@mytechtoday/augment-extensions 1.5.2 → 1.6.1

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sydney-pollack/module.json

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+{
+  "name": "cinematic-styles-directors-sydney-pollack",
+  "version": "1.0.0",
+  "displayName": "Sydney Pollack Style Guide",
+  "description": "Screenplay style guide for Sydney Pollack",
+  "type": "writing-standards",
+  "category": "screenplay/cinematic-styles/directors",
+  "tags": [
+    "screenplay",
+    "cinematic-style",
+    "director",
+    "auteur",
+    "sydney-pollack"
+  ],
+  "dependencies": {
+    "required": [],
+    "optional": [
+      "writing-standards/screenplay"
+    ]
+  },
+  "augment": {
+    "characterCount": 5000,
+    "priority": "medium",
+    "category": "cinematic-styles",
+    "appliesTo": {
+      "filePatterns": [
+        "**/*.fountain",
+        "**/*.screenplay",
+        "**/screenplay/**/*.md",
+        "**/screenplays/**/*"
+      ],
+      "languages": [
+        "fountain",
+        "markdown"
+      ]
+    }
+  },
+  "installation": {
+    "required": false,
+    "steps": [
+      "Link module: augx link writing-standards/screenplay/cinematic-styles/directors/sydney-pollack",
+      "Configure active style in .augment/screenplay-config.json"
+    ]
+  },
+  "contents": {
+    "rules": [
+      "sydney-pollack.md"
+    ]
+  }
+}

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sydney-pollack/rules/sydney-pollack.md

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+# Sydney Pollack-Type Films - Screenplay Style Guide
+
+## Table of Contents
+- [Table of Contents](#table-of-contents)
+- [The Character-Driven Dramatic Epic](#the-character-driven-dramatic-epic)
+- [Overview](#overview)
+- [Core Principles](#core-principles)
+  - [1. **Character Depth Over Plot Mechanics**](#1-character-depth-over-plot-mechanics)
+  - [2. **Subtle Dialogue with Profound Subtext**](#2-subtle-dialogue-with-profound-subtext)
+  - [3. **Balanced Ensemble Through Relational Dynamics**](#3-balanced-ensemble-through-relational-dynamics)
+  - [4. **Elegant Visuals Grounded in Emotional Reality**](#4-elegant-visuals-grounded-in-emotional-reality)
+- [Narrative Structure](#narrative-structure)
+  - [The Pollack Three-Act Formula](#the-pollack-three-act-formula)
+- [Character Development](#character-development)
+  - [The Complex Protagonist](#the-complex-protagonist)
+  - [Pollack Character Archetypes](#pollack-character-archetypes)
+- [Scene Construction](#scene-construction)
+  - [The "Intimate Confrontation" Scene](#the-intimate-confrontation-scene)
+  - [The "Moral Dilemma" Scene](#the-moral-dilemma-scene)
+  - [The "Romantic Epiphany" Scene](#the-romantic-epiphany-scene)
+  - [The "Ethical Reckoning" Scene](#the-ethical-reckoning-scene)
+
+## The Character-Driven Dramatic Epic
+
+**Films Analyzed**: 
+- They Shoot Horses, Don't They? (1969)
+- Jeremiah Johnson (1972)
+- The Way We Were (1973)
+- Three Days of the Condor (1975)
+- The Yakuza (1975)
+- Bobby Deerfield (1977)
+- The Electric Horseman (1979)
+- Absence of Malice (1981)
+- Tootsie (1982)
+- Out of Africa (1985)
+- Havana (1990)
+- The Firm (1993)
+- Sabrina (1995)
+- Random Hearts (1999)
+- The Interpreter (2005)
+- Sketches of Frank Gehry (2005, documentary, for stylistic insights)
+- Additional Influences: Pollack's acting roles in films like Eyes Wide Shut (1999) and Michael Clayton (2007), which echo his directorial themes of moral complexity and human vulnerability.
+
+**Primary Directors and Collaborators**: Sydney Pollack (primary director), with key screenwriters such as Robert Towne (The Yakuza, The Firm), Alvin Sargent (The Way We Were), Lorenzo Semple Jr. and David Rayfiel (Three Days of the Condor), Kurt Luedtke (Out of Africa, Absence of Malice), and collaborations with stars like Robert Redford, Meryl Streep, Dustin Hoffman, Tom Cruise, and Nicole Kidman. Pollack's style often involved close partnerships with writers to refine scripts for emotional authenticity and narrative depth.
+
+**Genre**: Character-Driven Drama / Romantic Thriller / Moral Epic  
+**Core Concept**: Intimate explorations of human frailty, moral dilemmas, and personal transformation set against sweeping social, political, or cultural backdrops, emphasizing subtle performances, elegant visuals, and layered storytelling that prioritizes emotional truth over spectacle.
