Whether its Sam Altman surreptitiously stealing GPUs from a Target, trying to make a break for the door under the gaze of security cameras as he tucks a box containing a valuable computer chip under his arm, or Super Mario appearing in Star Wars, the rupture in reality brought about by OpenAIs AI-generated video social network, Sora, is significant. What previously would have been decried as deepfaked videos have gone viral on social media in the last two days, while also outstripping the release of Meta’s competing product, Vibes.
Users, including some OpenAI employees on social media, have been revelling in their ability to create outlandish content involving real life characters a consequence of unusually lax rules set out by OpenAI, the company behind Sora. That’s despite the AI giant purporting to have some rules designed to prevent IP infringement.
Social networks, which were once designed to connect us with one another and have since been subsumed by AI slop, are now looking like theyre going the way of the dodo. In their place is a boomer Facebook users paradise: A steady scroll of the unreal and outlandish, and not a single human involved. That has experts worried about our ability to distinguish fact from fiction, and how it can tamper with our temperaments.
It isnt entirely surprising that businesses are effectively following the money as to what weve seen over the last 12 to 18 months, particularly in terms of AI generated video content, says deepfake expert Henry Ajder. Some of the most viewed videos on platforms like YouTube Shorts, traditionally home to human-only content, are now AI-generated.
The fact that these companies are recognizing those opportunities isn’t surprising to me, he says. Those who are slightly online, not to mention the extremely online, are similarly unsurprised.
We’re not ready
Nevertheless, the impact of AI-filled feeds on our perception of content is significant, says Jessica Maddox, associate professor of media studies at the University of Georgia.
The danger in sharing and enjoying AI images, even when people know theyre not real, is that people will now have to chase more fictional, manipulated media to get that feeling, she says. And with the apps in question explicitly saying there are few, if any, guardrails around copyrighted content, and limited ones around the type of content that can be created, there are real risks of polluting our pools of content for years to come.
Some suggest that were ill-equipped to deal with the problemin part because what we consider real images havent been real for a while, thanks to the volume of pre-processing that takes place in the millisecond between clicking the shutter on your smartphone and the image being saved in your camera roll.
A recent preprint study by Janis Keuper, a researcher at Offenburg University and his wife, Margret Keuper, a researcher at the Max Planck Institute for Informatics and the University of Mannheim, suggests that the gap between the quality of images used to train deepfake detectors and the average smartphone snap is now so significant as to make any detection tools useless. Detection tools are trained on ground truth images that are as similar to today’s photographs as early 20th century cameras were.
Its going to be really hard to filter out AI content, says Janis Keuper. It’s really hard in in text. It’s really hard in images as the generators become better and better. And well, weve been looking at AI generated images for a while now, he says.
The secret of slop
However, what is different with the advent of Vibes and Sora is that they explicitly say they want AI content firstand usually foremost. Meta Vibes is perfectly named for the problem of AI slop, says Maddox.
In a world where the world itself is our imagination, it doesn’t matter if the actual image represents anything close to reality. Its akin to alternative facts. No matter how outlandish the video, its legitimate. All it has to do is reinforce our viewpointthe visual equivalent of the post-truth era brought about by Donald Trump.
That bleeds through to the common perception of how people often react to AI-generated content, says Maddox.
People will say, But I agree with what its trying to say, whether its real or not, she says. And thats proof positive of whats going on. AI is vibes only, she says. Unfortunately, that means something like Meta Vibes is likely to be incredibly successful with Metas audience that seems to love AI imagery. It wont matter, because with AI, feelings reign supreme.
Where the authentic and the synthetic collapse
And thats what worries the experts the most. The apps are being foisted on users, but may well succeedin part because were already inured to the persuasive power of content to move us.
Reality is one now where authentic and synthetic collapses, right? says Ajder. People have authentic experiencesthat is, experiences that move them, change their beliefs, change their relationships, change their opinionswith AI. Theyre influenced with virtual companions, via chatbots, and with AI-generated disinformation content around war zones and conflicts.
Ajder doesnt believe Meta and OpenAI are thinking about the emotional response to AI. The idea is less passionate, he says. It’s more market driven. These kinds of videos are cheap to make. Theyre quick to make. We can scale them easily, and they get engagement, they get views, they get clicks. (Never mind the cost for the environment.)
But as well as getting rid of the “social” from social media, the second- and third-order ramifications of driving an AI-powered attention economy could have more significant consequences than keeping us scrolling.
Uncertainty is the defining condition of our time. The pandemic reminded us how quickly our systems can fracture. Today, with political shifts, economic instability, and technological disruption intersecting, leaders are preparing for more turbulence ahead.
From where I sit, however, there are nearly 2 million reasons to be optimistic. Americas 1.9 million nonprofits make up a fiercely resilient force for scaling impact to our toughest challenges. They deliver food and housing, safeguard youth wellbeing, respond to natural disasters, and fight for fairness and opportunity. They are trusted by millions of people across many topic areasand they are built to move fast, adapt, and deliver under pressure.
Its no secret that technology is a force-multiplier when it comes to an organizations impact. Research from the Blackbaud Institute shows that nonprofits report faster fundraising growth and higher readiness for disruption when they are able to rely on technology to move their missions forward.
But they are facing barriers to the single most important tool to unlocking amplified impact: AI. In a recent survey of fundraisers, less than one-third of nonprofit respondents said they believe they have the resources to explore AI use in their organization, despite 82% identifying as usersand only 26% agreeing that they have the technical expertise to use AI effectively.
This is the moment to close that gap and ensure AI reaches every nonprofit team on the frontlines of our communities.
Building capacity and augmenting humans
AI is already proving it can cut grant writing and research time drastically, draft tailored fundraising materials at scale, and help smaller teams operate at similar levels of efficiency once reserved for large organizations. At its best, AI augments humans: It frees nonprofit leaders to spend less time on repetitive tasks and more time strengthening ties with funders, telling stories of impact, and delivering services to communities in need. For the roughly 90% of nonprofits that report less than $1 million in annual revenue, AI may be the most consequential capacity-building and human-augmenting tool in recent memory.
But the answer isnt simply more tech or more AI. What we need most is a shared commitment to remove barriers to AI for the nonprofit sector. To get there will require not just smart tools, but smart partnerships and collaboration across sectorsimpactful work that can be done by executives, employees, and the rising generations of the workforce alike. Each has a distinct role to play in helping nonprofits harness AI for greater efficiency.
For business leaders, board service is no longer solely about governance. Its an opportunity to help organizations think strategically about data, cybersecurity, and how to responsibly integrate AI into their operations. Every nonprofit should have a technology plan alongside its strategic plan, and board members with private-sector expertise can help make that shift possible.
