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  • 15 Movie ‘Twists’ That Caught Nobody By Surprise

    15 Movie ‘Twists’ That Caught Nobody By Surprise

    Some twists leave audiences staring at the screen in complete disbelief. Others are a little easier to spot. A suspicious character acts just a bit too suspicious, an important detail gets repeated one too many times, or the movie spends so much effort trying to distract viewers that it accidentally points them in the right direction. That doesn’t always ruin the experience. Plenty of entertaining movies are still worth watching even if the ending becomes obvious halfway through. Sometimes the fun comes from seeing exactly how everything plays out instead of wondering what the answer will be.

    Here are 15 movie twists that caught almost nobody by surprise.

    The post 15 Movie ‘Twists’ That Caught Nobody By Surprise appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

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    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • ‘It Was Always Going to Be John and Hal’ How HBO Found its Lanterns

    ‘It Was Always Going to Be John and Hal’ How HBO Found its Lanterns

    This article appears in the new issue of DEN OF GEEK magazine. Find out how you can subscribe to get the full physical copy right here! Since the coalition of intergalactic space cops known as the Green Lantern Corps first debuted in the pages of DC Comics in 1959, more than 7,200 individuals have donned a construct-conjuring green […]

    The post ‘It Was Always Going to Be John and Hal’ How HBO Found its Lanterns appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

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

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

    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • Strange New Worlds Returns to the Messiest Planet in Star Trek History

    Strange New Worlds Returns to the Messiest Planet in Star Trek History

    This article contains spoilers for Star Trek: Strange New Worlds season 4 episode 1 The mission of any ship in Starfleet involves boldly going and seeking out new life and new civilizations. That’s especially true of Strange New Worlds, where the mission statement is there in the name. Yet, the first episode of the series’ […]

    The post Strange New Worlds Returns to the Messiest Planet in Star Trek History appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

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

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

    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • Star Trek: Strange New Worlds Season 4 Premiere Review — Valles Marineris 

    Star Trek: Strange New Worlds Season 4 Premiere Review — Valles Marineris 

    The following contains spoilers for the Star Trek: Strange New Worlds season 4 premiere. Fans have spent years discussing the many similarities and overlaps between the sci-fi elder statesmen Star Trek and Doctor Who, and both franchises have delighted in slipping in references to the other at various points in their recent canon. Last season […]

    The post Star Trek: Strange New Worlds Season 4 Premiere Review — Valles Marineris  appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

    cnx.cmd.push(function() {
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    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • THE ONE PIECE Sets Sail With Special Netflix Animation Issue of Den of Geek Magazine 

    THE ONE PIECE Sets Sail With Special Netflix Animation Issue of Den of Geek Magazine 

    Monkey D. Luffy stands triumphant on the cover of an OFFICIAL SPECIAL EDITION issue of Den of Geek magazine coming to San Diego Comic-Con and AnimeNYC, providing anime fans with a sneak peek inside Netflix’s THE ONE PIECE, a bold new adaptation of Eiichiro Oda’s legendary saga. The magazine is also available in a special […]

    The post THE ONE PIECE Sets Sail With Special Netflix Animation Issue of Den of Geek Magazine  appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

    cnx.cmd.push(function() {
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    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • Dark Matter Season 1 Recap: A Multiverse of Stories Left to Explore

    Dark Matter Season 1 Recap: A Multiverse of Stories Left to Explore

    This article contains spoilers for Dark Matter season 1. It’s been nearly two years since Dark Matter wrapped up its first season on Apple TV, and the adaptation of Blake Crouch’s bestselling novel has quickly become one of the streamer’s biggest sci-fi hits, blending high-concept physics with a heartfelt personal story about love, regret, and […]

    The post Dark Matter Season 1 Recap: A Multiverse of Stories Left to Explore appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

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

    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • Strange New Worlds Season 4 Premiere Is a Perfect Call Back to The Original Series’ Best Episode

    Strange New Worlds Season 4 Premiere Is a Perfect Call Back to The Original Series’ Best Episode

