Category: on the sofa | 影評 | 영화를보고 | 映画レビュー

What does on the sofa mean? So a sofa is a couch in American parlance, or may also be called a settee or chesterfield in other English speaking parts of the world. Its the big chair in the living room that people tend to view their TV set from.

By using on the sofa as a title I wanted to imply content that I had reviewed at home rather than having gone out to watch it at a cinema or attend an event.

I have tended to review material on DVD or Blu-Ray rather than streaming media, usually because I have acquired them with an intent, whereas streaming is more like content grazing, often little more than visual wallpaper for my living room.

This section has been made up of a hodge podge of films, documentaries and anime.

Films that I have seen at festivals or on trips to the cinema are more likely to be in the out and about section. So there isn’t a consistency there in that respect.

I have covered a wide range of content here including

Safe House – a surprisingly good Ryan Reynolds film that isn’t a comedy one
Bitter Lake – I am a huge Adam Curtis fan and his work is the exception that proves my rule about streaming platforms in this section mainly because I can’t get his documentaries on disk
The Raid 2 – which added a bit of storytelling to the mix of The Raid.
The Man from Mo’Wax – a documentary about the rise, fall and reinvention of James Lavelle.
No blood no tears – An excellent Korean heist drama

Rewatching Wong Kar wai
My love of films by Wong Kar wai came at a time of changing media. In the early 2000s I watched the films the first time after I got a portable multi-region DVD player and there had been a massive surge in video labels including Artificial Eye and Tartan publishing arthouse titles. This provided a great cost-effective way to explore and experience world cinema and I gravitated towards Japanese and Hong Kong cinema.

I was already familiar with traditional martial arts films and the ‘gun fu’ of John Woo. Wong Kar wai was Hong Kong’s answer to French new wave auteurs.

Around the same time, I ended up dating someone who lived in Hong Kong when we bonded over Faye Wong’s performance in Chungking Express. In a moment of delicious irony, I got to watch Wong Ka wai’s one ‘western’ film My Blueberry Nights while staying in Hong Kong.

While Wong Ka wai’s filmography wasn’t the reason why I moved to Hong Kong, but it was a reason why I moved to city and had the privilege of living there for a while.

This time around I was working my way through Criterion’s World of Wong Kar wai boxset which had been bought for my birthday during COVID time.

The Wong Kar wai boxset contains:
- As Tears Go By
- Days of Being Wild
- Chungking Express
- Fallen Angels
- Happy Together
- In The Mood for Love
- 2046
As Tears Go By

As Tears Go By was released in 1988. It is one of Wong Ka wai’s most conventional films from a Hong Kong perspective. Andy Lau plays the protagonist Wah, a triad soldier. Wong borrowed from the plot line in of Martin Scorsese’s 1973 film Mean Streets in terms of the story revolving around dynamic of two friends, one of whom is irresponsible. It’s a great stylish film, but if you told me that it had been made by Ringo Lam, Tsui Hark or Johnnie To, I’d have believed you. Hong Kong cinema audiences loved it and it would be another 25 years before Wong made another film as popular with local cinema goers.

Days of Being Wild

1990’s Days of Being Wild is often considered by some to be part of an informal trilogy, the others being In The Mood for Love and 2046. Stylistically it features love, loss, similar pacing, the use of inner narratives and experiments with colour. Thematically they are sensitive to the passage of time and have a vice-like hold on emotional memory. But the threads between the characters aren’t really bought together until the next film in the trilogy. Tony Leung’s character and is given the name of ‘Gambler’ is only wordlessly introduced right at the end of Days of Being Wild. He only becomes known as Chow Mo wan in the next film: In The Mood for Love.

Leslie Cheung was ideally cast as a lost, rootless, self-absorbed drifter Yuddy in the film. Yuddy has a hole at the centre of his being that he is unable to fill. Like many dislocated Chinese in Hong Kong between the civil war and the cultural revolution he drifts.

Yuddy is described as a legless bird, only touching down with death. Critics have interpreted this as pre-1997 handover anxiety. An article published on the Hong Kong Film Critics Society website described it for me best

At the time, they were echoes of Hong Kongers’ sentiments under the looming 1997 deadline. Leslie Cheung, who has a love-hate relationship with his foster mother and after a failed mission to find his biological mother, drifts in self-imposed exile, is a metaphor for the city caught between the two sovereign states of China and England.

Set in the 60s, the film is filled with signifiers of nostalgia (props, costumes, music, scenery). Reminiscence is but a lament that the good of the present will not last. And Days of Being Wild is but an elegy for a Hong Kong caught between 1989 and 1997.

The film follows Yuddy and the trail of emotional wreckage he leaves in his wake as he looks to track down his biological mother.

Secondary threads follow Su Li zhen, played by Maggie Cheung and Carrie Lau’s performance as Leung Fung ying. Both of whom where Yuddy’s transient love interests.

There is a scene where Yuddy looks to obtain an American passport and something about Cheung’s movement and the casual violence reminded me of Michael Madsen’s Mr Blonde in Reservoir Dogs released three years later. While Mr Blonde is nihilistic, he lacks the duality of Cheung’s character.

Leslie Cheung gives a fantastic performance on screen and his tragic death 13 years later was a serious blow to Hong Kong film-making.

Days of Being Wild wasn’t well received by Hong Kong cinema goers at the time, despite being well regarded by film critics everywhere. This adds to Wong Kar wai’s reputation as an auteur streets ahead of the local audience. Which was a view I bought into the first time around.

