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]


Netflix, however, determined the answer was quite a lot. Terms of the Aug. 7 deal were not disclosed, but two sources pegged it in the $30?million to $50?million range. Complicating things were side deals Millar had to make with his co-creator artists to sew up rights in order to make the ironclad sale to the streamer. Some artists may have walked away with six- or seven-figure payouts, sources say.

Also part of the deal are future works; one source says Millar has been holding back a wave of titles in anticipation of such a deal. “You get whatever he comes up with next, that’s the value here,” says one executive with knowledge of the deal. Additionally, there may even be a component that has Millar act as a story consultant for other Netflix projects.

"Millar has been very successful at creating comic worlds that can stand on their own in other media, and there are very few people that can say that," says Milton Griepp of comic industry analyst ICv2. "The stories resonate, and with his marketing, his comics sell like mid-tier Marvels or DCs in a very tough market in which it’s very rare for comics outside the major universes — Marvel, DC, etc. — to do so. Acquiring Millarworld is one of the very few ways that Netflix could have immediately bought a credible comics universe with proven potential."

Deals with comic book companies are not slam dunks. Universal had a multiyear first-look arrangement with Dark Horse Entertainment that yielded only the 2013 flop R.I.P.D. But owning a publisher, one that continues to generate fresh content, may offer different results. Fox hopes so, too; in July, it acquired a minority stake in comics company Boom! Studios.

Millar is no ordinary comic creator. You would have to go back to Stan Lee and his voluminous output during the golden age of Marvel to find a comic book writer whose work has so often been translated to the screen. Before launching Millarworld, which employs only a handful of staffers, Millar worked at Marvel in the early part of the 2000s, with the ideas and concepts he developed there popping up in Marvel Studios' The Avengers, Captain America: Civil War and Fox's Logan.

There are a number of titles that have already been farmed out to others and will be off the table for Netflix. Millar friend and frequent collaborator Matthew Vaughn owns the rights to Kingsman and Kick-Ass after directing and self-financing bigscreen adaptations of those properties. Fox has the rights to the Flash Gordon-inspired Starlight, as well as superhero series Superior and the kid-focused Kindergarten Heroes. Universal has Wanted, which it adapted as an Angelina Jolie film in 2008, as well as Chrononauts.

“The key to this deal is Millar himself. He’s a bankable creative powerhouse and brand persona whose name above the title can generate interest,” says Rob Salkowitz, author of Comic-Con and the Business of Pop Culture.

Netflix can mine Millar properties like Reborn, a drama that suggests that the afterlife brings?you into a war alongside those you knew when you were alive, and MPH, about speedy teens in rundown Detroit. The crown jewel may be Jupiter’s Legacy — featuring multigenerational hero stories — which could lend itself to cinematic universe?treatment.

"[Netflix] figured out that instead of getting 10 ideas from 10 different people … they go, 'How do we start buying clumps of ideas?'" explains Spawn creator Todd McFarlane, who co-founded Image Comics in 1992, paving the way for some creators of the publisher's books (such as The Walking Dead's Robert Kirkman) to reap millions by retaining rights to their properties.

McFarlane sees Millarworld as being just a first step for Netflix to buy out more creators, adding: "If I were Netflix, I would consider it not to be a whole pie I bought, I would consider it to be a portion of a pie."

As for the future of Millarworld, the September-launching Kingsman: The Red Diamond comic book series, tying into the second Kingsman movie, marks the company’s first comic book without any direct involvement from Millar himself. (Rob Williams, writer of DC's Suicide Squad comic book, steps in to replace him.)

Millar, who has withdrawn from the press and refused interviews since the Netflix deal was revealed, is teasing all-new properties and concepts as part of the next phase of Millarworld. As he wrote about the buyout on Aug. 7, "I’m going undercover between now and spring as I stockpile all the new projects we’re putting together, but you’ll hear about them very soon."

Aaron Couch contributed to this report.

A version of this story first appeared in the Aug. 23 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.