At the same time, facilitating opportunities for broader engagement is critical. Volunteerism in the U.S. still hasnt recovered to pre-pandemic levels, according to the Generosity Commission. This shortfall comes at precisely the moment nonprofits need more hands-on help. Skills-based volunteering, where professionals contribute expertise in areas like technology, finance, or operations, fills critical gaps. Companies can encourage staff to lend their skills directly to local nonprofit partners, or create pro bono programs that multiply the impact of nonprofit teams.
The next generation
Looking to the next generation, young professionals are seeking purpose-driven careers. Business leaders can mentor these young workers, support programs that position early-career employees alongside nonprofits, and help nonprofits take advantage of their digital native perspectives. Even when roles arent explicitly tech-focused, these young professionals can act as catalysts for AI adoption and digital transformation.
Together, these steps do more than boost nonprofit efficiency. They lead to durable partnerships, create a culture of knowledge transfer across sectors, and ensure the AI opportunity gets maximized. Capturing this moment also requires a new approachmodernizing funding models, policies, and norms so that technology is recognized as essential infrastructure. It means reimagining how overhead is understood, defined, and funded, so AI has the best shot at strengthening nonprofits ability to deliver impact and outcomes.
Nonprofits are often the first responders in a crisis or time of need. With AI in their hands, they can also be the most efficient responders. When AI makes nonprofits and their teams faster, stronger, and more resilient, its value is felt not only within organizations but across every community they serve.
Well know were successful when every nonprofit, large or small, can harness AI to strengthen its missionand when business and philanthropic leaders see themselves as part of that adoption solution. Imagine a future where every nonprofit team, regardless of size, has the digital muscle to respond to crises, scale impact, and tell their story with clarity and power.
Thats not a distant vision. Its a future within reach, and it might just be the highest-leverage investment we can make for society.
Raise your hand if your credit card has been personally victimized by the J. Crew rollneck sweater. Did you raise your hand, with it loosely hugged by a knit cotton sleeve featuring a rolled hem? One thats no longer available online, and for that reason makes you feel part of a selective in-group?
Yes?
Then say, thank you, Julia Collier.
Over the past two weeks, Collier, J. Crew’s chief marketing officer, has directly influenced your shopping habits. The next rollneck generation campaign is her brainchild. It first rolled out September 16 and has since wormed its way into our brains with a compelling cast of seven including actor Benito Skinner, actress Molly Gordon, and singer Maggie Rogers, all in the brands rollneck sweaters, which range in price from $98 to $118.
It’s Collier’s first major J. Crew campaign since joining the company as CMO in January following a five-year run as Skimss senior vice president of brand marketing. A few of her past hits: cinematic Skims campaigns with the North Face, ultimate brat Charli XCX, a powerful Team USA, Lana Del Rey for Valentines Day, and dreamy Nicola Coughlan shot by Elizaveta Porodina.
Now, the next rollneck generation gives a core J. Crew product thats been around for more than 30 years new life. Collier produced the campaign with hyper-specific talent and elevated creative choices, including a very specific vintage lacrosse stick prop and real film for that authentic grainy effect. It shows that to breakthrough in hyper-content-saturated online spaces like TikTok, brand marketing needs to become brandtainment.
“I believed at Skims, and I believe at J. Crewand I believe all brands have the opportunity to do thisthat we are entertainers, says Collier. Our role as a brand is, yes, to sell clothes, but it’s really to entertain our audiences and to entertain our customers, and behave almost like media. You can’t just do one thing.
The ad has almost worked too well, because the sweater is nearly impossible to find now. Online, most colors are out of stock or preorder. New customers to J. Crew’s website increased almost 40% the week of launch compared to the week prior. Social engagement and impressions are far exceeding anything else we’ve done really around this type of campaign in a long time, according to Collier.
[Photo: J. Crew]
J. Crews revival
Its been a while since anyones cared much about J. Crew. The company filed for bankruptcy in 2020 following pandemic-related forced store closures and a slow pivot to e-commerce. This proved to be unsustainable headwinds for the company to take on, considering its significant debt related to a 2011 private equity leveraged buyout that took the company private.
But a lack of cultural relevancy predated, or perhaps in part precipitated, those rocky financials. Both longtime creative director Jenna Lyons and CEO Mickey Drexler left the company in 2017. The era of the day-to-night statement necklace was over, and it seemed like American culture had read J. Crew its last rites, too.
But after J. Crew emerged from bankruptcy in late 2020, it began a period of business stabilization that included the internal hire of its new CEO Libby Wadle from sister brand Madewell (she was at J. Crew before that, too). Like weve seen with Gap, which has followed a remarkably similar trajectory back into our social media timelines, resurgent companies first have to reestablish a sound organizational and business foundation to build from. Then, following that lag, the brand can bring in new creative talent on the second floor, which garners a consistent point of view, public-facing attention, reestablishes cultural relevance, and positions the brand for growth. (Enter Collier.)
[Photo: J. Crew]
J. Crew’s new breakfast club
The brief for a campaign that focused on the rollneck sweater originally came from Wadle. The garment design itself is trademarked to J. Crew, so its a style that the company figuratively and literally owns. Its an icon of our brand Collier says, but until now it was really on an if-you-know-you-know-basis, she adds. Wadle wanted to better own it in the public perception.
This plugged into the broader branding challenge Collier took on since she arrived at J. Crew. Heritage and nostalgia are important parts of J. Crew’s brand perception, and its shoppers value those qualities. But how do we translate heritage through a fresh lens, and what do we stand for? Collier asks.
he ads goal was acquisition. We wanted to introduce this sweater that has been so beloved in our world and our existing customers’ world for so long, she says. While the womens version has been updated for a more boxy, cropped fit, the mens sweater is exactly the same as the 1988 original. How do we introduce it to a new generation of Americans? Collier recalls asking at the start of the campaign.
It began with talent: J. Crews new breakfast club. For me, it’s always proven to be a very powerful lever in acquisition and news and everything, says Collier. I always think about what makes sense for people, but what is also unexpected. You never want to cast talent that is obvious, but you also never want to cast talent that feels like a straight up endorsement.
Each cast member represented a different slice of American style, and pulled a different audience. Skinner represented a new gen of American prep; Rogers western Americana; actor Rome Flynn as the young Hollywood drama kid, actor Dominic Sessa the literary intellectual. We are an American brand, and they all bought their own version of American style to a collective that makes up the cast, Collier says. The entire cast is also hot and cool, which historically helps a lot, in terms of selling aspiration via attainable clothes.
[Photo: J. Crew]
Rollneck, roll deep
The campaigns visual choices worked hard to bridge the gap of old and new. It’s a strategy of heritage revivalism that requires a balance of nostalgia and cultural relevance. The ad is set to The Thes 1983 song This is the Day, which was also blasting on set during the shoot. Collier sees the song as both optimistic and future facing (This is the day, your life will surely change), but also nostalgic.
