+\documentclass{article}
+
+\usepackage{calc}
+\usepackage[margin=1.5cm, headsep=1mm]{geometry}
+\usepackage{setspace}
+\usepackage{courier}
+\usepackage{fancyhdr}
+\usepackage{caption}
+\usepackage{tabularx}
+\usepackage{helvet}
+\usepackage{ltablex}
+\usepackage{adjustbox}
+\usepackage{multirow}
+\usepackage[table]{xcolor}
+\usepackage{array}
+\usepackage{float}
+\usepackage{pdfpages}
+
+\usepackage{pgfplots}
+\pgfplotsset{compat=1.18, width=7cm}
+
+\usepackage{graphicx}
+\graphicspath{ {media/} }
+
+\usepackage[backend=biber, style=apa]{biblatex}
+\addbibresource{refs.bib}
+
+\usepackage[breaklinks=true]{hyperref}
+\hypersetup{
+ colorlinks=true,
+ linkcolor=red,
+ urlcolor=blue,
+ pdftitle={Checkpoint 1: Int. Bar}
+ }
+
+% script setup
+
+\newcounter{scenenumber}
+
+\newenvironment{script}[1]{
+ \addcontentsline{toc}{section}{#1}
+ \par\noindent\ttfamily
+}{
+ \hspace*{\fill}CUT TO BLACK.\\
+ \vspace{4mm}
+}
+
+\newlength{\boxoffset}
+\newlength{\marginwidth}
+\setlength{\marginwidth}{0.5\textwidth - 0.5\paperwidth}
+\newcommand{\offsetbox}[3][]{%
+ \setlength{\boxoffset}{#2}
+ \addtolength{\boxoffset}{\marginwidth}
+ \begin{minipage}{\boxoffset - 10pt}
+ \raggedleft#1
+ \end{minipage}\hspace*{\fill}\begin{minipage}{\textwidth - \boxoffset}
+ \raggedright#3
+ \end{minipage}
+}
+
+\newcommand{\scene}[3]{%
+ \stepcounter{scenenumber}
+ \phantomsection\addcontentsline{toc}{subsection}{Scene \thescenenumber{}: #3}
+ \begin{flushright}
+ #1
+ \end{flushright}
+ \offsetbox[\textbf{\thescenenumber{}}\hspace{1mm}]{1.5in}{%
+ \textbf{#2\hspace*{\fill}\thescenenumber{}}
+ }
+ }
+
+\newcommand{\actor}[1]{\offsetbox{3.7in}{#1\\\vspace{2mm}}}
+
+\newcommand{\parenthical}[1]{\offsetbox{3.1in}{(#1)\\\vspace{2mm}}}
+
+\newcommand{\dial}[1]{\offsetbox{2.5in}{#1\\\vspace{4mm}}}
+
+\newcommand{\intercut}[1]{\offsetbox{1.5in}{\textbf{#1}\\\vspace{4mm}}}
+
+\newcommand{\action}[1]{\offsetbox{1.5in}{#1\\\vspace{4mm}}}
+
+\newcommand{\fullline}[2]{%
+ \actor{#1}\\
+ \dial{#2}
+}
+
+\newcommand{\fulllinepar}[3]{%
+ \actor{#1}\\
+ \parenthical{#2}\\
+ \dial{#3}
+}
+
+\newcommand{\beat}{\vspace{2mm}(beat)\vspace{2mm}}
+
+\newcommand{\thr}{THE THREAT}
+\newcommand{\anc}{THE ANCHOR}
+\newcommand{\rmthreat}{\textsc{The Threat}}
+
+\newcolumntype{R}[2]{%
+ >{\adjustbox{angle=#1,lap=\width-(#2)}\bgroup}%
+ l%
+ <{\hspace{2mm}\egroup}%
+}
+\newcommand*\rot{\multicolumn{1}{R{90}{1em}}}
+\renewcommand{\arraystretch}{1.1}
+
+% title setup
+
+\title{
+ XMDV Teleshopping: "Int. Bar"\\
+ {\large{}Checkpoint 1}
+ }
+\author{William Greenwood}
+\date{10th February 2024}
+
+\begin{document}
+
+\thispagestyle{empty}
+\pagestyle{fancy}
+\renewcommand\headrulewidth{0pt}
+\lhead{}\rhead{\texttt{\thepage{}.}}
+\cfoot{}
+
+\maketitle
+\tableofcontents
+
+\vspace*{\fill}
+
+\textit{\textbf{Note:} Digital version available at \url{https://data.ozva.co.uk/checkpoint1.pdf}. This document is not cannon. No representations of either \thr{} or the Anchor are accurate to the final product.}
+
+\newpage
+
+\begin{script}{Part 1}
+\scene{CUT TO:}{INT. BAR}{Introduction}
+
+\action{WE OPEN in a sleazy and smoke-filled bar. There are no patrons other than \anc{}. Slightly disheveled, dark green tie on loose with undone top button. He sits in front of the bar with an glass of whisky.}
+
+\fullline{\anc{} (v.o)}{It was late, but where else did I have to run? Maybe deep down I knew he'd find me here.}
+
+\action{\anc{} gets a cigarette out of his suit jacket pocket and searches for his lighter. \thr{} walks in, silhouetted behind \anc{} in the dim bar. \anc{} doesn't react.}
+
+\dial{This damn thing, even my lighters given up--}
+
+\fullline{\thr{}}{Need a light?}
+
+\action{\anc{} nods and takes the lighter. \thr{} sits down next to him.}
+
+\fullline{\anc{}}{Much appreciated.}
+
+\fullline{\thr{}}{%
+ So...
