“Show a woman entering a restaurant with her family. She happens to use a wheelchair. The route is open. The table works for her. Nobody turns it into an event. The story is that she’s having dinner with people she loves.”
One of the executives began making notes.
Chrissy continued.
“The point isn’t to announce that the hotel knows disabled guests exist. The point is to show that the hotel already thought about them.”
I leaned forward.
“If you had to cut one of these guest moments, which would go first?”
“The suite beauty shot.”
“Why would you cut that first?”
“Because people already know the room is beautiful. The campaign needs to show what the hotel does for them.”
“And the late-night food?”
She paused.
“I want to check the service data again before I answer that. I don’t want to promise something we can’t consistently deliver.”
By the end of the session, two of her suggestions had been moved into the next creative revision, and the team was discussing how to build the campaign around moments of anticipation instead of objects alone.
Chrissy sat down and reached for her water.
I caught myself looking at her mouth.
She noticed.
Her fingers tightened slightly around the glass.
She held my gaze for one long second before someone changed the screen.
I turned my attention to the work.
The property observation began before noon.
We moved through a quieter section of the hotel than yesterday: guest elevators, a family lounge, two restaurants, and a shaded courtyard used as an informal path between public areas.
Chrissy took fewer notes now.
Near one of the lounge entrances, a young member of staff was trying to answer questions from a couple while another guest waited behind them with an increasingly unhappy toddler in her arms.
Chrissy slowed.
The child’s stuffed rabbit lay beneath a nearby bench.
She stepped out of the group, picked it up, and held it toward the mother.
“Is someone missing this?”
The toddler saw the rabbit and lunged for it with both hands.
The mother laughed with obvious relief.
“Oh, thank you.”