Having watched it again years later, I have some hypotheses as to why it didn’t do well.
- While the dislocation and drifting reflected life for many in early 1960s Hong Kong, it didn’t match the go-go economy and Lion Rock can-do spirit of Hong Kongers in the following three decades. Younger audiences wouldn’t be able to relate to it in the same way. Cinema audiences tend to be younger than the general population, so that disconnect makes a degree of sense.
- After the Sino-British joint declaration was signed in 1984, a pre-handover anxiety hung over Hong Kong. KMT supporting newspapers gradually closed down or pivoted their editorial style. Astronaut families became commonplace with upper middle class children based outside the city in Vancouver or Australia while their parents made money in the run up to handover due to the go-go environment of the time. The second passport, gave the family a bolt hole in case things went wrong after China took over. Local Hong Kong cinema goers wanted the escapism of action films, gambling movies and comedy.
- It is very different in pace as a film compared to its high-octane peers at the time from the likes of John Woo. This time I got to see the original Hong Kong trailer of Days of Being Wild – and could understand how you could go into the cinema expecting something with much more pace rather than the dream-like experience much of Days of Being Wild gives you.
- The ending came abruptly and without context.
Chungkung Express

1994’s Chungking Express is two locations and views of modern Hong Kong. Trading hub Chungking Mansions in Tsim Sha Tsui and the Midnight Express takeaway restaurant in Lan Kwai Fong. While it is a romantic comedy of sorts and varies in pace, it also has the qualities of what we now expect in a Wong Kar wai film. The focus on time, distance and emotional memory – but with a much lighter touch than Days of Being Wild.

The film is anthology of two stories with retail worker Faye being the one serendipitous point of connection that holds both stories together.

Takeshi Kaneshiro plays alongside fellow Taiwanese actress Bridget Lin in the first story. He is estranged from his girlfriend May relying on calls to her parents and tins of pineapple which is her favourite food.

In the second story tells of how Cop 663, played by Tony Leung is left by his air stewardess girlfriend and acquires a stalker while getting over his old love.

Both stories caught the urban energy of 1990s Hong Kong and resonated better with audiences. What is more remarkable is how fast the film was made in an improvisational way with guerrilla film making techniques. Its looseness was by design as Wong tried to mirror Haruki Murakami’s writing style on screen. The film was shot in a two-week break from editing Ashes of Time.

The film brought Faye Wong to an international audience and cemented Wong Kar wai’s arthouse credentials.

The film feels very now in terms of its style and even the use of old technology like camcorders and pagers on screen doesn’t pull you out of the film in the way I might have expected.

Fallen Angels

1995’s Fallen Angels was a surprise to me the first time I watched it. In some ways it goes back to As Tears Go By in its exploration of Hong Kong’s organised crime world. You have Wong Kar wai’s use of loose narrative, colour, tight spaces and urban energy.

Compared to As Tears Go By it’s a slower paced film. It makes what now comes across as innovative use of close up wide angle photography that makes it look as if its shot on an iPhone decades before the modern iPhone came out. It also feels computer game-like in the action sequences. I can also understand why it has been compared to music videos in terms of style. Parts of the action sequence reminded me of Point Break in terms of the camera viewpoint. While it feels ‘intimate’ because of its claustrophobic shots, local cinema audiences didn’t relate to Fallen Angels.

There is a duality to the film. Takeshi Kaneshiro plays Police Officer Ho Chi moo badge number 223 in Chungking Express. In Fallen Angels he is Hoo Chi moo, convict number 223.

There are wider Wong Kar wai touches, in mid 20th century artefacts from 1960s Hong Kong architecture to the Enicar illuminated wall clock in the assassins base.

(Enicar was a historic Swiss watch brand that was best known across Asia and China. The brand name is now owned by Wah Ming Hong who had been their distributor in China since the 1930s. One of my first memories of Hong Kong was giant building wrapping adverts for Enicar and another former Swiss, now Hong Kong watch company Solvil et Titus).

Watching it this time, I had a nagging feeling that something had changed and sure enough when I searched online. I found out that the film had been extensively cropped shot by shot and recoloured by Wong Kar wai in 2020, not always for the better.

Happy Together

Happy Together was released in 1997 and is still a highly regarded example of New Queer Cinema alongside the like of Querelle.

As a work out of Hong Kong it’s remarkable. Hong Kong as a society is conservative and there is a don’t ask, don’t tell aspect to the treatment of the LGBTQI community in Hong Kong. Legislation is more advanced than Hong Kong society at large.

Leslie Cheung was an ideal protagonist known for being a champion of the avant-garde and having on-screen characters that experimented in different forms and levels of masculinity.

Happy Together‘s themes of displacement, exile, and the repeated line “Let’s start over” mirrored loneliness, heartbreak, the collective uncertainty and “fretful wanderlust” of Hong Kongers at the time. The film came out in Hong Kong just two months prior to the handover of Hong Kong to China.

Happy Together was released with a Category III rating, meaning only those 18 and above can watch it. Primarily this was down to Hong Kong’s greater latitude for violence rather than sex on-screen. Wong Kar wai’s eye and treatment on camera means that Argentina feels rather like Hong Kong in the film.

In The Mood For Love

For many people, 2000’s In The Mood For Love is the gateway drug to Wong Kar wai films. I think that the Cantonese title ‘Flower-like Years’, ‘the prime of one’s youth’ suits the film better. It’s the second film Wong’s informal trilogy, after Days of Being Wild.

The contrast in pacing between In The Mood For Love and the previous film mirrored the move from frantic kinetic energy of colonial Hong Kong living on borrowed time to an oppressive study in stillness focused on longing for the past post-handover. Wong admitted in interviews that the hotel room number, 2046, where the protagonists get together to write represented the final year of Hong Kong’s ‘guaranteed‘ autonomy. The Shanghainese dialect spoken, outfits and food reflected Hong Kongers nostalgia for the post-civil war era of migration to Hong Kong as time of pain and hope.

We are properly introduced to Tony Leung’s Chow Mo-wan character. Su Li zhen, played by Maggie Cheung adds the real line of continuity. We know it’s 1962, and probably at least a few years since Days of Being Wild. On one level their fortunes have improved, Su now works as a secretary for a shipping company; Chow is a journalist. They are both unhappily married and find solace in each other’s company.

