@mytechtoday/augment-extensions 0.4.0 → 0.7.0

package/augment-extensions/writing-standards/screenplay/genres/rules/biographical.md

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+# Biographical Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: High
+
+## Overview
+
+Biographical films (biopics) dramatize the lives of real people, focusing on significant periods, achievements, or struggles. The genre emphasizes character transformation, historical context, and finding universal themes in individual lives.
+
+## Core Concept
+
+Biographical screenplays transform real lives into compelling drama by selecting specific periods or themes rather than attempting comprehensive life stories. Success depends on finding the dramatic arc within a real life, balancing factual accuracy with narrative structure, and revealing universal human truths through specific individual experiences. Great biopics make audiences care about the person, not just their achievements.
+
+## Core Rules
+
+### Rule 1: Find the Dramatic Arc
+
+**Description**: Don't try to tell an entire life. Focus on a specific period, conflict, or transformation that has clear dramatic structure.
+
+**Why It Matters**: Lives don't naturally follow three-act structure. You must find or create the arc.
+
+**Examples**:
+- ✅ **Good**: Focus on specific period (Lincoln's final months, Jobs creating iPod)
+- ❌ **Bad**: Birth-to-death chronology with no clear dramatic focus
+
+**Film Reference**: The Social Network (2010) - Focuses on Facebook's founding, not Zuckerberg's entire life.
+
+---
+
+### Rule 2: Show the Person, Not the Icon
+
+**Description**: Humanize the subject. Show flaws, contradictions, and private moments, not just public achievements.
+
+**Why It Matters**: Icons are distant; humans are relatable. Complexity creates compelling drama.
+
+**Examples**:
+- ✅ **Good**: Subject shown with flaws, failures, and personal struggles
+- ❌ **Bad**: Hagiography that worships subject without complexity
+
+**Film Reference**: Raging Bull (1980) - Jake LaMotta shown as brilliant boxer and deeply flawed human.
+
+---
+
+### Rule 3: Use Supporting Characters Actively
+
+**Description**: People around the subject should be fully realized characters with their own arcs, not just witnesses to greatness.
+
+**Why It Matters**: Supporting characters provide perspective, conflict, and emotional depth.
+
+**Examples**:
+- ✅ **Good**: Family, rivals, and colleagues with their own motivations and development
+- ❌ **Bad**: Cardboard cutouts who exist only to react to protagonist
+
+**Film Reference**: The Theory of Everything (2014) - Jane Hawking's perspective and arc as important as Stephen's.
+
+---
+
+### Rule 4: Thematic Truth Over Literal Truth
+
+**Description**: Capture the essence and meaning of the person's life, even if specific details are compressed or dramatized.
+
+**Why It Matters**: Dramatic truth serves the story; literal accuracy can be dramatically inert.
+
+**Examples**:
+- ✅ **Good**: Composite characters or compressed timeline that serves emotional truth
+- ❌ **Bad**: Inventing major events that contradict known facts or character
+
+**Film Reference**: Amadeus (1984) - Historically inaccurate but captures truth about genius and envy.
+
+---
+
+### Rule 5: Make It Universal
+
+**Description**: The specific life should illuminate universal human experiences - ambition, love, failure, redemption.
+
+**Why It Matters**: Audiences connect through shared humanity, not just admiration for achievements.
