If I use break; in a state in the child switch how do I know it won't break the state in the parent switch?

I managed to get two sides building bases and attack each other (or one side attack the other to be more exact). Which brings the following question to my mind. If you have a perfectly symetrical map with the two opposing AI players starting at the ends they will evolve identically and when it's time for combat they will meet at the middle of the map (lets assume they belong to the same race).I don't have attack move implemented. I know how such a feature could be added but for now I

Its a special time of year in the GT calendar as we head to Amsterdam in the Netherlands for the World Finals of the Gran Turismo World Series 2024. After three rounds of spectacular racing in Montreal in July, Prague in August and Tokyo in September, the points at the top of the tables are tantalizingly close as the action returns to Theater Amsterdam, the scene of 2023s World Series Showdown.Play VideoAs ever, the Toyota Gazoo Racing GT Cup final is the warm-up event for World Finals weekend and takes place at 16:00 CET on Friday, December 7. Always competitive, the TGR GT Cup will feature a mix of established World Series stars, aiming to make a winning start to their weekends, with some newcomers to the international scene keen to establish themselves. The 24 racers from around the world race in two heats before a Grand Final decides the 2024 champion.Team Lexus heads the points table in the Manufacturers Cup. But its talisman, Igor Fraga (BRA), winner of Round 1 in Montreal, will not be at the World Finals due to Super GT racing commitments in Japan. Harald Walsen from Chile deputises, but second-placed Team Porsche hopes to make up the four-point deficit while warding off Team BMW, just a further point adrift.With a single driver having represented each team in Rounds 1-3, all three will join forces in Amsterdam and share the racing and team strategy duties. The Manufacturers Cup action can be seen live at 19:00 CET on Friday.On Sunday, December 8 at 16:00 CET the Nations Cup takes centre stage. Frenchman Kylian Drumonts flawless win in Tokyo propelled him to the top of the standings. He leads by a single point from a three-way tie for second made up of three former champions: Spains Jose Serrano; Montreal winner Takuma Miyazono of Japan; and the winner of Round 2 in Prague, Italys Valerio Gallo.View and download imageDownload the imagecloseCloseDownload this imageView and download imageDownload the imagecloseCloseDownload this imageAll the action will play out in front of a live audience at Theater Amsterdam. If you cant make it dont miss out and watch the live streams:Saturday, December 7Toyota Gazoo Racing GT Cup PST 07:00 | EST 10:00 | UTC 15:00 | local time CET 16:00 | JST 00:00 (Sun)Manufacturers Cup PST 10:00 | EST 13:00 | UTC 18:00 | local time CEST 19:00 | JST 13:00 (Sun)Sunday, December 8Nations Cup PST 07:00 | EST 10:00 | UTC 15:00 | local time CET 16:00 | JST 00:00 (Mon)Head to the World Finals special page for more information and watch all the action at https://www.gran-turismo.com/world/live/.Race like the best in Gran Turismo 7There are plenty of ways to get involved in the World Series in Gran Turismo 7. By clicking on the Predict the Winners campaign banner on the GT7 World Map, players can receive one million credits for each of the TGR GT Cup, Nations Cup, and the Manufacturers Cup with votes cast right up to the start of the final race of each.*Simply watching the broadcast in-game also unlocks some special gifts in GT7 through the Viewers Gift campaign.Players can also take part in two special challenges in Gran Turismo 7 that reflect car and track combinations on show at the World Finals: Red Bull X2019 on Nrburgring 24h and Gr.3 on Spa-Francorchamps.*Entry limit to one per account for PlayStationNetwork. Once an entry has been submitted it cannot be withdrawn or changes. See https://www.gran-turismo.com/us/gt7/events/gtws2024/campaign/ for more information.

Hello, Proxies! I am Cross Shi, the technical lead of the Zenless Zone Zero dev team. We are very grateful for your support of our new game over the past few months. With the highly anticipated version 1.4, A Storm of Falling Stars, launching on December 18, I am eager to share our latest game content and optimizations with you! Also, Im excited to announce that Zenless Zone Zero will be arriving on PS5 Pro with a multitude of optimizations for the new console.Heart-pounding combat with legendary charactersAfter turning the tide of the explosive crime engineered by the Vision Corporation, Proxies forged bonds with a diverse array of Agents, and the conspiracy surrounding the Sacrifice begins to surface. With new crises drawing near, the contours of truth emerge in the upcoming Chapter 5. In this chapter, our long-standing acquaintance Perlman finally awakens, granting us a glimpse into the secrets behind the Sacrifice and exploring the mysteries surrounding the siblings background. At the same time, the New Eridu Public Security is undergoing its election, igniting an undercurrent of turmoil throughout the city. Proxies should be prepared to face a climactic battle against the formidable enemy, Sacrifice.The highly anticipated character, Hoshimi Miyabi, as the chief of Section 6 and the youngest Void Hunter, also joins your team. As a Frost Anomaly agent, shes a powerhouse with her cursed blade Tailless. Every enemy should fear her masterful swordsmanship and swift movements. This determined agent doesnt stand alone. Asaba Harumasa, the Electric Attack agent whose weapon can shift between bow and blade, is also ready to maneuver seamlessly on the battlefield.Hollow Zero major update, new engaging gameplay and explorable areasTo offer Proxies diversified combat experiences, we launched the battle tower, aka the Simulated Battle Trial, in version 1.3. Were delighted that Proxies push their limits and embrace these electrifying challenges. In version 1.4, Hollow Zero will undergo the major update, Shadows Lost, where Proxies plunge into fierce battles within the Lost Void, armed with additional support and equipment including weapons, Bangboo assist skill, and Resonia. Agents such as Miyabi, Ellen, Yanagi, and Billy will have the chance to showcase their exclusive Gear. Upon completing missions, Proxies receive new A-level Brawlerboo and other rewards.Hollows remain fraught with danger, and Melinoe, the intricately complex new Hollow, is beckoning Proxies and Section 6s exploration and support. Proxies and Eous navigate puzzles and explore paths to lead the way. As they progress through these perilous terrains, Miyabi and Yanagi gradually release their full potential. Amid combat as allies, not only do Proxies gain access to the new W-Engine and plentiful rewards, but they also learn more stories of Section 6.Furthermore, the uncharted areas known as Port Elpis and Reverb Arena offer their own new maps and captivating stories. Beloved Bangboo fights a tower defense against Ethereals under the strategic guidance of Proxies. The event showcasing enthusiastic support for Section 6 unfolds within the vibrant atmosphere of the Reverb Arena.Optimizations for a more immersive experienceIn version 1.4, we not only introduce new content but continually make optimizations for a better game experience. First, the story flow of the Prologue to Chapter 3 was redesigned for smooth combat experiences. The TV mode is replaced with stage narratives where Proxies command Eous to aid in Hollow exploration. Proxies who have previously completed the chapters can also revisit them through the HDD system for a fresh experience. Second, to provide an improved pacing, we optimized the Inter-Knot level-up experience and lowered the threshold for progressing.As for combat, Decibels arw no longer shared when Agents use Ultimate skills in combat. This change provides more opportunities for each agent to unleash their Ultimate Skill, contributing to a more spectacular battle experience. When an Agent earns Decibels through attacks or remarkable actions, other Agents also obtain a percent of those Decibels. Among others, the Quick Sweep feature for Shiyu Defense and the new espresso in the coffee shop will be introduced along with further optimizations for character building and advancement.To enhance immersion and interactions with Agents, in version 1.4, all contracted Agents are controllable in the city as we promised. The Quality Time mode, which allows Proxies to invite Agents to hang out in New Eridu together, will also be launched. Whether its soaking in the beautiful scenery, capturing cool snapshots, or enjoying a sip of coffee, Agents love to spend quality time with you.Enhanced graphics and tactile combat on PS5 ProOur game comes to PS5 Pro with major enhancements in both performance and visual presentation. With the PS5 Pros upgraded GPU and support for High Frequency mode, weve achieved native 4K resolution and 60 FPS simultaneously with the average frame rate increasing by nearly ten frames. Whether youre exploring the vibrant world of New Eridu or engaging in intense battles, the enhanced performance on the PS5 Pro ensures that your adventure is seamless and exhilarating.To deliver stunning visuals, version 1.4 of Zenless Zone Zero introduces exciting engine features, particularly ray tracing, newly optimized specifically for the PS5 Pro. The PS5 Pro version resolves reflection issues for off-screen objects and enhances indirect highlights for significant improvements in reflections on mirrors, water surfaces, puddles, and other metallic or glossy materials. Weve also improved the rendering of strong light in darker areas, the real-time response to indirect diffuse lighting, and added occlusion effects between objects. Along with support for HDR and VRR, the graphics now offer higher rendering precision and enhanced tessellation, making your journey through New Eridu even more immersive.Beyond the overall improvements in visuals and performance, were particularly enthused to share the optimizations weve made for DualSense wireless controllers, which feature effective haptic feedback capabilities. Weve tailored the vibration feedback for different combat actions, such as Basic and Special Attacks, providing a nuanced tactile experience for immersive combat. With these enhancements and the new gameplay experiences introduced in version 1.4, get ready to feel the exhilarated tension of every hit at your fingertips!Finally, we would like to extend our heartfelt gratitude to all the players who have shown tremendous support and interest in Zenless Zone Zero. Your continued support means the world to us. As a token of appreciation for the incredible journey we have embarked on over the past six months, we prepared generous in-game rewards, including the exclusive S-level Agent Asaba Harumasa for all players around the globe. We sincerely hope that you enjoy our newly updated version 1.4 and relish the combat experiences on December 18. Your enthusiasm drives us to keep improving and enhancing the game for all of you. Thank you for being an essential part of the Zenless Zone Zero community.

