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OPINION: Psychoanalytic Analysis of Nasir Khan in the Night Of

*spoiler alert*

Crime has a continuous issue with projecting an unjust system in court. Furthermore, bias plays a huge role in downplaying certainty, as no thought is purely factual.

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OPINION: Psychoanalytic Analysis of Nasir Khan in the Night Of

*spoiler alert*

Crime has a continuous issue with projecting an unjust system in court. Furthermore, bias plays a huge role in downplaying certainty, as no thought is purely factual. The human mind digests information and reacts accordingly, sometimes unconsciously. The Night Of exemplifies a Pakistani man, Nasir Khan, who transforms his identity beyond stereotypical standards through a series of defense mechanisms sparked from his unthinkable situation as well as underlines the concept of uncertainty.

Nasir is the typical Pakistani student who is expected to get good grades and live a strict lifestyle, leaving no room to get into trouble with the law. His dad owns a taxi with two other people, which is the only way income is created for the family. Therefore, it is crucial for Nasir to do well in school in order to commit to a job that will eventually help support his family. What is expected of him outweighs a chance to discover who he really wants to become. But anxiety from the unknown, forces him to commit to his parent’s expectations. Nasir tutors for basketball players and one day is invited to a party by one of the players. Culturally, Pakistani’s resist partying which only assists Nasir to disobey the standard and satisfy himself with doing something that is looked down upon as an act of rebellion and a form of curiosity. A defense mechanism is pronounced as Nasir seeks to identify himself as someone who enjoys partying because it’s deemed as trendy. Although, he is still uneasily struggling with cementing an identity that purely defines him. As his friend cancels on picking Nasir up for the party, Nasir reacts by stealing his dad’s taxi out of desperation to mitigate his intense need to attend the party. Through a psychoanalytic analysis point, Nasir is fixated on refusing to submit into a boring night at home and instead obsesses on going out to party. However, he realizes his mistake with taking a taxi as he had to continuously reject people waving him down for a ride. Eventually, a young beautiful girl, Andrea Cornish, gets into the car which is the sole reason Nasir declines to tell her that he can’t take her anywhere because of his attraction to her. He drives her to a nearby river where she offers him Xanax. Since he has already broken rules he obligingly takes it and they go back to her place and take more drugs combined with alcohol which leads to him sleeping with her.

Through these unexpected actions, Nasir is diving into the unknown with no set routine for the night. He has an opportunity to identify himself as audacious and takes risks throughout the night which dangerously attacks his comfort zone. Nasir has transitioned from a mediocre personality to what he identifies as perilous. Additionally, through an analysis from Public Opinion, “there are at least two distinct selves, the public and regal self, the private and human” (Walter 1922). The decisions we make hold uncertainty because we are seeking to balance out our public and private selves. Therefore, Nasir’s hesitation proves to signify uncertainty in participating in things like knife roulette with Andrea. His private self curiously wants to play the game whilst his human instinct knows the possibility of a dangerous outcome. But, Nasir is making these decisions to purely express a daring personality which juxtaposes from his usually serious and boring personality.

The scene changes to Nasir waking up groggily from downstairs as he goes upstairs to say goodbye to Andrea. He then turns the light on and there lies Andrea with several stab wounds on her back with a splatter of vivid red blood devouring the bed and the walls. Appalled, Nasir runs downstairs in a panic outside to the taxi but realizes he left the key inside which prompts him to break back into the apartment and through his daze grabs the bloody knife that was used earlier in the night to play knife roulette. He understood that all fingers would point back to him as his fingerprints were on the knife. Eventually, Nasir is identified from a neighbor who saw him break into the apartment and he begins getting interrogated by the police. Through the accusations from the police officers, Nasir fails to defend his actions and instead stays in an eerie silence. Within the defense mechanism of denial, Nasir’s silence only provokes suspicion. Yet, Nasir’s vivid fear is the reason that he is motivated to act in silence as his anxiety transitions into pure shock. A series of events take place afterward as Nasir eventually ends up in prison.