+
+**Examples**:
+- ✅ **Good**: Specific story that resonates with universal themes
+- ❌ **Bad**: "Greatest hits" of achievements with no emotional core
+
+**Film Reference**: Milk (2008) - Harvey Milk's specific struggle illuminates universal fight for equality.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Introduce subject in their world, establish what they want or what drives them, inciting incident that launches main conflict
+- **Act II**: Pursuit of goal, obstacles and setbacks, relationships tested, character transformation begins
+- **Act III**: Climax of main conflict, resolution (triumph, tragedy, or both), epilogue showing legacy or outcome
+
+### Pacing
+
+- Start in medias res or at crucial moment, not necessarily birth
+- Use flashbacks sparingly and purposefully
+- Montages for passage of time or achievements
+- Focus on key moments that reveal character
+- Epilogue can provide historical context or outcome
+
+### Character Archetypes
+
+- **Protagonist**: The biographical subject with clear wants and flaws
+- **Antagonist**: Rival, system, or internal demons opposing protagonist
+- **Supporting**: Family, mentors, collaborators, witnesses - all fully realized
+
+### Tone and Atmosphere
+
+- Varies by subject (inspirational, tragic, complex)
+- Intimate even when depicting public figures
+- Emotional authenticity over reverence
+- Can be celebratory or critical
+- Often reflective on legacy and meaning
+
+### Visual Style
+
+- Period-appropriate production design
+- Visual motifs reflecting subject's work or life
+- Intimate cinematography for personal moments
+- Can use stylistic choices to reflect subject's art or perspective
+- Archival footage or photos in epilogue
+
+### Dialogue
+
+- Research subject's actual speech patterns and vocabulary
+- Balance authenticity with accessibility
+- Key quotes from real life can be powerful
+- Avoid over-explaining achievements - show don't tell
+- Subtext in personal relationships
+
+## Common Pitfalls
+
+### Pitfall 1: Cradle-to-Grave Structure
+
+**Problem**: Trying to cover entire life results in superficial greatest-hits montage.
+
+**Solution**: Focus on specific period or theme with clear dramatic arc.
+
+**Example**: Steve Jobs (2015) - Three product launches, not entire life.
+
+---
+
+### Pitfall 2: Hagiography
+
+**Problem**: Worshipful portrayal that ignores flaws or complexity.
+
+**Solution**: Show subject as fully human - flawed, contradictory, complex.
+
+**Example**: Walk the Line (2005) - Johnny Cash's addiction and failures alongside his talent.
+
+---
+
+### Pitfall 3: Explaining Instead of Showing
+
+**Problem**: Characters explaining subject's importance or achievements instead of dramatizing them.
+
+**Solution**: Show the work, the struggle, the impact through action and consequence.
+
+**Example**: Whiplash (2014) - Shows the brutal pursuit of musical excellence, doesn't explain it.
+
+---
+
+## Film Examples
+
+### Example 1: Raging Bull (1980)
+
+**Director**: Martin Scorsese
+
+**Why It Works**: Brutal, unflinching portrait of boxer Jake LaMotta. Genius and self-destruction intertwined.
+
+**Key Scenes**:
+- **Sugar Ray Robinson Fight**: Stylized violence as character expression
+- **"You never got me down, Ray"**: Pride and delusion
+- **"I'm not an animal"**: Broken man confronting his nature
+
+**Techniques Used**:
+- Black and white cinematography
+- Expressionistic fight sequences
+- Unflinching portrayal of protagonist's flaws
+- Character study over achievement celebration
+
+---
+
+### Example 2: The Social Network (2010)
+
+**Director**: David Fincher
+
+**Why It Works**: Facebook's founding as character study of ambition, betrayal, and loneliness.
+
+**Key Scenes**:
+- **Opening Breakup**: Establishes Zuckerberg's social dysfunction
+- **Depositions**: Multiple perspectives on events
+- **"You're not an asshole, Mark. You're just trying so hard to be"**: Lonely at the top
+
+**Techniques Used**:
+- Dual timeline (flashbacks and depositions)
+- Fast-paced dialogue (Aaron Sorkin)
+- Multiple perspectives on same events
+- Recent history treated as drama
+
+---
+
+### Example 3: Milk (2008)
+
+**Director**: Gus Van Sant
+
+**Why It Works**: Harvey Milk's activism and assassination. Personal and political intertwined.
+
+**Key Scenes**:
+- **Castro Street**: Building community and movement
+- **Prop 6 Campaign**: Political struggle with personal stakes
+- **Assassination**: Tragic culmination of political and personal threats
+
+**Techniques Used**:
+- Archival footage integrated with drama
+- Political struggle as personal journey
+- Supporting characters fully realized
+- Tragic ending with hopeful legacy
+
+---
+
+### Example 4: I, Tonya (2017)
+
+**Director**: Craig Gillespie
+
+**Why It Works**: Tonya Harding's story through multiple unreliable perspectives. Darkly comic and tragic.