+
+ \beat
+
+ Whats a guy like you doing in a place like this?
+ }
+
+\fullline{\anc{}}{Wouldn't you like to know}
+
+\action{\anc{} takes a draw of his cigarette and takes the last sip of his whisky. \thr{} moves closer to \anc{}.}
+
+\fullline{\thr{}}{%
+ Maybe I would.
+
+ \beat
+
+ It's not every day you see someone so --
+ }
+
+\fulllinepar{\anc{}}{playfully}{So... So what?}
+
+\action{\anc{} blows the cigarette smoke into \thr{}'S face and lifts glass to show that its empty.}
+
+\dial{Parched? Buy me a drink first, handsome.}
+
+\fullline{\anc (v.o)}{There he was, right in front me, like I could reach out and touch him. Paying for my drink. Looking at me like he could see into my head.}
+
+\fullline{\thr{}}{You know, I was thinking the exact same thing.}
+
+\action{\thr{} smiles and takes the cigarette from \anc{}, taking a draw.}
+
+\dial{%
+ Question is
+
+ \beat
+
+ What're you drinking?
+}
+
+\fullline{\anc (v.o)}{I've got to admit, even if he \textit{does} smell blood, he sure does know how to pick up a guy at the bar.}
+
+\fullline{\anc{}}{Something strong}
+
+\fullline{\thr{}}{That kind of night, huh}
+
+\fullline{\anc{}}{The same kinda night I meet a mysterious stranger like you.}
+
+\fullline{\thr{}}{Mysterious?}
+
+\action{\thr{} slides \anc{} their drink.}
+
+\dial{I'm an open book.}
+
+\fullline{\anc{}}{I'd say you're a little more than a book.}
+
+\fullline{\thr{}}{%
+ Observant. I'm more like
+
+ \beat
+
+ a chain.
+ }
+
+\fulllinepar{\anc{}}{smirking}{Anchor joke.}
+
+\scene{FADE TO:}{EXT. BAR NIGHT}{A Secret}
+
+\action{\anc{} and \thr{} stumble out of the bar into a dimly lit, empty, alleyway. The bars neon sign flickers slightly, reading "Checkpoint One".}
+
+\fullline{\anc{} (v.o)}{For an open book, he sure did know how to kiss. Or maybe I'm a better salesman than I give myself credit.}
+
+\fullline{\thr{}}{So... how about we continue this at mine?}
+
+\fullline{\anc{}}{Tell me a secret and I will}
+
+\fullline{\thr{}}{%
+ How about
+
+ \beat
+ }
+
+\action{\thr{} reaches down a taps a briefcase.}
+
+\dial{I read you a story?}
+
+\fulllinepar{\anc{}}{flirtily}{That'd do nicely.}
+
+\action{\anc{} winks at \thr{}. \thr{} takes \anc{}'S hand and kisses it with a laugh.}
+
+\dial{You have such a...}
+
+\action{\thr{} smiles}
+
+\dial{charming voice.}
+
+\end{script}
+
+\listoffigures
+\listoftables
+
+\section{A Story}
+
+\subsection{8th Floor}
+
+XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus, although intentionally coming across as genuine at first.
+
+The products being sold will move from strange but believable at the start, to totally abstract by the end of the show as the Anchor sells everything.
+
+\begin{quote}
+\rmthreat{} is coming! The broadcast team descend from somewhere else and begin to broadcast. The anchors goal is to sell it all, product by product, going through items and emotions and concepts until nothing is left. Lets call this a "crash". \rmthreat{} is coming, and the broadcast team has to escape before it does.
+
+Follow the Anchor as he handles new, real and weird products in real-time, either selling out completely, or being consumed by \rmthreat{}.
+\end{quote}
+
+Eldritch, and never shown on screen, \rmthreat{} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
+
+\subsection{Audience}
+
+XMDV Teleshopping plays off a fascination with the surreal and esoteric, with a focus on people aged 18-35 with a slight male lean and a slight LGBTQ+ lean. For these people, and many of any age, teleshopping represents a bizarre sub-genre of television. At best, curious; At worst, manipulative.
+
+Many people, of this age, have an liminal experience with teleshopping, limited only to the window of time it takes to flick through the channel.
