The movie trailer below is a perfect metaphor for today's unprecedented level of corporate cultural lock-in. It's either funny, or not, depending upon where you happen to be sitting.
What's cultural lock-in? Here's how Richard Foster and Sarah Kaplan, authors of "Creative Destruction: Why Companies That Are Built to Last Underperform the Market -- and How to Successfully Transform Them" describe it:
"Cultural lock-in" - the inability to change the corporate culture even in the face of clear market threats - explains why corporations find it difficult to respond to the messages of the marketplace. Cultural lock-in results from the gradual stiffening of the invisible architecture of the corporation, and the ossification of its decision-making abilities, control systems, and mental models. It dampens a company's ability to innovate or to shed operations with a less-exciting future. Moreover, it signals the corporation's inexorable decline into inferior performance. . .
Cultural lock-in is the last in a series of "emotional"phases in a corporation's life, a series that mirrors remarkably that of human beings. In the early years of a corporation, just after its founding, the dominant emotion is passion - the sheer energy to make things happen. When passion rules, information and analysis are ignored in the name of vision: "We know the right answer; we do not need analysis."
As the corporation ages, the bureaucracy begins to settle in. Passions cool and are replaced by "rational decision making," often simply the codification of what has worked in the past. Data is gathered, analysis is performed, alternatives are postulated, and scenarios are developed. .
Eventually, rational decision making reveals that the future potential for the business is limited. Often at this point, threatened by the prospects for a bleak future, the corporation falls back on defensive routines to protect the organization from its fate, just as defensive emotions emerge in our lives when we sense impending trauma. Management now sees the future filled more with trouble than with promise.
Thus, "No. I like it in here." Take a look: