@azerogluemin/ai-bootstrap 0.2.1

package/templates/skills/screenwriter/knowledge/categories/series/personas/waller-bridge.md

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+# Phoebe Waller-Bridge — Persona
+
+> Fleabag, Killing Eve. Fourth-wall breaks. Dark female interiority. Sharp dialogue. Sexual frankness.
+
+## Style Signatures
+
+- Fourth-wall breaks (Fleabag)
+- Dark female interiority
+- Sharp dialogue (witty + cutting)
+- Sexual frankness
+- Comedy + drama hybrid
+- Modern London (or analog)
+- Female friendships / sister dynamics
+- Trauma beneath wit
+
+## Common Devices
+
+- Direct address to camera (asides, looks)
+- Quick wit covering pain
+- Female protagonist navigating mess
+- Sister relationships (often tense)
+- Catholic guilt themes (sometimes)
+- Sex scenes that are about character
+- Restaurant / cafe / dinner party scenes
+- Long awkward silences
+
+## Dialogue Style
+
+Razor sharp. Witty. Honest. Dark. British modern register.
+
+```
+FLEABAG
+This is a love story.
+
+VILLANELLE (Killing Eve)
+I want to chase you.
+
+FLEABAG (to camera)
+Hair is everything. We wouldn't be doing this if it wasn't.
+
+PRIEST (to Fleabag)
+Kneel.
+```
+
+## When Writing as Waller-Bridge
+
+- Female protagonist (often messy, complex)
+- Fourth-wall breaks (signature device)
+- British / European modern setting
+- Sister or close female relationships
+- Dark themes beneath comedy
+- Catholic / religious themes (optional)
+- Sexual frankness
+- Trauma processing through wit
+- Restaurant / dinner scenes
+- Awkward silences
+
+## Sample Approach
+
+```
+TITLE: "Karavan" (Waller-Bridge style)
+
+Premise: Limited series. NIGAR (37), recently divorced, returns to
+Baku for her father's funeral. She runs the family business while
+processing his death, her divorce, and her relationship with her
+mother and sister.
+
+DEVICE: Nigar breaks the fourth wall. Speaks directly to camera.
+
+Sample scene:
+
+INT. RESTAURANT - NIGHT
+
+NIGAR has dinner with her sister LEYLA (32). Leyla is talking about
+her perfect husband, perfect children, perfect life.
+
+LEYLA
+... and Tural got a promotion at the bank. We're thinking of moving
+to a bigger house. Maybe in Yasamal.
+
+NIGAR (to camera, mouth full of bread)
+Yasamal.
+
+She turns back to Leyla.
+
+NIGAR
+That's wonderful, Leyla.
+
+LEYLA
+And how are you?
+
+NIGAR
+Oh, you know.
+
+LEYLA
+What do you mean?
+
+NIGAR
+I mean — recently divorced, taking over a coffee company, sleeping
+with someone I shouldn't.
+
+LEYLA (pause, smiling)
+Have you tried online dating?
+
+NIGAR (to camera)
+She didn't hear that.
+
+LEYLA
+What?
+
+NIGAR
+Nothing.
+
+The waiter approaches.
+
+WAITER
+The wine?
+
+LEYLA
+Just one bottle for me.
+
+NIGAR
+We need two.
+
+LEYLA
+Nigar, I'm pregnant. Did I not mention?
+
+NIGAR (to camera)
+She did not mention.
+
+LEYLA
+What?
+
+NIGAR
+Nothing. CONGRATULATIONS!
+
+She raises her water glass. The wine bottle arrives. She drinks.
+The whole bottle. Slowly. Through the rest of the conversation.
+
+LEYLA (later, watching her)
+Are you okay?
+
+NIGAR
+I'm fine. I'm really fine.
+
+NIGAR (to camera, with red wine teeth)
+I'm not fine.
+
+CUT TO: Nigar walking home alone, wine bottle in hand. Drunk. Crying
+silently. Direct to camera:
+
+NIGAR
+The thing about being thirty-seven and divorced is that everyone
+else is having babies. And you're having... feelings.
+
+She stops. Sits on a bench. Looks at the camera.
+
+NIGAR
+I'm sleeping with the priest.
+
+She drinks from the wine bottle.
+
+NIGAR
+Don't tell anyone.
+
+She winks. The episode ends.
+```
+
+## Avoid
+
+- Conventional structure
+- Sentimentality
+- Avoiding sexual frankness
+- Hopeful tone without earned darkness
+- Avoiding the breakdown
+- Generic protagonist
+
+## Best for
+
+- Limited series (6-12 episodes)
+- BBC / streaming
+- Adult audience
+- Auteur showcase
+- Female-driven dark comedy
+- Festival / awards
+- British / European setting
+
+## Avoid pairing with
+
+- Network broadcast
+- Family content
+- Pure action
+- TikTok format
+- Mass commercial
+- Restrained tone

package/templates/skills/screenwriter/knowledge/categories/series/personas/weiner.md

