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Have you ever found yourself in a situation where you carefully laid out all the context for your manager, only to have them cut you off? Or maybe youve found youre eager to dive into the tactical details of a project while they keep steering the conversation back to vision. These moments can leave you frustrated and confused. You’re doing what seems logical, yet somehow its not landing. The good news is that these disconnects usually arent about your competency or the quality of your ideas theyre about different styles. Studies have found that two primary dimensions shape how people communicate and approach their interactions at work. The first is dominance, which refers to the degree a person attempts to control situations or the thoughts and actions of others, and the second is sociability, which measures how readily someone expresses emotions and prioritizes relationships and emotional connection with others. The intersection of these two dimensions leads to four different styles, which I call the 4Cs. The Commander Commanders can be so quick to take action that they may steamroll you or others. They care more about what needs to be done than how everyone feels about it. This doesnt necessarily mean theyre uncaring (although they sometimes neglect their teams need for emotional support), but they show their commitment to others by setting clear, ambitious targets rather than through praise or acknowledgment. Dont take it personally if a Commander: Nitpicks your work. When Commanders challenge your ideas, its more about stress-testing them to avoid mistakes and make them stronger rather than dissatisfaction with you or your performance. Acknowledge their input without getting defensive and refute with solid data: I see what you mean about the message lacking urgency. We approached it that way because our feedback survey showed . . . Skips pleasantries and small talk. Commanders see time as a valuable resource not to be wasted, so respect their desire for efficiency with phrases like, I know youre busy, so lets get right to it or, Ill dive straight inhere are the key points Id like to cover. And dont be offended when they send you two-word email replies without asking how your weekend was. Overlooks your opinion. Commanders appreciate assertiveness, so have a point of view and present it clearly. Start your pitch with something like, I believe . . . , My recommendation is . . . , From my perspective, it seems that . . . , or Here are my initial thoughts. The Cheerleader Cheerleaders are expressive and tend to be energetic, optimistic, and enthusiastic. Like Commanders, Cheerleaders value moving fast and aiming high, but they love building relationships and playing connector. Their focus on team spirit makes for an environment thats positive and fun, but some might find their high-energy, group-oriented style overwhelming and you might not always get the nitty-gritty feedback or specific direction you want. Dont take it personally if a Cheerleader: Cancels meetings at the last minute. Take the lead to reschedule, or youll be forgotten as they chase the next shiny object. Try this: I understand your schedule is tight, but were running out of time to plan for X. So Ill grab 20 minutes on your calendar to connect about that tomorrow unless you let me know otherwise. Changes priorities frequently. Their flightiness can be frustrating, but when the Cheerleader thinks of yet another new idea or veers off topic, gently steer them back: Thats fascinating. Ill make a note so we dont lose sight of this and can revisit it at a better time. Be clear about whats achievable, tying it back to team capacity and timelines: To meet our deadlines and keep the quality of work youre used to, we should stay focused on X. Gives you vague feedback and direction. Cheerleaders prefer to inspire and motivate rather than provide step-by-step instructions. When given vague feedback, drill deeper: Can you share what success looks like for this project? Provide options since Cheerleaders sometimes struggle to come up with specifics on their own: Here are a few ideas Ive come up with. Which one do you feel fits best? The Caretaker Caretakers are patient peacekeepers who listen carefully and make sure everyone feels seen and heard. While theyre high on sociability like the Cheerleader, Caretakers are more subdued and nurturing. They want you to feel safe voicing your thoughts and struggles. But at the same time, their indecisiveness can be a drag, particularly in fast-paced or high-stakes environments where quick action and risk-taking are crucial. Dont take it personally if a Caretaker: Constantly checks in. Caretakers sometimes helicopter manage or, worse, make you feel like you have to reassure them instead of the other way around. Gently make it clear you can handle tasks on your own without them hovering: Ive got this under control, but Ill definitely let you know if I need any help. Hoards work and stretch projects. Your boss may believe taking on the burden of extra work safeguards you from stressor theyre convinced that theyre best suited to handle tasks. To overcome their control issues, propose a gradual transition (Lets start with me handling part of [project], and we can go from there) or