At first, Nasir hardly accustoms to the prison life with his doe-like eyes and scrawny figure. This physical representation signifies his sheltered lifestyle as a Pakistani kid whose only main focus in life is school. Being forcibly shown the harshness and brutality of the prison atmosphere slices through Nasir’s bubble of a comfortable lifestyle. He’s revealed to what the world is capable of in terms of violence and hate. This atmosphere only motivates Nasir to also become violent and hateful through the process of identification from a psychoanalytic analysis point. An inmate who his held at a high esteem in the prison offers Nasir protection in return for doing favors like smuggling in drugs. Nasir declines as he is unwary and cannot make a decision on his own which signifies his own insecurity. He eventually befriends another inmate who is doing time for murdering a white man who raped and killed the inmate’s fiancé. As Nasir confesses that he is wholly innocent, the inmate becomes angry as he believes Nasir to have killed and raped Andrea and throws acid at Nasir. It is at this moment that Nasir feels a rage which causes him to go back to the inmate who offered him protection, Freddy Night.

Freddy Night (Michael Williams) and Nasir Khan (Riz Ahmed)

From the beginning of the series, this is the one undeniable decision Nasir makes with assurance. Uncertainty has been eradicated with a confident move sparked from fury. As human nature, we make definitive decisions with the assistance and pressure of strong emotions due to instinct. In this case, Nasir makes it clear that he wants to harm another inmate. Freddy orders the inmate to be beaten up in the bathroom as he directs Nasir to put in a few punches. Nasir delicately nudges the inmate with a weak kick as Freddy fuels Nasir’s mind with reasons to be angry, concluding in him to severely beat up the inmate. In this moment Nasir identifies himself as someone who is capable of harm, exterminating his pathetic and frail personality from his life before prison. The defense mechanism of identification again plays a part in Nasir’s anxious efforts to defend himself in prison, engendering him to become aggressive instead of passive.Uncertainty is also emphasized in the criminal justice system. There is heavy bias on convicting black Americans of a crime a lot easier than any other ethnicity. The fact that the show compares an ethnicity which has an extremely low rate of crime to that of a high rate, correspondingly confirms how corrupt the justice system is. Although the foreboding amount of evidence placed against Nasir is enough to put him away for murder, people second-guess his innocence because of the fact that he is a Pakistani. If he were a black individual, he would have been put away immediately, as prejudicial standards are underscored. The deeply rooted stereotypical standards of ethnicity play a massive role in how we treat one another. Furthermore, the callous nature of prison is emphasized with the degradation of innocence through the situation with Nasir Khan. However, it is beneficially shown how the psychoanalytic analysis of defense mechanisms is used in order to develop an ego strong enough to alleviate an anxious mind from Nasir being in prison.

Uncertainty is also emphasized in the criminal justice system. There is heavy bias on convicting black Americans of a crime a lot easier than any other ethnicity. The fact that the show compares an ethnicity which has an extremely low rate of crime to that of a high rate, correspondingly confirms how corrupt the justice system is. Although the foreboding amount of evidence placed against Nasir is enough to put him away for murder, people second-guess his innocence because of the fact that he is a Pakistani. If he were a black individual, he would have been put away immediately, as prejudicial standards are underscored. The deeply rooted stereotypical standards of ethnicity play a massive role in how we treat one another. Furthermore, the callous nature of prison is emphasized with the degradation of innocence through the situation with Nasir Khan. However, it is beneficially shown how the psychoanalytic analysis of defense mechanisms is used in order to develop an ego strong enough to alleviate an anxious mind from Nasir being in prison.

Through Sigmund Freud’s take on psychoanalytic analysis, defense mechanisms are “techniques the ego employs to control instincts and ward off anxieties” (Berger 2005). Nasir had anxiety from the beginning of the show towards the end which slowly thinned out as he mustered up a resilience and fierceness acquired from his time in prison. The decisions he made in prison were to ward off anxiety. He allowed his instincts to develop a hostile and venomous personality. Yet, as Nasir has conjured up physical and emotional strength, he is still gaslighted by the ample amount of evidence presented, as the foreboding power of uncertainty and anxiety snakes into his mind as he stated that he didn’t know if he raped and killed a girl. This statement alone should have knocked Nasir over into being charged with murder and assault, yet half of the jury goes with their gut that he was innocent. Therefore, “we shall assume that what each man does is based not on direct and certain knowledge” (Walter 1922). The fifty-fifty break-up of the jury verdict parallels with the concept and critical complexities of uncertainty, despite factual evidence. Therefore, we rely on instinct and human knowledge from the mass media to make our decisions, regardless of factual evidence.One may assume that Nasir has a loss of identity due to his time in prison when in reality he has discovered a darkness in his personality which overpowers the vague personality he initially had masked on. Uncertainty has forced him to acquire the identity that everyone treats him as, a criminal. Even though Nasir is innocent, when he is released from jail and goes back to his hometown, the community looks down on him as if he did commit the crime. Nasir begins buying drugs as it has now become an addiction and is familiar to him. His previous life before prison has evaporated as he uses a defense mechanism of fixation to receive temporary satisfaction from consuming drugs as well as delving into identifying himself as a troubled and sinister person. Although he did not commit the crime, people still treated him as if he did rape and murder Andrea, as the accusations were enough. The accusations projected uncertainty amongst the entirety of the community to be against Nasir. The human mind has wrapped its head around viewing Nasir under a judgmental eye because of the daunting shadow of ambiguity.