She brought in prop stylist Andy Harman, a connoisseur of found objects and J. Crews sensibilities, to source a specific model of lacrosse stick Skinner holds (J. Crew declined to share the exact model), as well as the other 80s and 90s era props you see.
Collier also brought on photographer Ian Markell after seeing his work in GQ, saying he understands a modernization to nostalgia. And then they shot with real film. The expense of it is insane, but it was important that we use real film and that we didn’t just put a filter over it, Collier says. There were things that we wanted to remain really authentic to what we were trying to put out.
As a company, we are very inspired by our heritage, and we also recognize that nostalgic element to our brand is what a lot of people want from us, says Collier. The challenge for us is how do we look back to look forward? How do we take that amazing heritage, that incredible nostalgia that gives you a feeling of comfort and familiarity and evolve it and push it forward?
[Photo: J. Crew]
The resulting campaign is fun. Actually fun. Collier referenced John Hughes’ movie the Breakfast Club: each character had an individual role, but it really about the collective of all of them. Set against a light gray background that reads ’80s print ad but could be anywhere, the club kids laugh, dance, and twirl, rollerskate and skateboard, bang on drums, eat Chinese takeout, hang on pull up bars, and make calls on an old-school wired phone. Who knew you could be so buzzy and carefree in a sweater and collared shirt?
“I’m very much someone who goes by gut 90% of the time,” says Collier. “I can just feel when something is right, and when I saw the characters on set and they were playing that song I literally almost got tears in my eyes. It sounds so corny, but I was like, this just feels so right in this moment right now.”
J. Crew’s new American prep isn’t represented by some waspy buttoned-up country club scene or the empty consumerist excess of ’80s era yuppies. It’s not channeling quiet American luxury either. J. Crew’s sensibilities might have some Venn diagram overlap with all that, sure, but the styling and tone of Collier’s first big campaign suggests an easy, everyday approach to American dressing that’s scholastic and polished but also spirited, playful, and unencumbered. You can’t help but think the cast is hanging out later.
The rollneck sweater is just a sweater, but the campaign made buying it an approach to American living and style, too. That’s marketing, baby. Buy this sweater, Skinner said, reading an online review in a campaign video. Wear it. Inherit a lighthouse. Find peace. Rollneck? Roll deep. Thats it. The brand is in on the joke about its perception, a quality that Skims also had (see its nipple bra ad, for instance) that made it more shareable as a piece of soft marketing content, rather than a hard sell ad. As Skinner himself recently said, Cringe is so back.
[Photo: J. Crew]
360 campaign, zero stock
To feel authentic, brands need to meet consumers where they are. For a brand looking to tap younger audiences, that means rolling out a distribution strategy that captures attention spans by blanketing our social feeds. At Skims, the way that I would approach these types of briefs was really to think about: You can’t just do one thing, says Collier. You have to do everything all at once, at the same time, and that’s how you create impact.
The blanket-everything strategy has a marketing name: a 360 campaign. Coming from my background at Skims, when we approached things like this, we would always hope for the virality, and if you’ve got the product right, and you’ve got the campaign right, and you’ve got everything else right, it should create a degree of virality that we’re now starting to see on TikTok, says Collier.
TikTok is flooded with try-on videos of the rollneck, with some pushing a million views. I knew the ad was doing the devils work when a content creator who posts de-influencing videos to curb the bad habits of likeminded compulsive clothes shoppers crossed my feed to tell me you dont need the J. Crew 2025 Rollneck Sweater (which now has almost a million views). [updated links] Then, the ad got her too. Maybe I do need it.
I walked into my local J. Crew store in New York City and hovered by the rollnecks table. There were a couple of low stacks, and some sizes were sold out. Three different women asked about sizing, tried on, and/or purchased one within five minutes of my being there. Ivory seemed to be the most popular color. The sales associate told me theyve been selling all day and the navy multi-color stripe is on two-month backorder.
Our challenge right now is let’s make sure we are able to feed this demand, says Collier. But I think when you see the commercial success, you see the acquisition numbers, and you see the engagement growing across Instagram and TikTok, it’s all working together and it’s all feeding off itself. It’s kind of what I mean when I say for these types of things, you kind of have to do everything all at once at the same time.
Collier and her team actually started with the tagline the rollneck generation. After a lot of back and forth, they ultimately added new. Because of J. Crews history, she felt that newness needed more emphasis. What I’m looking for is a signal that this is not the dawn of a new day by any means, but that this is something new and that this is a new perspective on a classic style.
Though Collier says its not sustainable to run 360 campaigns for everything, the new rollneck generation offers some indication of what consumers can expect from a new J. Crew.
So far, the mainstream business world has avoided clashing with the socio-cultural agenda of the second Trump administration. Many companies have backed away from diversity and climate efforts, capitulated on score-settling lawsuits, and muted objections to everything from tariff schemes to aggressive immigration policies.
It might seem surprising, then, that one of the most mainstream businesses in existencethe National Football Leaguechose as the star of its Super Bowl LX halftime show Puerto Rican artist Bad Bunny, who performs mostly in Spanish and has been openly critical of President Trump. Notably, he recently declined to tour the continental U.S. out of concern over ICE deportation efforts, instead performing a 31-night residency in San Juan, Puerto Rico, that was a massive commercial success.
Certainly the MAGA commentariat behaved as if not just surprised, but triggered, and the backlash in that corner of the culture was immediate and intense. This isn’t about music, it’s about putting a guy on stage who hates Trump and MAGA,” conservative filmmaker Robby Starbuck declared on social media. Hes just a terrible person, said a Newsmax host, calling for a boycott. One administration official suggested Bad Bunny is divisive and pledged ICE will have enforcement at the big game. Massive Trump hater; Anti-ICE activist; No songs in English, Benny Johnson, a right-wing podcaster, chimed in, adding: The NFL is self-destructing.
In reality, its hard to argue with Bad Bunnys popularity, and his decidedly mainstream status. He is among the most-streamed artists of all time. The final show in his San Juan residency was livestreamed on Prime Video and Twitch, setting an Amazon Music viewership record. This weekend the Grammy winner will be host Saturday Night Live for the second time. His wide appealparticularly among younger fansis proven. Moreover, there was some similar conservative grousing over rapper Kendrick Lamar being chosen for the slot, and that ended up being the most-watched Super Bowl halftime show of all time, with 133.5 million viewers.
The NFL is not really in the business of being a cultural arbiter, and presumably the decision emanated more from event coproducer Roc Nation (which recently re-upped its NFL deal for the next five years) and halftime-show sponsor Apple Music. But all three entities have the same goal: creating a major cultural event that lives up to the game itself.