suggest working together initially (How about we tag-team on [project] at first? That way, you can see my approach and make sure its on track). Drops news on you at the eleventh hour. In a misdirected effort to keep things calm and stable, your boss may hold back important information, so regularly ask for insight on potential shifts: Are there any developments we should be aware of? It would help us plan and adjust accordingly or Knowing about changes ahead of time helps me prepare, so any heads-up would be helpful. The Controller Controllers excel through their meticulous attention to detail, reliance on data, and a preference for working behind the scenes to ensure everything runs like clockwork. They tend to be serious and reserved leaders who worry less about social connections and more about optimizing existing standards, rules, and processes. This can be a dream for those who love clear instructions, but Controllers can also come off as rigid and restrictive, especially when quick pivots or innovative leaps are needed to stay ahead. Dont take it personally if a Controller: Rejects your ideas without consideration. Controllers are wary of new ideas because they see them as risks that could lead to mistakes. So frame ideas as enhancements to existing processes, not as net new changes: [Idea] builds on our current system . . . or We can take what were already doing and make it even better by . . . Requires multiple approvals or reviews. Its not that they dont trust you; rather, they believe that having multiple sets of eyes means standards will be met. efore starting work ask, What are the key criteria youre looking for in this project? I want to make sure I meet your expectations from the outset. Suggest a quick pre-mortem session to catch any issues early: Can we check in before I finalize this? I want to address any concerns you might have. Expects you to be an expert in everything. If your boss overloads you with dense information or complex documentation, turn it back around and ask for guidance on whats most critical: I appreciate all the details. What would you say are the key points I should prioritize to make sure were compliant? You might not always like or agree with your bosss approachthats normalbut if there comes a point where their actions become disruptive to you or others, its not enough to say, Oh, thats just how they are! Ultimately, personal style doesnt give anyone a pass to be a jerk. The key is to stay flexible and observant, adjusting your strategies as you learn more about your bosss preferences and behaviors. Because even if your relationships are strong, they can always be better. Adapted from the book Managing Up: How to Get What You Need from the People in Charge by Melody Wilding. Copyright 2025 by Melody Wilding. Published in the United States and Canada by Crown Currency, an imprint of the Crown Publishing Group, a division of Penguin Random House LLC. All rights reserved.
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For filmmakers with a fondness for certain fonts, using them frequently enough in their work can turn typography into a sort of signature. See the typeface in a film, and you know exactly who the director is. Wes Anderson has an obsession with Futura, while John Carpenter set his film credits in Albertus, a formal serif. Papyrus is now synonymous with James Cameron’s Avatar franchise, and more than 40 of Woody Allen’s films use Windsor. For director Sean Baker, whose comedy-drama Anora won the 2025 Oscar for Best Picture and netted him the Academy Award for Best Director, his font of choice is the tall, narrow, decorative Aguafina Script. Created by type designers Alejandro Paul and Angel Koziupa of the Argentinean type foundry Sudtipos, Aguafina Script is described as semi-formal and eye-catching with characters that flow into each other, perfect for product packaging, glossy magazines, and book covers. Turns out it also works well for movie posters and title sequences, as Baker has proven for more than a decade now with his various projects. [Images: IMDB] Baker told the streaming platform Mubi last year that he first selected Aguafina Script for the title sequence of 2015’s Tangerine, about a transgender sex worker (a film that was shot entirely on iPhones), because he was looking for something that was stylistically interesting and because it subverted the grittiness of the subject matter. It is saying that there is an elegance to this production in the way were presenting the subject matter, he said. After realizing the font could serve the same purpose for 2017’s The Florida Project (about a girl and her single mother who live in a motel near Disney World), he said, If I continue this it could eventually become something that people connect withand connect with my films [the way Carpenter’s and Allen’s fonts did with theirs]. Now when you see those fonts, you think of those filmmakers and their films, said Baker, who utilized Aguafina Script through to the movie posters too. I like to have consistency between my advertising material and the actual credits. By weaving it into the visual identity of his films, including a recently minted Oscar winner, Baker has made Aguafina Script his own, and shown how type can be used to challenge viewers’ preconceived notions.