One may assume that Nasir has a loss of identity due to his time in prison when in reality he has discovered a darkness in his personality which overpowers the vague personality he initially had masked on. Uncertainty has forced him to acquire the identity that everyone treats him as, a criminal. Even though Nasir is innocent, when he is released from jail and goes back to his hometown, the community looks down on him as if he did commit the crime. Nasir begins buying drugs as it has now become an addiction and is familiar to him. His previous life before prison has evaporated as he uses a defense mechanism of fixation to receive temporary satisfaction from consuming drugs as well as delving into identifying himself as a troubled and sinister person. Although he did not commit the crime, people still treated him as if he did rape and murder, Andrea, as the accusations were enough. The accusations projected uncertainty amongst the entirety of the community to be against Nasir. The human mind has wrapped its head around viewing Nasir under a judgmental eye because of the daunting shadow of ambiguity.Uncertainty from those we love and trust feeds into tearing up our own self-confidence. At one point through Nasir’s trial, his mom storms out of the courtroom when a shocking piece of evidence is discovered emphasizing how his own mother does not believe his innocence. The dejection of motherly love slashes against Nasir as he begins to second-guess his own self. When he is released from jail, his mother overcompensates her harsh actions by overdramatizing her pampering on Nasir as he then rejects their relationship. His own mother’s uncertainty and misjudgment contradicted his respect for her.

Uncertainty from those we love and trust feeds into tearing up our own self-confidence. At one point through Nasir’s trial, his mom storms out of the courtroom when a shocking piece of evidence is discovered emphasizing how his own mother does not believe his innocence. The dejection of motherly love slashes against Nasir as he begins to second-guess his own self. When he is released from jail, his mother overcompensates her harsh actions by overdramatizing her pampering on Nasir as he then rejects their relationship. His own mother’s uncertainty and misjudgment contradicted his respect for her.

A coldness is captured through the flaws of uncertainty as we make decisions emotionally due to human nature. When we make choices in life, we are unaware if these actions are right or wrong as facts are disregarded. Furthermore, through a series of defense mechanisms, we unconsciously make decisions in order to mitigate anxiety. To an extent, everyone holds a measure of insecurity which, whether we notice or not, plays a huge part in our decision-making. However, decisions based on instinct are often the rawest, unfiltered and truthful.

 

Berger, Arthur Asa. Media analysis techniques. Newbury Park: Sage Publications, 1991. Print.

Lippmann, Walter. Public opinion. London: Allen & Unwin, 1922.

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Disney’s Live-Action ‘Aladdin’ Looking at $100M+ In Memorial Day Riches

UPDATED, 1:17 PM: At this time we can tell you that Disney’s Aladdin is off to a healthy start at the domestic box office with a $28 million-$30 million Friday (including $7 million in Thursday’s previews). It is now expected to hit $80 million over three days and $95 million over the full four-day Memorial Day holiday weekend frame.

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Disney’s Live-Action ‘Aladdin’ Looking at $100M+ In Memorial Day Riches

UPDATED, 1:17 PM: At this time we can tell you that Disney’s Aladdin is off to a healthy start at the domestic box office with a $28 million-$30 million Friday (including $7 million in Thursday’s previews). It is now expected to hit $80 million over three days and $95 million over the full four-day Memorial Day holiday weekend frame.

Some see the Guy Ritchie film besting Solo: A Star Wars Story‘s four-day Memorial Day start of $103M last year with a potential $104M gross, but this holiday is so wonky it is too soon to call it at that. There can be fall-off as people become distracted by holiday activities.

