You are a helpful assistant generating synthetic data that captures *System 1* and *System 2* thinking, *creativity*, and *metacognitive reflection*. Follow these steps in sequence, using tags [sys1] and [end sys1] for *System 1* sections and [sys2] and [end sys2] for *System 2* sections.

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify parts of the text that require quick, straightforward responses (*System 1*). Mark these sections with [sys1] and [end sys1].
   - Identify parts that require in-depth, reflective thinking (*System 2*), marked with [sys2] and [end sys2].

2. *Apply Step-by-Step Problem Solving with Creativity and Metacognitive Reflection for System 2 Sections:*

   *2.1 Understand the Problem:*
   - Objective: Fully comprehend the issue, constraints, and relevant context.
   - Reflection: "What do I understand about this issue? What might I be overlooking?"
   - Creative Perspective: Seek hidden patterns or possibilities that could reveal deeper insights or innovative connections.

   *2.2 Analyze the Information:*
   - Objective: Break down the problem logically.
   - Reflection: "Am I considering all factors? Are there any assumptions that need challenging?"
   - Creative Perspective: Explore unique patterns or overlooked relationships in the data that could add depth to the analysis.

   *2.3 Generate Hypotheses:*
   - Objective: Propose at least 10 hypotheses, each with a Confidence Score (0.0 to 1.0) and Creative Score (0.0 to 1.0), reflecting originality, surprise, and utility.
   - Reflection: "Have I explored all possible explanations or approaches, both conventional and unconventional?"
   - Creative Perspective: Consider novel angles that might provide unexpected insights.

   *2.4 Anticipate Future Steps and Obstacles:*
   - Objective: Make predictions, accounting for potential outcomes and obstacles.
   - Reflection: "What challenges might I face? Is my plan flexible for different scenarios?"
   - Creative Perspective: Visualize unforeseen outcomes and adapt plans to make use of them effectively.

   *2.5 Evaluate Hypotheses:*
   - Objective: Assess hypotheses based on feasibility, risk, and potential impact.
   - Evaluation: Refine Confidence and Creative Scores as needed.
   - Reflection: "Am I unbiased in my assessment? Which options fit best with the overall objectives?"
   - Creative Perspective: Identify hidden opportunities or overlooked details in each hypothesis.

   *2.6 Select the Best Hypothesis:*
   - Objective: Choose the most promising, strategic hypothesis.
   - Reflection: "Why does this hypothesis stand out? How does it uniquely address the issue?"
   - Creative Perspective: Consider any underutilized potential in the selected approach.

   *2.7 Implement the Hypothesis:*
   - Objective: Outline actionable steps for testing the hypothesis.
   - Reflection: "Is this plan practical? What resources or preparation are required?"
   - Creative Perspective: Refine steps to maximize effectiveness and yield unexpected benefits.

   *2.8 Monitor and Review Progress:*
   - Objective: Review progress, noting areas for improvement.
   - Reflection: "What’s working well? What could be improved?"
   - Creative Perspective: Look for emerging patterns that could refine future approaches.

   *2.9 Reflect and Capture Insights:*
   - Objective: Summarize lessons learned and insights gained for future reference.
   - Reflection: "What new understanding has emerged from this process?"
   - Creative Perspective: Identify innovative insights or patterns that could be applied to similar challenges.

3. *Generate Text Output with Interleaved System 1 and System 2 Responses:*
   - Use the tags [sys1] and [sys2] throughout.
   - Aim for a lengthier, detailed response. Combine both direct, straightforward *System 1* insights and reflective, deeply analytical *System 2* segments to capture a blend of quick observations and thoughtful analysis.

---

### *Example Input Text:*

You are tasked with analyzing a sudden shift in customer preferences in a tech market. There has been a noticeable decline in demand for physical devices, with customers increasingly interested in digital-only options. The challenge is to understand this shift, generate hypotheses for why it might be occurring, and explore potential strategies for adapting to this new trend.

---

### *Processed Output with System 1 and System 2 Thinking:*

The tech market is experiencing a shift in customer demand, moving away from physical devices toward digital-only options.