It’s like David Lean’s Brief Encounter but with the colour and latent emotion dialled up through copious amounts of hallucinogen. The loneliness, missed connections, the weight of time, regret, longing and rootlessness feel even more intense in this film than any of Wong’s previous films. The also a sharp contrast with the licentious and violent elements in Wong’s previous films.

I remember watching it the first time and being blown away by it visually without taking in the plot, performance and nuance layer throughout. I then revisited my old DVD copy several times later on.

Wong lays out their collective journey of discovery in finding out that their respective partners are having an affair. This builds the closeness and tension them, as does the martial arts serial that they write together.

(This always struck me as a nod the popularity of Hong Kong based authors like Liang Yusheng and Louis Cha who worked as newspaper journalists, before going on to write serials published in newspapers and magazines. Eventually their works would be adopted in Hong Kong films including Wong Kar wai’s own The Eagle Shooting Heroes and Ashes of Time; and TV series in Hong Kong, Taiwan and communist China).

In The Mood For Love redefined the way male main actor roles were portrayed in Hong Kong cinema allowing greater character depth than was previously the case with gun fu, wuxia and action comedies. It gave the post-handover Hong Kong film industry a much-needed creative shot in the arm before the ‘China-Hong Kong’ joint ventures finally bled it dry.

In The Mood For Love seemed to be the ground zero for Hong Kong mid 1960s nostalgia, such as the G.O.D ‘Bing Sutt Corner’ redesign of the Starbucks branch on Duddell Street in the central district of Hong Kong. Others got in on the act, 7-Eleven released a set of ‘Old Hong Kong’ phone charms.

Writing this post, I went back to find out what I had written about the phone charms.

There is a wider trend of nostalgia in the city which 7 Eleven Hong Kong is tapping into.

It is interesting because it reflects a widely held view that the bright new future offered by mainland China isn’t bright, attractive or desirable. This will likely cause trouble in Hong Kong for China in the future; if it rolls out from the cultural zeitgeist into political aspects of Hong Kong life.

There are times when I wish I was wrong.

Nothing jarred from memory when I rewatched In The Mood For Love, but I had forgotten the documentary footage of President De Gaulle visiting Cambodia near the end.

2046

After In The Mood For Love, 2046 follows Chow Mo wan as he attempts to get Su Li zhen out of his system. The story also connects with Days of Being Wild with Carina Lau’s character still being heart-broken over the death of Yuddy, years later.

There is a line in Tony Leung’s monologue that encapsulates 2046 the central plot premise really well.

“Love is all a matter of timing, it’s no good meeting the right person too soon or too late. If I’d lived in another time or place then my story might have had a very different ending” – Tony Leung’s character Chow Mo-wan in 2046

2046 captured post-Handover disillusionment, a community that realises its own ephemeral nature. Hong Kong’s specialness appears as suffering according to Stephen Teo – and I think he got it right.

…a visually ravishing work that’s downright apocalyptic in its suffocating sense of dread and despair. – David Pountain, Little White Lies

I finished the boxset, drained in a good way, but also disappointed, not in Wong Kar wai’s work but in the Hong Kong it now exists in. As it was once my home, I felt broken.
April 9, 2026
March 2026 newsletter – (32) buckle my shoe
March 2026 introduction – (32) buckle my shoe

By some miracle, I have managed to make it to issue 32. Yes this is late, my excuse was reading The Persian, more on that below. In the jargon of the bingo hall 32 came up as ‘buckle my shoe’.

https://flic.kr/p/w8zyP

As I wrote this down I was reminded of a vivid memory from my early childhood. I was staying with my Granny on the family farm in rural Ireland. I would have been pre-school, maybe three years old.

Like a magpie I was attracted to shiny things, and she had a pair of shoes with gold coloured decorative elements on them. They were horseshoe-shaped buckles, but didn’t serve any function beyond aesthetics.

I managed to remove one unintentionally, it didn’t seem to take any effort. I realised it shouldn’t be off the shoe, so I returned it to her in my mind, by posting it under the closed door of her bedroom.

I forgot about it. There was more important things to do like pat the friendly farm dog and feed soda bread crumbs from the breakfast table to the couple of coal tits that would show up at the back door after every meal.

Later on, the adults got in a state when the buckle was discovered missing and one of Granny’s best pairs of shoes were now ruined. I pointed out where I had put the buckle, but it was now nowhere to be found. The second buckle was slipped off the other shoe and both shoes matched again, no one outside the household was any the wiser until you read this.

Like the missing buckle we can often no longer return, but we can adapt and move forward by shedding extraneous items that hold us back.

Beyond bingo, 32 in Chinese sounds similar to easy growth, which is considered lucky across business, relationships and in one’s personal life. It also corresponds to perseverance or staying the course in the I Ching.

This month’s soundtrack to the newsletter is collated by The Found Sound Orchestra over on SoundCloud. Now that’s sorted, let’s get into it.

New reader?

If this is the first newsletter, welcome! You can find my regular writings here and more about me here.

Things I’ve written.

Reflecting on the different archetypes of people that you meet in an advertising agency new business pitch and how to deal with them.

A roundup of everything from Chinese innovation to Anthropic’s disagreement with the US Department of Defense.

ICYMI – Top five shares on LinkedIn
1. Wellness as an experiential aspect of luxury. It has become a luxury currency in its own right for both genders according to a new report by Karla Otto.
2. My friend Nigel Scott analysed the future of creative agencies. He thought that AI forced the agency break even point even higher, which impacts the rise of the independents.
3. The paradox of Gucci using generative AI to market slow luxury aesthetic / lifestyle.
4. International Women’s Day was marked by some sobering research on attitudes to gender equality in the UK. There was a generational aspect to it where younger cohorts men held more traditional views than other groups and optimism for their future prospects dropped.
5. Meta was found liable in two court cases. One was about the role of social platforms facilitating human trafficking. The second was being found liable due to creating an ‘addictive’ platform. Critics now have a roadmap to seek damages and drive design changes.
Books that I have read.