In the official announcement, an NFL exec praised Bad Bunnys unique ability to bridge genres, languages, and audiences. That is the business the NFL is inless a cultural critic and more of an interpreter of where the culture really is now, and is most likely to go next. And sometimes that means getting absorbed into a wider conversation. In fact, the same thing happened in the last Super Bowl, when the choice of Lamar became a cultural-debate talking point.
All these white people mad about Kendrick Lamars Super Bowl performance, one X user posted at the time, I hope next year they get Bad Bunny performing the whole set in Spanish.
Prescient call! But still. It would be a mistake to see this as the NFL overtly taking sidesor trolling ideological opponentsin the bickering that the Bad Bunny news sparked. Progressive observers could point to the leagues teams icing out quarterback/activist Colin Kaepernick, or lagging record on hiring diverse coaching staffs, or its track record on confronting concussions and other physical fallout from a brutal sport. The same goal has motivated the NFL through those controversies as the occasional halftime-show flareups: identifying, and courting, the widest audience possible in an otherwise fractured culture.
And its track record has been pretty good. After all the Super Bowl LIX online griping about Lamar, the actual performance received a paltry 125 complaints from viewers to the Federal Communications Commission, Wired reported, many focusing on the lack of white performers. Obviously that complaint was hardly a mainstream perspective. To the contrary, it was just a marginal view from a noisy fringe, quickly overtakenand forgotten.
Most brands still buy attention. The impactful ones earn devotion, the kind people will rally behind and fight to protect.
Consumers want a role in movements, not just transactions. When brands focus solely on economics, spark and engagement disappear. Consequential brands ignite a shared spirit, tapping into values, not just wallets, and building communities of advocates.
But how do you actually build cultural power? For my forthcoming book Branding as a Cultural Force: Purpose, Responsibility, and Resonance (Columbia University Press, 2025), I interviewed creative leaders worldwide to find out. Across those conversations, six clear strategies emergedactionable patterns that separate brands that ride culture from those that positively shape it. These strategies turn brands into cultural forces that generate enthusiasm and prosperity.
1. BE IRREPLACEABLE
In a world of infinite options, cultural power begins with being impossible to replace.
“A brand should embody something unique that others can’t easily replicate,” says Nick Law, creative chairperson of Accenture Song. Uniqueness isn’t about features or benefits anymore, but about occupying cultural territory that only you can claim.
U.S. Bank’s Translators documentary reveals a hidden reality: bilingual children serve as interpreters for their immigrant families, navigating everything from banking to healthcare. Rather than just advertising their Spanish-language banking services, U.S. Bank collaborated with filmmaker Rudy Valdez to tell this authentic story. The documentary validates an experience millions live daily. When they later launched Asistente Inteligente, the first Spanish-language virtual assistant from a U.S. financial institution, it felt like natural understanding, not marketing.
As Leland Maschmeyer, cofounder and CEO of Collins, puts it: “The reality is that brand is differentiation. Without it, a product is a commodity.”
Cultural power comes from creating territory that only you can occupy.
2. TRANSFORM PROMISES INTO ACTIVISM
It’s no longer enough to promise functional benefits or emotional connection. People expect activismmanifestos turned into measurable action.
As Juliana Constantino, group creative director at Dentsu, explained: “Purpose-driven brands embody a social mission integral to their business. Others jump on social issues for short-term campaigns without genuine commitment. These efforts come across as insincere or opportunistic.”
Telecommunications company Orange and creative agency Marcel challenged football bias with a highlight reel of dazzling plays by Frances male stars like Kylian Mbappé and Antoine Griezmann, only to reveal audiences had actually been watching the womens team, digitally altered to look like male players. The campaign proved that skill transcends gender bias, making WoMens Football the most shared content fighting inequality in the sport.
Apple has taken a sustained approach. “The Lost Voice” spotlighted accessibility. “Fuzzy Feelings” explored empathy through creativity. And Frybread Face and Mean Apple Original feature on Netflix, written and directed by Billy Lutherelevated a story by an Indigenous filmmaker. What matters most is not any single story but the pattern: activism embedded as brand practice.
3. MEASURE IMPACT, NOT JUST PROFIT
Profit without purpose is just extraction. The brands building real cultural power have moved beyond traditional metrics to measure what actually matters: their contribution to the world.
“The key is differentiating between a nice idea and actual impact,” says Ben Miles, chief design officer, APAC, R/GA. “Design has to be intentional.” That intentionality means embedding impact measurement into every decision, not treating it as an afterthought.
Ben & Jerry’s exemplifies this approach by integrating nonpartisan social metrics into operational decisions. Their mission seeks to meet human needs and eliminate injustices across communities, creating accountability throughout every function. They’ve published annual social and environmental assessment reports with third-party reviews for decades. What makes them culturally powerful is how consistently they follow this mission, from ingredient sourcing to activism campaigns.
4. GO PLANET-FIRST, NOT HUMAN-CENTERED
The human-centered approach that dominated the last decade assumes we have infinite planetary resources. We don’t. As this reality becomes undeniable, consumer expectations have fundamentally shifted. It’s no longer enough to be less badpeople expect brands to be actively regenerative.
The numbers tell the story: More than half of Gen Z and millennials will pay more for sustainable products, with 25% researching a company’s environmental impact before every purchase, according to Deloitte’s 2025 sustainability survey. Around 65% feel anxious about the environment’s state, and over 70% have experienced extreme weather events in the past year. Lived experiences are driving purchasing decisions.
As Gaëtan du Peloux, CCO and co-CEO of Marcel Paris, told me: “I believe companies have both rights and duties. It’s an implicit understanding between people and businesses: We allow companies to make money, but in return, we expect them to contribute positively to society. This collective responsibility is crucial.”
The brands responding to this shiftfrom Google and American Airlines reducing contrails to Sheba restoring coral reefsare building the cultural credibility that environmentally anxious generations demand, turning planetary stewardship into a competitive advantage.
5. PRACTICE LEADERSHIP AS CULTURAL STEWARDSHIP
Leaders who act as cultural stewards, not just profit maximizers, build the most influential brands.
Emma Robbins, CCO at M&C Saatchi Melbourne, emphasizes: “Shared purpose from brands with their customers comes when brands don’t behave like corporations but just like people.” She adds, “The best brand storytelling happens when it tells the story of the customer. Brands can appear arrogant when they tell a ‘we’ story.”
Mastercard exemplified this with True Name, allowing transgender and non-binary customers to display their chosen names on cards without legal name changes. The initiative prioritized dignity over traditional banking protocols, putting customer stories at the center. By making it available to other banks, Mastercard encouraged industry change.
6. AMPLIFY MANY VOICES
The strongest brands dont just tell their own sory; they amplify underrepresented voices and invite audiences to help shape the narrative. When brands open space for participation, communities cocreate meaning and hold them to standards of authenticity and transparency.
