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Mad Men is an American period drama television series created by Matthew Weiner and produced by Lionsgate Television. The series premiered on July 19,​.
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How Brands Grow is the opposite. It is empirical, closely argued and, in its sober way, incendiary. Sharp marshals a vast array of evidence from many different categories — soft drinks, motorbikes, concrete mixers — and identifies universal laws of brand purchasing.

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To date, nobody has seriously challenged his findings, though plenty have ignored them. This pattern recurs across brands, categories, countries and time. The industry yearned to be aligned with the zeitgeist, in a world where glamour has migrated to Palo Alto. If you work for a brand owner, the implications are profound. What seems like a prudent use of funds — focusing on people who have already proved they like the brand — is actually just spinning wheels.

Second, and paradoxically, a successful brand needs to find a way of reaching people who are not in its target market, in the sense of people who are predisposed to buy it. In the wastage is the value. Human beings have powerful spam filters: we screen out nearly all of the 30, or so brands in a supermarket.

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But that tiny effect adds up to millions of cans. Brands are not the rich sources of differentiation marketers like to think of them as, but short cuts through the complexity of decision-making. They just want to get coffee and get home. Marketers are usually surprised to hear this and find it hard to accept — they like to imagine that people who buy their brand are deeply attached to it.

But the data show that even people who regularly favour one brand over others will pick a competitor if it happens to be more easily available or cheaper that day. Brand advertising, at best, does something very different to a search result, an email or a Facebook update. Even the people who do join brand pages on Facebook hardly ever click on them. What if you were to invent a way of getting light buyers to recall your brand just as they are about to choose? It turns out there is an app for that: the TV ad. TV is in healthier condition than anyone predicted 10 years ago.

The average viewer watches nearly as much TV, on TV sets, as he or she always did, and now they watch programmes on mobiles and tablets too. A recent US study found that ad-skipping is declining; people are too distracted by their phones to bother. The best ads make us pay attention and look up from our phones.


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In the past few years, the success of the retailer John Lewis has gone some way to restoring the status of TV advertising. Few marketers have failed to notice how effective its Christmas ads have been. John Lewis largely forgoes persuasion for emotion, and for good reason. In the past 30 years, scientists have shown that we are much more likely to retain something mentally when we have a strong emotional response to it.

Ads imprint themselves on the cortex when they touch the heart. An online banner ad, however smartly targeted, is unlikely to make anyone grin, gasp or weep. Since the amount of cognitive energy that people expend on brands is so tiny, they generally stick with what they know and reach for familiar things: a name, a pack, a logo. The challenge for any brand, then, is to be both interesting and consistent.

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Marketers consistently undervalue consistency. Diageo recently carried out an audit of all the endlines that it had attached to one of its biggest brands, Guinness, and were embarrassed to discover it had used more than 20 different slogans in 15 years. Vast sums of money had been spent on campaigns which probably had short-term effects but barely left a trace in consumer memories.

But in the short term, the effects of advertising on consumer memories are very hard to measure. Laurence Green, of London agency , distinguishes between two classes of advertising. Google is unbeatable at this, which is why it has wreaked havoc on the newspaper business. A soft drink can come to represent optimism, a chain of stores the warmth of middle-class homes. She is a civil servant by day and a freelance writer at night.

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Please contact us at data valnetinc. But after having dinner with her former colleague, Ken Cosgrove, Joan believes she has the answer for both of them. Ken asks Joan to produce an industrial film for his company, and Joan decides to hire Peggy to write the script for the project.

Peggy is reluctant initially, but after hearing how much money is involved, she agrees. The project goes swimmingly, and Joan is able to secure more contracts for similar work. Realizing how much she's missed working, Joan gets the idea to start her own industrial film production business. Peggy, meanwhile, is increasingly upset with her position at McCann, so when Joan asks her to be her partner in the new business, it's something she seriously considers.


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As the two main female characters of the series, Joan and Peggy took very different paths to reach their respective points in the finale, but it makes sense that their futures would potentially be so tied to one another when it was all said and done. After effectively being cut out of his family's life, Don heads to Los Angeles to look up the only family he thinks he has left. Anna remained Don's closest friend and confidant until her death in season four, and by proxy, Don also became close with Anna's adult niece, Stephanie.

Don shows up at her house in L. Having just given up her baby and feeling lost, she's about to head to a hippie retreat on the California coast. Don, having nothing better to do, decides to go with her. Upon arriving at the retreat, Don is instantly put off by the New Age shenanigans that he sees.

He may be trying to discover who he is, but he remains a conservative, strait-laced guy, and he gives off the impression that he thinks the entire retreat is silly.

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After Stephanie is criticized by fellow retreat goers for giving up her baby, Don attempts to console her and is met with hostility. Stephanie asks him what he's even doing there, telling him that he's not her family. She then takes Don's car in the middle of the night, leaving him alone in every possible way.