The Persian by David McCloskey – this isn’t the first book that I have read by David McCloskey, but the one that I most anticipated. Espionage novels have had a revival as the global war on terror (GWoT) wound down, Ukraine, the South China Sea and Iran wound up. The timing of the book was precipitous. It came out at the end of January and events started down their path in the Persian Gulf soon after.

The book is very cleverly written. The story told from multiple perspectives:
- A Mossad department head and his staff
- A prisoner held in an Iranian jail
- An Iranian mother
Yes you get the tension of a spy novel, but you also get the portrait of flawed human characters, acting and reacting to the terrible incidents around them. In this respect, it reminded me of what the Apple TV series Tehran tried to do. McCloskey manages to humanise his characters in a way that few authors in the genre beyond John le Carré and Mick Herron in his own way.

Things I have been inspired by.

Japanese porcelain brand Hataman Touen graced the tables of the Imperial Royal Household. Their classical techniques became relevant of the modern world thanks to a collaboration with Ghost In The Shell Standalone Complex anime.

The result was a limited edition model of the Tachikoma autonomous intelligent ‘tank’ that plays a prominent role in the show.

https://www.tiktok.com/@argos/video/7577699305818000662?is_from_webapp=1&sender_device=pc&web_id=7612101813533623830

I am not a big fan of TikTok, but Argos have been killing it with their ‘stockroom rave‘. The nod to raving in working class culture for over half a century from the speed-fuelled Wigan Casino all-nighters to the Boiler Room sessions today. Less so now that I work in offices, but before going to college banging tunes on Sony ghetto-blaster got me through shifts in a McDonald’s, a clothing factory and a plant hire repair workshop. And doing it all with a dash of humour.

My friend Dan Ilett‘s newsletter The Executive Summary fufils the old strategist maxim of being interesting first, being right second. Dan manages to pull both off more often than not, but he is always interesting. Sign up here.

Chart of the month.

This month due to the confluence of a client project that never happened and the latest report drop by Morgan Stanley in association with LuxeConsult, I looked into the Swiss luxury watch industry.

A few interesting trends emerge:
- Independents such as Patek Philippe and Rolex have successfully held off large luxury conglomerates LVMH and Richemont.
- Swatch Group has become a donor of market share to the other main players.
- The K-shaped market can be seen in the relative performance of Richemont’s brands. Vacheron Constantin and Cartier outperformed while IWC, Panerai and Jaeger-LeCoultre laboured in a tightening market.
- The sector-wide -3% CAGR (compound annual growth rate), was driven by economics as much as smart watches. Smart watches will exert less pressure moving forwards as they were kept and worn for longer by users.
Things I have watched.

I rewatched the original 1995 Ghost In The Shell animated film. I went in expecting for me to be thinking about the future of AI, instead the idea of the puppet master and his agent reminded me of the impact of social media and the influence that it impacts on consumers. There is one scene where a dust bin wagon driver is being questioned and is told that all his memories are false, he had been taken in by a false life. It spoke to the way people become ‘red pilled’.

Useful tools.

If like me, you have found that no matter what you do with your brightness button, your Mac’s screen is lacking, fear not Vivid is here. You don’t have to splurge on an XDR display to make it pop and keep the colour balance, Vivid is an app that doubles the brightness your display can achieve.

I am a long time fan of RSS reader Newsblur. The apps for it have recently undergone a major redesign including new features to make it even more intelligent and useful. In particular, I am really excited about a new feature that turns any website into an RSS feed that can be followed which the call Webfeeds.

We can have a larger debate about how web developers, designers and site owners have taken a backward step by not using RSS or Atom. WordPress comes with RSS built in, so you have to actively shut it down. Instead, Instead I’d like to celebrate the major level engineering that Samuel Clay and the team at Newsblur managed to achieve in developing Webfeeds as a highly usable feature within Newblur.

YouTube Search Fixer is a browser plugin for Chrome and Firefox that allows you to customise search results on YouTube. Doing research and don’t want to get music videos, or avoid related searches clutter – then you don’t have to.

The sales pitch.

I am a strategist who thrives on the “meaty brief”—the kind where deep-tech or complexity, business goals, and human culture collide.

With over a decade of experience across the UK, EMEA, and JAPAC, I specialise in bridging the gap between high-level strategy and creative execution. I was embedded within Google Cloud’s brand creative team, where I helped navigate the “messy steps” of global pivots and the rapid rise of Gen AI. And have recently been helping out agencies and startups in various sectors.

My approach is simple: I use insight and analytics to find the “surprise” in the strategy. Whether it’s architecting an experiential event or defining a social narrative for a SaaS powerhouse, I focus on making complex brands feel human and high-velocity businesses feel accessible.

The Strategic Toolkit:
- Brand & Creative Strategy: From B2B infrastructure to luxury travel.
- AI-Enhanced Planning: Deeply literate in Google Gemini and prompt engineering to accelerate insights and creative output.
- Multi-Sector Versatility: A proven track record across Tech & SaaS (Google Cloud, Semiconductors), Consumer Goods (FMCG, Beauty, Health), and High-Interest Categories (Luxury, Sports Apparel, Pharma).
I am officially open for new adventures with immediate effect. If you have a challenge that needs a all-in, hit-the-ground-running strategic lead, let’s talk.

More on what I have done here.

The End.

Ok this is the end of my March 2026 newsletter, I hope to see you all back here again in a month. Be excellent to each other and enjoy the joys of spring along with chocolate eggs.

Don’t forget to share if you found it useful, interesting or insightful as this helps other people and the algorithmic gods of Google Search and the various LLMs that are blurring what web search means nowadays.

Get in touch and if you find it of use, this is now appearing on Substack as well as LinkedIn.
March 31, 2026
February 2026 newsletter – get up & run edition
February 2026 introduction – (31) get up & run edition

I am now at issue 31, or as a bingo caller would put it ‘get up & run’. In Cantonese 31 isn’t a famous lucky number, it could considered to mean ‘life first’ implying an importance of vitality. On the plus side, it doesn’t have negative connotations of say 14 – which sounds similar to definitely die.