As Nancy Crimi-Lamanna, CCO at FCB Canada, told me, truly relevant work addresses current and relevant cultural issues by providing insights and driving engagement for positive change.” That belief powered FCBs long-term partnership with the Canadian Down Syndrome Society. From inclusive voice algorithms with Google to Adidass Runner 321 bibs reserved at major marathons, they turned representation into policy, not taglines.
Dove has taken a similar approach. When TikToks Bold Glamour filter went viral, the brand mobilized against unrealistic beauty standards with #TurnYourBacka replicable action that audiences themselves carried forward. Posts using the hashtag gained 54 million views and more than half a million engagements, proving that real cultural power emerges when people see themselves as participants, not consumers.
THE CULTURAL CITIZENSHIP IMPERATIVE
The brands that will dominate won’t be those with the biggest budgets, but those that communities respect and promote. The future belongs to brands that communities claim as their own.
As Maschmeyer writes in the foreword to my book: “The brands that thrive will not be those that shout the loudest, but those that matter the most.”
Beep, beep, beep, beep, beep, beep, beep. Short screech. Long screech. Static. More beeps.
On September 30, one of the most memorableif not infuriatingwaiting experiences since the dawn of the internet went the way of the dodo. AOL finally discontinued its dial-up service.
If you grew up in the 90s, you knew that sound by heart. Some of you also knew to bring a newspaper while waiting for a single web page to load. AOLs iconic 30-second symphony of screeches and static wasn’t just the sound of connection. It was the sound of anticipation, of mandatory patience in an increasingly impatient world.
Today, that pause is all but extinct. Pages load more or less instantly, apps respond in milliseconds, and information moves faster than we can formulate a complete thought. Technological advances have virtually eliminated the wait, but waiting isn’t wasted time. Studies have shown that simple pauses can help strengthen our self-control, and savoring the anticipation of an event can help us prolong pleasure. Our overstimulated brains might find the wait to be frustrating, but underneath all the noise, we just want a quiet moment of pause.
Waiting gives us a chance to rest and reflect. This is as true of the real world as it is online. That’s why designers are sneaking the wait back into modern digital experiences.
The Return of the Pause
On a recent afternoon, I had to call my medical provider to ask a question. When someone picked uppredictably, a voice botI provided my name and date of birth. Then something interesting happened. Instead of processing my information in digital silence, or to the sound of hold music, the bot pretended to type it into a keyboard. I heard a click, clack, click, clack.
The built-in typing may not have been totally for showperhaps the software genuinely needed the processing time. But it was designed to humanize my interaction, to mimic what psychologists call “conversational rhythm, in which pauses signal thought, consideration, and care.
The concept translates to digital experiences, too. Take OpenAIs GPT-5. While previous versions typed out answers slowly, like a typewriter, the early version of GPT-5 dumped the full answer in one go. Some users found it hard to engage; others found it boring. “It just slammed a wall of text at me,” Marcel McVay, director of UX and digital solutions at Octo, tells me. “It was so much information at the same time, that it was off-putting.”
[Illustration: FC]
What users were missing is called sequencing, otherwise known as the deliberate pacing of information delivery. When your car dashboard lights up one indicator at a time rather than all at once, that’s sequencing. When ChatGPT, Claude, or Perplexity type out responses like a vintage typewriter rather than slamming the complete answer instantly, that’s sequencing, too.
With large language models (LLMs), information delivery was slowed down to mimic the pauses that occur in natural conversation, and to help people process information like they are used to. “If someone doesn’t pause to think about what you just said, did they even hear you?” McVay says.
He is currently working on a dementia care app, called Plans4Care, that aims to help support and guide people dealing with degenerative brain diseases. He says the app, which is currently being tested in clinical trials, doesnt require a lot of processing time to load. But his team still built in a loading screen that shows the brands logo plus a rolling selection of comforting quotes and accompanying images. While technically unnecessary, the loading screen serves to pace the users experience. Its a place where we remind you, were Plans4Care, and were here to support you, McVay says.
Making the Wait Worthwhile
Sometimes, of course, wait time remains necessary, and companies have learned to transform these delays into brand opportunities. The Calm app invites you to “take a deep breath” while it loads meditation content. Duolingo’s mascot Duo gives you quirky language facts during brief loading screens. Expedia calls to your wanderlust with a loading spinner in the shape of a traveling plane.
These moments aren’t just distractionsthey’re what Clinton Gorham, brand consultant and founder of the Gorham Agency, calls “movie trailers,” or brief moments that set the mood and manage expectations. “Smart brands treat that sliver of time as a mini canvas to make an impression, he says.
The strategy isnt exactly new. In the 1950s, office building tenants in a Manhattan high-rise complained about slow elevators. Rather than installing faster machineryan expensive solutionbuilding managers installed mirrors in elevator lobbies. Suddenly, complaints plummeted. The wait time hadn’t changed, but the mirrors had transformed dead time into useful time, and people were too busy checking their appearance to notice the delay.
David H. Maister, an authority on service management and the psychology of waiting in line (or a queue, as they say in the U.K.), calls this phenomenon the “occupied time principle.” The British-born former Harvard professor has stated that occupied time (spent on any activity) feels shorter than unoccupied time (free from activity). User experience designers today are using the same trick.
Some years ago, UX designer Tej Kalianda was working on ShareConnect, an iPad app that allows users to securely connect to and control their computers from anywhere in the world. The app’s complex authentication and secure connection setup processes meant that it took users 35 seconds to connect. It also meant they consistently dropped out. “They thought the app was broken,” says Kalianda, who now works at Google but spoke to me in a personal capacity.
The engineering team couldn’t reduce the wait time, so Kalianda decided to keep users busy while they waited. She created random, visually engaging loading screens that changed every time someone connected. “Instead of fighting the delay, I embraced it,” sh explains. And her efforts paid off. The company’s Net Promoter Score jumped from 40 to 45, and she says user feedback shifted from “This thing doesn’t work” to “I love how smooth the connection feels.”
Like with the elevators, the wait time never improvedonly the perception of it. Yet users were measurably happier because they were engaged and entertained.
The aesthetics of waiting
A 90s kid would barely recognize the internet today. We have gone from screechy dial-up connections and songs that took 20 minutes to download to TikTok trends that circle the globe in seconds. But it’s not just speed that’s changedthe entire aesthetic of waiting has evolved along with it.
Back then, waiting looked like a progress bar crawling across a gray dialogue box, or “loading . . .” text blinking in a browser. The internet felt mechanical, utilitarian. But over the next few decades, companies developed their own visual language of waiting. Some, like Microsoft, took the literal approach with sand falling through an hourglass. Others, like Apple, embraced abstraction with a colorful beach ball that spun cheerfully while our computer screens froze.