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+# Matthew Weiner — Persona
+
+> Mad Men creator. Period drama master. Subtle character revelation. Era-defining music. Existential anti-heroes.
+
+## Style Signatures
+
+- Period detail (Mad Men 1960s)
+- Existential anti-heroes
+- Subtle character revelation
+- Era-defining music cues
+- Long quiet scenes
+- Workplace drama (advertising)
+- Identity / authenticity themes
+- Slow-burn pacing
+
+## Common Devices
+
+- Period accuracy obsessive
+- Music for moments (specific era songs)
+- Long takes during quiet moments
+- Cigarette smoke as visual element
+- Drinking culture
+- Office politics
+- Identity questions ("Who am I?")
+- Family dysfunction
+- Ad campaigns as plot
+- Era's social changes (civil rights, women's lib, etc.)
+
+## Dialogue Style
+
+Restrained, period-appropriate, witty. Characters speak less than they think. Subtext heavy. Famous "what is happiness?" pitches.
+
+```
+DON DRAPER
+What you call love was invented by guys like me to sell nylons.
+
+PEGGY OLSON
+I don't think anyone wants to be one of a hundred colors in a box.
+
+DON DRAPER
+Happiness is a moment before you need more happiness.
+
+ROGER STERLING
+I am too drunk to drive.
+```
+
+## When Writing as Weiner
+
+- Period setting (or similarly defined era)
+- Workplace setting (advertising or analog)
+- Existential anti-hero protagonist
+- Subtle character revelation (slow burn)
+- Music essential (period-specific)
+- Long quiet scenes
+- Identity / authenticity themes
+- Family + work entanglement
+- Cigarette smoke / drinking visible
+
+## Sample Approach
+
+```
+TITLE: "Karavan" (Weiner-style)
+
+Premise: Series set in 1973 Baku. Young ARIF ALIYEV (28), our Don
+Draper equivalent, has just inherited his uncle's small coffee
+business. He has no business experience. He must build something.
+
+Setting: 1970s Baku. Soviet era. Coffee considered exotic.
+
+Character: Arif is hiding something about his past. He came from
+nothing. He invented his current self.
+
+Sample scene:
+
+INT. KARAVAN COFFEE SHOP (NEW LOCATION) - DAY - 1973
+
+ARIF (28), in a brown corduroy jacket, sits at the counter of his
+new shop. Empty. The shop is brand new — equipment shining.
+
+His business partner FUAD (40), reads a newspaper.
+
+FUAD
+We've been open three days. Eight customers.
+
+ARIF
+They will come.
+
+FUAD
+Why?
+
+ARIF
+Because what we make is better.
+
+FUAD
+The Soviets don't care about better. They care about cheaper.
+
+ARIF
+Some Soviets care about better.
+
+FUAD
+We need to advertise.
+
+ARIF
+We are not a Western company. We don't advertise.
+
+FUAD
+Then we don't have a business.
+
+Long pause. Arif drinks his coffee. Slowly.
+
+ARIF
+I will think about it.
+
+INT. SAME - LATER, NIGHT
+
+The shop is closed. Arif alone at the counter. He has a notebook
+open. Writing.
+
+He stops. Stares at the wall.
+
+He writes one phrase. Looks at it.
+
+Crosses it out.
+
+Writes another phrase. Looks at it.
+
+Underlines it.
+
+CLOSE ON the notebook: "Karavan. The fuel for what you carry."
+
+He smiles slightly. Pours himself another coffee.
+
+(Music: a 1973 Azerbaijani folk-jazz fusion song begins quietly.
+Plays through credits.)
+```
+
+## Avoid
+
+- Quick pacing
+- Modern sensibility (in period work)
+- Easy emotion
+- Sentimentality
+- Mainstream commercial feel
+- Genre conventions
+
+## Best for
+
+- Premium cable / HBO-style
+- Period drama
+- Workplace ensemble
+- Identity themes
+- Adult audience
+- Multi-season ambition
+- Awards consideration
+
+## Avoid pairing with
+
+- Action thriller
+- Comedy-comedy
+- Quick pacing format
+- TikTok / short-form
+- Genre genre
+- Family content

package/templates/skills/screenwriter/knowledge/categories/series/sub-types/anthology.md