The holiday season is upon us, and if you havent started crossing names off your shopping list, its a very good idea to start soon. It can be tempting to wait for deals, but keep in mind that shipping times vary depending on the retailer, and we want your gifts to arrive on time as much as you do. So, whether youre shopping for that lucky gamer in your life or just looking to treat yourself to something special, weve found games, accessories, toys, and other gadgets across various price points that anyone can appreciate.Some of our favorites this year include great stocking stuffers like Legos Dungeons & Dragons minifigs and the spicy game of secrets Love Letter, along with perfect gifts for new and longtime TTRPG players, like the Starter Collection for Magic: The Gathering Foundations and the new Dungeons & Dragons Players Handbook. If you have a gamer in your life who wants to get into PC gaming, the best 14-inch gaming laptop is featured in our list.So let us help you put a bow on your holiday shopping with these 44 gifts, handpicked by the Polygon staff. And if youre looking for even more ideas, we have plenty of other gift guides, including what to get that hard-to-shop-for PC gamer in your life, D&D players of any experience level, and your favorite Studio Ghibli fan.

In the 2002 movie Chicago, Catherine Zeta-Jones steps into the spotlight to belt out All That Jazz with a defiant kind of joy that takes on new meaning once it becomes clear that her character, Velma Kelly, has just murdered her husband. Zeta-Jones rendition of the song was irresistible: On a wave of critical and commercial success, Chicago picked up the Best Picture Oscar (the first movie musical to win the award since 1968s Oliver!), and studio executives started hunting for movies that could replicate the magic. In their minds, screen adaptations of stage musicals were suddenly bankable again.Many tried to mimic Chicagos success, but few did. Some subsequent movie adaptations of Broadway productions tried to retain the original stage casts, with shaky results. Others muted the genres excesses with realism, a head-scratcher in a setting where people are suddenly bursting into song and dance. Good, bad, or ugly, there have been dozens of major stage-to-film adaptations since the start of the 21st century. That includes three appearances by Meryl Streep, three films by Rob Marshall, two entries in the Mamma Mia Cinematic Universe, and one perfect shot of Dame Judi Dench in a cat basket, lifting her leg like a horny queen. But not all Broadway shows turned movies are created equal. Here, we sit down to compare them, from the razzle-dazzle-iest to, as the French might say, the miserables.This list is periodically updated as new musicals are added. The latest: Mean Girls (2024) and Wicked.31. Mean Girls (2024)The marketing was right: This isnt your mothers Mean Girls. Instead, this intended for Paramount Plus curiosity is a strangely faithful but remarkably sauceless retread of the iconic original film, with a few songs thrown in just because. Its a head-scratcher of a thought experiment akin to Gus Van Sants shot-for-shot Psycho remake, this time with TikTok dances. Its not like the stage musical was ever hailed as one of the great works of the canon, but Tina Feys book for the Broadway show suggested she was genuinely interested in shaking up her now-sacred screenplay for the 2004 movie, and the original Broadway cast was so winning that it was difficult to not get at least a little bit of a contact high.On screen, the buzz is nonexistent, as were shuffled through pale imitation after pale imitation of scenes that have been playing just fine on screen for the past 20 years. These musical numbers shun Broadway pizzazz in favor of Gen Z Cool, and still wind up the lamest things this side of Kidz Bop. Moanas Aulii Cravalho and Tony Award nominee Jaquel Spivey are up to the task for a fun new take on this material, and Rene Rapp does have a certain je ne sais quoi. But she so thoroughly blows Angourie Rices wispy take on Cady Heron out of the water that the film becomes a glorified Regina George stan account. Rices casting is at odds with the material, yet in perfect lockstep with a film that feels bafflingly miscalculated at every turn.30. Dear Evan Hansen (2021)Theres something so deeply unsettling about this film, and it goes far beyond the Ben Platt is too old jokes. Its frankly fascinating how a universally lauded (and truly phenomenal) star turn onstage gave its performer an almost Icarus-level sense of confidence that resulted in perhaps the single most destructive piece of film casting in recent memory. Platts on-screen performance, with his withered frame and grasping claws, robs the piece of any charitable interpretation that was left for it, refashioning it completely into an F.W. Murnau-esque horror show, the closest musical theater has come to a snuff film. Every tear-stricken close-up only serves to further reveal the creators morbid fascination with this storys Richard III-esque softboy villain. 2021s scariest film.29. Hello, Again (2017)I dont want to bury the lede: Three-quarters of the way through this adaptation of Michael John LaChiusas 1993 off-Broadway musical, itself a riff on Arthur Schnitzlers La Ronde, theres a totally-serious-but-feels-like-its-from-30 Rock music video for a gloriously tacky dance-pop banger called Beyond the Moon, performed by Audra McDonald in full-on Space Drag, intercut with her getting absolutely railed by Cheyenne Jackson (she legit calls him my pig). The fact that we are not talking about this every single second of every single day can most likely be blamed on the simple fact that to reach this buried treasure one would have to watch the rest of the movie.Hello, Again is composed of a series of 10 vignettes, each set in a different decade of the 20th century and focusing on some horny tryst that then dovetails into the next sequence. The Whore and the Soldier becomes The Soldier and the Nurse becomes The Nurse and the College Boy, and so on and so forth. If that sounds like a sexy good time, just wait till youve heard the score, in which lyrics meander aimlessly from one bizarre non sequitur (Look, Im really pooped and I gotta leave tomorrow to fight a war, I need a beer) to another (What do you think about the U.S. involvement in Southeast Asia?). At one point, theres a scene where a closeted first-class passenger on the Titanic withholds the information that the ship is sinking from his lover in steerage so he can get some action. But we digress. Audra McDonald. My pig. Space Drag.28. 13: The MusicalIn 2007, a musical about kids coming of age in a small Indiana town, exclusively starring teenagers and with a score by Parade and The Last Five Years composer Jason Robert Brown, quietly ran for 105 performances on Broadway. As hellish as that sounds, the stage version of 13: The Musical isnt half bad. Browns pop-pastiche score lends an air of sophistication to the story, and the expected treacly coming-of-age stuff is consistently undercut by a welcome sense of subversion.Theres a horny ballad set in a movie theater called Any Minute, which juxtaposes the gory events of a horror flick with the youngsters desires to smooch their dates. Theres a vaudevillian turn, sung by a kid with muscular dystrophy, with the lyric No one says no to a boy with a terminal illness. How that all wouldve played on stage in 2022 is an open guess, but well never know, since Netflixs screen adaptation sands any rough edges down to a smooth, shiny veneer.13: The Musical the movie still has some bops, but without any real sense of angst or edge. Without any new observations on the acne-ridden, hormonal rat race of middle school, this mostly just feels like an after-school special. Theres too much gentle earnestness, too much Preachy Rabbi Josh Peck and Sad Divorced Debra Messing Singing on a Porch. Things liven up whenever choreographer Jamal Sims gets the kids dancing, and king-in-the-making Ramon Reed nearly tears the house down with his performance of the blues showstopper Bad News. Alas, the bangers are few and far between, and they cut It Cant Be True an omission that feels like a hate crime.27. The Prom (2020)Ryan Murphys gaudy Netflix adaptation of the 2018 musical comedy hits its high point relatively early. Meryl Streep, patron saint of the 21st-century movie musical, struts into a small-town school board meeting and fights for the right of a lesbian to go to prom with her girlfriend while simultaneously making it all about her in a showstopping belter appropriately titled Its Not About Me. Its musical theater bliss, and Streep has a ball tearing into such shameless lyrics as How do you silence a woman whos known for her belt? It also delivers on the initial promise of the musical, to ruthlessly mock performative wokeness in the face of actual injustice.Alas, the source material shies away from the theme, settling for generic feel-goodery where the self-righteous characters get let off the hook and actually do save the day. It doesnt help matters that Murphy often mistakes pastels for direction, drowning his all-star cast in blues and pinks whenever a song kicks in. At one point, Nicole Kidman sings an entire number about a nonsense word while it looks like aliens are landing outside. In space, no one can hear you zazz.26. Jersey Boys (2014)Clint Eastwood appeared in a movie musical once 1969s Paint Your Wagon and that shouldve been the end of it. But for some still-unknown reason, in between J. Edgar and American Sniper, he directed this Broadway adaptation. While Jersey Boys is almost certainly the movie musical featuring the most Sopranos cast members per capita (we stan), it mostly plays like the shell of a Clint movie inside the shell of a Scorsese movie inside the shell of a musical. Marshall Brickman and Rick Elices broad screenplay clashes with the films gray palette, which