    This article contains spoilers for Star Trek: Strange New Worlds season 4, episode 1. Even the biggest fan of new Star Trek has to admit that Strange New Worlds has something to prove. After its first two excellent seasons, the prequel series took a wrong turn with its third season. Between a mean-spirited overarching story […]

    The post Strange New Worlds Season 4 Premiere Is a Perfect Call Back to The Original Series’ Best Episode appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

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

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

    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel

    New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. […]

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

    Not so long ago, video game movies were made by people with no interest in video games. One need only recall the shock and disgust gamers experienced while watching Mario and Luigi visit a leather club in Super Mario Bros. or see Jimmy and Billy Lee battle a Vanilla Ice-styled Robert Patrick in Double Dragon. But with its latest trailer, Resident Evil assures fans that director Zach Cregger is approaching the material with the love and devotion of a longtime stan.

    Any references to the game will probably pass by non-gamers without notice. Instead they’ll just see medical supply delivery guy Bryan (Austin Abrams, who previously worked with Cregger in Weapons) take on a dangerous assignment in exchange for extra cash. While trying to explain his actions via phone to a disappointed girlfriend, Bryan crashes his car in the snow, leaving him stranded in an unfamiliar area while a zombie attack unfolds. That’s more than enough to hook anyone interested in horror, but for fans of the games, Cregger has included plenty of references, even in just the trailer.

    At one point in the new sizzle reel, Bryan opens the door to an office and sees an old-timey typewriter on the desk. Regular viewers might find that typewriter ominously antiquated, but gamers breathe a sigh of relief at the reveal. That’s because typewriters indicated a safe room and a save point, allowing players to progress without fear of losing their progress before getting devoured by the next undead beastie. Well, that is, if they had the right equipment. In the first few games, players also had to use ink ribbons with the typewriter to save their games, which forced players to make a tough decision. Eventually, later games did away with the ink ribbons and allowed for unlimited saves via typewriter—an option clearly not available to Bryan in the movie.

    The trailer may not have ink ribbons, but it showcases other limited supplies that were a hallmark of Resident Evil games, a trailblazer in the survival horror genre. Bryan finds a shotgun in the house, which should be enough to defend himself from a few zombies. But when he opens up the firearm, he sees that he’s mising the shells. We then watch him scramble to find the shells, looking in rooms and under beds, before finally discovering them in a drawer and a green box.

    The fact that Bryan couldn’t just grab a gun and start firing away replicates the scariest part of the video games. Resident Evil and its sequels made the player feel constantly vulnerable, as it forced them to search for pieces to assemble into weapons, and even then gave them limited ammo. The trailer puts Bryan in the same situation, as the box he discovers holds only a handful of shells—which he must quickly load into his shotgun as a zombie runs toward him.

    The most significant nod to the games may be the one that occurs in the final moment of the trailer when we flash back in time to the moment Bryan agrees to take on the dangerous delivery assignment. When he asks the doctor where he’s going, she responds, “Raccoon City General.” That reveal pairs with another line of dialogue, this one from a character played by Paul Walter Hauser, who explains that “Everything that has happened in this town transpired in a matter of hours.”

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

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

    Cregger has previously explained that his movie takes place “on the periphery” of Resident Evil 2 where Raccoon City is having its big night. In that 1998 game, players control rookie cop Leon S. Kennedy and college girl Claire Redfield, guiding them through Raccoon City and visiting key locations, uncovering the role that the Umbrella Corporation played in transforming the citizens into monsters. That includes venerable Raccoon City institutions like the flashy (and derelict) police department headquarters or, in Resident Evil 3, City Hall. But those games never took us to Raccoon City General Hospital, leaving Cregger with a new place to explore in his parallel story.

    Whatever Raccoon City General holds for Bryan, it’s clear that gamers are in good hands with Cregger. The first movies made by Paul W.S. Anderson used the brand as little more than a launching point for a totally different type of movie while the 2021 reboot Resident Evil: Welcome to Raccoon City went too far in the other direction, cramming the screen with fan service but forgetting to tell an engaging story.

    Cregger seems to be striking the right balance, making a standalone movie that anyone can enjoy while still paying homage to the games, resulting in a richer experience for those who know where to find the easter eggs.

    Resident Evil arrives in theaters on September 18, 2026.

    The post New Resident Evil Movie Trailer Confirms OG Fans Are at the Wheel appeared first on Den of Geek.

  • 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.

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you remember when having a great website was enough? Now, people are getting answers from Siri, Google search snippets, and mobile apps, not just our websites. Forward-thinking organizations have adopted an omnichannel content strategy, whose mission is to reach audiences across multiple digital channels and platforms.

    But how do you set up a content management system (CMS) to reach your audience now and in the future? I learned the hard way that creating a content model—a definition of content types, attributes, and relationships that let people and systems understand content—with my more familiar design-system thinking would capsize my customer’s omnichannel content strategy. You can avoid that outcome by creating content models that are semantic and that also connect related content. 

    I recently had the opportunity to lead the CMS implementation for a Fortune 500 company. The client was excited by the benefits of an omnichannel content strategy, including content reuse, multichannel marketing, and robot delivery—designing content to be intelligible to bots, Google knowledge panels, snippets, and voice user interfaces. 

    A content model is a critical foundation for an omnichannel content strategy, and for our content to be understood by multiple systems, the model needed semantic types—types named according to their meaning instead of their presentation. Our goal was to let authors create content and reuse it wherever it was relevant. But as the project proceeded, I realized that supporting content reuse at the scale that my customer needed required the whole team to recognize a new pattern.

    Despite our best intentions, we kept drawing from what we were more familiar with: design systems. Unlike web-focused content strategies, an omnichannel content strategy can’t rely on WYSIWYG tools for design and layout. Our tendency to approach the content model with our familiar design-system thinking constantly led us to veer away from one of the primary purposes of a content model: delivering content to audiences on multiple marketing channels.

    Two essential principles for an effective content model

    We needed to help our designers, developers, and stakeholders understand that we were doing something very different from their prior web projects, where it was natural for everyone to think about content as visual building blocks fitting into layouts. The previous approach was not only more familiar but also more intuitive—at least at first—because it made the designs feel more tangible. We discovered two principles that helped the team understand how a content model differs from the design systems that we were used to:

    1. Content models must define semantics instead of layout.
    2. And content models should connect content that belongs together.

    Semantic content models

    A semantic content model uses type and attribute names that reflect the meaning of the content, not how it will be displayed. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. Although these types might make it easy to lay out content, they don’t help delivery channels understand the content’s meaning, which in turn would have opened the door to the content being presented in each marketing channel. In contrast, a semantic content model uses type names like product, service, and testimonial so that each delivery channel can understand the content and use it as it sees fit. 

    When you’re creating a semantic content model, a great place to start is to look over the types and properties defined by Schema.org, a community-driven resource for type definitions that are intelligible to platforms like Google search.

    A semantic content model has several benefits:

    • Even if your team doesn’t care about omnichannel content, a semantic content model decouples content from its presentation so that teams can evolve the website’s design without needing to refactor its content. In this way, content can withstand disruptive website redesigns. 
    • A semantic content model also provides a competitive edge. By adding structured data based on Schema.org’s types and properties, a website can provide hints to help Google understand the content, display it in search snippets or knowledge panels, and use it to answer voice-interface user questions. Potential visitors could discover your content without ever setting foot in your website.
    • Beyond those practical benefits, you’ll also need a semantic content model if you want to deliver omnichannel content. To use the same content in multiple marketing channels, delivery channels need to be able to understand it. For example, if your content model were to provide a list of questions and answers, it could easily be rendered on a frequently asked questions (FAQ) page, but it could also be used in a voice interface or by a bot that answers common questions.

    For example, using a semantic content model for articles, events, people, and locations lets A List Apart provide cleanly structured data for search engines so that users can read the content on the website, in Google knowledge panels, and even with hypothetical voice interfaces in the future.