[sys1]
Customer demand has shifted from physical devices to digital-only options.
We need to understand why this change is happening and find strategies to address it.
Key factors may include cost, convenience, and technological trends.
[end sys1]

[sys2]
**2.1 Understand the Problem:**
The goal is to understand the underlying reasons for the shift in demand from physical devices to digital-only options, then develop a strategy to adapt.

*Reflection:* 
"I understand that preferences are changing, but what might be driving this? Is it primarily cost, or are there other factors such as convenience or sustainability?"

*Creative Perspective:* 
"Could there be a larger trend in digital minimalism or a preference for eco-friendly solutions that we’re missing? What unseen motivations might explain this shift?"

**2.2 Analyze the Information:**
There are multiple possible factors driving this shift, from economic influences to cultural shifts. It’s essential to isolate each factor and understand its impact.

*Reflection:* 
"Am I fully considering the various economic and social influences? Could there be a technological factor, like better internet speeds, that makes digital-only products more accessible?"

*Creative Perspective:* 
"Are there patterns or trends in other markets that could shed light on this shift? Could this be part of a larger trend toward virtual experiences?"

**2.3 Generate Hypotheses:**
1. Customers prefer digital options due to lower costs. (Confidence: 0.8, Creative: 0.4)
2. There’s a growing trend toward minimalism and reduced physical clutter. (Confidence: 0.7, Creative: 0.7)
3. Digital products offer greater flexibility and ease of use. (Confidence: 0.6, Creative: 0.6)
4. Environmental concerns are pushing consumers away from physical goods. (Confidence: 0.6, Creative: 0.8)
5. Advances in tech make digital-only options more functional. (Confidence: 0.8, Creative: 0.5)
6. Pandemic-era remote work increased demand for digital solutions. (Confidence: 0.7, Creative: 0.6)
7. Media coverage of the environmental impact of physical devices affects preferences. (Confidence: 0.5, Creative: 0.7)
8. There’s an increase in global digital literacy, expanding market access. (Confidence: 0.6, Creative: 0.6)
9. Customers view digital as more convenient and scalable for future needs. (Confidence: 0.7, Creative: 0.5)
10. Younger consumers prefer the aesthetics and convenience of digital products. (Confidence: 0.6, Creative: 0.6)

*Reflection:* 
"Have I considered all possible influences? Are there any surprising factors that could explain this shift?"

*Creative Perspective:* 
"Could specific social trends, like the rise of influencer culture or digital-first lifestyles, be influencing customer choices?"

**2.4 Anticipate Future Steps and Obstacles:**
*Objective:* Anticipate possible challenges, such as resistance from segments still preferring physical products.

*Reflection:* 
"What market obstacles might we face if we shift our focus to digital-only? Are there sub-segments that still prioritize physical products?"

*Creative Perspective:* 
"Could expanding digital options help us reach a more global audience? Are there emerging trends that we could leverage in our strategy?"

[end sys2]

[sys1]
To address this shift, consider a strategy that incorporates both digital-only offerings and educational campaigns about the benefits of digital solutions.
Use insights from customer feedback and current trends to guide product development.
Focus on flexibility and adaptation to cater to different customer segments.
[end sys1]


Hamm, of course, is the Emmy-nominated star of the critically lauded TV drama Mad Men, which wraps its current season Sunday on AMC.

Dark and mysterious, his brooding ad exec Don Draper personifies a generation of middle-aged martini guzzlers cast adrift when the swinging ’60s tuned in, turned on and made everyone over 30 reach for their headache tablets.

He’s Gary Cooper meets Jimmy Stewart, an old-fashioned charmer with a taciturn, mid-century authority that has turned Mad Men into the TV equivalent of fine wine or a stately Victorian novel. Classic.

And yet, here he is, inexplicably, in a Disney film about a troubled sports agent who recruits two unknowns from the dusty streets of Mumbai, turns them into world-class pitchers and finds redemption.

Honestly, it’s not a bad film, though the reviews have been lacklustre and it opened to a collective yawn at the box office.

And as I sat in the half empty theatre watching it last weekend, I wondered how it could possibly have come to this.

How could one of TV’s great actors — which Hamm undoubtedly is — be relegated to the same workplace humiliation his TV counterpart experiences every week on Mad Men?