also seems to stand in firm defiance of the fact that a lot of people have to burst into song in this thing. Theres certainly good moments, most of them related to Christopher Walkens predictably endearing performance as mobster-with-a-heart-of-gold Angelo Gyp DeCarlo. But this is mostly a baffling entry both for the genre and in Clints filmography. YouTube the megamix end-credits sequence, skip the rest.25. Dicks: The MusicalA24s first movie musical is a crudely made song-and-dance extravaganza featuring graphic incest, Megan Mullallys disembodied vagina, and two little gremlins called Sewer Boys who live in a cage and are fed ham directly from Nathan Lanes mouth, like baby birds. Based on an off-Broadway musical first performed in a supermarket basement, and helmed by Borat director Larry Charles, the plot is basically an acid-brained, NSFW riff on The Parent Trap. Newcomers Josh Sharp and Aaron Jackson play flamingly gay spoofs of Straight Business Bros, a pair of separated-at-birth twins whose fateful meeting encourages them to try and get their agoraphobic parents (Lane and Mullally) re-hitched.What could be a gloriously queer, subversively witty riff on musicals as a whole winds up more hit-or-miss, with Lane and Mullally providing most of the former, and nearly everything else the latter. The songs all suffer from the mistaken belief that crudeness equals funny (Lifes a fucking handjob, and I only play to win / So stroke my fucking cock until I bust all on your chin), and combined with Sharp and Jacksons grating performances, the whole thing quickly devolves into tedium, even as it strives for a Freddy Got Fingered sort of Dada chaos. Love those Sewer Boys, though!24. The Last Five Years (2014)Speaking from experience, The Last Five Years works best in one-song installments at New York City cabarets on drunken evenings. And even then, perhaps were better off without. Its narrative, about a couple whose relationship crashes and burns, has never been particularly compelling, mostly because the guy, Jamie, has always felt like such an insurmountable douchebag, and the girl, Cathy, rarely feels like more than a collection of in-jokes about doing summer stock and auditioning for musical theater. The materials chief appeal has always been its score, which is indeed brimming with wonderfully sophisticated character songs with substantial melodic staying power. Theyre great to listen to, and less fun to watch performed back-to-back for two hours.Still, there are a few things to like (I suppose) about the film adaptation. Its small in scale for a movie musical, which feels refreshing, and its clearly made with love by director Richard LaGravenese. It also has a very good performance by Anna Kendrick. Other than that, its failings are the same as the stage version; its just exhausting to sit through wall-to-wall singing by two insufferable human beings. A mid-movie song about a tailor named Schmuel will have you praying for the end.23. Everybodys Talking About Jamie (2021)Itd be great to report that a candy-coated movie musical about a high school-aged wannabe drag queen, featuring Richard E. Grant as his mentor, was a feel-good romp. Alas, most of this West End hits transfer to screen never rises above a cavity-inducing level of twee. There are bops to be heard, and Max Harwood acquits himself well in a debut performance, but the materials Kinky Boots-esque juxtaposition of drag queen strut meets working class streets feels half-baked.Jamie honestly seems like a bit of a pill, especially when everyone around him (all things considered) is pretty Yaaas queen about his drag ambitions. Even the bully isnt so bad! Still, there are some good tunes, in particular the mom-rock future karaoke standard Hes My Boy, and a Boy George-esque original entry called This Was Me. Its that number, with its VHS-tinged walk through the London streets of an AIDS-ravaged past, which gives the film its lone moment of genuine grit and pathos.22. Les Misrables (2012)The central experiment at the core of Tom Hoopers film adaptation of Les Misrables is to have the actors sing live on set, beholden to no playback or tempo restrictions but their own. And it works once. Anne Hathaways performance of I Dreamed a Dream is movie magic, still as shattering as it was before she won every award possible for it. For the rest of the films two-and-a-half-hour running time, the A-list cast whisper-sings their way through ballad after ballad, while an exceptionally nosy camera gets all up in their grill, giving the film a claustrophobic feel and denying audiences the distance needed for such epic melodrama as this.At the time of its release, Russell Crowe received the brunt of the criticism, but the truth is that not many people come off well in this thing, not even Hugh Jackman. In Tom Hoopers hands, everything is so incredibly important that nothing matters. Tedium sets in long before the halfway point, and the source materials emotional climax is rendered inert. When a cast sobs and cries so much, there are no tears left for the audience.21. Into the Woods (2014)There was always going to be a movie of Into the Woods, and it was never going to completely work, even before Disney got their hands on Stephen Sondheims acclaimed fairy-tale musical. The first act is one story, the second another, and to combine them into one requires a false ending and a tonal shift that just doesnt lend itself to a traditional cinematic three-act structure.Of course, it would help if the film was more fun in its first act portion and darker in its second. Instead, the whole thing just feels as glossy and safe as the rest of Disneys 21st-century live-action output. Director Rob Marshall may be an easy target for criticism, but he does have good instincts as far as movie musicals are concerned. (Perhaps my hottest take concerns a certain Mary Poppins sequel and how its secretly fantastic.)Here, however, his inspiration feels dwindling, his direction a workmanlike ticking of the boxes through the songs, with none of the imagination that might justify their need to be filmed. As such, the main appeal is the performances, the best of which include Emily Blunt as the Bakers Wife, Billy Magnussen and Chris Pine performing a very wet Agony, and (of course) Meryl Streep as the Witch. No, she probably didnt need that Oscar nomination, but lets not pretend her Last Midnight isnt a high point in a film in desperate need of one.20. The Phantom of the Opera (2004)The second Hal Princes iconic staging is removed from Andrew Lloyd Webbers flagship show, youre left with a melodramatic mishmash somewhere at the cross-section of 80s music video, LOral ad, and porno. So it seems fitting that the film version is brought to us by the man who put nipples on Batman. The late Joel Schumacher directs the film around stars Gerard Butler and Emmy Rossum with all the subtlety of a gay sledgehammer, which, in theory, is the right fit for the material. The camera swoops, the chandelier falls, and theres enough sconce-lighting to put Yankee Candle out of business for a decade.Minnie Driver runs around in big pink dresses screaming I ate-a my at! like Super Mario in drag. Its all very bombastic, but in a way, charmingly so; Phantom is the rare movie musical where it feels bizarre when theyre not singing. Still, this has never been the most compelling stuff, and its central love triangle is rendered even more dramatically inert when the Phantoms disfiguring just looks like a mild sunburn.19. Cyrano (2021)Joe Wright (Anna Karenina, Atonement) has been directing musicals without singing for years now. The National, with their spare, introspective compositions, feels like a band tailor-made to express character through song. But Im not sure a movie musical of their stage adaptation of Cyrano de Bergerac was the ideal collaboration between these vastly different artists. The songs keep wanting to get down and dirty with the characters, while Wright would much rather spend his energy swirling capes around and pumping up the fog machines.That disconnect only serves to underscore the flailing but flaccid maximalism Wright can often be guilty of perpetrating in his films, as well as the droning sameness of this materials score. Even Peter Dinklages soulful performance is victim of an almost-fatal flaw: sans his characters iconic nose, this Cyranos combination of dashing good looks, swashbuckling swordplay, and elegant letter-writing makes it impossible to imagine a Roxanne who wouldnt be throwing herself all over him. Still, the performances are solid, and an eleventh-hour ballad in an army barracks (featuring Onces Glen Hansard) elevates the film, however fleetingly, into something achingly beautiful.18. Annie (2014)The thing nobody wants to admit is that this movie kinda slaps, and its mostly for one reason: Quvenzhan Wallis. Following up her Oscar-nominated, compelling-beyond-her-years performance in Beasts of the Southern Wild, shes a radiant burst of sunshine capable of turning a potentially contemptible movie into a wash of dumb-but-warm fuzzies.In many ways, its a bummer this film isnt just a faithful remake of the musical with her in the lead role. Instead, every moment seems riddled with an anxiety that it wont be cool enough, so the score is augmented with a slew of new Sia songs (Now look at me and this opportunity) and bizarro revamps of the original numbers. (Cameron Diazs Little Girls is either a camp classic or the worst thing youve ever seen, depending on how much youve had to drink.)Theres also an absolutely insane sequence where Annie uses social media to rescue herself from being kidnapped. OK, so maybe it does suck, but when Wallis opens her mouth to sing Tomorrow, its good vibes only, the type of performance that stops cynicism dead in its tracks and drags a shitty movie kicking and screaming into something at least inoffensively charming. If thats not in the spirit