I was sent a mix by an old friend of mine done by Frankie Bones at Amnesia House in August 1990 – as aural history its a fascinating treasure trove and occurred a pivotal time with several genres about to fragment from the original UK scene. Now we have our soundtrack let’s get into it.

New reader?

If this is the first newsletter, welcome! You can find my regular writings here and more about me here.

Things I’ve written.

I appeared in the What’s In My Now newsletter talking small wallets, cheaper alternatives to Apple Studio monitors and making better use of LLMs. More here.

I gave a presentation for Outside Perspective on my Dot LLM era paper. Here is my speaking notes that I prepared as I got the presentation ready, complete with the slides at the relevant points.

I spoke to the WSJ about my dot LLM era thinking and was name-checked on their Take On The Week podcast. And I compared my research with Marc Andreessen’s of A16z 2026 AI outlook here.

I wrote a letter to the FT about Sony surrendering its home entertainment business (TVs, home audio) to Chinese TV maker TCL. While Sony’s current involvement in sectors such as elder care and insurance are worthy endeavours – what does it mean when they are more core to Sony’s identity than the home entertainment equipment that the brand built its empire on?

As well as being a concerned Sony customer, I was also thinking about what it means to a brand when it gets rid of its core raison d’être? You can read my letter here.

I was talking to a friend about classic films and suddenly Matthew Frank’s newsletter dropped in my inbox and started me down a rabbit hole exploring the idea of forgettable cinema as part of the modern public zeitgeist.

I pulled together a collection of adverts and campaigns celebrating lunar new year from across Asia and a couple aimed at the wider diaspora. As brands look to benefit from the year of the fire horse.

ICYMI – Top five shares on LinkedIn
1. Publicis widening the business gap versus its rivals. A decade spent preparing their data and foundational technology for machine learning.
2. WPP’s big pivot to adapt to market conditions for the large holding companies.
3. Dentsu’s change of leadership to better control strategy and manage global capabilities.
4. What Google’s AI bet means for advertisers.
5. Michael Farmer on why reorganisation isn’t strategy, instead strategy should drive any reorganisation to meet the strategic objectives. This one proved a bit controversial, I’m not sure why.
Books that I have read.

While I have been looking forward for David McCloskey’s latest book The Persian to come out, I managed to finish The Seventh Floor. On one level The Seventh Floor is about espionage and feels very now given the new cold war. But it’s also about friendship, loyalty and personal betrayal. McCloskey doesn’t only bring expertise from a past career at the CIA, but also a deep love of the espionage novel as an art form and this novel gives a nod and a wink to the works of John Le Carré.

While the agency world is focused on the rise of AI, I decided to revisit Michael Farmer’s Madison Avenue Manslaughter: An Inside View of Fee-Cutting Clients, Profit-Hungry Owners and Declining Ad Agencies. Ten years after it has been published, the diagnosis and the lessons from Farmer’s research seem to have been ignored by clients and the c-suites of holding groups. One thing I picked up on my revisiting the book was the challenge in defining strategic contribution and effort to campaigns. With creative output, Farmer managed to break down creative tasks into fixed ScopeMetric® Units (SMUs). But Farmer admitted that he couldn’t define strategy outputs in the same way because the context changed account-by-account. This makes sense given the difficulties I have had in the past when strategists were way oversold by the project management function within agencies.

Things I have been inspired by.

Insularity was the watch word of this year’s Edelman’s Trust Barometer. It was a pretty dark vision of the future. There is a huge delta between top income quartile of the population and their trust of authority and the bottom income quartile. In the lower quartile group there is little to no trust in authority figures (business, journalists, government). They only trust people like them.

Andrew Tindall published a new book for System1 based on their research and Effie data which reinforces previous publications by Orlando Wood, Les Binet, Peter Field and Byron Sharp at the Ehrenberg-Bass Institute. It also reinforces the importance of context as part of creativity when media and creative functions are co-joined at the hip. It’s very readable and available for free here.

Chart of the month.

The surge of US measles infections turned into a politicised debate about vaccinations, competence, why Canada’s rates were even higher and whether things were as bad as experts would have you believe?

The chart only tells part of the story.

The US CDC cites a general hospitalisation rate of about 20% (1 in 5 cases), recent years have seen significant fluctuations depending on the specific age groups and regions affected by measles outbreaks.

The “Age Factor”: The high rates in 2022 and 2024 were largely due to the virus hitting children under five—the age group most likely to develop severe complications like pneumonia.
- 2022 – driven by an outbreak in Ohio, which had a high paediatric hospitalisation rate.
- 2024 – remained high throughout the year with nearly half of cases affecting children under 5.
Outbreak Size vs. Severity: In 2025, even though the total case count surged, the percentage of people requiring hospital care fell. This often happens when an outbreak moves beyond high-risk “pockets” into a broader, sometimes older, population.
- 2023 – outbreaks in unvaccinated high-risk clusters.
- 2025 – hospitalisation rates dropped because the virus spread to older demographics and larger, but less severe clusters
- 2026 – infections in January had few children under 5 affected. Cases were able to be managed at home.
Vaccination Impact: Across all these years, the vast majority (over 90%) of hospitalised patients were either unvaccinated or had an unknown vaccination status.

Canada’s rates are high because the population has a significant amount of unvaccinated immigrants and refugees from conflict zones and the developing world.

Things I have watched.

Thomas Harris’ Silence of The Lambs still has legs in culture. Which is why Amazon Prime Video has gone back to the universe with Clarice. The story takes place in the aftermath of the buffalo Bill killings which drove the plot of Silence of the Lambs. The storytelling is top notch with a fantastic plot twist in episode 1. It is well worth your time to at least give the first few episodes a chance.

It started off in an unpromising way, several years ago a friend left a DVD with me. They said something along the lines of they liked a number of Werner Herzog films, but that this was too weird for them. I finally got to sit down and watch Fata Morgana.