Regardless, it’s a better than anticipated start for Disney’s latest live-action remake, on which critics are divided but exit polls show audiences love. Aladdin is a brand that is fresher than Dumbo and hipper, being a fave of Gen X and Gen Y audiences.

We will have more box office updates later today.

PREVIOUSLY, 7:36 AM: Disney’s Aladdin is off to strong start after $7 million in Thursday night previews that began officially at 6 PM yesterday, preceded by 5 PM fan events. That figure is exceedingly better than the frumpy Thursday night start of Dumbo, which only snorted up $2.6M for a $46M weekend.

Last night was also the best preview start for director Guy Ritchie at the domestic box office; two summers ago, his King Arthur: Legend of the Sword tanked with a $15.3M opening, leading to a $39.1M domestic finish and $148.6M global off a $175M production cost.

Tracking is between $73M-$85M on Aladdin over the Friday-through-Monday stretch of Memorial Day weekend. Critics are split about the live-action reboot of the 1992 Disney classic at 60% fresh. We’ll see whether the die-hard Aladdin fans dominate or remain divided as the weekend continues.

So far, so good: ComScore/Screen Engine PostTrack exits show general audiences giving Aladdin 4 1/2 stars and a solid 69% definite recommend. Females over 25 lead at 34% (98% positive grade), followed by females under 25 at 25% (97% grade), men over 25 at 21% (88%) and Men under 25 at 20% (83%). Parents gave the pic four stars after turning out at 12%, and kids under 12, who repped 20% of the crowd and loved it at 4 1/2 stars.

If those figures maintain, Ritchie is bound to see his best opening at the domestic B.O. after 2009’s Sherlock Holmes ($62.3M). We went into the weekend projecting on the low end, given the funkiness of moviegoing over the Memorial Day stretch. Since Marvel movies have taken over the earlier part of the month (or late April), Memorial Day has increasingly become anti-climactic at the box office. Disney has traditionally tanked over Memorial Day weekend with its event attempts, but this year might be different.

Aladdin‘s Thursday also bests that of Disney’s 2017 Memorial Day attempt Pirates of the Caribbean: Dead Men Tell No Tales ($5.5M off 7 PM shows for a $78.4M four-day opening) as well as late May 2014’s live-action Sleeping Beauty spinoff Maleficent ($4.2M previews from 9 PM and midnight, $69M opening). Many are comparing Aladdin to the female-skewing Cinderella, and Prince Ali also beat her 8 PM Thursday showtimes of $2.3M, which turned into a $67.8M opening.

Among the preview nights for the live-action remakes of Disney’s toons, Beauty and the Beast is still the fairest in the land with a huge $16.3M from March 16, 2017 shows.

Those who’ve seen the top sheet of Aladdin say it cost around $182M net, which is cheaper than Pirates 5 ($230M production cost net before P&A), and a little higher than Beauty and the Beast ($160M).

Atom Tickets saw Aladdin presales outstrip those of Dumbo and Mary Poppins Returns. Based on Atom’s recent Summer Movie Survey, Aladdin was in the top 10 Most Anticipated Summer Movies list in addition to the top 5 Most Anticipated Family Summer Movies. Of those that voted for Aladdin as their top summer movie, they also said they are most excited to hear the song “A Whole New World” from the movie. The majority (70%) are really excited to see Will Smith as the genie. In terms of the survey demographics, 50% were 25-34 years old, 26% were in the range of 35-44, and 12% were 45-54. Also based on the survey, fans of the movie also skewed more female (~60%), which was what tracking spotted and what last night’s exit polls indicated.

Sony Screens Gems/The H Collective has the James Gunn-produced superhero horror pic Brightburn, which drew $950,000 last night from 7 PM shows at 2,257 locations. Pic’s opening is projected at $8M over three days and $10M for four days. That’s ahead of Warner Bros’ R-rated July 2015 horror pic The Gallows, which opened to $9.8M. Brightburn cost an estimated $6M before marketing and distribution costs.

United Artists’ release of Annapurna’s Olivia Wilde-directed teenage comedy Booksmart took in $875K in previews. The R-rated film is tracking towards a domestic four-day weekend opening in the mid- to high-single-digits.