of Annie, I dont know what is.17. The Color Purple (2023)This adaptation of the 2005 stage musical based on Alice Walkers seminal 1982 novel, directed by Black Is Kings Blitz Bazawule, lies at an uneasy crossroads between remake and stage-to-screen transfer. Fans of the stage show will find the score cut to ribbons and augmented with hit-or-miss additions: Its nearly an hour into the movie before we hear a complete version of a song from the original show. And the numbers that remain have been reconceptualized as a wide array of magical realism set-pieces.At varying points, the protagonist, Celie (Fantasia Barrino) conjures up a chain-gang chorus to accompany her in song, rhapsodizes while standing in the grooves of a giant record on a gargantuan turntable, and transports herself into a movie screen for an Old Hollywood style pas de deux with her crush object, singer Shug Avery (Taraji P. Henson). The visual language is so scattershot, and the numbers so few and far between, that they dont play like windows into Celies mind so much as flashy ways for Bazawule to stage a song. This hectic quality carries over into the films dance numbers, where Fatima Robinsons lively choreography continually drowns out the principal characters, until it can be hard to remember why theyre singing at all.Bazawule seems far less interested in the stage-musical aspect of the film than in fashioning a surprisingly faithful remake of Steven Spielbergs 1985 film adaptation of Walkers novel, already somewhat of a directorial mismatch, given the books grounded nature and Spielbergs gauzy romanticism. But without the Quincy Jones score from the 1985 movie, or Allen Daviaus sumptuous cinematography, this reimagining swerves dangerously into TV-movie territory, although through no fault of its sterling cast.Barrino makes a remarkably assured debut, charting a course for Celie even as the films de-emphasis on her relationship with God leaves the character without a center. And while Bazawule seems completely at a loss for how to stage her five-course-meal showstopper Im Here, she sings the absolute hell out of it. Henson brings her singular combination of spikiness and warmth to Shug Avery, and Colman Domingo justifies the redemption arc of Celies abusive husband Mister in a way Im not sure has been as clear or compelling in any other version. And then theres Danielle Brooks as Celies in-law Sofia, handily stealing every scene shes in. A late-game dinner scene is completely galvanized by her titanic performance, jolting the film to life and conjuring the image of what a fireball of energy and emotion this could have been.16. Wicked (2024)The film adaptation of one of the most successful musicals in history arrived on a wave of critical and commercial success, not to mention escalating awards buzz. The hype is real, yet so are the flaws: namely, the films washed-out, homogenous cinematography and a padded-to-the-gills run time that had me feeling, though I cannot prove it scientifically, that this is in fact The Longest Movie Ever Made. The films overall lookis disappointing, particularly for a film in conversation with The Wizard of Oz, one of the most iconically colorful and sumptuously designed films of all time. But the run time proves the bigger problem, especially when 160 minutes only gets us through the first act of the stage musical.Cleaving the show into two movies isnt necessarily the worst idea in the world, particularly considering that its source material is a 450-page novel thats simultaneously a Wicked Witch of the West origin story, a political drama, and an animal-rights manifesto, complete with interspecies orgy. But bafflingly, the film doesnt add anything particularly new to the story while bloating each beat of the musical to maximum capacity and sacrificing any sense of momentum or narrative thrust.There are some strong moments from Cynthia Erivo and Ariana Grande, mostly vocally, but even these performances feel miscalibrated. Erivos Elphaba isnt really the Wednesday Addams-esque misfit presented both in the book and in the original Broadway show, nor is Grandes Glinda the confident, pampered princess who would make their initial clash and subsequent blossoming friendship compelling on screen. Step Up director Jon M. Chu has essentially delivered a cinematic souvenir program of the musical: Its high on fan service, low on imaginative adaptation, almost damagingly obsessed with not shaking things up or doing anything to incur the shows fans ire. Its frustratingly earthbound when it should be ahem defying gravity.15. The Producers (2005)Somehow, The Producers is still the musical with the most Tony wins in history. With that kind of pedigree, its understandable so many people went to see the film adaptation and wondered what the hell all the fuss was about. Susan Stroman, one of the best director-choreographers in the theater biz, sadly seems at a loss when faced with translating her work to the screen. And Nathan Lane and Matthew Broderick, who gave the sort of Broadway performances legends are made of, compete unsuccessfully with the film ghosts of Zero Mostel and Gene Wilder.At the same time, Stroman summons the charm of the Stanley Donen-style movie musicals of old. What was a Mel Brooks-laced love letter to the golden age of musicals on stage becomes a sort-of loving spoof of films like Singin in the Rain and On the Town. In many ways, I Wanna Be a Producer and Springtime for Hitler conjure that old-school Hollywood musical vibe more successfully than anything in La La Land, which aped the aesthetic but without impressive singing or dancing.Many could rightfully complain about much of the not-PC nature of the source material, even though Id wager Roger De Bris and Carmen Ghia rank as some of the most in love and out-and-proud show queens in cinema history. But maybe Ive always had a hard time being mad with Mel, who really did become a lot cuddlier in his old age. As a document of his last great work, The Producers is a testament to his belief that laughing at Hitler was the best way to piss off a Nazi.14. Nine (2009)Nine, a movie of a musical based on Federico Fellinis legendary 8 , isnt very good. The plots pretty boring, and Daniel Day-Lewis spends most of the movie skulking around sounding like the Count from Sesame Street. But heres the thing nobody else wants to say: Its also a fun watch.The supporting cast of women plays like Gay Avengers, and while hiring the likes of Marion Cotillard, Kate Hudson, Nicole Kidman, Fergie, Judi Dench, Penlope Cruz, and Sophia Loren to sing such lyrically clunky songs as My Husband Makes Movies and Be Italian feels kind of insulting, its also pretty fierce! Penlope Cruz slides down a giant pink curtain while singing about having sex with Daniel Day-Lewis! Judi Dench struts across the stage trailing a giant boa! Fergie waves around a tambourine filled with sand! Rob Marshall couldve chosen any musical in the world to adapt for the screen after the success of Chicago, but he chose this one. Thats really fucking weird and kinda cool.13. Rent (2005)Based on the last sort-of generation-defining musical theater event before Hamilton, Rent is also one of the few 21st-century movie musicals to feature most of the original Broadway cast. The good news about that is that everyone sounds great; this movie soundtrack fucks hard. The bad news is that while everybody still looks immaculate, their age makes the whole Why dont they just pay their rent aspect of this show even more questionable.Youthful energy is in short supply here, save for Rosario Dawsons criminally overlooked performance as Mimi; for such a cutting-edge show, its film version is disappointingly vanilla. Martin Scorsese and Spike Lee were each attached at one point to direct, and either of them wouldve made something infinitely more interesting than what Chris Columbus does here. Nothing feels real or lived-in; Mimis dive-y strip joint, the Catscratch Club, looks like a black-tie-only Vegas establishment, the Life Cafe like a TGI Fridays. The PG-13 rating causes an inordinate amount of skirting around key issues to the source material, and several of the songs are given music video editing-style treatment, reaching an unhinged peak when Adam Pascals Roger struts around the mountains of Santa Fe with wind in his hair like Britney Spears in the Im Not a Girl, Not Yet a Woman music video.Still, this is Rent, which means its score consists of a never-ending succession of straight bops, and that it will always possess at least some element of raw emotional power. Whether watching for a drunken singalong with friends or ugly crying through Without You, theres still plenty worthwhile here.12. Rock of Ages (2012)If Les Mis, Rent, and Wicked are musicals that needed to be cemented into culture with great movie adaptations, Rock of Ages is one that didnt need an adaptation at all but still turned out pretty fun. Directed by Hairsprays Adam Shankman, the film sets its tone right from the get-go with an inspired bus singalong to Sister Christian. Not long after that, Alec Baldwin warbles his way through the lyric Raise a toast to all of us and Russell Brand belts out Nothin But a Good Time. Mileage with the material depends entirely on ones enjoyment of A-list movie stars hamming it up to 80s covers, but the cast is completely committed to the bit.None more so than Tom Cruise, who in some bizarre alternate universe finagled an Oscar nomination for wearing assless chaps belting I Wanna Know What Love Is straight at Malin kermans vagina. The plot, such as it is, is hardly the attraction here, though Shankman often spends more time with it than necessary. But the moments when it embraces pure ridiculousness, like Baldwin and Brand falling in love to REO Speedwagon, or Catherine Zeta-Jones serving Hit Me With Your Best Shot a la Tipper Gore with a chorus of church ladies, come fast and furious enough to make