+
+---
+
+## Overview
+
+Sydney Pollack's filmmaking legacy is defined by a sophisticated blend of intellectual depth, emotional resonance, and visual elegance. His films often adapt literary sources or real-life inspirations into narratives that probe the complexities of human relationships, ethical ambiguities, and the intersection of personal lives with larger historical or societal forces. Unlike the bombastic action of superhero epics, Pollack-type films thrive on understatement, allowing character motivations and interpersonal dynamics to drive the plot. This style guide distills the essential techniques that make Pollack's work enduringly compelling: a focus on authentic dialogue, nuanced character arcs, and a cinematic language that uses location, cinematography, and pacing to enhance thematic depth.
+
+Pollack's approach revolutionized dramatic filmmaking by treating audiences as intelligent participants in the story, inviting them to grapple with moral gray areas rather than providing easy resolutions. His films balance intimate character studies with broader canvases—whether the vast African landscapes of Out of Africa or the claustrophobic intrigue of Three Days of the Condor—creating a sense of epic intimacy. This guide explores how to replicate that balance in screenplays, drawing from Pollack's oeuvre to provide actionable principles for writers aiming to craft films that linger in the mind long after the credits roll.
+
+In Pollack-type films, the narrative is never rushed; instead, it unfolds with a deliberate rhythm that mirrors the characters' internal journeys. Visuals are not mere backdrop but integral to storytelling, often symbolizing emotional states or thematic contrasts. Dialogue is sparse yet profound, revealing subtext through what is unsaid as much as what is spoken. Characters are flawed, multifaceted individuals whose decisions stem from deep-seated motivations, making their stories universally relatable despite often exotic or high-stakes settings.
+
+This style emphasizes collaboration in the writing process, much like Pollack's own method of workshopping scripts with actors and writers to hone authenticity. The result is cinema that feels lived-in, with performances that transcend the page through subtle gestures and unspoken tensions. By following this guide, screenwriters can create works that echo Pollack's mastery of blending personal drama with universal themes, ensuring emotional investment and intellectual engagement.
+
+---
+
+## Core Principles
+
+### 1. **Character Depth Over Plot Mechanics**
+In Pollack-type films, every plot development emerges organically from character choices and internal conflicts, ensuring that the story feels driven by human agency rather than contrived events.
+
+**Key Philosophy**:
+- Characters are the engine of the narrative; plot serves to illuminate their psyches.
+- Moral ambiguities define actions—heroes are not infallible, villains are often sympathetic.
+- Personal transformation occurs through relational dynamics, not isolated epiphanies.
+- Themes of isolation, connection, and ethical compromise are woven into character backstories.
+
+**Examples from Films**:
+- In Out of Africa, Karen Blixen's (Meryl Streep) independence and romantic idealism clash with the harsh realities of colonial Kenya, symbolized by her farm's struggles and her affair with Denys Finch Hatton (Robert Redford). Her arc isn't about conquering the land but accepting loss and impermanence.
+- Three Days of the Condor features Joe Turner (Robert Redford), a CIA analyst whose intellectual curiosity leads to paranoia and moral reckoning; his survival depends on questioning institutional loyalties.
+- Tootsie showcases Michael Dorsey (Dustin Hoffman), whose cross-dressing disguise forces him to confront his own sexism and emotional unavailability, turning a comedy into a profound character study.
+- The Firm's Mitch McDeere (Tom Cruise) grapples with ambition versus integrity, his legal prowess undermined by ethical compromises in a corrupt firm.
+- Absence of Malice explores Megan Carter's (Sally Field) journalistic zeal, which blinds her to the human cost of her stories, leading to a crisis of conscience.
+
+**Writing Approach**:
+To embody this principle, screenwriters should begin by crafting detailed character biographies that include psychological motivations, past traumas, and relational histories. Avoid plot twists that feel external; instead, let revelations stem from character interactions.
+WRONG: "Mitch discovers the firm's corruption through a anonymous tip."
+RIGHT: "Mitch pores over files late at night, his ambition fueling his diligence. A discrepancy catches his eye—not just numbers, but the human stories behind them. Avery's (Gene Hackman) casual dismissal of ethics echoes Mitch's own doubts about his marriage and career. He confronts Abby (Jeanne Tripplehorn), his vulnerability cracking: 'What if we're part of something rotten?' This personal exchange propels him deeper into the investigation."
+
+Expand on this by ensuring every scene reveals a layer of character. For instance, in romantic subplots, use physical proximity to highlight emotional distance, as in The Way We Were where Katie Morosky (Barbra Streisand) and Hubbell Gardiner (Robert Redford) share passionate moments undercut by ideological differences. Verbose development here involves describing not just actions but internal monologues implied through dialogue pauses and visual cues.
+
+Further, integrate thematic motifs early: In Havana, Jack Weil's (Robert Redford) gambling addiction mirrors his risky romance amid the Cuban Revolution, symbolizing the gamble of love in turbulent times. Screenplays should layer these symbols subtly, allowing audiences to infer connections without overt exposition.