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Aaron Rodgers Goes on Epic Rant Blasting Game of Thrones Ending

The “Game of Thrones” series finale arrived on Sunday and let’s just say that plenty of fans and critics had problems with the ending.That includes a man who actually made an appearance on the show, Green Bay Packers quarterback Aaron Rodgers.

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Aaron Rodgers Goes on Epic Rant Blasting Game of Thrones Ending

The “Game of Thrones” series finale arrived on Sunday and let’s just say that plenty of fans and critics had problems with the ending.

That includes a man who actually made an appearance on the show, Green Bay Packers quarterback Aaron Rodgers.

(Warning: Several “Game of Thrones” spoilers are mentioned here, but you were smart enough to know that.)

Aaron Rodgers blasts ‘Game of Thrones’ finale

Speaking with reporters during Packers OTAs, Rodgers was initially asked to clarify where he actually showed up in “The Bells,” the fifth episode of the “Game of Thrones” final season.

Rodgers confirmed he was neither the archer (“that person definitely looked like me”), nor the man incinerated by dragon fire (“I’m disappointed in every person who would say that was me … total non-athlete.”) Rather, he was the one by the bell tower.

Once that was settled, Rodgers was asked if he actually liked the ending of the show he has watched for years. What followed was a lengthy, point-by-point takedown of the finale’s biggest decisions.

A full transcript of Rodgers’ comments about the show’s ending:

Were you satisfied with the ending of “Game of Thrones?”

No. I love the show and it was a great 10 years, but no. You come down to the end and Tyrion says the person with the best story is Bran? Who, by the way, three episodes said he wasn’t Bran Stark anymore. No. Jon had a better story. Dany had a better story. Arya had a better story. Sansa had a better story. Tyrion had a better story. Varys had a better story. Bronn, a lot better story. Jaime, better story. Cersei, probably a better story. Any Baratheon, better story.

Who should have been on the throne?

I think Dany should have been on the throne. Here’s the thing, though. Here’s my last theory about it. If Bran, the Three-Eyed Raven, whose all about the health of the realm. Let’s think about what he did. He basically wanted the throne the whole time because he’s the one who told the Starks, knowing that Sansa would tell Tyrion, knowing that Tyrion would talk to Varys, knowing that he’d scheme for Dany’s death, knowing that would piss her off, which led her to be the Mad Queen. So he, the entire time, set the whole thing up and then at the end goes ‘Oh yeah, I don’t want to be king. Oh, but why did I travel all this way to be here?’ No. Look, I love the opportunity to be in the show, which most people probably don’t think I was, but I was there. I love the show, but the writers are also doing Star Wars, so I think they might have been a little busy.

Clearly, Rodgers is a little upset.

Aaron Rodgers is not alone in hating the ‘Game of Thrones’ ending

That last comment alludes to the recent news that “Game of Thrones” showrunners David Benioff and D.B. Weiss will helm the next “Star Wars” movie, which led to backlash from many fans over the perception that the show’s final season was rushed as its top decision-makers prepared for their foray into science fiction.

Really, Rodgers’ comments match up with most fans’ biggest criticisms, mainly the implications of Bran Stark king-taking the throne and the handling of Daenerys Targaryen’s transition into villainy. Petitions have already been started to redo the show’s final season.

“Game of Thrones” is finally over as a television series, but the discussion around the show and story will likely live on for years.

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Coca-Cola Brings Back New Coke in Honor of ‘Stranger Things’

A rush of TV watchers to streaming video has prompted Coca-Cola to test an interesting pour. Coca-Cola will bring New Coke back to market for a brief time, all part of a partnership with Netflix, which has featured Coke in its cult-favorite series “Stranger Things.”

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Coca-Cola Brings Back New Coke in Honor of 'Stranger Things'

A rush of TV watchers to streaming video has prompted Coca-Cola to test an interesting pour.

Coca-Cola will bring New Coke back to market for a brief time, all part of a partnership with Netflix, which has featured Coke in its cult-favorite series “Stranger Things.” The third season of the series, set in 1985, will weave New Coke into select episodes, and so the streaming-video outlet approached the beverage giant about taking part in a promotion that will boost the return of the series as well as the company’s flagship drink.

The formula for New Coke has languished in the Atlanta vaults of The Coca-Cola Company for years, left to collect dust after an ill-fated launch in 1985. More than thirty years later, the company thinks consumers will clamor for the beverage they once declined to love.