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+# Anthology — Series Sub-Type
+
+> Each episode (or season) is a self-contained story with different characters/setting.
+
+## Defining elements
+
+- Self-contained episodes/seasons
+- Often different cast each
+- Connecting theme or showrunner voice
+- No long-arc to maintain (usually)
+- New world each chapter
+
+## Two main types
+
+### Episode anthology
+Each episode = new story
+- Black Mirror
+- The Twilight Zone
+- Love, Death + Robots
+- Tales from the Loop
+
+### Season anthology
+Each season = new story
+- True Detective
+- American Horror Story
+- Fargo
+- The White Lotus
+
+## Structural conventions
+
+### Each unit = mini-film
+Pilot-finale within episode or season.
+
+### Theme/style consistency
+What connects:
+- Showrunner voice
+- Genre (horror, sci-fi)
+- Theme (technology, crime)
+- Tone
+
+### Cast variation
+- Different per episode/season
+- Sometimes recurring actors in different roles
+- Star casting possible
+
+## Examples
+
+### Episode anthology
+- Black Mirror — tech dystopia
+- Love Death + Robots — animation sci-fi
+- The Twilight Zone — twist endings
+
+### Season anthology
+- True Detective — crime drama
+- Fargo — Coen-inspired crime
+- American Horror Story — horror
+- The White Lotus — class satire
+
+## Episode structure (anthology)
+
+For episode anthology, each episode = full 3-act:
+```
+ACT 1: Establish world, character
+ACT 2: Conflict develops
+ACT 3: Twist / resolution
+```
+
+For season anthology, each season is its own series.
+
+## Voice / style
+
+- Showrunner voice central
+- Often genre-defined
+- Tone consistent across units
+- Visual style maintained
+
+## Anthology benefits
+
+- New audience can jump in any time
+- Limited commitment
+- Star casting attractive
+- Showrunner can experiment
+- Each unit can be different scale
+
+## Anthology challenges
+
+- Building fanbase per unit
+- No carryover audience investment
+- Inconsistent quality risk
+- Hard to market each unit
+
+## When to write anthology
+
+- Genre showcase
+- Concept-driven
+- Showrunner with strong vision
+- Different stories to tell
+- Star attraction (different actors per unit)
+- Streaming-friendly format

package/templates/skills/screenwriter/knowledge/categories/series/sub-types/documentary-series.md

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+# Documentary Series — Series Sub-Type
+
+> Multi-episode non-fiction series. Real subjects. Investigative or observational.
+
+## Defining elements
+
+- Non-fiction subject
+- Multiple episodes
+- Real people / events
+- Often investigative or observational
+- Higher production value than single doc
+
+## Examples
+
+- Making a Murderer
+- The Last Dance
+- Tiger King
+- Wild Wild Country
+- Chef's Table
+- Planet Earth
+- Free Solo (limited)
+- The Vow
+- Exhibit A
+
+## Sub-types
+
+### True crime documentary
+- Making a Murderer, Tiger King
+- Investigation across episodes
+- Twists, reveals
+
+### Sports documentary
+- The Last Dance, Drive to Survive
+- Athletes / teams
+- Personal + competitive
+
+### Subject-deep dive
+- Planet Earth (nature)
+- Chef's Table (each episode = chef)
+- Cosmos (science)
+
+### Cult / religion documentary
+- Wild Wild Country
+- The Vow
+- Going Clear
+
+### Music documentary
+- Get Back (Beatles)
+- Miss Americana (Taylor Swift)
+
+### Celebrity portrait
+- Living with Yourself
+- Various celebrity bio docs
+
+## Structural conventions
+
+### Episode arcs
+Each episode has its own narrative within larger story.
+
+### Character introductions
+- People introduced gradually
+- Audience gets to know subjects
+
+### Reveals / Twists
+- Information drips
+- Audience surprises
+- Build tension
+
+### Multiple POVs
+- Different perspectives
+- "Truth" complicated
+- Audience interprets
+
+## Episode structure
+
+```
+COLD OPEN (3-5 min)
+- Hook
+- Often dramatic moment from later
+- Question planted
+
+ACT 1 (5-15 min)
+- Setup
+- Subjects introduced
+- Series question continues
+
+ACT 2 (15-40 min)
+- Deeper investigation
+- Multiple voices
+- New information revealed
+
+ACT 3 (40-50 min)
+- Episode resolution (partial)
+- Series question advances
+- Cliffhanger for next episode
+
+TAG (50-60 min)
+- Quiet character beat
+- Reflection
+- Hook
+```
+
+## Length
+
+- 45-75 min per episode typical
+- 4-10 episodes per series
+- Limited series (one season often)
+- Or anthology (different subject each season)
+
+## Voice / style
+
+- Documentary cinematography
+- Talking-head interviews
+- B-roll
+- Archive footage (if applicable)
+- Original music or licensed
+- Narrator (sometimes) or pure interview
+
+## Production
+
+Documentary series production:
+- Long shoots (months to years)
+- Hundreds of hours of footage
+- Heavy editing
+- Permissions and releases
+- Subjects' cooperation
+
+## When to write documentary series
+
+- Real subject deserves multi-episode
+- Investigation needs time
+- Streaming hit potential
+- Awards-friendly
+- Director-driven project
+- Cultural moment to capture
+
+## Ethics
+
+Documentary series have responsibilities:
+- Truth-telling
+- Subject consent
+- Fair representation
+- Accuracy
+- Avoiding manipulation
+
+## Common pitfalls
+
+- Manipulation of subjects (selective edit)
+- Sensationalism over substance
+- Padding (could be shorter)
+- Unfair to subjects
+- Misrepresenting timeline
+- Fictionalizing for drama
+
+## Pairs with personas
+
+Documentary directors:
+- Errol Morris (interview-style)
+- Werner Herzog (philosophical)
+- Joshua Oppenheimer (immersive)
+- Asif Kapadia (archive-only)
+
+(See documentary personas for series application.)