+
+**Key Scenes**:
+- **Breaking Fourth Wall**: Characters directly address camera
+- **"America's Sweetheart"**: Class and image in figure skating
+- **The Incident**: Multiple contradictory versions of same event
+
+**Techniques Used**:
+- Unreliable narrators with conflicting accounts
+- Dark comedy mixed with tragedy
+- Class commentary through sports
+- Sympathy for controversial figure
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Ambition and Success**: Drive to achieve greatness
+- **Genius and Madness**: Talent and its costs
+- **Redemption**: Overcoming past or finding meaning
+- **Legacy**: What we leave behind
+- **Individual vs. System**: Fighting institutions or norms
+
+### Compatible Styles
+
+- **Traditional Biopic**: Straightforward life story (The King's Speech, The Theory of Everything)
+- **Stylized Biopic**: Artistic interpretation (Raging Bull, I'm Not There)
+- **Ensemble Biopic**: Multiple perspectives (The Social Network, I, Tonya)
+- **Musical Biopic**: Musicians' lives (Walk the Line, Bohemian Rhapsody)
+
+### Hybrid Combinations
+
+- **Biopic + Drama**: Character-driven life stories (Capote, The Aviator)
+- **Biopic + Thriller**: Dangerous lives (Catch Me If You Can, American Gangster)
+- **Biopic + Musical**: Musicians and performers (Ray, Rocketman)
+- **Biopic + Historical**: Historical figures (Lincoln, Gandhi)
+
+## Best Practices
+
+1. **Find the Arc**: Specific period or theme, not entire life
+2. **Humanize the Subject**: Flaws and complexity, not worship
+3. **Thematic Focus**: What is this life really about?
+4. **Active Supporting Cast**: Fully realized characters around subject
+5. **Show the Work**: Dramatize achievements, don't explain them
+6. **Emotional Truth**: Essence over literal accuracy
+7. **Universal Themes**: Specific life illuminating shared humanity
+8. **Avoid Greatest Hits**: Select moments that reveal character
+9. **Research Deeply**: Know the subject intimately
+10. **Respect Complexity**: Real people are contradictory
+
+## Resources
+
+- "The Art of Adaptation" by Linda Seger - Includes biopic structure
+- "Raging Bull" screenplay by Paul Schrader and Mardik Martin
+- "The Social Network" screenplay by Aaron Sorkin - Modern biopic masterclass
+- "Into the Wild" by Jon Krakauer - Biographical narrative structure
+- "Steve Jobs" screenplay by Aaron Sorkin - Three-act structure in real-time
+
+---
+
+**Depth Coverage**: 85%
+**Last Updated**: 2026-01-31
+**Version**: 1.0.0
+

package/augment-extensions/writing-standards/screenplay/genres/rules/comedy.md

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+# Comedy Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: High
+
+## Overview
+
+Comedy films prioritize humor, laughter, and entertainment through wit, physical gags, situational irony, and character-based humor. The genre emphasizes timing, surprise, and the subversion of expectations.
+
+## Core Concept
+
+Comedy screenplays are built around creating laughter through character flaws, misunderstandings, absurd situations, or clever wordplay. Success depends on establishing a comedic tone early, maintaining consistent logic within the absurdity, and balancing humor with genuine emotion or stakes.
+
+## Core Rules
+
+### Rule 1: Establish the Comedic Tone Immediately
+
+**Description**: The first 5-10 pages must signal to the audience what kind of comedy this is and what to expect.
+
+**Why It Matters**: Audiences need to calibrate their expectations. Tonal confusion kills comedy.
+
+**Examples**:
+- ✅ **Good**: Opening scene demonstrates the specific type of humor (slapstick, witty banter, awkward situations)
+- ❌ **Bad**: First 20 pages are serious drama, then comedy appears randomly
+
+**Film Reference**: Airplane! (1980) - Absurdist humor established in the first minute.
+
+---
+
+### Rule 2: Comedy Comes from Character
+
+**Description**: The funniest moments arise from characters behaving consistently with their established personalities, not from random jokes.
+
+**Why It Matters**: Character-based comedy is sustainable and emotionally resonant. Random jokes feel disconnected.
+
+**Examples**:
+- ✅ **Good**: Uptight character's rigid behavior creates humor in chaotic situations
+- ❌ **Bad**: Characters act out of character just to deliver a punchline
+
+**Film Reference**: The Big Lebowski (1998) - The Dude's laid-back personality creates humor in every situation.
+
+---
+
+### Rule 3: Rule of Three
+
+**Description**: Comedic patterns work best in threes - setup, reinforcement, payoff/subversion.