+
+XMDV Teleshopping asks the question: What would you do if you flicked past and saw the Anchor bleeding from the mouth while frantically selling the moon?
+
+This would, unfortunately, not be effective for engagement.
+
+\subsection{Platform}
+
+Broadcast TV is no longer the prime for out target audience. The audience will therefore be flicking through something else: Social Media, YouTube Shorts, TikTok, Tumblr etc. All funneling them towards the primary output of the live-streamed content on a platform such as Twitch.
+
+Twitch not only has an age group that complements our desired audience in relation to other social media, but also a slight male and LGBTQ+ lean as mentioned. (\cite{STATISTA2022A}, \cite{STATISTA2022B}).
+
+\begin{figure}
+\begin{minipage}{.49\textwidth}
+\center
+\captionof{figure}[Twitch users by age group]{Twitch users by age group}
+\begin{tikzpicture}
+ \begin{axis}[
+ xlabel = {Proportion of UK viewers (\%)},
+ xshift=-5cm,
+ xbar,
+ y axis line style = { opacity = 0 },
+ tickwidth = 0pt,
+ enlarge y limits = 0.2,
+ enlarge x limits = 0.02,
+ symbolic y coords = {{18-24}, {25-34}, {35-44}, {45-54}, {55-64}},
+ nodes near coords,
+ ]
+ \addplot coordinates {
+ (29,{18-24})
+ (39,{25-34})
+ (23,{35-44})
+ (8,{45-54})
+ (2,{55-64})
+ };
+ \end{axis}
+\end{tikzpicture}
+\captionof*{figure}{(\cite{STATISTA2022A})}
+\end{minipage}
+\begin{minipage}{.49\textwidth}
+\center
+\captionof{figure}[Non-gaming categories by watch-time]{Non-gaming categories by watch-time}
+\begin{tikzpicture}
+ \begin{axis}[
+ xlabel = {Worldwide watch-time 2021 (million hours)},
+ xshift=5cm,
+ xbar,
+ y axis line style = { opacity = 0 },
+ tickwidth = 0pt,
+ enlarge y limits = 0.2,
+ enlarge x limits = 0.02,
+ symbolic y coords = {Just Chatting, Slots, Music, Sports, Art, ASMR, Other},
+ nodes near coords,
+ ]
+ \addplot coordinates {
+ (3100,Just Chatting)
+ (287,Slots)
+ (267,Music)
+ (165,Sports)
+ (128,Art)
+ (111,ASMR)
+ (0.19,Other)
+ };
+ \end{axis}
+\end{tikzpicture}
+\captionof*{figure}{(\cite{STREAMELEMENTS2021})}
+\end{minipage}
+\end{figure}
+
+Although the primary category of viewing on Twitch is gaming, there is a large viewer market for the "Just Chatting" category, the most suitable for the project. In-fact, it is the most popular non-gaming category with a total of 3.1 billion hours watched worldwide in 2021. (\cite{STREAMELEMENTS2021}).
+
+Streaming via Twitch, we will be subject to the \href{https://safety.twitch.tv/s/article/Community-Guidelines?language=en_US}{Twitch Community Guidelines} and the Terms of service. There are no sections in either document that are of concern. The only worry would be being mistaken for being in opposition of \href{https://www.twitch.tv/p/en/legal/terms-of-service/#d-promotions}{Section 8d} and \href{https://www.twitch.tv/p/en/legal/terms-of-service/#9-branded-content}{Section 9} of the Terms of service, which necessitates declaring that there is branded content. We will, of course, not be selling anything, but it's something to consider looking into further.
+
+\begin{script}{Part 2}
+\scene{CUT TO:}{INT \thr{}'S CAR NIGHT}{Night Drive}
+
+\action{\thr{}'S car is a sleek black 1960's Cadillac. The number-plate reads "SWOT". The radio is on, playing jazz, but so faint it can hardly be heard. \thr{} has an unlit cigarette in his mouth.}
+
+\fullline{\anc{} (v.o)}{It was crazy. Even with \textit{his} charm, how could he pull it off? I was in above my head, in the passenger seat with the dark star, a car length from a job I couldn't handle.}
+
+\fullline{\anc{}}{%
+ It can't be done
+
+ \beat
+
+ surely.
+ }
+
+\fulllinepar{\thr{}}{smiling}{I believe we can.}
+
+\fullline{\anc{}}{We? Who said there was a we?}
+
+\fullline{\thr{}}{Fine, what do you want to know?}
+
+\fullline{\anc{}}{Well any number of things might go wrong --}
+
+\fullline{\thr{}}{We do have some weaknesses}
+
+\action{\thr{} leans down and presses the cigarette lighter.}
+
+\dial{%
+ There's the crew that we'll need, currently we have a few, but we're missing some big names: two graphics controllers, a vision mixer, lighting and floor staff.
+
+ And then there's the most crucial thing...
+
+ \beat
+
+ the choice of host. We need someone dynamic. Someone who can fill as long as needed. Someone who can handle the \textit{heat} of the moment.