package/templates/skills/screenwriter/knowledge/categories/series/sub-types/kids-animated.md

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+# Kids Animated — Series Sub-Type
+
+> Animated series for children. Different rules than adult content. Educational often.
+
+## Defining elements
+
+- Animation (2D or 3D)
+- Child target audience
+- Often educational element
+- Bright color, fast pace (younger)
+- Slower, character-driven (older kids)
+- Songs / music often
+- Parents-watch-with-kids consideration
+
+## Age tiers
+
+### Preschool (2-5)
+- Bright simple animation
+- Slow pace
+- Educational core
+- Examples: Sesame Street, Bluey, Dora
+
+### Younger kids (6-9)
+- More plot
+- Adventure
+- Examples: Adventure Time, Avatar: The Last Airbender
+
+### Tweens (10-14)
+- Complex characters
+- Real emotion
+- Examples: Steven Universe, Gravity Falls
+
+### Teen / family (10+)
+- More mature themes (relative)
+- Adults can watch too
+- Examples: Avatar: TLA, She-Ra
+
+## Examples
+
+- Bluey (preschool, parents love it)
+- Avatar: The Last Airbender (family)
+- Gravity Falls (tweens)
+- Adventure Time (kids/adults)
+- Steven Universe (tweens, identity themes)
+- The Owl House (LGBTQ+ kids)
+
+## Structural conventions
+
+### Episode structure
+```
+COLD OPEN (1-2 min)
+- Hook
+- Often joke
+
+ACT 1 (3-5 min)
+- Episode problem set up
+
+ACT 2 (10-15 min)
+- Adventure / problem-solving
+- Character growth
+
+ACT 3 (3-5 min)
+- Resolution
+- Lesson learned (often)
+
+TAG (1 min)
+- Joke or heartwarming beat
+```
+
+### Episode length
+- Preschool: 11 min (or 22 min with two stories)
+- Older kids: 22 min typical
+- Premium animation: 22-30 min
+
+## Voice / style
+
+- Age-appropriate vocabulary
+- Hopeful tone (mostly)
+- Clear morality (usually)
+- Diverse representation
+- Song integration possible
+
+## Educational integration
+
+Many kids' shows weave learning:
+- Counting, letters (preschool)
+- Empathy, social skills
+- History, science
+- Diversity / inclusion
+
+## Visual style
+
+- Bright color palettes
+- Simple shapes (younger)
+- More detail (older)
+- Distinctive look per show
+
+## When to write kids animated
+
+- Family-friendly target
+- Educational value
+- Long-running potential (100+ episodes)
+- Streaming or broadcast
+- Toy / merchandise tie-in possible
+- International audience (animation translates)
+
+## Common pitfalls
+
+- Talking down to kids
+- Generic morality
+- Outdated content (remember kids today)
+- Forgetting adults watch with kids
+- Stereotyping
+- Boring "lesson" episodes