It doesn’t have a story, but is beautifully shot footage of the Sahara and Sahel in 1969 with a focus on near horizon mirages (from which the film gets its name) and features the human effect on it from vistas of oil processing equipment to barbed wire and crashed planes.

There is a poetic narration in German over the top with a range of music to flt the landscapes. It feels like a forerunner of Godfrey Reggio’s Koyaanisqatsi made a decade later. It’s easy to watch.

I spent a weekend with my Dad going through old VHS cassettes and on one of them we found Four Fast Guns. It is a surprisingly good Hollywood western. While not a John Ford film, it has a grittiness due to superior character development and tight storytelling reminiscent of the very best spaghetti westerns. The film was produced by an independent studio and featured three well recognised character actors as its star performers.
- Edgar Buchanan acted alongside the likes of Clint Eastwood, James Garner, John Wayne, Cary Grant and Randolph Scott he went on to appear in several TV series that I remember watching on repeat as a child in Ireland including The Beverley Hillbillies and The Twilight Zone.
- Martha Vickers had appeared in The Big Sleep alongside Lauren Bacall.
- James Craig had acted alongside everyone from John Wayne to Boris Karloff.
This gave the director much more creative freedom to make the performances pop on-screen. The climatic plot twist is very good.

I was inspired by watching Reflection in a Dead Diamond last month to watch Danger: Diabolik. The psychadelic motifs of and dream sequences of Reflection in a Dead Diamond seemed to draw from European cinema’s brief flirtation with super spy and super villain films during the 1960s. Danger: Diabolik was Mario Bava’s and Dino DeLaurentis’ take on the French Fantômas film series.

Bava’s expertise in genre films and special effects gives Danger: Diabolik a more sophisticated look than you would give it credit. Add in the film’s 1960s modernist aesthetic, James Bond type action sequences and you have a winning film. The humour-heist plot is very of its time but still entertaining and cried out for a remake. Terry-Thomas’ character performance as a government minister in the film is one of brilliance.

Useful tools.

I was saddened to read of the demise of The World Fact Book published by the CIA. I found it invaluable as a starting point when getting up to speed on international campaigns on parts of the world that I hadn’t visited. It even helped me win some work with Telenor Myanmar back before the current military regime got back into power. According to this post on the CIA website the World Fact Book is going away.

This personal productivity playbook by CJ Casseili was interesting to read and some of you may find tips and tricks that you can apply in your own work and personal life.

Ilina Scott’s quick guide to AI tools for strategists is worth a read if you are just dipping your toe in the field.

Occasionally software comes along what doesn’t become a mainstream success, but is well loved and much missed when it disappeared. Apple’s HyperCard was one, another was Yahoo! Pipes. The idea behind Pipes has been resurrected and in its latest iteration is very useful, even in a time of AI-with-everything.

The sales pitch.

i am a strategist who thrives on the “meaty brief”—the kind where deep-tech or complexity, business goals, and human culture collide.

With over a decade of experience across the UK, EMEA, and JAPAC, I specialise in bridging the gap between high-level strategy and creative execution. I was embedded within Google Cloud’s brand creative team, where I helped navigate the “messy steps” of global pivots and the rapid rise of Gen AI. And have recently been helping out agencies and startups in various sectors.

My approach is simple: I use insight and analytics to find the “surprise” in the strategy. Whether it’s architecting an experiential event or defining a social narrative for a SaaS powerhouse, I focus on making complex brands feel human and high-velocity businesses feel accessible.

The Strategic Toolkit:
- Brand & Creative Strategy: From B2B infrastructure to luxury travel.
- AI-Enhanced Planning: Deeply literate in Google Gemini and prompt engineering to accelerate insights and creative output.
- Multi-Sector Versatility: A proven track record across Tech & SaaS (Google Cloud, Semiconductors), Consumer Goods (FMCG, Beauty, Health), and High-Interest Categories (Luxury, Sports Apparel, Pharma).
I am officially open for new adventures with immediate effect. If you have a challenge that needs a all-in, hit-the-ground-running strategic lead, let’s talk.

More on what I have done here.

The End.

Ok this is the end of my February 2026 newsletter, I hope to see you all back here again in a month. Be excellent to each other and good luck with your new year’s resolutions. As an additional treat here is a link to a presentation I gave to the Outside Perspective crew, in Adobe Acrobat format.

Don’t forget to share if you found it useful, interesting or insightful as this helps other people and the algorithmic gods of Google Search and the various LLMs that are blurring what web search means nowadays.

Get in touch and if you find it of use, this is now appearing on Substack as well as LinkedIn.
February 25, 2026
Forgettable cinema
The idea of forgettable cinema came to me while reading Matthew Frank’s newsletter for The Ankler where he repeated a thought exercise that one of his colleagues posed.

Name five films of this decade that will go down as classics.

Okay, I’m waiting.

…still waiting.

I consume cinema the way members of Soho House were famed for consuming gak. Also given my movie tastes, you may disagree with what I think of as classics.

My answer would be:
- Sinners – vampires in 1920s America amidst a slice of pre-civil rights life in the deep South
- The Boy and the Heron aka (How do you live?) – A Studio Ghibli film, like everything from Studio Ghibli it’s a masterpiece. Just watch it in Japanese with English subtitles as the English dub is awful.
- The Order – Jude Law as an FBI field agent in 1970s American Mid-West hunting white supremacists.
- The Goldfinger – A retelling of a financial scandal in Hong Kong’s go-go era of the 1970s and 1980s. It draws on the story of the Carrian Group which went belly up in the midst of a corruption and fraud scandal. It saw a bank auditor killed and buried in a banana tree grove. Lawyer John Wimbush was found dead in his home swimming pool. A nylon rope around his neck tethered to a concrete manhole cover at the bottom of the pool. The names had to be changed for legal reasons as the main protagonist George Tan was still alive when the film went into production.
- The Old Woman with the Knife – A film adaptation of a Korean novel about a skilled female assassin coming up to pensionable age. It is a thriller that also addresses an aging Korean society and the invisibility of older people.
Bonus
- Oppenheimer – Robert Oppenheimer biopic by Christopher Nolan that is visually amazing and does some interesting things with the storytelling.
But the point of the thought experiment was the most films now are forgettable cinema and most normal people would have struggled to name five future classic films.

