First and foremost, it portends that the consumer is paramount.

Consumer behavior has changed rapidly – far faster than the marketer’s business process has been able to adapt to.

Consumers engage with brands through multiple media channels – display, video, social, mobile, search – are all simply digital touchpoints that can potentially connect a marketer to its customers and prospects in real-time.

The consumer doesn’t think about channels – whether an ad is a banner, or an email, or a sponsored post. Those distinctions are a legacy of the media buying process, itself a process developed decades ago in many cases, where TV buying required radically different approaches than running a print ad or sending a targeted offer via traditional mail. Digital mirrored traditional, with specialized teams required to handle each channel. This has led to fragmentation and a reliance on blasting messages out to consumers regardless of interest. –

We are about to enter a new age of marketing

What can I say? Whenever the Tyrones are willing to share their misery with me in style, I’m on board. This self-devouring clan, which Eugene O’Neill modeled closely on his own family, has been reassembled to revelatory effect in Anthony Page’s excellent revival of “Long Day’s Journey Into Night,” which runs through Aug. 18. The play’s characters – portrayed by a cast that includes Laurie Metcalf and David Suchet – may be trying to hide from themselves in the literal and metaphoric fog that enshrouds their home. But clarity, cruel clarity, keeps piercing through to their sorrow and our edification.

As a director of classics, Mr. Page is no iconoclast. He usually works in a purely naturalistic vein, with realistic sets and no postmodern flourishes. But he is open to casting intelligent actors against type and then letting them bend, without breaking, the mold of archetypal parts in ways that seem surprisingly, ineffably right.