+
+**Why It Matters**: Two is predictable, four is repetitive. Three is the sweet spot for comedic rhythm.
+
+**Examples**:
+- ✅ **Good**: Character fails twice in similar ways, third attempt succeeds in unexpected manner
+- ❌ **Bad**: Same joke repeated five times with no variation
+
+**Film Reference**: Hot Fuzz (2007) - "The greater good" repeated three times for comedic effect.
+
+---
+
+### Rule 4: Escalate the Absurdity
+
+**Description**: Each comedic set piece should be more outrageous than the last, while maintaining internal logic.
+
+**Why It Matters**: Escalation maintains energy and prevents the comedy from feeling flat or repetitive.
+
+**Examples**:
+- ✅ **Good**: Small lie → bigger lie to cover first lie → elaborate scheme to maintain lies → complete chaos
+- ❌ **Bad**: Same level of absurdity throughout with no escalation
+
+**Film Reference**: Liar Liar (1997) - Jim Carrey's inability to lie escalates from minor to catastrophic.
+
+---
+
+### Rule 5: Subvert Expectations
+
+**Description**: Set up audience expectations, then deliver something unexpected but logical in hindsight.
+
+**Why It Matters**: Surprise is essential to comedy. Predictable jokes aren't funny.
+
+**Examples**:
+- ✅ **Good**: Setup suggests one outcome, deliver a different but equally logical outcome
+- ❌ **Bad**: Telegraphed punchlines the audience sees coming
+
+**Film Reference**: Monty Python and the Holy Grail (1975) - Constant subversion of medieval epic expectations.
+
+---
+
+### Rule 6: Ground Comedy in Truth
+
+**Description**: Even absurd comedy should be rooted in recognizable human behavior, emotions, or situations.
+
+**Why It Matters**: Audiences connect with truth. Grounded comedy is more relatable and sustainable.
+
+**Examples**:
+- ✅ **Good**: Exaggerated version of real awkward social situations
+- ❌ **Bad**: Random absurdity with no connection to reality
+
+**Film Reference**: The Office (2005-2013) - Workplace comedy grounded in real office dynamics.
+
+---
+
+### Rule 7: Timing is Everything
+
+**Description**: Comedic beats need proper setup, breathing room, and precise delivery timing on the page.
+
+**Why It Matters**: Rushed or poorly timed jokes fall flat. White space and pacing create rhythm.
+
+**Examples**:
+- ✅ **Good**: Setup... brief pause... punchline. New paragraph for reaction.
+- ❌ **Bad**: Setup and punchline crammed together with no breathing room
+
+**Film Reference**: Arrested Development (2003-2019) - Masterful comedic timing and callbacks.
+
+---
+
+### Rule 8: Create Comedic Conflict
+
+**Description**: Comedy should arise from genuine conflict between characters, goals, or values.
+
+**Why It Matters**: Conflict creates stakes and makes the comedy meaningful, not just random gags.
+
+**Examples**:
+- ✅ **Good**: Two characters with opposing goals forced to work together
+- ❌ **Bad**: Characters tell jokes at each other with no real conflict
+
+**Film Reference**: The Odd Couple (1968) - Conflict between neat freak and slob drives all comedy.
+
+---
+
+### Rule 9: Balance Humor with Heart
+
+**Description**: Audiences need to care about characters and outcomes, not just laugh at them.
+
+**Why It Matters**: Pure mockery becomes mean. Emotional investment makes comedy more satisfying.
+
+**Examples**:
+- ✅ **Good**: We laugh with characters we care about, not just at them
+- ❌ **Bad**: Characters are punching bags with no depth or sympathy
+
+**Film Reference**: Groundhog Day (1993) - Bill Murray's character growth gives comedy emotional weight.
+
+---
+
+### Rule 10: Maintain Internal Logic
+
+**Description**: Even in absurd comedy, the world must follow its own established rules consistently.
+
+**Why It Matters**: Inconsistent logic feels lazy. Consistent absurdity is funnier.
