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]


WildBrain Entertainment

The original incarnation of WildBrain (legally WildBrain Entertainment, stylized as W!LDBRAIN) was an American animation studio that developed and produced television programming, motion pictures, commercial content and licensed merchandise. Established in 1994, it maintained offices in Los Angeles and New York City.

Film productions include the Annie Award-winning CGI short Hubert's Brain, while its television work included the Nick Jr. series Bubble Guppies and Yo Gabba Gabba!, and Disney Channel series Higglytown Heroes. WildBrain also produced earlier animated shorts and television specials of Monster High for Mattel.

They have produced national commercials for clients like Esurance, Chiclets, Target, Nike, Honda, Kraft, the Wall Street Journal and  Lamisil, (featuring Digger the Dermatophyte). Their ad work has won Clio Awards, Addy Awards, BDA Awards, and Annie Awards. A subsidiary, Kidrobot, creates limited edition toys, clothing, artwork, and books. It had stores in New York City, Los Angeles, San Francisco and Miami.

In 2010, WildBrain was acquired by DHX Media, who would later repurpose the name for a children's multi-channel network on YouTube. In 2019, DHX would change its name to WildBrain to build upon this use.

History 
In October 1994, John Hays, Phil Robinson, and Jeff Fino started "WildBrain animation studio" in San Francisco's Castro district. The new company bootstrapped with contract work from local game companies such as Broderbund, LucasArts, and Living Books. In 1996 WildBrain moved to a 17,000 square foot warehouse at the corner of 18th and York St. in the Mission District spearheading the growth of what came to be known in San Francisco as "Multimedia Gulch".  In 1999, Austin based Interfase Capital invested almost $17 million in Wild Brain.

Over the next few years, WildBrain's staff ballooned from a staff of about 20 to about 250. It struck deals with Yahoo! and the Cartoon Network to produce animated shorts for the Web. It launched WildBrain.com, creating animated web shorts such as Groove Monkey, Mantalope, and numerous web series including Joe Paradise, Glue, Graveyard, and Space Is Dum.

After legendary studio Colossal Pictures closed down in 1999, and with the financial backing of the Interfase companies, WildBrain expanded further, providing employment for former Colossal directors and staff. Around this period they produced the series Higglytown Heroes and Poochini.

In 2004, Charles Rivkin, former CEO of The Jim Henson Company, joined WildBrain as president and CEO.  Rivkin oversaw the creation and development of the "Yo Gabba Gabba" series for Nick Jr.

In 2007, former founder Jeff Fino left to start Nuvana, an educational web-based company with former Colossal Pictures Producer, Joe Kwong.

In 2008, Rivkin left WildBrain after being named U.S. ambassador to France and Monaco. Michael Polis, the marketing director of WildBrain, then became the new CEO.

Around this time John Hays left WildBrain to work on indie features ("La Mission" and "Howl," which opened the 2010 Sundance Film Festival).

By 2009, the original founders of the company had all left WildBrain, and the company moved to Los Angeles. It had been an independent company until DHX Media purchased WildBrain in 2010.

The same year, Phil Robinson, and Amy Capen, exec producer of WildBrain's San Francisco studio started an independent company called Special Agent Productions. Robinson died in 2015 after a short battle with pancreatic cancer.

In 2016, DHX Media announced the formation of a new London-based multi-channel network under the WildBrain name, focusing primarily on YouTube channels aimed towards children (such as content and original series from DHX's properties, as well as other forms of educational and toy-oriented content). In September 2019, DHX Media announced that it would change its name to WildBrain outright (with the MCN unit being renamed WildBrain Spark).

Filmography

Films 
 FernGully 2: The Magical Rescue (1998)
 Howl (animation) (2010)

Short films 
Out In Space (1997)
Humanstein (1998)
A Dog Cartoon (1998)
El Kabong Rides Again (2000)
Hubert's Brain (2001)
Erin Esurance in "Carbon Copy (2007)

Staff

Executives 
 Michael Polis
 Marge Dean
 David Graber
 Bob Higgins

Directors 
 George Evelyn
 Paul Fierlinger
 Christian Jacobs
 Denis Morella
 Scott Schultz
 Phil Robinson
 John Hays
 Ed Bell
 Robin Steele
 Dave Marshall

References

External links 
 
 Animation Insider Article
 SF Weekly "The Little Animation Company That Could" by Ryan Blitstein

Category:Companies based in San Francisco
Category:DHX Media
Category:Advertising directors
Category:American animation studios
Category:Media companies established in 1994
Category:1994 establishments in California
Category:2010 mergers and acquisitions