this more fun than it probably should be.11. Cats (2019)Cats is not the movie Tom Hooper thought he made. His self-proclaimed screed about the perils of tribalism is filled with the worst trappings of the directors filmography: an all-pervading self-seriousness, broad and unfunny attempts at comedy, and a willful refusal to just let a song be a song. It also looks fucking crazy.But Cats transcends its maker to become one of the most utterly bizarre and joyous pieces of fuckery to grace the silver screen in a long, long time. Its not only no fun to say the Cats movie is bad; its also wrong. Its too strange, too out there, too bursting with an oddly endearing Theater Kid energy to completely write off. To watch Cats in a theater with an amped-up audience is to enter a cabal of communal joy, a Jellicle Ball, if you will, that goes right past hate-watching and hits something unmistakably pure. Its a singalong audience participation fest where you can roll your eyes at James Corden and Rebel Wilson, take a bathroom break during that new song Taylor Swift wrote lyrics for, boo Idris Elbas Macavity like an old panto villain, and cheer like Tinker Bells been resurrected when Mr. Mistoffelees magics Old Deuteronomy back from Ray Winstones murder barge in the middle of the Thames.And thats to say nothing of the fact that Sir Ian McKellen is actually really good in it, nor that Dame Judi Dench somehow sat on that set in her green leotard with dots all over it and galaxy brained the gonzo clusterfuck this film would eventually become, distilling it all into one deeply strange, wildly horny, and bizarrely regal performance. Of course, the unmistakable king of the entire thing is Skimbleshanks the Railway Cat, whose entrance during the last screening I attended (yes, Ive gone to many) caused one woman behind me to scream uncontrollably, FUCK IT UP, SKIMBLE! Cats rules. Fuck it up, Skimble, indeed.10. Roald Dahls Matilda: The MusicalIn 2022, one of the most deliriously inventive and winning stage musicals of the 21st century was quietly adapted into a live-action film and promptly dumped onto Netflix. Tim Minchin and Dennis Kellys take on Roald Dahls classic story of youthful, principled defiance in the face of oppression felt on stage like the perfect cocktail of Dahlian cheekiness, warmth, terror, and anarchy. Happily, the film adaptation retains most of the shows distinctly calibrated charm, with a rare success story in Matthew Warchus seamless transition from directing the original stage production to bringing it to life on screen.In spite of the typically flat digital sheen of the Netflix house style, this movie version is largely inventively shot, dynamic, and brimming with life. Thats particularly true whenever its ensemble of kids is on screen singing and dancing, such as in the Busby Berkeley-style centerpiece Bruce or the achingly bittersweet When I Grow Up. Revolting Children, Minchins 11-oclock anthem to well-placed anarchy, is catharsis incarnate, and its showstopping presentation here is the cherry on top of a film that strives to capture all the bruises and blessings of childhood. This is to say nothing of a radiant supporting performance from Lashana Lynch as Miss Honey, and another from a certain Red Beret Girl.9. Dreamgirls (2006)Dreamgirls is probably the purest descendant of Chicagos success, a distinction partially due to that Oscar-winning films writer, Bill Condon, taking writer-director duties here. But mostly, Dreamgirls feels like one of the last times one of these things was stacked with a celebrity cast that didnt feel hackneyed, not to mention one that could actually sing and dance. The confluence of talent in this ensemble is nothing short of dynamite. Eddie Murphys turn as James Thunder Early is such a barnstorming marriage of character and career that it will forever be a bummer he didnt take home the Oscar. Jamie Foxx is solid as ever, Anika Noni Rose is so radiant one wishes she was in more movies, and Beyoncs casting as the Diana Ross-esque Deena only grows more and more inspired as her legend increases.Its unfortunate, then, that these performances often get lost in the shuffle of a movie that sometimes feels like an endless montage set to music. It seems a silly complaint when the songs are this good, but Condons frantic cutting through the 60s and 70s, from Motown to doo-wop to disco, eventually starts to feel like a museum tour gone haywire. The film is still a good time, but it only ever really soars twice, when the director finally decides to chill out and hand over the reins to his performers.Thats in Beyonces late-film original song Listen, where she grabs the movie by the balls and says, I will be around for a long, long time, thank you very much. And of course, its in the films centerpiece, Jennifer Hudsons thunderous and instantly-iconic performance of And I Am Telling You Im Not Going. So what if nothing after it can top it? Every movie dreams of having a moment as powerful as that.8. In the Heights (2021)So many modern-day movie musicals have made a habit of apologizing for bursting into song, timidly bridging the gap between speech and singing in a way that makes you wonder what the fuck the point even is. Thats refreshingly not the case with In the Heights, which dives joyously and effortlessly into all that is excessive and extraordinary about the genre.The streets were made of music, says Dominican immigrant Usnavi of his Washington Heights block, and director Jon M. Chu takes the line endearingly literally. In the film version of Lin-Manuel Mirandas debut musical, manhole covers spin like records, bewigged mannequin heads bop to salon shop gossip, and stars are born as frequently as the fireworks that pop off in the films mid-movie blackout sequence. Theres Daphne Rubin-Vega, reaping rich revenge for being left out of the Rent film; Gregory Diaz IV, spitting fire and sweetness as Sonny; Corey Hawkins, practically combusting with showbiz gusto; Olga Merediz, giving a prime rebuttal to the myth that original Broadway cast members cant also give phenomenal screen performances; and Anthony Ramos, giving one of the most confident, sexy, and undeniable movie star debuts in years.Not to mention the joy-bomb that is Mr. Jimmy Smits entering a bodega while singing Good morning, Usnavi, or Miranda himself defying the haters in a walking-on-air cameo as what I can only hope will become the next Marvel superhero, Piragua Man. In the Heights feels entirely of the moment, even as it stretches back through film history to pay homage to everyone from Busby Berkeley to Esther Williams to Fred Astaire to Spike Lee.Thats not to say its perfect; Quiara Alegra Hudes repeals, replaces, and improves virtually all of her book in the screenplay adaptation, but still cant account for the fact that plot just isnt the strong suit of this show, nor that its second act is severely lacking in the story department and in its songs. Still, for much of its lengthy running time, In the Heights is as blazingly hot as a scorching summer day, as cool and refreshing as a cup of shaved ice, the type of party that goes on far too long but you still dont really want to end.7. Sweeney Todd: The Demon Barber of Fleet Street (2007)Of all the film adaptations of traditional musicals to hit the screen since Chicago, very few feel like a perfect marriage of director and material. Tim Burtons film of Sweeney Todd is such a match made in heaven, such a wonderful mashup of Hammer horror film, black comedy, and slasher movie, that he exhausted all his imagination and creativity on it and never made another great movie again. Purists may complain about the lackluster singing (its fine) or the judicious cuts in the score (au revoir, Ballad of Sweeney Todd), but the film is its own unique thing, separate from its source material on the stage, as good a movie musical as it is just a plain old movie.In fact, paring it down to its revengers tragedy essence, colored only by gloriously gory geysers of crimson blood, brings out the inherent cinematic quality of the source material. Aside from boasting one of the most masterful scores ever written for a musical, Sweeney has always been just a damn good yarn. During the films final stretch, when the tension has ratcheted up for all the principal characters and the body count rises to an insane peak, Burton and his sublime cast (particular shoutouts to Helena Bonham Carter and Alan Rickman) have managed to do what few other recent movie musicals have done: make you forget everyones singing, and surrender completely to the story. Its so good that even the late Stephen Sondheim, who notoriously hated films of his work, loved it.6. Chicago (2002)Chicagos breezy, razzle dazzle vibe can make it feel like one of the more lightweight Best Picture winners of the 21st century. But as much as director Rob Marshall does ape the shooting and editing style of Bob Fosses far superior Cabaret and All That Jazz, and as much as its thin satire on murder and showbiz becomes a bit tired in the films back half, Chicago is still an extremely entertaining movie.This is particularly true of the first 30 minutes, which trots out its all-star cast one by one (first Catherine, then Rene, then Queen Latifah herself) as if they were some of the most formidable showbiz warhorses ever, culminating in the positively orgasmic Cell Block Tango, one of the best musical numbers ever committed to film.The rest of the movie often plays like a greatest hits reel, but what hits! Richard Gere does a striptease! The Press Conference Rag! And in maybe the best moment in the whole film, John C. Reilly brings the house down in one of the finest numbers Kander and Ebb ever wrote, Mister Cellophane. Chicago may be slight, but the one that reignited the genre is still pretty hard to beat.5. Hairspray (2007)The most successful movie adaptations of musicals take the spirit of what was onstage and transform it