both her tragic backstory, and also for the enduring kindness she represents, especially as she meets out that kindness on a galactic scale.

    We only get to see a few glimpses of Rosalina in the trailer for The Super Mario Galaxy Movie, but it’s clear that Illumination has translated those elements for the film. Even when she takes down a giant robot created by Bowser Jr., Rosalina does it with simplicity, grace, and a great deal of power. Moviegoers may not know who she is yet, but Rosalina is clearly destined to become a new favorite.

    The Super Mario Galaxy Movie releases April 3, 2026.

    The post The Super Mario Galaxy Movie: Meet Your New Favorite Character Rosalina appeared first on Den of Geek.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and responsive design

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

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

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

    A new way to design

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

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

    Then with Sass so I could take advantage of @includes to re-use repeated blocks of code and move back to more semantic markup:

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

    Media queries

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

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

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

    Row markup was a staple of early responsive design, present in all the widely used frameworks like Bootstrap and Skeleton.

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

    Another problem arose as I moved from a design agency building websites for small- to medium-sized businesses, to larger in-house teams where I worked across a suite of related sites. In those roles I started to work much more with reusable components. 

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

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

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. There are JavaScript workarounds, but they can create dependency and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

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

    In other words, responsive components to replace responsive layouts.

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

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

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

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

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

    It’s hard to say for sure whether container queries will be a success story until we have solid cross-browser support for them. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. But maybe we will always need to adjust these components to suit our content.

    CSS is changing

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

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

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

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

    The biggest benefit of all this is you don’t need to wrap elements in container rows. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

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

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

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

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

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

    Intrinsic layouts 

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

    Responsive layouts have flexible columns using percentages. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

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

    —Jen Simmons, “Designing Intrinsic Layouts”

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

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

    We can now create designs that adapt to the space they have, the content within them, and the content around them. With an intrinsic approach, we can construct responsive components without depending on container queries.

    Another 2010 moment?

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

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

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

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

    You can’t framework your way out of a content problem

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

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

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

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

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

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

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

    Content first 

    Content is not constant. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of sibling elements.

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

    Instead of old markup hacks like this—

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to right-to-left orientation.

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

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

    These variables can be used as values—

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

    —or as properties.

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

    However, now we have native logical properties, removing the reliance on both Sass (or a similar tool) and pre-planning that necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

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

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

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

    Fixed and fluid 

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

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

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

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

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

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

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

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

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

    This time, the element’s width will be 50% (the preferred value) of its container but never less than 300px and never more than 600px.

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

    Situation first

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

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

    This is why choice is so important. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to provide choice.

    Responsible design 

    “There are parts of the world where mobile data is prohibitively expensive, and where there is little or no broadband infrastructure.”

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

    Chris Ashton

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

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

    Image alt text

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

     
     

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

    …

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

    So how can we put users in control?

    The return of media queries 

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

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. These checks allow us to provide options that suit more than one scenario; it’s less about one-size-fits-all and more about serving adaptable content. 

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

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or darkness. Paired with custom properties, these features allow us to quickly create designs or themes for specific environments.

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

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

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

    Expect the unexpected

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

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

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

    When it comes to unexpected situations, we need to make sure our products are usable when people need them, whenever and wherever that might be. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries. 

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

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

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

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

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

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

    Establishing standards for a sustainable web

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

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

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

    1. Data transfer 
    2. Carbon intensity of electricity

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

    Data transfer

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

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

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

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

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

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

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

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

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

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

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

    Carbon intensity of electricity

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

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

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

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

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

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

    Converting it back to carbon emissions

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

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

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

    Browser Energy

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

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

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

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

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

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