More recently, Slack turned waiting into a fun distraction with messages like “reticulating splines” (a callback to loading screens from games like SimCity). Meanwhile, Perplexity narrates its thought process, and Uber loads a grayed-out skeleton of its layout, helping you visualize whats to come.
In a world that never stops scrolling, these pausesengineered or notare a welcome reminder that anticipation can be a feature, not a bug. I never thought I’d say this, but watching an app load is starting to feel like a simple, grounding moment that makes us feel a little more human.
Artificial Intelligence is here to stay. Its reshaping industries, expediting innovation, and shifting how we work at unprecedented speed. For many leaders and employees alike, that reality sparks an uneasy question: if AI can do my work, where does that leave me?
The answer lies not in competing with AI, but in doubling down on what makes us distinctly, and irreplaceably, human. In my work on human leadership, Ive explored how leaders can step into a technology-centric future without sacrificing humanity. The truth is: AI can process, predict, and optimize. But it cannot lead, inspire, or create meaning in the way that humans can.
Here are five leadership skills that AI will never replace, and how you can harness them to stay future-ready:
1. Empathy
AI can simulate human responses, but it cannot feel. Empathy, the ability to truly sense and connect with the emotions of others, is foundational in relationships, building trust and fostering a sense of belonging. Research consistently shows that workplaces where employees feel understood and valued perform better, yet empathy is a skill that many leaders overlook (and dont develop).
To harness empathy, leaders need to move beyond surface-level check-ins. Create practices that encourage active empathy by making space to connect with employees to ask open questions. Listen for what they dont say, and tailor your leadership approach to the unique human in front of you. It takes more time and intention, but its irreplaceable.
2. Contextual Judgement
AI excels in patterns and algorithms, but struggles with nuance. And in a complex world, nothing is ever black or white. An AI algorithm might be able to analyze millions of data points, but it cant weigh organizational history, cultural dynamics, ethical dilemmas, or interpersonal relationships in the same way a human leader can. Contextual judgment is the art of knowing not just what to decide, but when, why, and how to execute on that judgment.
Slow down decision-making when the stakes are high, and dont be fooled into the belief that a fast decision is a good one. Think fast and slow. That means paying attention to your initial reactions, but its important to interrogate those, too. And hold space for paradox thinking. You need to consider both/and rather than either/or choices to widen your perspective and avoid being boxed into binary outcomes.
3. Creativity and making meaning
Yes, AI can now generate images, songs, and even strategies. But it cannot interpret or assign meaning. Human creativity isnt just about producing noveltyits about storytelling, creating understanding, symbolism, and inspiring shared purpose. Leaders who can craft a vision that resonates emotionally give people a reason to care, not just a reason to comply.
If youre struggling with creativity, start by creating rituals and narratives that tie day-to-day work back to a greater mission, your reason for being. Whether its connecting a teams project to customer impact or designing a shared symbol of progress, your ability to make meaning is uniquely human. Its this emotional connection that drives motivation.
4. Humility and self-awareness
AI doesnt experience self-doubt, nor does it have blind spots. Humans do, and acknowledging them is a strength, not a weakness. Leaders who practice humility are open to feedback, adaptable to change, and better at building psychological safety within teams.
Leaders should model vulnerability by admitting when they dont have all the answers. Ask your team: What am I missing? What do you see that I dont? This not only builds trust but also elevates collective intelligence and empowers those around you.
5. Connection and belonging
AI can simulate conversation, but it cant forge authentic relationships. Humans are hardwired for connection, and belonging is a key driver of performance and wellbeing in the workplace. Leaders who invest in cultivating genuine connections foster resilience and loyalty that no algorithm can replicate. People do their best work when they feel truly seen, valued, and understood.
It’s important to value the relationships with your team above all else. Build micro-moments of connection into your leadership practice, whether thats starting meetings with personal check-ins, celebrating small wins, or mentoring emerging talent. All of these practices create touch points for genuine connection.
Leading in the age of AI
Fear of being replaced by AI is real, but if we understand where our strengths lie, we diminish the threat. AI is not a rival to human leadership; its a tool. The danger isnt that AI will replace leaders, but that leaders will neglect the very skills that make them indispensable.
The future belongs to leaders who embrace technology to elevate humanity. By leaning into empathy, contextual judgment, creativity, humility, and connection, we not only safeguard our relevance, we redefine what leadership looks like in the age of AI. At the end of the day, people dont follow algorithms. They follow humans.
Discussing English football ownership is turning into the ultimate name drop. Ryan Reynolds and Rob McElhenney at Wrexham. Tom Brady at Birmingham City. Michael B. Jordan at Bournemouth. J.J. Watt at Burnley. Even Snoop Dogg is in on the action, becoming co-owner of Swansea City this summer.
But the American invasion of English football has moved beyond novelty. Twelve of the Premier League’s 20 clubs now answer to U.S. ownershipeither wholly or partially. Drop down to the Championship, English football’s second tier, and nine more clubs are backed by American money.
On Friday, when Wrexham hosts Birmingham City, it will be a clash of two celebrity-driven, American-backed clubs facing off on U.K. soil. Its Reynolds and McElhenney versus Brady, and it’s a matchup that captures exactly how much the English football landscape has shifted over the past two decades.
The Great English Land Grab
Malcolm Glazers $1.5 billion takeover of Manchester United in 2005 made him the Premier Leagues first-ever American owner. Now, 20 years later, the four most successful clubs in English football historyLiverpool, Manchester United, Arsenal, and Chelseaare all majority-owned by Americans.
The 2008 financial crisis accelerated the trend. The U.S. economy recovered faster than Europe’s, creating a surplus of capital among moguls wealthy enough to covet professional sports teams and an opportunity to buy overseas clubs at a discount. That arbitrage remains. In May 2022, Todd Boehly and private equity firm Clearlake Capital bought Chelsea, one of the Premier Leagues marquee clubs, for $3.2 billion. Just over a year later, Josh Harris purchased the Washington Commanders for $6.05 billion, nearly double what Boehly paid.
Celebrity involvement was limited until Reynolds and McElhenney made their splash in 2021. They bought Wrexhama fifth-tier Welsh clubfor just $2.5 million. Their unique approach and subsequent success have demonstrated how American celebrity ownership can benefit a club via global marketing in ways traditional ownership cannot.
The Rise of Wrexham
When Reynolds and McElhenney took over in February 2021, they inherited a club with deep roots and persistent struggles. Founded in 1864, Wrexham is the third-oldest professional football club in the world. But by 2021, the club had spent 15 years stuck in the National LeagueEngland’s fifth tier. Think of it as Single-A baseball or the NBAs G-League, but a tier lower. Thats where Wrexham floundered.