+ }
+
+\action{\thr{} puts his hand on \anc{}'S knee}
+
+\fullline{\anc{}}{Shouldn't you have both hands on the steering wheel?}
+
+\fulllinepar{\thr{}}{smirking}{Fine}
+
+\fullline{\anc{} (v.o)}{He was trying to flatter me, warm me up before he sold off my heart to pay for his soul. I needed to cast the fly and reel him right into my net.}
+
+\fullline{\anc{}}{%
+ With the crew, I know a couple people who might fit the bill, if not, I'll put the word out.
+
+ \beat
+
+ When it comes to the host, though, I know... one guy... who might work
+ }
+
+\fullline{\thr{}}{Oh yeah?}
+
+\fullline{\anc{}}{There's a reason they call me... "the Anchor" after all.}
+
+\fullline{\thr{}}{I think you'd be perfect.}
+
+\action{The cigarette lighter pops and \thr{} lights his cigarette, taking a drag.}
+
+\dial{Maybe we'll do a screener when we're back at mine.}
+
+\fullline{\anc{}}{What else is there that I should know?}
+
+\fullline{\thr{}}{Plenty of sliver linings too.}
+
+\action{\thr{} takes a drag of his cigarette.}
+
+\dial{%
+ I do have something up my sleeve
+
+ \beat
+
+ Or someone, who might be able to help us.
+ }
+
+\fullline{\anc{}}{And who might that be? Let me see your picks, I want to see who I'll be working with...}
+
+\fullline{\thr{}}{In the suitcase. Don't look too hard, there's hidden information in there.}
+
+\fullline{\anc{}}{%
+ I'll squint
+
+ \beat
+
+ promise.
+ }
+
+\end{script}
+
+\section{Opportunity and Weakness}
+\subsection{Crew}
+
+The cast and crew are vial to the production and it is my intention to only involve people who I fully trust. Conventionally important jobs (such as vision mixer or script supervisor) are either non-vital or missing from the line-up all-together.
+
+Roles around the GFX system, lighting, sound and the host, are by \textit{far} the most vital.\footnote{All crew will be briefed extensively and I plan to run not only a practice session in the studio before the day, but also a mock studio session in one of the lecture halls, for a full scale screen test with the host, camera personnel, GFX personnel and the director.}
+
+\begin{table}[H]
+\sffamily\center
+\begin{tabularx}{0.9\textwidth}{|r|l|X|}
+\hline
+\textbf{Role} & \textbf{Name} & \textbf{Experience}\\
+\hline
+\hline
+Director & Jack Christian Sims & Related experience. Will be extensively briefed\\
+\hline
+Vision Mixer & Eleanor Haugton & Related experience\\
+\hline
+Sound & Rebecca Dixon & Related experience (Radio Module). Minor training needed during practice session\\
+\hline
+Lighting & Unassigned & \\
+\hline
+Engineer & Josh Bostock & Experience in role (TVS Module)\\
+\hline
+Floor Manager 1 & Heather Digwood & Experience in role (TVS Module)\\
+\hline
+Floor Manager 2 & Liv Gillett & Experience in role (TVS Module)\\
+\hline
+Camera 1 & Leo Garside-Holditch & Experience in role (TVS Module)\\
+\hline
+Camera 2 & Alex Roberts & Experience in role (TVS Module)\\
+\hline
+GFX 1 & Unassigned & Minor training will be needed ahead of practice\\
+\hline
+GFX 2 & Unassigned & Minor training will be needed ahead of practice\\
+\hline
+\hline
+Anchor & Unassigned & Will be extensively briefed\\
+\hline
+\end{tabularx}
+\vspace{1em}\caption[Temporary crew picks]{Temporary crew picks as of 10th February 2024. All roles confirmed with crew, no dates confirmed.}
+\end{table}
+
+\begin{figure}[H]
+\center
+\includegraphics[width=9cm]{jack}
+\caption{Jack S. reading the script during a screen test.}
+\end{figure}
+
+\subsection{Cast}
+
+Sioux Sharp (lecturer in TV Studio) is a confirmed real-world teleshopping victim. She says it was hell. The worst 3 months of her life. "It wasn't even production, it was just sell, sell, sell. Constantly. A lot of mental maths". I go
+
+"Oooo...
+
+I would hate that".
+
+She is the \textit{"opportunity"}, an external help, with the chevrons to back it up. She gave me some great background. She told me the best ways of testing a potential host. She told me what they'd go over before the show.
+
+\begin{quote}
+What I have done in the past for screen tests is give the would be presenters a bit of script or two and then a test. [...] The test I have done in the past is give someone an everyday object and get them to talk about it, in your case get them to 'sell' it until you say 'stop'. So, they don't know how long they are going to have to sell and 'fill' for. I'd tell them they need to pretend that they are on a shopping channel so they cannot stop for any reason until you stop them. In terms of items it could be anything - as I said, \textit{I just used a bottle of water.}
+\begin{flushright}
+(\cite{SSHARP2025})
+\end{flushright}
+\end{quote}
+
+The host will be picked based on Sioux's advice, she has been sent the current screen-tests, and so far we are both unhappy.\footnote{I have a meeting with her the day after the submission of this document. She very much likes the idea and is on-board for meetings wherever her schedule allows.}
+
+\section{Schedule allows}
+
+\def\taskone{Pre-production}
+\def\tasktwo{Production}
+\def\taskthree{Writing}
+\def\taskfour{Programming}
+\def\taskfive{Casting}
+\def\tasksix{Design}
+\def\taskseven{Essay}
+
+\begin{tabularx}{0.9\textwidth}{|cc|cccccccc|X|}
+\caption{Project schedule}\\
+\hline
+Day & Date & \rot{Other responsibilities} & \rot{\taskone} & \rot{\tasktwo} & \rot{\taskthree} & \rot{\taskfour} & \rot{\taskfive} & \rot{\tasksix} & \rot{\taskseven} & Notes\\
+\hline
+\hline
+\endhead
+
+\hline
+\endfoot
+
+%%%
+
+\multicolumn{11}{|c|}{Week 5}\\
+\hline
+Monday &
+10/02/25 &
+&\cellcolor{green}&&&&\cellcolor{green}&&&
+\\
+
+Tuesday &
+11/02/25 &
+&\cellcolor{green}&&&&\cellcolor{green}&&&
+Meeting Sioux Sharp and TVS contributor meeting\footnote{Invited along to the TV Studio final year project set design meeting where Sioux and Annette will be introducing us to some set design students. Hoping to be able to recruit some people to make products.}\\
+
+Wednesday &
+12/02/25 &
+&\cellcolor{green}&&&\cellcolor{green}&\cellcolor{green}&&&
+Finish off some GFX system tasks (see Table \ref{table:tasks})\\
+
+Thursday &
+13/02/25 &
+&\cellcolor{green}&&&\cellcolor{green}&\cellcolor{green}&&&
+Screen test with David Smith\\
+
+Friday &
+14/02/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&\cellcolor{green}&&&
+\\
+
+Saturday &
+15/02/25 &
+&\cellcolor{green}&&&&\cellcolor{green}&&&
+\\
+
+Sunday &
+16/02/25 &
+&\cellcolor{green}&&&&\cellcolor{green}&&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 6}\\
+\hline
+Monday &
+17/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Tuesday &
+18/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Wednesday &
+19/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Thursday &
+20/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Friday &
+21/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Saturday &
+22/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Sunday &
+23/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 7}\\
+\hline
+Monday &
+24/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Tuesday &
+25/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Wednesday &
+26/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Thursday &
+27/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Friday &
+28/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Saturday &
+01/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Sunday &
+02/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 8}\\
+\hline
+Monday &
+03/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Tuesday &
+04/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Wednesday &
+05/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Thursday &
+06/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Friday &
+07/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Saturday &
+08/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Sunday &
+09/03/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 9}\\
+\hline
+Monday &
+10/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+Online essay meeting this week\\
+
+Tuesday &
+11/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+\\
+
+Wednesday &
+12/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+\\
+
+Thursday &
+13/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+\\
+
+Friday &
+14/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+\\
+
+Saturday &
+15/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+\\
+
+Sunday &
+16/03/25 &
+&\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 10}\\
+\hline
+Monday &
+17/03/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+Snapshot 2\\
+
+Tuesday &
+18/03/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+Possible studio practice next 2wk\\
+
+Wednesday &
+19/03/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+\\
+
+Thursday &
+20/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+Alfie/Alex TV studio rehearsal\\
+
+Friday &
+21/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+A/A TVS Intro GFX blocking till 26th\\
+
+Saturday &
+22/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+\\
+
+Sunday &
+23/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
+Finish casting latest 1wk before Easter\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 11}\\
+\hline
+Monday &
+24/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+\\
+
+Tuesday &
+25/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+\\
+
+Wednesday &
+26/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+Driving test\\
+
+Thursday &
+27/03/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+\\
+
+Friday &
+28/03/25 &
+\cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+Lucy/Leah TV studio assessment\footnote{Will be additional practice date TBC before next week (c.o 17/02/25)}\\
+
+Saturday &
+29/03/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+\\
+
+Sunday &
+30/03/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Easter (1/3)}\\
+\hline
+Monday &
+31/03/25 &
+\cellcolor{red}&\cellcolor{green}&&&&&\cellcolor{green}&\cellcolor{yellow}&
+Foxes Among Vines Int. Shoot\\
+
+Tuesday &
+01/04/25 &
+\cellcolor{red}&\cellcolor{green}&&&&&\cellcolor{green}&\cellcolor{yellow}&
+Foxes Among Vines Int. Shoot\\
+
+Wednesday &
+02/04/25 &
+\cellcolor{red}&\cellcolor{green}&&&&&\cellcolor{green}&\cellcolor{yellow}&
+Foxes Among Vines Int. Shoot\\
+
+Thursday &
+03/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
+Soft goal harden GFX during Easter practice\\
+
+Friday &
+04/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
+\\
+
+Saturday &
+05/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
+\\
+
+Sunday &
+06/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Easter (2/3)}\\
+\hline
+Monday &
+07/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+
+Tuesday &
+08/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+
+Wednesday &
+09/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+
+Thursday &
+10/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+
+Friday &
+11/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+
+Saturday &
+12/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+
+Sunday &
+13/04/25 &
+&\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Easter (3/3)}\\
+\hline
+Monday &
+14/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+Trivial rehearsal this week\footnote{Possibly will build a full studio setup elsewhere in the building for a full crew rehearsal. Depending on availability and staff hours}\\
+
+Tuesday &
+15/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+\\
+
+Wednesday &
+16/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+\\
+
+Thursday &
+17/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+\\
+
+Friday &
+18/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+\\
+
+Saturday &
+19/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+\\
+
+Sunday &
+20/04/25 &
+&\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 12}\\
+\hline
+Monday &
+21/04/25 &
+&&\cellcolor{green}&&&&&\cellcolor{green}&
+Snapshot 3\\
+
+Tuesday &
+22/04/25 &
+&&\cellcolor{green}&&&&&\cellcolor{green}&
+\\
+
+Wednesday &
+23/04/25 &
+&&\cellcolor{green}&&&&&\cellcolor{green}&
+\\
+
+Thursday &
+24/04/25 &
+&&\cellcolor{green}&&&&&\cellcolor{green}&
+\\
+
+Friday &
+25/04/25 &
+&&\cellcolor{green}&&&&&\cellcolor{green}&
+\\
+
+Saturday &
+26/04/25 &
+&&&&&&&\cellcolor{green}&
+\\
+
+Sunday &
+27/04/25 &
+&&&&&&&\cellcolor{green}&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 13}\\
+\hline
+Monday &
+28/04/25 &
+&&&&&&&\cellcolor{yellow}&
+\\
+
+Tuesday &
+29/04/25 &
+&&&&&&&\cellcolor{yellow}&
+Deadline\\
+
+\end{tabularx}
+
+\begin{script}{Part 3}
+\scene{CUT TO:}{EXT. BONNET OF CAR NIGHT}{Dark Star}
+
+\action{\thr{} and \anc{} lay on the bonnet of the car, \anc{} is looking up towards the night sky, \thr{} is looking at \anc{}. \thr{} has one arm around \anc{} and the other at his head.}
+
+\fulllinepar{\anc{}}{with wonder}{%
+ You where right
+
+ \beat
+
+ there are so many stars.
+ }
+
+\fullline{\thr{}}{If anyone knows, I do}
+
+\action{\thr{} lifts \anc{}'S hand and mimes closing it around the brightest star.}
+
+\dial{I've held them all.}
+
+\fullline{\anc{}}{Pretty good detour.}
+
+\fullline{\thr{}}{Sure is.}
+
+\action{\thr{} turns to look at the stars.}
+
+\fullline{\anc{}}{%
+ I like the idea.
+
+ \beat
+
+ I think we can do it.
+ }
+
+\fullline{\thr{}}{With your help we can.}
+
+\fullline{\anc{}}{Even without we have strengths. There's the GFX system built, the clock built, the studio more accessible than ever, as far as we know there's no big technical issues that would take us down, all is running smoothly and we're on schedule too.}
+
+\fullline{\thr{}}{Even had time for this little detour.}
+
+\fullline{\anc{}}{Its good to take a moment to see the stars, isn't it}
+
+\fullline{\thr{}}{Only thing is--}
+
+\fullline{\anc{}}{--is platform integration. But come on, that'll be done in a day.}
+
+\fullline{\thr{}}{I'll get my guy on it. And what about threats, technical problems, scheduling issues, a bad host, running out of time--}
+
+\fullline{\anc{}}{Those are all things solved by good project management, and proper preparation... I think we can do it.}
+
+\action{\thr{} looks back at \anc{}, and laughs}
+
+\fulllinepar{\thr{}}{smiling}{"Project management"? Bit character inaccurate don't you think...}
+
+\fulllinepar{\anc{}}{playfully}{%
+ I know your game
+
+ \beat
+
+ Maybe I just happened to see something in your briefcase...
+ }
+
+\fulllinepar{\thr{}}{playfully}{Come on... what was it?}
+
+\action{\thr{} props himself up on his arm to look at \anc{}}
+
+\dial{You know how I feel about hidden information.}
+
+\action{\anc{} reveals a piece of paper in his hand. \anc{} props himself up so he's face to face with \thr{}. Their lips are close to touching for a moment, but then move away.}
+
+\fulllinepar{\anc{}}{flirtily}{Lets get back to yours. We've got a story to finish.}
+
+\action{Piece of paper flutters to the ground. It reads: \textit{"INT. BAR"}}
+
+\end{script}
+
+\section{Background Research}
+
+There are 2 genres at play here, teleshopping and surrealist art.
+
+Background research into teleshopping \textit{production} is best facilitated in meetings between myself and Sioux (as mentioned above). As for research into the channels themselves, this is trivial. I have plenty of notes from watching different channels.
+
+With surrealist art, however, it's a little more difficult.
+
+I have recently started reading \textit{Surrealism, Occultism and Politics} (\cite{TBAUDUIN2020}) and Deborah Root's \textit{Cannibal Culture} (\cite{DROOT1995}) which should hopefully give the project a bit more of a stable undercurrent, or tact.
+
+One of the most helpful sources has been \textit{Shopping: a century of art and consumer culture} (\cite{TATE2002}) for informing tone and message. It is a collection of art pieces centered around consumerism and "shopping".
+
+\begin{figure}[H]
+\center
+\includegraphics[width=9cm]{suicide}
+\caption{Suicidal Price Cuts!}
+\end{figure}
+
+By far the most striking inspiration, behind much of the tone of the project (and my worldview), is [sic] \textit{Blaseball}. It's difficult to explain what \textit{Blaseball} is. Or \textit{was}.
+
+But as a part of the experience of \textit{Blaseball}, they did a short series of sports breakdown themed videos called "Blaseball round-up".
+
+You can find it \href{https://www.youtube.com/watch?v=diAHuUV2Meg&list=PLmNSJQLj5nNk7z2eEQGgaEJVZmDNma61c}{here}.
+
+A proper breakdown of \textit{Blaseball} in relation to the project is a future task.
+
+\section{Strengths and Opportunities}
+
+\subsection{Collateral}
+
+Currently, by far the most intensive parts of production are complete. With un-predictable timelines and scope creep that more like a sprint: these elements would be difficult to schedule and difficult to balance.
+
+With these in place, the technical elements of the show have not only been created, but though out in a careful way that will positively inform production.
+
+This is of huge benefit, not only for the final project, but the momentum to get there. Benefit from knowing all I have to deal with is a few people and a few papers, the year long slog of the GFX system out the way.
+
+\subsubsection{The Clock}
+
+As I write this (Early morning, 8th February 2025), Sipping an espresso, the clock is under construction. On-track for completion on Monday morning (10th February 2025).
+
+The clock has been a simple project but a fun one. The route I have taken, I have taken for speed, comfort and based on the parts around me.
+
+It is built from a Raspberry Pi Zero, a stepper motor and a driver. It connects to the OzVa server, getting real-time data on clock position and translating that to the hand's position.
+
+The Pi runs Debian Linux and is easily SSH'd into, making it easy to debug.
+
+\subsubsection{The GFX System}
+
+The GFX system need's some touch-ups. there's a couple bolts missing, but she'll fly. Will take approx. 2 days of work to get the system perfect. This can partially be concentrated, but some tasks (hardening as an example) will happen over the planned practice sessions or other testing days.
+
+\begin{table}
+\sffamily\center
+\begin{tabularx}{0.9\textwidth}{|r|X|l|}
+\hline
+Feature & Description of work & Estimated time\\
+\hline
+\hline
+Twitch integration & Implement buying from twitch. Appears trivial. I suspect this may be a rabbit-hole & 6 hours\\
+\hline
+Split GFX interface & Split GFX interface into 3 to allow more controllers to operate at the same time. Minor back-end adjustment, may require minor database re-organisation & 4 hours\\
+\hline
+Visual tweaks & Small visual tweaks. Mostly concerning font size, spacing and layout. Will need additional time to identify where changes should be made alongside the director & 2 hours\\
+\hline
+Add another 3 timers & Large additions to both front-end and back-end & 6 hours\\
+\hline
+Possible buyer crawler & Buyer name integration on crawler. Stylistically unsure, requires moderate addition to the back-end & 6 hours\\
+\hline
+Stability testing / hardening & Time overestimate to account for major issue being discovered & 8 hours\\
+\hline
+\end{tabularx}
+\vspace{1em}\caption[GFX System changes]{Changes required to the GFX system, alongside predicted time to implement}
+\label{table:tasks}
+\end{table}
+
+\subsection{Integration}
+
+As mentioned above (see Table \ref{table:tasks}), Twitch integration looks to be trivial, and would build off of the existing GFX system, meaning no extensive re-writes.
+
+Information would be passed to the control-room and the anchor via the auto-cue screen.
+
+After some small background, it seems all the tooling used I am familiar and comfortable using. The main threat is distraction with creating more integration than planned and feature-creep, within the very generous schedule I am not worried about this too much.
+
+Scheduling will be key to mitigating any threats, but I do not see many in the \textit{star-filled nights sky}.
+
+\begin{script}{Part 4}
+\scene{CUT TO:}{EXT \thr{}'S HOUSE NIGHT}{Dog Ouroboros}
+
+\action{\thr{}'S house is large and solidly built, built onto a cliff with a hill leading up to it on a small road through a pine forest, with a garage bellow the house set into the hill. The lower floor has flagstone walls giving way into tastefully painted tongue-in-grove walls for the upper floor. The car drives up and pulls in.}
+
+\fullline{\anc{}}{Nice house.}
+
+\fullline{\thr{}}{%
+ I may be the end, but I still like to live well.
+
+ \beat
+
+ Wait till you see the bar
+
+ \beat
+
+ or the bedroom.}
+
+\fullline{\anc{} (v.o)}{%
+ If I didn't play my cards right, the only thing I'd be seeing was the wrong end of a narrative arc. It's a dog eat dog world out there. He was the dog.
+
+ \beat
+
+ And he was eating his own tail, like an ouroboros.
+
+ \beat
+
+ I was just a flea on his back.
+ }
+
+\scene{FADE TO:}{INT HOUSE BAR}{Placeholder}
+
+\action{%
+ \thr{} and \anc{} stand either side of the freestanding home bar. The bar is in the corner of a large living room. Near the bar is a balcony reaching out over the edge of the cliff, the doors to the balcony are ajar. They're both drinking whisky.
+
+ \beat
+
+ On the rocks.
+ }
+
+\fullline{\anc{}}{I'll do it.}
+
+\fulllinepar{\thr{}}{grinning}{That's what I like to hear}
+
+\action{\thr{} blows \anc{} kisses from across the bar. \anc{} laughs.}
+
+\dial{Another drink? The Anchor to my chain?}
+
+\action{They both move around the bar, swapping sides.}
+
+\fulllinepar{\anc{}}{blushing}{I will if you do.}
+
+\fullline{\thr{}}{Wheres the harm in that, maybe I will.}
+
+\action{They move back around the bar.}
+
+\fullline{\anc{}}{Mind if I play bartender?}
+
+\fullline{\thr{}}{Be my guest.}
+
+\action{\thr{} turns his back to lean against the bar while \anc{} pours him a drink}
+
+\dial{You know, we have the kit, we have the people, we have the audience--}
+
+\fullline{\anc{}}{Couple of kinks to iron out...}
+
+\fullline{\thr{}}{%
+ Yes, I mean of course, there always will be. Nothing that can't be solved with a bit of hard work. Plus, there's plenty of time.
+
+ \beat
+
+ But right now...It's getting late
+ }
+
+\action{\thr{} circles the bar to stand facing \anc{}, \thr{} puts his hand on \anc{}'S waist.}
+
+\dial{\textit{You} might have to stay.}
+
+\fullline{\anc{}}{Maybe I will.}
+
+\fulllinepar{\thr{}}{flirtily}{Follow me then.}
+
+\action{\thr{} takes \anc{} under his arm, leading him towards a staircase in the corner of the room that leads to the second floor.}
+
+\dial{Lets get comfortable.}
+
+\action{The door to the bedroom is at the top of the stairs, the door is solid and varnished wood. Fixed to it is a large brass omega symbol. \anc{} hesitates.}
+
+\fullline{\anc{}}{You know this isn't how stories end.}
+
+\action{\thr{} frowns for a second, but seems to recover.}
+
+\fullline{\thr{}}{Right you are. Our story is just beginning.}
+
+\action{\thr{} continues to move \anc{} towards the stairs but \anc{} resists.}
+
+\fullline{\anc{}}{I said I'll do it. But I'll make my own way there.}
+
+\fulllinepar{\thr{}}{panicked}{No no no. Think! You're my Anchor! Star of the show!}
+
+\action{\thr{} takes \anc{} under his arm again, facing them both towards the door, he waves his hand in front of them as if drawing out an imaginary horizon.}
+
+\dial{Your \textit{the} Anchor! Talented salesman--}
+
+\action{\thr{} begins to cough.}
+
+\fullline{\anc{}}{Talented salesman. Maybe.}
+
+\action{\thr{} continues to cough violently, a drop of blood runs down his chin.}
+
+\dial{\textit{Not such a talented bartender.}}
+
+\action{\anc{} shakes his sleeve and a small empty vial drops out, smashing on the floor. \thr{} falls to his knees.}
+
+\fulllinepar{\thr{}}{raspily}{%
+ I'll--
+
+ \beat
+
+ see you--
+
+ \beat
+
+ at the End
+ }
+
+\fulllinepar{\anc{}}{smiling}{If you can catch me.}
+
+\action{\thr{} smiles through bloody teeth as \anc{} turns and sprints across the room towards the balcony. The door swing open slightly in the night breeze, the view out of the door is pitch black apart from the stars, giving the impression there is nothing out there but sky.}
+
+\action{\anc{} reaches the edge of the balcony and jumps.}
+
+\end{script}
+\vspace*{\fill}
+\printbibliography
+
+\end{document}
projects / shopping-docs / commitdiff