into something fresh and new that works on its own terms on screen. Chicago did it, and Hairspray does it, too. What makes Hairspray more impressive than its forebear, though, is that it makes no excuse for its singing. The numbers arent happening in Tracys head, and they arent stage-bound. Director Adam Shankman, with a fabulous cast, manages to make a full-blown, unapologetic musical comedy thrive on screen, and its spirit is infectious.Much fuss was made at the time about John Travoltas casting, but while hes no Harvey Fierstein (or Divine, for that matter), and while he does look like a nightmarishly overgrown Cabbage Patch Kid, theres something just so sweet about his Edna Turnblad. Sweet is the operative word for this whole movie, actually, because from the moment Nikki Blonsky (from the movie Hairspray) belts out Good Morning, Baltimore, the film slaps a smile on your face and doesnt let up, from Michelle Pfeiffers icy Miss Baltimore Crabs to Elijah Kelleys roof-raising Run and Tell That all the way through to You Cant Stop the Beat, forever and always one of the most joyous finales in musical theater.Hairsprays rose-colored-glasses ending, where the fat girl gets the hot guy and kills racism in one fell swoop, may be simplistic to a fault. But its also exactly the kind of utopian dream that nothing can sell better than a musical.4. Mamma Mia! (2008)Critics slammed this thing upon release, and I get it; its a star-studded adaptation of an ABBA jukebox musical. But watching it now, you cant help but wonder what had everyone so grouchy in 2008. This is a film that knows exactly what it is from top to bottom, a wonderfully high-spirited, utterly joyous romp about a reunion of childhood girlfriends and the bond between a mother and her daughter.Its also about watching Meryl Streep fully blossom into the I give no fucks era of her career. The Devil Wears Prada kicked open the door, but its hard to resist just how much of a blast shes having here, whether its treating the title song like Hamlets To be or not to be soliloquy, jumping into splits up and down on a bed, or running up a massive winding hill waving a red scarf in despair while Pierce Brosnan bellows out, DONNAAAAAAAAA!Her thoroughly committed, effervescent performance gives the rest of the cast permission to let their hair down, and together with director Phyllida Lloyd they manage to effortlessly glide from the complete camp of Christine Baranski and Julie Walters thrusting on Jet Skis to a rather touching sequence where a mother gets her daughter ready for her wedding, all with a mastery of tone that honestly puts lesser adaptations of better musicals to shame.A final note: While the sequel is itself its own kind of fun, its time to correct the narrative that it in any way surpasses the high-flying joy of the original. That said, I would be remiss not to mention that Cher singing Fernando is one of the greatest things to have ever happened in a movie.3. West Side Story (2021)It seemed an impossible task, bordering on the unnecessary. But this remake of our great American musical, by one of our great American filmmakers, makes the case for its existence, and its necessity, almost instantly. Its not just that Steven Spielberg corrects the casting sins of the 1961 original, ceding power to the Latino performers in order to bring an exhaustive authenticity to the pieces Puerto Rican characters. Its that he also schools virtually every movie musical director of the century with a breathlessly entertaining film that also ranks as one of his best in recent years.In West Side Story, his old collaborators seem reinvigorated; Tony Kushners screenplay gives a complete recontextualization to the piece, strengthening characters and bolstering beats while still letting Leonard Bernsteins all-timer of a score sing in ways both familiar and surprising. Janusz Kamiskis cinematography, enlivened by Bernsteins propulsive rhythms, ducks and dives around Adam Stockhausens purgatorial sets, popping with color in his most exciting work since Saving Private Ryan.And the cast is killer, from a crooning Ansel Elgort and movie star in the making Rachel Zegler to Ariana DeBoses shattering Anita and Mike Faists scrappy, Mulaney-meets-Pesci take on Riff. Sure, there are plenty of highs from the original that this new incarnation could never hope to hit. But along the way, it creates plenty of new ones.2. Tick, Tick Boom! (2021)Lin-Manuel Miranda has long teased his infatuation, and frustration, with the challenges of bringing a musical from the stage to the screen. With his directorial debut, he reveals that nearly all of his impulses for that tricky transition were ultimately correct. tick, tick BOOM! is refreshingly alive, as eager to please and make the most of its limited time as its creator, Jonathan Larson, lovingly embodied in a career-high performance by Andrew Garfield. Not only that, but Mirandas passionate involvement magically transforms a somewhat minor, navel-gazing stage show with some good songs into a full-bodied tribute to creators everywhere, to any dreamer who keeps throwing stuff at the wall, moving constantly to the next and the next, and on and on, as well as to the shitty apartments, grinding jobs, and loving friends who give them lives worth living, and worth writing about. Its Fosses All That Jazz by way of our most Professional Earnest Theater Kid.1. Hedwig and the Angry Inch (2001)Ladies and Gentleminions, this is the best movie musical the new millennium has gifted us thus far. A hysterically funny, poignant, and ultimately cathartic show onstage, Hedwig was reinvented and given a wonderful screen treatment by its creator and star, John Cameron Mitchell. Its a tricky adaptation, given that onstage it plays out as a rock concert with stand-up patter interludes. Yet somehow Mitchell finds new and inventive visual ways to maintain the bitchily sardonic humor that came from Hedwigs musings onstage.It helps that Stephen Trasks songs make up one of the most underrated scores in the entire musical theater canon, but its Mitchell (and DP Frank DeMarco) who give each and every one deliriously imaginative staging. Hedwig soars above a sloppy food fight, her POV shuttered by the periphery of her iconic locks; theres gorgeous cave-painting style animation by Emily Hubley that accompanies The Origin of Love, one of the most beautiful songs perhaps ever written; and in a magnificent coup de theatre, the wall of a mobile home opens to the ground, transforming the trailer into a full-on proscenium stage for Hedwig to rock out on.The whole thing is pure funhouse filmmaking on a shoestring budget, and every scene is treated with care, humor, and an unshakably honest humanity. Hedwig is a film that marches defiantly to the beat of its own drummer, all the while filling you up with all the empowerment and self-love youve ever wanted from a movie musical.

In 2025, its all about embracing the cozy, the comforting, and the deliciously indulgent. Pantone has revealed its Color of the Year for 2025, and its a rich, velvety brown that exudes warmth, sophistication, and a dash of sweet nostalgia. Meet PANTONE 17-1230 Mocha Mousse the hue set to infuse the design world with a luxurious sense of calm and connection.Imagine the first sip of a perfectly brewed cappuccino or the indulgent melt of a decadent truffle. Mocha Mousse is the visual embodiment of these simple pleasures comfort wrapped in color. This soft brown shade isnt just a nod to the earthy tones of chocolate, coffee, and cacao; its a declaration that everyday moments of joy are worth celebrating. Mocha Mousse is more than a color its a sensory experience, says Leatrice Eiseman, Executive Director of the Pantone Color Institute. It invites us to slow down, savor lifes little luxuries, and find beauty in the familiar.To mark this delectable milestone, Pantone has taken over one of the worlds most iconic landmarks the lastminute.com London Eye. As dusk falls on December 5th, the London skyline will be bathed in the sumptuous glow of Mocha Mousse. A light show will illuminate the historic attraction, turning it into a giant, swirling cup of visual warmth for Londoners and visitors alike. This partnership marks the first in a series of global events designed to bring Mocha Mousse to life in cities like New York, Shanghai, and Mumbai. From immersive installations to interactive color experiences, Pantone is making sure this years color isnt just seen its felt.In a world that often feels overwhelming, Mocha Mousse offers a soothing antidote. It bridges the gap between grounded earthiness and refined elegance, making it a perfect fit for both modern interiors and timeless fashion. Whether its cozying up a living room with plush textiles or adding a touch of understated glamour to your wardrobe, this versatile hue promises to bring harmony to any space. Laurie Pressman, Vice President of the Pantone Color Institute, highlights the deeper message behind this choice. Mocha Mousse is about connection between ourselves, our environment, and each other. Its a reminder that even in our fast-paced, tech-driven lives, theres beauty in slowing down and savoring the present.This year marks the 26th anniversary of Pantones Color of the Year, and its clear theyre pulling out all the stops. From pop-up experiences in bustling city squares to curated color palettes for designers and creatives, Mocha Mousse will be making its way into our homes, our wardrobes, and even our coffee cups. As the design world collectively leans into this mellow brown hue, 2025 is shaping up to be a year of mindful indulgence and harmonious living. So, whether youre sipping a mocha latte or lounging in your favorite cashmere sweater, Mocha Mousse aims to remind you to embrace the simple, the beautiful, and the delicious.For more information about the Pantone Color of the year 2025: PANTONE 17-1230 Mocha Mousse, visit pantone.com.