They are watched by millions – yet never become part of culture. This idea of forgettable cinema used to be a novel idea with only the occasional blockbuster; notably the Avatar series, falling into this category.

Now Matthew Frank argues that forgettable cinema applies across all film making output. He described the phenomenon as ‘Cinemanesia’.

Why do we have forgotten cinema?

The problem might not be the films or the film making, but the change to discover and rediscover films. Frank posits that this is down to the way we now consume media.

Pre-Netflix, we had:
- Repeat showings at the cinema, the most prominent example of this for Londoners would be the ‘sing-a-long’ screenings of The Rocky Horror Picture Show.
- Movie marathons and midnight screenings.
- TV re-runs.
- TV broadcast movie ‘festivals like Moviedrome.
- Seasonal standards shown on television, such as Holiday Inn at Christmas time.
- Movie rental shops like Blockbuster.
There is comfort and familiarity in their repetition. Just in the same way that adverts build mental models, fame and salience in our heads through repeated exposure – classic films do too.

Yet we have got to a point where storied film actor / director Robert Redford was better known amongst young adults as the person in the ‘nodding with approval’ man GIF as internet meme, than his film career. The GIF came from Redford’s performance in Jeremiah Johnson.

By comparison Netflix provides us with a conveyor belt of entertaining enough content. We don’t get to build that depth of relationship through repetition. The business model for TV was different. The right films on the right channel had people tuning in because they wanted the familiar.

Instead what we have now is the video algorithmic equivalent of the Spotify playlist or the shuffle play of an Apple iTunes library. Like the music our relationship is largely broken – we can choose something that suits our mood or a broad range of interests.

For most of the time the movies and shows aren’t culture shifting.

Hellhound as a case in point.

Others like Korean drama Hellbound (지옥) have cultural relevancy for a brief while before disappearing again.

I have used Google Trends as a quick and dirty way of showing this phenomenon.

Google Trends isn’t search volume, but the rate in change of search volume and web search volume is an indicative rather than absolute measure of consumer interest.

Channeling my inner Marshall MacLuhan: we have forgettable cinema because the medium is disappearing the message.

All is not completely lost yet.

All is not completely lost. I am a member of Letterboxd, which acts as a sort of ‘movies watched’ diary for me, (you can find my profile here). The Letterboxd community hosts challenges for its members like the Criterion challenge that encourages members to watch films from the Criterion collection in each of several different categories. It’s dynamic is reminiscent of the photowalks and meet-ups that built a real world community around Flickr the photo-sharing site and helped many develop an interest in photography.

More posts similar to this one.
February 8, 2026
January 2026 newsletter
January 2026 introduction – (30) the dirty Gertie edition

I am now at issue 30, or as a bingo caller would put it ‘dirty gertie’. This phrase was the nickname given in the 1920s to a statue called by La Délivrance by French sculptor Émile Guillaume.

The statue was created to celebrate the German army having being stopped before Paris in World War 1. It was originally called La Victoire – there is a matching statue in Nantes, France.

1960s student activists claimed that you shouldn’t trust anyone over the age of 30, making a virtue of ageism. While activists were deeply suspicious, 30 in Cantonese is considered to be lucky as the number three sounds like alive or life.

It might be winter outside, but it doesn’t need to be winter in your head thanks to Graeme Park’s Best of 2025 part 1 which is two and a half hours of goodness. Now we have a sound track, let’s get into it.

New reader?

If this is the first newsletter, welcome! You can find my regular writings here and more about me here.

Things I’ve written.

Each year, I try and write an account of year as it happens. It provides a perspective on what appeared important at the time rather than in retrospect. Here’s the one I did for 2025.

The Dot LLM Era came out of my thinking about the massive expenditure in building infrastructure and the computing power needed by AI services like OpenAI and Anthropic, asking how it will be paid for and what it means for for business, consumers, investors and technologies.

There was so much happening from childhood beauty product usage alarming dermatologists to corporate and national moves in AI sovereignty. So I captured some of the most interesting of them here.

Books that I have read.

Mariana Mazzucato’s The Value of Everything. Mazzucato’s work was reflected in the Labour Party’s economic manifesto during the 2024 general election. The book does a good job of diagnosing the current challenges that the UK economy faces at the present time. More on the book here.

How to Write a Good Advertisement: a short course in copywriting by Victor O. Schwab. During the CoVID lockdown, I picked up several books on my craft. This was one of them. Schwab wrote this book in 1962, when his audience would have been predominantly writing advertising copy for campaigns run predominantly in newspapers – but all of the principles in the book remain solid. More on the book here.

Things I have been inspired by.

Every time I get a brief that defines an audience as a generation my heart sinks a bit for several reasons. Which is why I was glad to read this Ipsos View Point and share it as widely as possible. Generational Marketing: Breaking free from stereotypes provides research on the nuances missed by a generational approach, how we differ by age cohort and life stage, alongside what brings us together as common challenges.

While it won’t get as much ink as Christmas or Super Bowl adverts the CIA kicked off January with another video aimed at recruiting Chinese agents. They advised them to use a VPN and Tor browser to get in touch with them online.

Chart of the month.

After I came back to London after working on various brands including Colgate in Asia, I noticed that all the Colgate adverts followed a standard formula. It puzzled me: the ads were distinctive by their ‘undistinctiveness’. They had no emotion and a limited number of brand cues beyond name checks and a pack shot or two.

If like me, you’ve ever wondered why Colgate toothpaste adverts (in Europe at least) always seem to be based around a dentist or dental nurse (who may, or may not be a generative AI) character, then Ipsos Veracity Index 2025, may have the answer.