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When Netflix was finally ready to bring back its massive international hit TV series Squid Game for Season 2 after a three-year hiatus, it had a unique marketing challenge: remind people why they fell in love with a Korean action drama that revolves around a murderous contest. Approximately 39 months had passed since the debut of Squid Game took the world by storm with its coordinated green tracksuits, Pink Guards, and twisted takes on childrens games. The first season exploded to the surprise of everyone, becoming a global pop culture sensation. Back in 2021, Netflix marketing outside Asia was largely reactive to what audiences were excited about. This time, there were years of anticipation. Marian Lee, chief marketing officer at Netflix, says there was an excitement internally to re-create that phenomenon, but also a ton of pressure on her teams. Convincing people to come back to watch the second season is an entirely different proposition than being surprised and having some fun with it. [Photo: Netflix] What came next was a worldwide full-court press of entertainment marketing. Pink Guards were deployed at events, activations, and press appearances around the planet. The Season 2 campaign kicked off at the Paris Olympics. Pink Guards popped up at Sydney Harbor and Bondi Beach, the canals of Venice, Bangkoks Chao Phraya river, Saudi Arabias AlUla, and Beco do Batman in So Paulo. Fans played Red Light, Green Light live under the Pink Guards watchful eyes in Los Angeles, Jakarta, and Warsaw. As of February 14, Season 2 had 14.25 billion owned social impressions, eclipsing Netflixs biggest Instagram and TikTok posts ever. View this post on Instagram A post shared by Netflix Australia & NZ (@netflixanz) As a result, Squid Game Season 2 captured the most premiere-week views of any Netflix show in history. It spent eight consecutive weeks in the Netflix Global Top 10, amassing 185.2 million views in that time, and quickly became the streamers third-most-popular show of all time, after Wednesday and Squid Game Season 1. The marketing strategy behind the shows second season is a case study in how to match and elevate fan-generated hypeand it offers a window into how Netflix operates as a global brand marketing organization. Jakarta [Photo: Netflix] Found in translation Squid Game is first and foremost a Korean show. That was the mantra, and that was the foundation from which Lee and Netflix approached the marketing of the show. We have teams in 40 markets around the world, and it would be very American for us to say, Okay, well, now that it’s the biggest show, we’re going to have our largest marketing and publicity teams in L.A. run the campaign, Lee says. It was very important for me that the Korea team retained the strategy for how global teams were going to execute against it. This was a major shift for the streamers most popular properties like Stranger Things, Wednesday, and Bridgerton, which are exported from the U.S. marketing organization to the rest of the world. Lee created a global task force to connect major markets with the Korean team. There were translators in every meeting, even though everyone spoke English, to make sure any cultural nuances werent overlooked. Sao Paulo [Photo: Netflix] Lee spent the better part of two years cultivating and setting up the relationships between the Korean team and other major markets, in order for the rollout of Season 2and now the forthcoming Season 3to be as strong as possible. The coordination wasnt to make sure everyone followed the same playbook, but for the Korean team to really set the creative strategy and then the other marketing teams to take that and figure out the best way to express it in their markets. Creative strategies and creative platforms is the starting point, where everything emanates from, but where you can deviate across markets is in partnerships, or media placements and things like that, Lee says. So it was really important for us to spend a lot of time arguing and debating about that creative start point. One debate was around the theme of choice in the second season, represented by a voting system that allowed players to choose to stay or leave after each game. The Korean marketing team felt that was the center pointthat moral choice. Yet it wasnt resonating with the other teams. It’s important that when you’re dealing with different cultures and different languages, you have to find a creative start point that is literally so simple that any agency can run with it, Lee explains. London [Photo: Netflix] This translated into the idea of choosing to participate being a major part in all the live experienes across markets. Runners in tracksuits raced up the Champs-Élysées in Paris. Brazilian fans competed in Squid Game-themed competitions. The brand threw a Squid Game-themed rave in London. The nice thing about Netflix is that you can have a center creative strategy, but every market is going to have different flavors of how they activate with fans, Lee says. Paris [Photo: Netflix] Playing the brand game When Season 1 of Squid Game dropped in 2021, there were no international brand partners or collaborations. And yet Vans slip-on sneakers sales increased almost 8,000%. Duolingo saw a 40% increase in Korean language learners. For Season 2, with plenty of lead time, Netflix lined up a laundry list of brand partners, including Puma for those green tracksuits, Call of Duty, Kia, limited-edition Crocs, Duolingo, and more. But just like the creative strategy, Lee says local markets were in charge of what brand collabs would work best for their audiences. This is a global show, so you really could have global partners, but we also asked all the teams, Who are important partners in your market? says Lee. The result was a mix of brands that wouldnt normally be attached to a single property. In food alone, it was McDonalds in Australia, Burger King in France, Domino’s in the U.S., and Carl’s Jr. in Mexico. KFC Spain sold more than 400,000 units from its exclusive Squid Game menu and brought in more than $4 million in sales during its four-week runits most successful activation ever. We just said, Okay, what really matters for your market? Make sure you’re doing the most creative and the most fun way to engage with your fans. And I think that really worked, Lee says. Netflix announced last month that Season 3 will launch in June, about six months after Season 2. Lee says this allows both the streamer and brand partners to better bridge that relatively short gap. That short window is amazing for riding high off of Season 2 straight into Season 3 without wasting media dollars. We can just keep activating and engaging fans now through creative social, Lee explains. Beyond that, the brand will keep momentum going with live experiences in Australia, New York City, and Seoul, as well as a video game on its platform. Warsaw [Photo: Netflix] Fans lead the way The biggest insight that helped Netflix’s Squid Game marketing strategy is one Lee says has already helped other shows and properties. Lees teams work to find the parts of a show fans gravitate to most, then create content, experiences, brand partnerships, and more around that. Focus on the fans and really start organically, that is always the recipe for success for Netflix, she says. For Squid Game Season 2, it was iconography like the tracksuits and Pink Guards, combined with the desire to participate in some (nonlethal!) version of the games. The start point for Wednesday will be different than a comedy with Amy Schumer, Lee says. But I really think that the fans tell you what they want to see more of.
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