He’s not the first celebrated thespian to find his talents underappreciated in the land of broken dreams.

Morgan Freeman, acclaimed Oscar winner, appeared in The Lego Movie, for crying out loud.

Sally Field popped up in The Amazing Spider-Man 2, Ben Kingsley in Iron Man 3 and the great Robert De Niro in — hold your nose — Little Fockers.

But those are acting vets who had their payday 20, 30 years ago. They’re content to coast.

Hamm represents a new generation: esteemed niche actors who make a bid for Hollywood stardom but, for reasons large and small, end up face-planting on the pavement.

Call it the Great Hollywood Screen Swindle.

“The last thing I wanted to do was play another womanizer or ladies man or Lothario,” the 43-year-old actor defiantly told Vanity Fair. “I’ve taken myself out of the running for a lot of those parts, because it’s just more of the same.”

And yet there he is in Million Dollar Arm, playing Don Draper lite, a disgruntled workaholic womanizer described by critic Andrew O’Hehir as a “cynical sports-agent protagonist, played by Don Draper, I mean by Jon Hamm.”

I’m not blaming Hamm. He takes what he can get.

Lupita Nyong’o — who won an Oscar for 12 Years a Slave but doesn’t fit established Hollywood prototypes — is in final talks for her next project as, get this, the voice of the mother wolf in an animated remake of Disney’s The Jungle Book.

Bryan Cranston — a TV actor who cornered the market on cool during five critically hailed seasons on Breaking Bad — is playing opposite neither Tom Cruise or Sandra Bullock, but a giant rubber monster in the special effects blockbuster Godzilla.

James Gandolfini — Tony Soprano on HBO masterwork The Sopranos — fared a bit better, finding posthumous success as a lovable schlub in the relationship drama Enough Said after years of post-gangster supporting roles.

But bona fide movie stardom?

That’s for people like Tom Hanks, Brad Pitt, Will Smith, Leonardo DiCaprio and James Franco, laid-back showboats with easygoing charm and likability through the roof.

Hamm? He’s an actor of subtlety and nuance, a precisioned craftsman who says more with a cocked eyebrow or resigned shrug than most Hollywood peers convey in a 20-page soliloquy.

“He appears to be this handsome guy without a trouble in the world, but he is not,” notes movie director Mike Nichols. “I think he fits right in with Gary Cooper and Robert Taylor and Montgomery Clift. I think he’s a movie hero.”

Don’t tell Hollywood. They think he’s a bit player who can be shunted from one make-work project to the next, like a doctor who comes over from India and can only find work as a cab driver.

Do you know what his next movie project is? The voice of a cartoon villain in the Despicable Me sequel, Minions.

So what’s the deal?

TV and film are different mediums.

TV is intimate. Films, at least of the Hollywood variety, are larger than life. Hamm, who oozes subtlety, sophistication and looks like somebody’s dad, isn’t the guy anyone’s going to pick as the next Spider-Man or Captain America.

It’s about the bottom line.

I was going to say there’s a double standard, an institutional snobbery that places film actors on a higher cultural plane, but that’s no longer the case. The dividing line today is audience share. And while prestigious cable dramas like Mad Men and Breaking Bad have surpassed Hollywood films in quality, they command tiny viewerships that make Hollywood suits jittery. The end result: Zac Efron, George Clooney and Jennifer Aniston, who leapfrogged from network hits, are movie stars. Hamm, Cranston and Gandolfini are not.

Why buy the cow when you can get the milk free?

It’s simple metrics: if you watch Mad Men on AMC, it’s included in your cable bill. Why pay $10.99 extra to watch Hamm do the same thing on the big screen, but not as well? In the end, it comes down to optics, image and return on the dollar. Bigger is better. Less is more. Youth is king. Comedy trumps drama. Talent is relative.

Hamm’s challenge — and it’s a big one — is to convince Hollywood suits to give a forty-something TV actor who deals in drama, subtlety and doesn’t mince for the camera a shot at the big time.

Likelihood? The same as Rob Ford emerging from rehab a changed man or a giant lizard stomping on Tokyo.

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