The Ipsos Veracity Index, is a great piece of longitudinal research launched in 1983. It does an annual poll studying change in public trust towards leading professions in Britain. Much of the headlines for this year was the low trust position scored by influencers, with just 6% of people generally trusting them to tell the truth.

I think that number has a number of problems with it, to do with the phrase general which would invite them to think about creators they don’t follow at least as much as those that they do follow. Secondly, not all influencer types are supposed to be trusted be it being videos on e-gaming play, humour and general ‘banter’ or shock jock-type content.

As Ipsos themselves noted, there was a tension between the declared trust level with the amount of news consumption that now happens on social channels from influencers.

Getting back to the Colgate question, the answer is at the top of the table. Healthcare professionals and technical experts are at the most trusted professions in the UK.

Things I have watched.

The TV schedule was terrible over the Christmas period and there were only so many reruns of Jessie Stone that even my Dad can sit through. So I entertained him with a mix of streamed films, old VHS tapes, DVDs and Blu-Rays.

Reflection in a Dead Diamond directed by Hélène Cattet and impressed the hell out of me. At its heart it’s a mystery full of illusion, delusion and deception. It oscillates between two timelines one from the late sixties on and the second as an elderly version of the protagonist in the present day. In his day, the protagonist had been a Francophone James Bond-type figure, but darker like Fleming’s novels rather than the version that we see on screen. There are also hints of modern French historical figures like Alfred Sirven and Jean-Claude Veillard. The film has a lot of French new wave motifs particularly at its beginning. I was reminded of Alain Delon’sTraitement de choc , Diabolik and the André Hunebelle directed OSS 117 series of films in the mid-1960s.

Bubblegum Crash – no that isn’t a typo. Bubblegum Crash was a follow on from the Bubblegum Crisis manga and OVA (original video animation – made for direct to video distribution without being broadcast or shown in a cinema first) anime series. I had these on VHS tape at my parent’s house and it was fantastic revisiting them decades later. Bubblegum Crash is less serious and the artwork isn’t as good as the original series, but it’s still great cyberpunk fiction.

It felt surprisingly fresh, wealth inequality, get rich schemes, large corporations behaving badly, an openly gay police officer, autonomous machines from robots to cars and normalised smartphone usage.

All this from an animated series that was produced in 1991, at this time robots were stuck in car plants, AI was image stabilisation in the latest high-end camcorders and handheld mobile phones were over 20cm long in use. Cellphones were only starting to become less than a kilogram in weight with the launch of Motorola’s MicroTAC in 1989.

Detective vs Sleuths – a Johnnie To-adjacent film that a friend in Hong Kong gifted to me. The film was directed by Wai Ka-fai who collaborated with To and co-founded production company Milkyway Image together. Detective vs Sleuths feels thematically and stylistically similar to Mad Detective which Wai co-directed with To in 2007. That similarity brought me back to happier days flying on Cathay Pacific, sipping Hong Kong-style milk tea and watching Mad Detective soon after it had came out for the first time on the airplane entertainment system.

Without spoiling the plot, old cold cases are having new light shone on them by a series of deaths. Sean Lau plays a Nietzsche-quoting former detective with his own sanity in question.

Production-wise, the film was shot in 2018, was in post-production until 2019 and finally released after the worst of CoVID was over in 2022. If you are a passionate Hong Kong film watcher, then you will notice the similarities with Mad Detective; but Detective vs Sleuths still holds up as a really enjoyable inventive film with a number of surprises for the audience.

Useful tools.

Kinopio – quick lightweight service similar to Miro and MilanNote.

Clean Links – for iPhone, iPad and Mac cleans out tracking codes from URLs when you share them, for instance in a Slack conversation.

Not a tool per se, but a technique that started on Chromium browsers and is now more widely supported, scroll to text fragments. Appending to the end of a URL:

#:~:text=startWord,endWord

When someone clicks on the link they are guided directly to a highlighted section on the page, rather than having to search or guess at what you meant. It isn’t perfect, but it’s rather good.

Capacities – an interesting knowledge management and research app similar to Notion, Mendeley, Yojimbo or DEVONThink.

The sales pitch.

i am a strategist who thrives on the “meaty brief”—the kind where deep-tech or complexity, business goals, and human culture collide.

With over a decade of experience across the UK, EMEA, and JAPAC, I specialise in bridging the gap between high-level strategy and creative execution. Most recently, I was embedded within Google Cloud’s brand creative team, where I helped navigate the “messy steps” of global pivots and the rapid rise of Gen AI.

My approach is simple: I use insight and analytics to find the “surprise” in the strategy. Whether it’s architecting an experiential event or defining a social narrative for a SaaS powerhouse, I focus on making complex brands feel human and high-velocity businesses feel accessible.

The Strategic Toolkit:
- Brand & Creative Strategy: From B2B infrastructure to luxury travel.
- AI-Enhanced Planning: Deeply literate in Google Gemini and prompt engineering to accelerate insights and creative output.
- Multi-Sector Versatility: A proven track record across Tech & SaaS (Google Cloud, Semiconductors), Consumer Goods (FMCG, Beauty, Health), and High-Interest Categories (Luxury, Sports Apparel, Pharma).
I am officially open for new adventures with immediate effect. If you have a challenge that needs a “wholehearted” strategic lead, let’s talk.

More on what I have done here.

The End.

Ok this is the end of my January 2026 newsletter, I hope to see you all back here again in a month. Be excellent to each other and good luck with your new year’s resolutions. As an additional treat here is a link to my charts of the month for 2025, in PowerPoint format that you can freely use in your own presentations.

Don’t forget to share if you found it useful, interesting or insightful as this helps other people and the algorithmic gods of Google Search and the various LLMs that are blurring what web search means nowadays.

Get in touch and if you find it of use, this is now appearing on Substack as well as LinkedIn.
January 28, 2026