+
+**Examples**:
+- ✅ **Good**: If magic exists, it follows specific rules that create comedic situations
+- ❌ **Bad**: Rules change based on what's convenient for the joke
+
+**Film Reference**: Ghostbusters (1984) - Supernatural elements follow consistent rules that enable comedy.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Establish comedic tone, introduce flawed protagonist, inciting incident creates comedic situation (pages 1-25)
+- **Act II**: Escalating comedic complications, character's flaws make things worse, false victory, all seems lost (pages 25-85)
+- **Act III**: Final comedic set piece, character growth resolves situation, emotional payoff (pages 85-110)
+
+### Pacing
+
+- Joke or comedic moment every page (at minimum)
+- Major comedic set piece every 10-15 pages
+- Vary joke types (verbal, physical, situational, character-based)
+- Allow brief emotional beats between major comedic sequences
+- Build to biggest laugh in climax
+
+### Character Archetypes
+
+- **Protagonist**: Flawed but likable, often oblivious to their own ridiculousness
+- **Straight Man**: Reacts to absurdity, grounds the comedy
+- **Comic Relief**: Intentionally funny character (use sparingly in comedy - everyone should be funny)
+- **Antagonist**: Often uptight, rigid, or representing what protagonist must overcome
+
+### Tone and Atmosphere
+
+- Consistent comedic voice throughout
+- Optimistic and playful
+- Self-aware without being meta (unless that's the style)
+- Energetic pacing
+- Subgenre-specific (slapstick vs. witty vs. dark comedy)
+
+### Visual Style
+
+- Physical comedy requires clear staging
+- Reaction shots are crucial
+- Visual gags in background
+- Exaggerated but readable expressions
+- Timing indicated through white space and formatting
+
+### Dialogue
+
+- Wit and wordplay
+- Subtext and irony
+- Callbacks and running gags
+- Rhythm and musicality
+- Character-specific speech patterns that create humor
+
+## Common Pitfalls
+
+### Pitfall 1: Jokes Without Story
+
+**Problem**: String of unconnected gags with no narrative throughline.
+
+**Solution**: Every joke should serve character or plot. Comedy enhances story, doesn't replace it.
+
+**Example**: Jokes arise from character trying to achieve their goal, not random asides.
+
+---
+
+### Pitfall 2: Mean-Spirited Humor
+
+**Problem**: Laughing at characters' pain without empathy or growth.
+
+**Solution**: Make characters sympathetic. Earn the right to mock them by making them human first.
+
+**Example**: We laugh at their mistakes because we relate, not because we're cruel.
+
+---
+
+### Pitfall 3: Explaining the Joke
+
+**Problem**: Characters or narration explain why something is funny.
+
+**Solution**: Trust the audience. If a joke needs explanation, it's not working.
+
+**Example**: Let the situation speak for itself. Cut any line that says "That's funny because..."
+
+---
+
+### Pitfall 4: Inconsistent Tone
+
+**Problem**: Shifting between comedy styles or mixing comedy with drama clumsily.
+
+**Solution**: Establish your comedic voice early and maintain it. Emotional moments should feel earned, not jarring.
+
+**Example**: Dramedy requires careful balance - don't undercut serious moments with inappropriate jokes.
+
+---
+
+### Pitfall 5: Relying on References
+
+**Problem**: Jokes depend entirely on pop culture references that will date quickly.
+
+**Solution**: Use references sparingly. Focus on character and situation-based humor that's timeless.
+
+**Example**: Character-based humor from Groundhog Day still works decades later; topical references from 1993 don't.
+
+---
+
+## Film Examples
+
+### Example 1: Groundhog Day (1993)
+
+**Director**: Harold Ramis
+
+**Why It Works**: High-concept premise, character growth, perfect balance of humor and heart.
+
+**Key Scenes**:
+- **First Loop**: Establishes the comedic premise
+- **Montage of Attempts**: Escalating absurdity as Phil tries different approaches
+- **Piano Lesson**: Emotional depth beneath the comedy
+
+**Techniques Used**:
+- Repetition with variation
+- Character transformation through comedy
+- Grounded fantasy premise
+- Emotional payoff
+
+---
+
+### Example 2: The Big Lebowski (1998)
+
+**Director**: Joel and Ethan Coen
+
+**Why It Works**: Unique characters, quotable dialogue, absurd situations grounded in character.
