Bob Sheard: The emotional effect you're trying to create with Adventurer is exhilaration. When we use the products and con sume the communication, the feeling we should get is exhilaration and that comes from landing the brand in a place of the unexplored, stepping off the map, stepping into the unknown. It's the ritual of exploration and it's the time of pioneering. It's really rooted in the rational values of being adaptable, of persevering, of openness, all wrapped up in resilience but propelled by the emotional values of ambition, of fearlessness, of curiosity, of going where no one's been before. This is a brand whose charisma comes from standing for the unknown and standing against the known. It's not a brand, a system, for the faint hearted. In cultural terms, this is Indiana Jones, it's Francois in The Beach, it's Cooper in Interstellar, it's Philippe Petit in The Walk, and in Game of Thrones, it's Arya Stark. It's a brand whose narratives are insatiable curiosity, a desire to step into the unknown, a need to go on a quest to test oneself, a fearlessness in taking on and never backing down whatever comes in front of you, of being durable on these enduring adventures and never being frightened of danger, because it's the closer we get to danger, the more we learn about ourselves. So it's, you know, along with Indiana Jones, in culture. It's also in brands, it's Land Rover, it's the North Face - Never Stop Exploring. It's GoPro, it's Omega in space and it's actually Lurpak and more recently, Marks and Spencer's food have created, pivoted off the Adventurer archetype, again to explore curiosity, the unknown, the quest, fearlessness, being enduring and the ability to adopt danger. So it's really really wonderful archetype. We've worked with it a lot and actually, weirdly, it's become more in demand after COVID. I think in COVID people started to want to either be equipped to handle the reality of their situation or inspired to escape their situation, and this was a brand that people adopted as part of the, escaping their situation, being inspired to escape. And during COVID we helped Burberry pivot off this as an archetype. We helped Montane pivot off this as an archetype. It became very prevalent in lots of the work that we were doing because of that notion of being idealistic and escaping the realism that we were in.

Michael Campion: It's an interesting point you make regarding the COVID pandemic. And when we were all in lockdown and our horizons suddenly shortened quite abruptly and forcefully, I think that desire to step into the unknown. I can see how that would be an attractive archetype to pivot off, given that our horizons were shrunk massively.

Bob Sheard: We researched the narratives that people consumed during a crises, so we looked at all the best picture winners in the Oscars throughout the last century at times of crisis, whether it was the First World War, the Great Depression, the Second World War, Cuban Missile Crisis, Vietnam, right the way through the credit crisis. And when you look at the chronology, there are two types of film that people consumed. One was idealism, Wizard of Oz, or one was realism, Dr Strangelove or The Killing Fields. So you got either realistic narratives or idealistic narratives. I think the challenge for a brand when you're in a crisis is to be either one of those things, an idealistic brand helping me deal with my situation, or a realistic, sorry, a realistic brand helping me deal with my situation, or an idealistic brand helping me escape my situation. Or you can try and combine the two, where you might have an idealistic narrative with a realistic treatment, and that I think we could see in Rocky. So Rocky, which won its Oscar, was definitely an idealistic narrative, but with a realistic delivery. And Avatar, amazing film would be the reverse, the inverse, reverse? Absolutely yeah, the realistic narrative of murdering indigenous populations, dressed up in a cartoon.