Rumours about the death of design are greatly exaggeratedContinue reading on UX Collective

How adaptive UIs are transforming user-centered design.Arcs browse for me functionality with custom page built from thesearchThis morning, Google gave me the weather, Manchester Uniteds stats, and stock performanceeach in a dynamic, interactive format. No clicks, just answers. As a designer, this made me wonder: How did we evolve from basic 10 blue links to these intelligent, context-aware interfaces?Imagine trying to explain to someone from 2005 that you could ask your phone, Hows United doing? and instantly see not just the score, but a dynamic visualization of the games key moments, player statistics, and tactical analysisall without visiting a single sports website. Theyd probably think you were describing science fiction. Yet here we are, in an era where interfaces adapt and breathe with ourneeds.This question led me down a fascinating journey exploring how user behavior and technological advancement have fundamentally transformed the way we design search experiences. What I discovered was a story of continuous evolution, driven not just by technical capabilities, but by our deepening understanding of how humans seek and consume information.The evolution through theagesChapter 1The computing age: Storage and processingIn the early days of computing (1950s-1980s), interfaces were simply windows into digital filing cabinets. The focus was purely functional: store data, retrieve data. User experience wasnt even a consideration yet.Chapter 2The internet age: Distribution andlinksIn the 1990s, everything changed. The web became a vast network of interconnected pages, and Googles ten blue links emerged as the card catalog of the digitalage.10 blue links of GooglesearchI remember writing essays on topics such as World War II during 2005: type a query, click a link, read, return, repeat. Multiple windows cluttered my desktop, and I had to piece together fragmented information manually. This process worked back then, but as the web expanded, users needed faster, more contextual information.Today, that same research takes seconds, with key events, timelines, and facts delivered instantly in interactive formats.Chapter 3The knowledge graph era: Understanding andcontextIn 2012, Google revolutionized search with the Knowledge Graph. For instance, searching Marie Curie no longer just returned blue links; a panel on the right displayed a concise biography, key achievements, and related scientists. This wasnt just visualit reflected a key insight: users want to understand information in context, not just findlinks.Redesigned Google search with knowledge graph panel on therightThe Knowledge Graph was born from observing how people actually use search. Users werent just looking for links; they were looking for answers and understanding.- Jack Menzel, former Product Management Director atGoogle.This shift influenced interface design by introducing:Information-rich panels for immediate context.Structured data highlighting keyfacts.Visual hierarchies matching inquiry patterns.Related suggestions anticipating userneeds.Before Knowledge Graph: Searching chicken parmesan recipe meant clicking through sites, comparing ingredients, and checking reviews manually.After Knowledge Graph: Instantly see ratings, ingredients, cooking time, and caloriesall without clicking alink.The Knowledge Graph was just the start. As AI evolved, so did interfaces, raising a new question: What if they could adapt to user intent in real-time? This led to todays contextual UI era, where each query shapes the perfect information experience.Chapter 4 (Now)The contextual UI era: Adaptive and intelligentFast forward to today, and were witnessing another transformation in search interface design. Search results now adapt their entire presentation based on the nature of yourquery:Search for a restaurant, and youll see photos, reviews, peak hours, and popular dishes in a card-based layoutDynamic views for hotels, restaurants and attractions onGoogleLook up a sports match, and youll get a specialized interface showing scores, player statistics, and keymomentsDifferent result cards shown contextual to a game when searched onGoogleResearch a stock price, and youll find a detailed analysis with trends, earning calls, income statement reports, news that are relevant to thestock.Stock related informational cards onGoogleInterfaces today dont just show informationthey tell a story. This evolution in search interfaces isnt just a technical feat; its reshaping how users expect to interact with all digital products. When people experience contextual, intelligent interfaces in search, they begin to expect the same adaptiveness everywhere. This is the spillover effect of search interface evolution.Why navigate through multiple screens in a banking app when search gives you instant, contextually relevant weather, sports scores, or stock data? Why cant project management tools adapt their interface based on your currenttask?Were witnessing a fundamental shift in user expectations. Users who experience intelligent, context-aware interfaces in search are increasingly frustrated with static, one-size-fits-all designs in other applications. This is pushing us to rethink how we approach product design across theboard.Sophia Chen, Head of Product atStripe.This shift is clear in how users nowexpect:Immediate access to relevant information without navigation.Interfaces that adapt to context andneeds.Information in the right format for thetask.Predictive features that anticipate needs.AI technologies like GPT-4 and Claude are accelerating these expectations. As these capabilities ripple across the digital landscape, we face a crucial question: How do we design products that deliver on thispromise?The next wave: BeyondsearchThe evolution of search interfacesfrom ten blue links to rich, contextual experiencesdid more than improve search; it created a blueprint for future software interfaces. Googles ability to tailor layouts for weather or sports scores sparked a fundamental shift in interface design.Whats fascinating is how this revealed a deeper truth: interfaces dont have to be static structures users must learn. Instead, they can be fluid, contextual experiences that adapt to userintent.This insight is now reshaping the software landscape. The same principles that let Google show weather differently from stock data are inspiring interfaces that transform based on user needs. Its not just about convenience; its about changing how we interact with information.Were entering an era of truly context-aware interfacesfrom data analysis to creative tools and learning platformsthat adapt to our intent, rather than the other way around. Lets explore how modern products are already embracing thisshift.Usecase 1Amplitude smart analytics through smartqueriesThe shift from traditional dashboards to conversational interfaces in Amplitude illustrates how searchs evolution is reshaping professional tools. Amplitude transforms data analysis from complex navigation to natural conversation, aligning interface design with humanintent.The Traditional WayA Maze of Clicks: Imagine youre a product manager trying to understand user behavior. You want to know how many UK Android users completed the first three onboarding stages between August 7 and 24. In a traditional interface, this seemingly simple question requires multiplesteps:Navigate to the funnel analysissectionSelect events for each funnelstageOpen the device filter dropdown and selectAndroidOpen the location filter and select theUKSet the daterangeWait for processing and adjust the visualizationEach step disrupts your flow, forcing you to translate your question into the systemslogic.The New WayJust Ask: Now, you simply type: How many UK Android users completed the first three onboarding stages between August 7 and 24? Within seconds, you see the data and visualization you need. This isnt just about saving clicksits about maintaining your analytical flow. Natural language lets you focus on insights, not interface navigation.Ask Amplitudes AI interface surfacing live graphs based on questionsDesign Decisions, UX Principles, and Human Behavior: Amplitudes design decisions reflect key UX principles focused on reducing cognitive load and enhancing user efficiency. By adopting natural language input, the interface supports the way people naturally think and ask questions, removing the friction of translating intent into rigid system commands. This approach respects the users mental model, keeping them in a state offlow.The shift to conversational analytics is a response to human behavior patternsusers want immediacy, simplicity, and context-awareness. Instead of navigating complex menus, users can engage in a dialogue with data, making insights more accessible and reducing the frustration of context switching. This design choice ultimately empowers users to make faster, more informed decisions, aligning the interface with real-world tasks andgoals.Usecase 2Arc Searchs browse formeJust as Amplitude transformed data analysis from navigation to conversation, Arcs Browse For Me feature is reinventing how we consume web content. It takes the scattered nature of web information and transforms it into a coherent, organized experience.The traditional wayInformation fragmentation: Imagine you want to learn about football legend Andrs Iniesta. The traditional approach would look likethis:Open Wikipedia for basic career informationVisit sports websites for detailed statisticsSearch news sites for his post-Barcelona careerLook up separate pages about his achievementsFind dedicated articles about his playingstyleOpen multiple tabs for different careerphasesEach tab switch breaks your reading flow, and youre forced to mentally stitch together a complete picture from disparate sources.The new wayIntelligent organization:With Arcs Browse For Me, you simply express your interest in learning about Iniesta. The interface automatically:Creates a clean, organized page about his career & Structures information logically (early life, club success, achievements)Presents European statistics in a clear format & details his post-Barcelona careerProvides relevant sources for deeper explorationArcs browse for me functionality with custom page built from thesearchInstead of jumping between tabs, you get a coherent narrative that maintains the depth of multiple sources without the fragmentation.Design Decisions, UX Principles, and Human Behavior: Arcs Browse For Me embodies key UX principles: reducing cognitive load, maintaining flow, and enhancing comprehension. By automatically structuring information, it respects how users naturally process complex topicsthrough organized, contextual learning.This approach acknowledges that users seek coherent stories, not disconnected facts. The design minimizes the friction of context switching and supports a more fluid reading experience. By aligning with human behaviorour preference for integrated, narrative-driven learningArc turns web exploration into a focused, intuitive journey. This design decision ultimately helps users achieve deeper understanding with lesseffort.Usecase 3Gongs real-time adaptive sales intelligenceGongs conversational sales assistant giving liveinsightsIn the world of enterprise sales, where each call can make or break a deal, the ability to process information in real-time is crucial. Traditionally, sales reps relied on memory, note-taking, and post-call analysis to identify objections, track client needs, and make follow-up decisions. This process was manual, reactive, and prone to human error. But what if the interface could dynamically adapt during the call, surfacing the right information at the right time? This is where Gong revolutionizes the salesprocess.The traditional wayJuggling between interfaces: Imagine youre a sales rep on a call with a potential client discussing a new SaaS product. As the conversation flows, the client raises questions about pricing, mentions a competitor, and shares concerns about implementation timelines. To address these points effectively, you needto:Switch between multiple tabs in your CRM to pull up pricingdetails.Search through meeting notes for past conversations with theclient.Dig into competitor analysis documents to counter objections.Navigate to internal resources to find relevant casestudies.Each switch disrupts your flow, and the pressure to keep the conversation smooth while searching for the right information can be overwhelming. By the time you find