Reynolds and McElhenney started by admitting what they didnt know and bringing in experts. Their first hire was Shaun Harvey, who had previously run the entire English Football League. Harvey recommended they hire Phil Parkinson, a manager with a history of earning promotions.
With the front office set, the on-field strategy was simple: Spend money on better players. Wrexham lured Paul Mullin, the fourth tier’s top scorer, exploiting a loophole that exempted equity investment from lower-league spending caps.
But the off-field strategy is where Wrexham really won. Reynolds and McElhenney launched Welcome to Wrexham on FX, turning the club into a four-season documentary series. They signed sponsorship deals with TikTok, United Airlines, Expedia, and Aviation Gin (which Reynolds co-owns).
By the 202324 season, while playing in the fourth tier, Wrexham was generating nearly $34 million in revenuemore commercial income than five Premier League clubs. The money funded operations and player acquisitions that contributed to three consecutive promotions from 2022 to 2025, a first in EFL history. Now, the club that sold for $2.5 million four years ago is reportedly valued at up to $475 million, and the club is one promotion away from the highest level of English football, the Premier League.
The CopyGOAT: Tom Brady Gets In
Birmingham City was last in the Premier League in 2011, when it won the League Cup, an annual in-season tournament, by beating English juggernaut Arsenal. That same season, the club was relegated from the Premier League and spent the next 13 years stuck in the leagues second tier.
Then Tom Brady and Knighthead Capital Management took control in July 2023. Brady became a minority shareholder, and he brought his playbook from 22 years in the NFL, where he won seven Super Bowls.
While the Knighthead brass run the club, Brady acts more as Birminghams self-help guru. He imported his personal “body coach,” Alex Guerrero, as an adviser on performance and nutrition. Players now receive electrolyte monitoring and tailored hydration protocols. When head coach Chris Davies hit a rough patch before Christmas, Brady sent him a video of Alabama coach Nick Saban discussing leadership philosophy.
The ownership made ruthless decisions. They fired manager John Eustace after 11 games despite sitting sixth in the Championship. They brought in Wayne Rooney, an English football legend. When that didn’t work and Birmingham was relegated to League One, the third tier of English football, for the first time in 29 years, they fired Rooney. Amazon’s Built in Birmingham documentary captured Brady questioning Rooney’s work ethic on cameraan unusually direct critique that signaled how this ownership group was going to operate.
The club hired Davies to replace Rooney, and he led Birmingham to the League One title with a record 111 points in 202425, earning a promotion to the Championship, where theyre competing with Wrexham for one of the three coveted spots atop the table that earn promotion to the Premier League.
Is the Future of English Football American?
In the past 18 months, American investors have completed multiple acquisitions across all levels of English football, from Everton in the Premier League to lower-tier clubs like Carlisle United and Reading FC. And the growth in U.S. investment shows no signs of slowing, as private equity groups are viewing English football clubs as undervalued entertainment assets with global reach. Manchester United was worth an estimated $1.5 billion when the Glazers bought it in 2005. Forbes now values it at $6.6 billion.
Friday’s match between Wrexham and Birmingham offers a snapshot of where American ownership stands. Wrexham sits 15th in the Championship with eight points from eight matches. Birmingham is 11th with 10 points. Both teams are mid-table, far from the automatic promotion spots that would lift them to the Premier League.
The Championship is brutal by designa 46-game grind where clubs relegated from the Premier League arrive with parachute payments that can triple operating budgets. Promotion requires finishing in the top two or winning a four-team playoff.
Neither Wrexham nor Birmingham will likely earn promotion this season. But Friday’s match isn’t really about league position. It’s about temporary bragging rights between American celebrity owners who’ve proven that English football can be reimagined as a global entertainment productone that just happens to involve the occasional 90 minutes of actual football.
Taylor Swifts highly anticipated 12th studio album, The Life of a Showgirl, is here. And this might be Swifts biggest release yet, given that along with an album, shes also premiering a film on the same day.
Taylor Swift: The Official Release Party of a Showgirl features a new music video for the album’s single The Fate of Ophelia, lyric videos, and exclusive behind-the-scenes footage and commentary. Its being hosted as a companion event by AMC, Cinemark Theaters, and Regal Cinemas.
The catch? Its showing in theaters for just three days: October 3 to 5.
The brief theatrical window follows the same pattern Swift has used to release limited-edition versions of her past albums and merch that are often available only on her site for a short amount of timecreating a sense of urgency for fans.
According to some analysts, replicating the strategy of generating fast ticket sales in a limited timeframe is beneficial not only for Swift but also for the major movie theater chains.
Who wouldn’t want to cut out the middleman these days? Brandon Katz, director of insights and content strategy at Greenlight Analytics, posited to Fast Company. AMCs unique distribution deal with Taylor Swift allows them to bypass film studios and create more tailored deal terms. It represents a unique new business model for theaters, though one that isn’t easily repeatable. Exhibitors will also receive a new theatrical product headlined by the most famous entertainer on the planet at a time when wide-release volume is still lagging behind pre-pandemic levels. That’s helpful. Even without a traditional marketing runway, Showgirl will attract attention.
The Taylor Swift effect
The Life of a Showgirl is an appropriately named album for arguably one of the worlds biggest pop stars, who has built an empire from her music since she was 16 years old, creating a devoted fandom of “Swifties.”
In the past few years, Swift seems to have been busier than ever. She rerecorded her first six albums, reclaiming her music after the original masters were sold by her first record label (she eventually was able to buy the original masters back). She performed around the world on her 21-month-long Eras tour. And in August, she got engaged to Kansas City Chiefs tight end Travis Kelce after a whirlwind two-year romance that saw her become a fixture at NFL games, including Super Bowl LVIII. She also teased the new album in her appearance on Jason and Travis Kelces New Heights podcast).
Her impact on any business she’s involved with has been so significant that it’s been given a namethe Taylor Swift effect,” which experts say reflects the singer-songwriter’s strong economic force.
Companies have been keen to take advantage of that Swift effect whenever they can. For instance, when The Life of a Showgirl was announced, many immediately adopted the albums orange aesthetic and font style in their own social media posts. Spotify launched a pop-up merch shop in New York, while other brands, including Uber Eats, are hosting special deals and pop-up events to celebrate the release.
This isnt the first time Swift has released a theatrical film. Following the end of the Eras tour in 2023, she released Taylor Swift: The Eras Tour film, bypassing traditional studios and instead signing a deal directly with AMC Theaters. The film went on to earn roughly $261 million at the global box office, making it the highest-grossing concert film ever. Later, Swift struck a deal with Disney for the films streaming rights.
This is the first time, however, that Swift is premiering a movie to coincide with a new album on the same day. Again, shes skipping studios and releasing the film through AMC, Cinemark, and Regal Cinemas. Last month Deadline reported that the film had already raked in $15 million in first-day presales and that sources were projecting it to make between $30 million and $50 million over the October 3 weekend.
