Equally important as making research part of design is the reverse: bringing design into research. Design was very present in the probes, e.g. the heart, exclamation mark and cross, and the film scripts were designed so we would get stories, not just videos. As design researchers, we were aware we would need to inspire and motivate the participants to make our approach work. The resulting films inspired the design team during subsequent stages of the design process. Also important: the probes triggered a flow of ideas from people who were not trained as designers, namely the product managers on the project team. The movies inspired the creation of insights, opportunities, ideas, and concepts. ʻBeing thereʼ with the people for whom we designed, through the films, was very valuable. We got access to our participantsʼ intimate moments, for instance when they were alone at home, too tired to talk to anyone else, or right after they spent a relaxing hour in the bathtub. One of the participants even took out her false teeth to show us what she did not want her friends to see. The movies gave us undigested reality and many surprises. The raw, first-hand quality spiced up our creative process and was the main reason the research remained “sticky” through the process. We could say inspiration flowed two ways: first from designer to participant through the probes and then back from participant to designer through the films.