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]


Set in a Tasmania town, the endearing comedy about two best friends has won fans the world over – thanks, in part, to its escapism

‘There’s no Brexit or Trump’: how Rosehaven became 'the best thing to watch while hungover'

Holidays are over, and the nastiness of work, traffic and negotiating life in a big city are creeping back in. But sitting down to watch three episodes of Rosehaven in a row, all the troubles of urban life seem to fall away.

Premiering on 30 January, season three of the Australian comedy takes viewers back to the bucolic Tasmanian town where people say hello on the main street; where the hills are green and life unfolds at a slower pace.

Speaking with Guardian Australia from Melbourne, the creators and stars Luke McGregor and Celia Pacquola say they didn’t anticipate how successful the show would be.

How Tasmania became the gothic muse of Australian film and TV Read more

“I remember when we first started doing the show, I thought two [seasons], if we were lucky,” McGregor says. “Three is a something I hadn’t even planned on.”

“He’s generally not excited enough,” says Pacquola.

The pair finish each other’s sentences and have an easygoing camaraderie that carries over to their on-screen characters: the bubbly Emma, which sparks off McGregor’s more nervy and anxious Daniel.

The premise of the show is simple enough: Daniel moves back to his hometown in Tasmania to help his mother with her real-estate business.

He is joined by his best friend from the mainland, Emma, who was abandoned by her husband in Bali on their honeymoon.

It’s a gentle comedy that focuses on the oddballs in the town, and the relatable, warm and refreshing dynamics of Emma and Daniel’s friendship.

Plus, there’s an air of authenticity: not only do McGregor’s parents run a real-estate agency in Tasmania, but Pacquola and McGregor are best friends in real life.

Facebook Twitter Pinterest Luke McGregor and Celia Pacquola are best friends in real life. Their relationship to this pig is unknown. Photograph: Michael Brook

Since its debut in 2016, the show has become hugely popular and a critical success, and has been sold into US markets via SundanceTV. (The New York Times called it “Charming, gentle” – “brace yourself to fall completely in love”.)

So what is it about Rosehaven that audiences love?

“People need stuff to watch when they hungover,” says Pacquola. “The next time you are hungover, you should watch it and see if you feel better.”

“It’s the best thing to watch when you’re hungover,” McGregor concurs. “No one is really mean, the world doesn’t get in – there’s no Brexit or Donald Trump.”

This isolation from the big bad world has been part of its appeal with American critics. “It makes you feel like you’re a million miles away in a very special place,” said one review in the Washington Post.

That special place is Geeveston: a tiny town, population 616 in the Huon Valley, where many of the exterior scenes are shot. “Geeveston has really embraced the show … the visitors’ centre has asked for life-sized cutouts of us,” says McGregor.

Pacquola adds: “Part of the point of it being a small town is that it’s enclosed. It’s an escape for our characters as well.”

We did have a storyline that had reference to a president in it. We removed that Luke McGregor

McGregor says the town’s insularity is entirely intentional. “We don’t think about current events when we’re writing. There’s an episode when they go on a road trip, they go in a car together and get lost – and that’s enough of a set-up,” says McGregor. “We did have a storyline that had reference to a president in it. We removed that – we did not want our audience to think about that.”

Pacquola concurs: “What we’re good at, and what we’re interested in, is the mundane and the humour in small, silly things.”

The pair, who are also gigging standup comics, first worked together on the ABC satire Utopia. Their on-set banter was so good they wondered if they could make a show out of it.

“The original idea was me and Luke talking shit in between scenes in Utopia. But we would have to build a storyline around it. The banter is the easiest part. What is time intensive is getting the structure and story right,” says Pacquola.

Facebook Twitter Pinterest ‘The banter is the easiest part.’ Photograph: ABC

Initially their characters were a married couple. “Then we realised it didn’t work and it wasn’t funny,” says McGregor, before Pacquola continues: “And then we thought, ‘Why are we trying to do this?’ It was forced.”

One of the refreshing things about Rosehaven is how it depicts male/female friendships. Most television shows – Moonlighting, Friends, Cheers – would ultimately have the characters eventually end up in bed together.

The 10 best Australian TV shows of 2018: a picnic, rush hour and outback noir Read more

“I think it’s settled that men and women can be friends, but it’s weird you don’t see it depicted much. I have found, though, that platonic friendships when you are in your 30s are increasingly rare. When people are coupling up, these friendships can fall by the wayside.

So is there any temptation to get the two characters to fall in love?

“If you see Daniel and Emma in a wedding then it’s season 10 and we’ve definitely jumped the shark,” says McGregor.

• Rosehaven’s third season premieres on the ABC on 30 January. Seasons one and two are streaming on iView