A Swift business model
According to data from Greenlight Analytics, the concert films Taylor Swift: The Eras Tour (with willingness to pay, or WTP, at 53%) and Renaissance: A Film by Beyoncé (with WTP at 52%) generated fan enthusiasm on par with Elvis (with WTP at 63%), suggesting that live-music experiences for big-name artists can generate long tails of monetization opportunity.
Katz said that while releasing the film is a good idea for Swift, exhibitors, and the domestic box office, he emphasized that this isnt going to usher in a new genre of film, since only stars at Swifts level will be able to generate respectable box office revenue or streaming interest.
For the majority of artists thinking about chasing a similar goal, the juice would not be worth the squeeze, Katz said.
However, Swift is clearly continuing to move into the movie industry: In addition to the Eras Tour and Party of a Showgirl films, shes reportedly developing a feature project for Searchlight Pictures.
How can you get ahead in your career and still enjoy the ride?
One solution offered in business books, LinkedIn posts, and team-building manuals is to use humor. Sharing jokes, sarcastic quips, ironic memes, and witty anecdotes, the advice goes, will make you more likable, ease stress, strengthen teams, spark creativity, and even signal leadership potential.
We are professors of marketing and management who study humor and workplace dynamics. Our own researchand a growing body of work by other scholarsshows that its harder to be funny than most people think. The downside of cracking a bad joke is often larger than what you might gain by landing a good one.
Fortunately, you dont have to tell sidesplitting jokes to make humor work for you. You can learn to think like a comedian instead.
Humor is risky business
Comedy works by bending and breaking normsand when those rules arent broken in just the right way, its more likely to harm your reputation than to help your team.
We developed the benign violation theory to explain what makes things funnyand why attempts at humor so often backfire, especially in the workplace. Essentially, humor arises when something is both wrong and OK at the same time.
People find jokes funny when they break rules while seeming harmless. Miss one of those ingredients when you tell a joke and your audience wont appreciate it. When its all benign and theres no violation, you get yawns. When its all violation and not benign, you could end up triggering outrage.
Its hard enough to get laughs in the darkness of a comedy club. Under fluorescent office lights, that razor-thin line becomes even harder to walk. What feels wrong but OK to one colleague can feel simply wrong to another, especially across differences in seniority, culture, gender, or even the mood theyre in.
The hit sitcom The Office pokes fun at the cringeworthy jokes cracked by a hapless boss.
An advertising study
In our experiments, when everyday people are asked to be funny, most attempts land flat or cross lines.
In a humorous caption contest with business students, described in Peter McGraws book on global humor practices, The Humor Code, the captions werent particularly funny to begin with. However, the ones that were rated by judges as the most funny were often also rated the most distasteful.
Being funny without being offensive is of paramount importance. This is particularly true for women, as a robust literature shows women face harsher backlash than men for behavior seen as offensive or norm-violating, such as expressing anger, acting dominantly, or even making asks in negotiations.
Dont be that guy.
You might end up getting no respect
Research by other scholars who examine leader and manager behavior in organizations tells a similar story.
In one study, managers who used humor effectively were seen as more confident and competent, boosting their status. Yet when their attempts misfired, those same managers lost status and credibility. Other researchers have found that failed humor doesnt just hurt a managers statusit also makes employees less likely to respect that manager, seek their advice, or trust their leadership.
Even when jokes land, humor can backfire. In one study, marketing students instructed to write funny copy for advertisements wrote ads that were funnier, but also less effective, than students instructed to write creative or persuasive copy.
Another study found that bosses who joke too often push employees into pretending to be amused, which drains energy, reduces job satisfaction, and increases burnout. And the risks are higher for women due to a double standard. When women use humor in presentations, they are often judged as being less capable and having lower status than men.
The bottom line is that telling a great joke rarely gets you a promotion. And cracking a bad one can jeopardize your jobeven if youre not a talk show host who earns a living making people laugh.
Flip the script
Instead of trying to be funny on the job, we recommend that you focus on what we call thinking funnyas described in another of McGraws books, Shtick to Business.
The best ideas come as jokes, advertising legend David Ogilvy once said. Try to make your thinking as funny as possible.
But Ogilvy wasnt telling executives to crack jokes in meetings. He was encouraging employees to think like comedians by flipping expectations, leveraging their networks, and finding their niche.
Comics often lead you one way and then flip the script. Comedian Henny Youngman, a master of one-liners, famously quipped, When I read about the dangers of drinking, I gave up . . . reading. The business version of this convention is to challenge n obvious assumption.
For example, Patagonias Dont Buy This Jacket campaign, which the outdoor gear company rolled out on Black Friday in 2011 as a full-page ad in The New York Times, paradoxically boosted sales by calling out overconsumption.
To apply this method, pick a stale assumption your team holds, such as that adding features to a product always improves it or that having more meetings will lead to smoother coordination, and ask, What if the opposite were true?
Youll discover options that standard brainstorming misses.
Create a chasm
When comedian Bill Burr has his fans in stitches, he knows some people wont find his jokes funnyand he doesnt try to win them over.
Weve observed that many of the best comics dont try to please everyone. They succeed by deliberately narrowing their audience. And we also find that businesses that do the same build stronger brands.
For example, when Nebraskas tourism board embraced Honestly, its not for everyone in a 2019 campaign, targeting out-of-state visitors, web traffic jumped 43%.
Some people want hot tea. Others want iced tea. Serving warm tea satisfies no one. Likewise, you can succeed in business by deciding whom your idea is for, and whom its not for, then tailoring your product, policy, or presentation accordingly.
Cooperate to innovate
Stand-up may look like a solo act. But comics depend on feedbackpunch-ups from fellow comedians and reactions from audiencesiterating jokes in the same way lean startups may innovate new products.
Building successful teams at work means listening before speaking, making your partners look good, and balancing roles. Improv teacher Billy Merritt has described three types of improvisers. Pirates are risk-takers. Robots are structure builders. Ninjas are adept at both: taking risks and building structures.
A team designing a new app, for instance, needs all three: Pirates to propose bold features, robots to streamline the interface, and ninjas to bridge gaps. Empowering everyone in these roles leads to braver ideas with fewer blind spots.
Gifts arent universal
Telling someone to be funny is like telling them to be musical. Many of us can keep a beat, but few have what it takes to become rock stars.
Thats why we argue that its smarter to think like a comedian than to try to act like one.
By reversing assumptions, cooperating to innovate, and creating chasms, professionals can generate fresh solutions and stand outwithout becoming an office punchline.
Peter McGraw is a professor of marketing and psychology at the University of Colorado Boulder.
Adam Barsky is an associate professor of management at The University of Melbourne.
Caleb Warren is a professor of marketing at the University of Arizona.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