    Content models that connect

    After struggling to describe what makes a good content model, I’ve come to realize that the best models are those that are semantic and that also connect related content components (such as a FAQ item’s question and answer pair), instead of slicing up related content across disparate content components. A good content model connects content that should remain together so that multiple delivery channels can use it without needing to first put those pieces back together.

    Think about writing an article or essay. An article’s meaning and usefulness depends upon its parts being kept together. Would one of the headings or paragraphs be meaningful on their own without the context of the full article? On our project, our familiar design-system thinking often led us to want to create content models that would slice content into disparate chunks to fit the web-centric layout. This had a similar impact to an article that were to have been separated from its headline. Because we were slicing content into standalone pieces based on layout, content that belonged together became difficult to manage and nearly impossible for multiple delivery channels to understand.

    To illustrate, let’s look at how connecting related content applies in a real-world scenario. The design team for our customer presented a complex layout for a software product page that included multiple tabs and sections. Our instincts were to follow suit with the content model. Shouldn’t we make it as easy and as flexible as possible to add any number of tabs in the future?

    Because our design-system instincts were so familiar, it felt like we had needed a content type called “tab section” so that multiple tab sections could be added to a page. Each tab section would display various types of content. One tab might provide the software’s overview or its specifications. Another tab might provide a list of resources. 

    Our inclination to break down the content model into “tab section” pieces would have led to an unnecessarily complex model and a cumbersome editing experience, and it would have also created content that couldn’t have been understood by additional delivery channels. For example, how would another system have been able to tell which “tab section” referred to a product’s specifications or its resource list—would that other system have to have resorted to counting tab sections and content blocks? This would have prevented the tabs from ever being reordered, and it would have required adding logic in every other delivery channel to interpret the design system’s layout. Furthermore, if the customer were to have no longer wanted to display this content in a tab layout, it would have been tedious to migrate to a new content model to reflect the new page redesign.

    We had a breakthrough when we discovered that our customer had a specific purpose in mind for each tab: it would reveal specific information such as the software product’s overview, specifications, related resources, and pricing. Once implementation began, our inclination to focus on what’s visual and familiar had obscured the intent of the designs. With a little digging, it didn’t take long to realize that the concept of tabs wasn’t relevant to the content model. The meaning of the content that they were planning to display in the tabs was what mattered.

    In fact, the customer could have decided to display this content in a different way—without tabs—somewhere else. This realization prompted us to define content types for the software product based on the meaningful attributes that the customer had wanted to render on the web. There were obvious semantic attributes like name and description as well as rich attributes like screenshots, software requirements, and feature lists. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. Any delivery channel—including future ones—could understand and present this content.

    Conclusion

    In this omnichannel marketing project, we discovered that the best way to keep our content model on track was to ensure that it was semantic (with type and attribute names that reflected the meaning of the content) and that it kept content together that belonged together (instead of fragmenting it). These two concepts curtailed our temptation to shape the content model based on the design. So if you’re working on a content model to support an omnichannel content strategy—or even if you just want to make sure that Google and other interfaces understand your content—remember:

    • A design system isn’t a content model. Team members may be tempted to conflate them and to make your content model mirror your design system, so you should protect the semantic value and contextual structure of the content strategy during the entire implementation process. This will let every delivery channel consume the content without needing a magic decoder ring.
    • If your team is struggling to make this transition, you can still reap some of the benefits by using Schema.org–based structured data in your website. Even if additional delivery channels aren’t on the immediate horizon, the benefit to search engine optimization is a compelling reason on its own.
    • Additionally, remind the team that decoupling the content model from the design will let them update the designs more easily because they won’t be held back by the cost of content migrations. They’ll be able to create new designs without the obstacle of compatibility between the design and the content, and ​they’ll be ready for the next big thing. 

    By rigorously advocating for these principles, you’ll help your team treat content the way that it deserves—as the most critical asset in your user experience and the best way to connect with your audience.