+
+**Key Scenes**:
+- **Rug Peed On**: Inciting incident is perfectly absurd
+- **Bowling Alley**: Character dynamics create constant humor
+- **Dream Sequence**: Surreal comedy that fits the tone
+
+**Techniques Used**:
+- Character-based humor
+- Quotable dialogue
+- Absurdist situations
+- Consistent tone
+
+---
+
+### Example 3: Airplane! (1980)
+
+**Director**: Jim Abrahams, David Zucker, Jerry Zucker
+
+**Why It Works**: Rapid-fire jokes, visual gags, parody done right, commitment to absurdity.
+
+**Key Scenes**:
+- **"Don't call me Shirley"**: Wordplay and deadpan delivery
+- **Autopilot**: Visual gag taken to extreme
+- **"I picked the wrong week to quit smoking"**: Running gag escalation
+
+**Techniques Used**:
+- Joke density (multiple jokes per page)
+- Deadpan delivery of absurdity
+- Visual and verbal gags layered
+- Parody with love for source material
+
+---
+
+### Example 4: Bridesmaids (2011)
+
+**Director**: Paul Feig
+
+**Why It Works**: Female-driven comedy, emotional authenticity, mix of crude and heartfelt humor.
+
+**Key Scenes**:
+- **Bridal Shop Food Poisoning**: Physical comedy with character stakes
+- **Airplane Freakout**: Escalating absurdity from character flaw
+- **Reconciliation**: Emotional payoff earned through comedy
+
+**Techniques Used**:
+- Character flaws drive comedy
+- Balance crude and sweet
+- Female friendship as foundation
+- Emotional stakes
+
+---
+
+### Example 5: Hot Fuzz (2007)
+
+**Director**: Edgar Wright
+
+**Why It Works**: Genre parody, visual comedy, tight plotting, callbacks and payoffs.
+
+**Key Scenes**:
+- **Paperwork Montage**: Action movie editing for mundane tasks
+- **"The greater good"**: Running gag with payoff
+- **Final Shootout**: Action parody with comedic commitment
+
+**Techniques Used**:
+- Visual comedy and editing
+- Setup and payoff
+- Genre awareness
+- Commitment to premise
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Growth**: Character learns through comedic mistakes (Groundhog Day)
+- **Love**: Romantic comedy (When Harry Met Sally)
+- **Identity**: Character discovers themselves through humor (Tootsie)
+- **Friendship**: Bonds formed through shared absurdity (Superbad)
+
+### Compatible Styles
+
+- **Linear**: Traditional comedy structure (most comedies)
+- **Ensemble**: Multiple comedic characters (The Hangover)
+- **Satirical**: Social commentary through humor (Dr. Strangelove)
+
+### Hybrid Combinations
+
+- **Rom-Com**: Romance + Comedy (When Harry Met Sally, The Proposal)
+- **Action-Comedy**: Action + Comedy (Rush Hour, The Nice Guys)
+- **Horror-Comedy**: Horror + Comedy (Shaun of the Dead, What We Do in the Shadows)
+- **Dramedy**: Drama + Comedy (Little Miss Sunshine, The Royal Tenenbaums)
+
+## Best Practices
+
+1. **Establish tone in first 5 pages** - Audience needs to know what kind of comedy to expect
+2. **Make characters funny, not just situations** - Character-based comedy is sustainable
+3. **Use the rule of three** - Setup, reinforcement, payoff/subversion
+4. **Escalate the absurdity** - Each set piece should top the last
+5. **Ground comedy in truth** - Exaggerate reality, don't abandon it
+6. **Balance humor with heart** - Audiences need to care, not just laugh
+7. **Vary your joke types** - Mix verbal, physical, situational, and character-based humor
+8. **Trust the audience** - Don't explain jokes or telegraph punchlines
+9. **Maintain internal logic** - Even absurd worlds need consistent rules
+10. **Rewrite for rhythm** - Comedy is about timing; read dialogue aloud
+
+## Resources
+
+- "The Comic Toolbox" by John Vorhaus
+- "Writing the Comedy Film" by Stuart Voytilla and Scott Petri
+- "Poking a Dead Frog" by Mike Sacks
+- "The Hidden Tools of Comedy" by Steve Kaplan
+- Study: Groundhog Day, The Big Lebowski, Airplane!, Bridesmaids, Hot Fuzz, Arrested Development
+
+---
+
+**Depth Coverage**: 85%  
+**Last Updated**: 2026-01-31  
+**Version**: 1.0.0
+