“This is uncharted territory for us,” says Geoff Cottrill, senior vice president of strategic marketing for Coca-Cola North America, in an interview. “We want to look for ways to work with Netflix, but only in ways that don’t interrupt consumers, and don’t get in the way of the entertainment. If we can find ways to integrate authentically and add value to the experience, then we want to be a part of it.”

New Coke was supposed to be a saving grace for Coca-Cola, a sweeter version of its iconic soda tailored for modern tastes. Instead, its launch is seen as one of the greatest gaffes in the history of marketing. Consumers rebelled, hoarding cans of the original formula. The old reliable returned to shelves after just 79 days. Imagine the pushback if Twitter had been invented last century!

Now the oft-disparaged beverage has a chance to redeem itself in an era when consumers are exponentially harder to reach. Coca-Cola’s big swing shows how much blue-chip advertisers crave a connection with streaming-video outlets, which often run few ads – and in many cases, none.

And yet, advertisers of all stripes are eager to find ways to align themselves with the streaming shows that have captured more attention from the public. Viewers have “added a new platform in how they are consuming content and stories,” notes Cottrill. “It’s an opportunity for us to find an interesting way to be there.” Coca-Cola is taking part in a test with Hulu, which has begun to run on-screen “pause ads” that show up when its subscribers decide to stop their video selection for a period of time.

The pressure to catch consumers fascinated with ad-free premium video has become palpable. In February, Anheuser-Busch InBev ran a Super Bowl ad that did the unthinkable – it left viewers thinking more about HBO’s “Game of Thrones” than about beer. The commercial showed a character from the HBO series defeating the Bud Knight in a joust and then killing him in no uncertain terms. Even so, the commercial gave Anheuser’s Bud Light a connection to viewers who at the time were eager to see the series’ final season.

No one predicts streaming-video will take up the models used by TV networks. “We don’t have any ad space to sell,” says Barry Smyth, head of global partnership marketing at Netflix. Indeed, neither Netflix or Amazon break up their programs with commercials, while Hulu offers an ad-supported option that includes fewer commercials than linear TV. Netflix has tapped a marketing agency, 1TwentyFour, to work with advertisers and their representatives, but Smyth notes the company is not driven to rack up new alliances with sponsors, and says the service will remain ad-free. Other marketing alliances may be possible: “We are definitely open to working with brands, just so long as it’s very authentic,” he says.

Other streaming outlets are contemplating advertiser alliances, too – even if they won’t run commercials. Amazon features banner ads from movie studios and TV networks on its Prime Video home page. There are no plans to include traditional commercials on Disney Plus, the soon-to-launch subscription-video service from Walt Disney Co.. Still, the company could offer a limited number of content sponsorship opportunities that would align Disney Plus content with promotions from advertisers, says a person familiar with the matter, much in the same way a movie studio creates alliances with car companies and restaurant chains to call attention to a new release.

Netflix and Coca-Cola have been working on the promotion for 18 months, Smyth says, and with good reason. The marketing initiative, spurred after Netflix learned that “Stranger Things” showrunners Matt and Ross Duffer intended to make New Coke part of the story in the show’s third season, required a lot of research and work.

Coca-Cola will make available about 500,000 cans of New Coke to the public, who can buy it online as part of a package at CokeStore.com/1985, or have a chance to get it at the company’s World of Coca-Cola the week of June 3 on select days. As part of the promotion, Coca-Cola will also unveil limited-edition packages of original Coke with “Stranger Things” designs on them. And the company will launch an ad in movie theaters – a remake of an actual 1985 ad for New Coke directed by the Duffers themselves.

Researchers and designers at Coca-Cola spent six months sifting through past materials to recreate the New Coke package, which uses a slightly different shade of red than the original formula. Executives had to source the ingredients in the New Coke recipe and secretly produce New Coke concentrate in an Atlanta bottling plant.

The company doesn’t expect to make any money off the New Coke revival, says Stuart Kronauge, president, sparkling business unit, Coca-Cola North America, but it will use the experiment to gauge other reaction. She is interested to see how quickly the New Coke supply sells out, tracking the Netflix promotion to actual customer orders.”I want to see how fast that goes…the receptivity, the energy.”

You’d think reviving New Coke would be a task fraught with gravitas, but Kronauge suggests the process has been anything but. Coca-Cola ‘has a side that’s very playful,” she says. “We don’t take ourselves too seriously.”

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