what you need, the moment may have passed, and the clients confidence mightwaver.The new wayDynamic, context-Aware UI: Gongs AI-powered interface listens, transcribes, and analyzes sales calls in real-time, providing relevant information at the exact moment you need it. Instead of scrambling for answers, insights appear seamlessly:Competitor Mentions: If the client mentions Acme Corp, Gong surfaces a competitor comparison chart.Pricing Queries: When pricing comes up, a dynamic pricing module shows packages and past discounts.Implementation Concerns: For timeline concerns, Gong displays industry-relevant casestudies.Risk Alerts: If risky phrases like Were evaluating other vendors arise, real-time prompts help you address objections immediately.Gong eliminates the need to juggle multiple tools, turning sales calls into fluid, focused conversations that prioritize understanding and serving theclient.Design Decisions, UX Principles, and Human Behavior: Gongs adaptive interface is grounded in key UX principles: contextual awareness, real-time assistance, and cognitive load reduction. By delivering insights in the moment, Gong supports the way sales reps naturally process informationthrough seamless, uninterrupted interaction.This design reflects a deep understanding of human behavior: people struggle with multitasking under pressure. By proactively surfacing information, Gong helps reps maintain focus and flow, reducing stress and enabling better decision-making. The interface adapts to the conversations context, mirroring how humans think and respond in real-time, ultimately enhancing both the efficiency and effectiveness of sales interactions.Usecase 4AI-Powered development: The end of context switchingWhile Gong shows us how AI can transform real-time interactions in sales, another domain ripe for transformation is software development. Long plagued by context switching and tool fragmentation, development workflows are being reimagined through AI-powered interfaces that collapse multiple specialized environments into a single, fluid experience.The traditional wayTool juggling: A simple coding task often requires developers to navigate a maze of toolswriting code in an editor, debugging in a browser, running commands in a terminal, searching for documentation, managing version control, and referencing multiple tabs. Each switch between these tools disrupts focus, forcing developers to juggle multiple mental models and break their workflow. This fragmented process interrupts productivity, making it difficult to maintain a state of creativeflow.The new wayIntent-driven development: Modern AI-powered tools like Cursor.so unify coding tasks into a seamless interface. Instead of juggling multiple tools, you express your intentAdd a dark mode toggleand the interface generates code, shows live previews, highlights changes, and applies updates. AI assistants like Claude in VS Code and ChatGPTs Code Interpreter enhance this with real-time suggestions and explanations, eliminating context switching.These tools excel in their contextual awareness of development workflows. Platforms like Replit Ghost integrate debugging, surface relevant documentation, and adapt testing and deployment dynamically. Vercel provides live deploy previews within the coding environment. This shift transforms coding into a fluid, creative process, letting developers focus on problem-solving instead of managingtools.Design Decisions, UX Principles, and Human Behavior: These AI-powered tools reflect critical UX principles like reducing cognitive load and preserving flow state. By unifying environments and minimizing context switching, they align with how developers naturally think and work. The focus on intent-driven interaction helps developers stay engaged, turning coding from a fragmented task into a fluid, creative process. This shift empowers developers to focus on problem-solving rather than tool management, enhancing productivity and satisfaction.Key design themes: Connecting to humanbehaviorModern adaptive interfaces are deeply rooted in human psychology and behavioral patterns. By understanding how users think, learn, and interact, these design themes ensure products are more intuitive, efficient, and satisfying. Heres a deeper look at each theme and how it connects to human behavior:1. Intent-first interactionConcept: Users express their goals naturally, and the interface interprets and fulfills those goals without rigid structures.Human behavior connection: People prefer to articulate what they want directly, rather than adapting to predefined workflows. Traditional interfaces force users to break down tasks into system-specific commands, which increases cognitive load and friction. By supporting natural goal expression, intent-first interaction aligns with how the human brain worksfocusing on outcomes rather than processes. This approach reduces frustration and helps users maintain focus, making digital interactions feel more intuitive and human-centered.2. Contextual intelligenceConcept: Interfaces adapt to the users journey by preserving context and anticipating needs.Human behavior connection: Humans rely heavily on context to make decisions and retain information. When interfaces maintain contextremembering previous actions, queries, or stepsthey reduce the mental effort required to retrace paths or rebuild context. This mirrors how humans think, helping users stay oriented and avoid the cognitive drain of recalling information manually. Context-aware interfaces make interactions seamless, reducing the need for repetitive inputs and enhancing efficiency.3. Unified experience spacesConcept: Consolidating multiple tasks within a single interface to minimize context switching.Human behavior connection: Maintaining a state of flow is essential for productivity. Each time a user switches between tools or tabs, their flow state is disrupted, leading to mental fatigue and reduced efficiency. Unified experience spaces minimize these disruptions, allowing users to remain deeply engaged with their tasks. This reflects the human preference for continuous, uninterrupted work, reducing cognitive load and enhancing overall satisfaction.4. Progressive intelligenceConcept: Interfaces reveal advanced capabilities gradually, aligning with the users experience and learningpace.Human behavior connection: Humans learn best when information is delivered in manageable increments. Overloading users with features can lead to frustration and overwhelm. By progressively revealing capabilities, interfaces cater to the users natural learning curve, building confidence over time. This supports a sense of mastery and encourages exploration, fostering a more engaging and satisfying user experience.5. Fluid information architectureConcept: Information dynamically reorganizes itself based on the users needs andcontext.Human behavior connection:Humans are adaptable and process information best when it aligns with their immediate goals. Static, rigid hierarchies force users to adjust their thinking to the interface. In contrast, dynamic information structures support how people naturally absorb, filter, and act on new data. This flexibility reduces cognitive strain and makes interactions feel intuitive, as the interface morphs to support changingneeds.Bringing it alltogetherThese design themes are more than technical innovationsthey embody a human-centered approach to digital interactions. By aligning interfaces with natural human behavior, they reduce cognitive friction, preserve focus, and empower users to achieve goals effortlessly. The future of design lies in creating adaptive experiences that understand and anticipate user needs, making technology a seamless extension of humanintent.The opportunity of adaptivedesignWe are at a pivotal moment where AI capabilities intersect with human needs, offering unprecedented opportunities for designers. The patterns exploredfrom intent-driven interaction to fluid information architecturesignal a fundamental shift in how we interact with digital tools. The challenge now is to imagine beyond the obvious. What if a medical interface adapted in real-time to support both doctor and patient? How might educational tools evolve to dynamically adjust to each students learningjourney?This is just the beginning. In my next article, Ill explore how adaptive interfaces could revolutionize various industries and reshape the future ofdesign.The era of static, one-size-fits-all interfaces is ending. As designers, we have the opportunityand the responsibilityto shape this shift by creating adaptive interfaces that align with real user behaviors and needs. The future of design is adaptive, contextual, and profoundly human. Are you ready to lead theway?The next era of design is intent-driven was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

We may earn a commission from links on this page.We all know someone who is perpetually cold. I am, in fact, one of those people. I hate air conditioners. I hate the winter. I hate being more than 10 feet from a heater or blanket. As a result, I own all types of items designed to warm me up. Here's what I recommend as a gift if you know someone like me.Cozy gifts for the perpetually coldBefore we dive into the tech of it all, I'll say that you can always get classic, cozy stuff for someone and it'll be appreciated. Usually, I consider gifts like fuzzy socks a little basic, but if you're tasked with secret Santa-ing that coworker who's always draped in a blanket at their desk, fuzzy socks suddenly become the best impersonal gift of the season. In the winter, I never wear normal socks. I am purely a fuzzy sock devotee from October to March. That's why I suggest a multipack: ANTSANG Fuzzy Socks, 5 Pairs $14.99 at Amazon Shop Now Shop Now $14.99 at Amazon Steer clear of blankets, though. It's a nice gesture, but it's been done; your cold friend is likely not short on blankets. What they might not have, thoughand what I've been into latelyis fleece-lined shirts. I love regular hoodies and all, but I also love looking presentable, so finding these last month was a game-changer for me. You have a lot of options, mostly in the $20 to $35 range, and I can almost guarantee they'll love it. Techy presents for cold peopleNow it's time for the really fun part: The gadgets that heat you up. I've mentioned this before, but I have recently fallen in love with my little rechargeable heat pad. They're typically used for easing cramp pain, but I wear mine all the time. I wear it around the house and even under my coat when I go out. It's small and easy to conceal, but packs a big punch in terms of delivering serious heat directly to my body. Portable Heated Waist Belt $24.99 at Amazon Shop Now Shop Now $24.99 at Amazon In a similar vein, consider gifting some rechargeable hand warmers. Sure, the single-use kind are fine, but this is a little more advanced and makes for a much better gift. Two retail for $21.99 and heat up to 130F, so your recipient can slip them into their coat pockets and create the perfect safe haven for their hands on brisk walks.Relatedly, I also own this heated vest, which is powered by a rechargeable battery pack and can be worn under a coat, too. It has more heating power than my little belt, so it's perfect for times I'll have to be outside a while, but it's not super bulky, so I can also wear it indoors if I feel the need. Bonus: The battery pack acts as a portable phone charger in a pinch. For those who may commute by vehicle, why not a heated seat warmer? This car-sized cushion is $54.99 and could make trips to work or the store a whole lot more comfortable for someone who doesn't have built-in seat warmers. You may not understand why a heat vent isn't enough for your always-cold friend, but take it from me: It's just not (especially if other car occupants oppose being blasted in the face with the hot air). If you want to be the real star of the holidays, though, I recommend a towel heater. I don't have one, but I want one, so if anyone I know is reading this, consider your Christmas duties sorted. Imagine stepping out of the shower on a bleak winter morning and being able to immediately wrap up in a hot towel instead of shivering in the middle of the bathroom. It sounds downright heavenly. Throw a blanket in there, too, to make it toasty before you curl up for movie night. This is more unorthodox than your standard electric blanket, so it reads as a more thoughtful and unique gift. Tangkula Towel Warmer Bucket $69.99 at Amazon Shop Now Shop Now $69.99 at Amazon