+
+This principle demands verbosity in character descriptions: Dedicate pages to exploring backstories through flashbacks or conversations that feel natural, not info-dumps. For example, in Random Hearts, Dutch Van Den Broeck (Harrison Ford) and Kay Chandler (Kristin Scott Thomas) bond over shared grief, their dialogues meandering through personal histories to build authentic connection.
+
+### 2. **Subtle Dialogue with Profound Subtext**
+Dialogue in Pollack-type films is economical yet loaded, relying on implication, pauses, and non-verbal cues to convey deeper meanings.
+
+**Dialogue Guidelines**:
+- **Revelation through restraint** - Characters say less than they feel, creating tension.
+- **Subtext drives conflict** - Unspoken desires or resentments fuel interactions.
+- **Authentic rhythms** - Speech patterns reflect social class, era, or cultural background.
+- **Emotional layering** - Humor, irony, or deflection mask vulnerability.
+
+**Dialogue Ratio**:
+- Intimate scenes: 50% spoken, 50% implied through silence or action.
+- Confrontational scenes: 60% direct, 40% evasive or metaphorical.
+- Ensemble moments: Balanced exchanges that reveal group dynamics without chaos.
+
+**Character Voice Examples**:
+KAREN BLIXEN (Out of Africa) (Poetic, resilient, introspective)
+I had a farm in Africa, at the foot of the Ngong Hills. The equator runs across these highlands, a hundred miles to the north, and the farm lay at an altitude of over six thousand feet. In the day-time you felt that you had got high up, near to the sun, but the early mornings and evenings were limpid and restful, and the nights were cold.
+JOE TURNER (Three Days of the Condor) (Paranoid, intellectual, urgent)
+I told them a story. You play games, I told them a story. 'Oh, that's nice,' they said. 'You have imagination.' But I was wrong. It wasn't a story at all. It was real.
+MICHAEL DORSEY (Tootsie) (Sarcastic, defensive, transformative)
+I was a better man with you as a woman than I ever was with a woman as a man. Know what I mean?
+MITCH MCDEERE (The Firm) (Ambitious, conflicted, determined)
+I didn't come from money. I worked my way through Harvard waiting tables. This firm... it's everything I dreamed of. But if it's built on lies, what does that make me?
+MEGAN CARTER (Absence of Malice) (Driven, ethical, regretful)
+The truth is a commodity, Michael. And sometimes, it's expensive.
+ARTURO DURAN (Havana) (Passionate, revolutionary, romantic)
+In Cuba, we fight for what we believe. But love... love is the real revolution.
+
+To expand verbosely, consider how dialogue evolves across a film's arc. In early scenes, characters use banter to test boundaries, as in Sabrina where Linus Larrabee (Harrison Ford) and Sabrina Fairchild (Julia Ormond) exchange witty remarks that hide growing attraction. Mid-film, dialogues deepen into confessions, revealing vulnerabilities. By the climax, words carry the weight of accumulated history, often leading to cathartic releases.
+
+Avoid redundancy by varying sentence structures: Mix short, punchy lines with longer, reflective monologues. In The Interpreter, Silvia Broome's (Nicole Kidman) multilingual background informs her precise, evasive speech, contrasting with Sean Penn's Tobin Keller's blunt interrogations.
+
+### 3. **Balanced Ensemble Through Relational Dynamics**
+Even in films with central protagonists, supporting characters are fully realized, their interactions shaping the lead's journey.
+
+**Ensemble Techniques**:
+- **Interdependent arcs** - No character exists in isolation; relationships catalyze growth.
+- **Contrasting perspectives** - Pair characters with opposing worldviews for dramatic tension.
+- **Subtle power shifts** - Dynamics evolve, reflecting thematic changes.
+- **Cultural or social contrasts** - Use backgrounds to highlight themes of connection and division.
+
+**Pairing Examples from Films**:
+- Karen and Denys (Out of Africa) - Independence vs. freedom, colonial settler vs. adventurer.
+- Joe and Kathy (Three Days of the Condor) - Trust vs. suspicion, intellectual vs. everyday survivor.
+- Michael and Julie (Tootsie) - Gender roles reversed, leading to mutual respect.
+- Mitch and Avery (The Firm) - Mentee vs. mentor, idealism vs. cynicism.
+- Megan and Michael (Absence of Malice) - Journalist vs. subject, ethics vs. justice.
+- Jack and Roberta (Havana) - Cynic vs. idealist, amid revolution.
+
+**Writing Approach**:
+ENSEMBLE SCENE STRUCTURE:
+
+Establish relational context (shared history or immediate tension).
+Exchange perspectives (dialogue reveals differing motivations).
+Build to conflict (unspoken issues surface subtly).
+Partial resolution (shift in understanding, not full closure).
+Foreshadow growth (hint at future dynamics).
+
+
+Verbosity here involves detailing non-verbal elements: In scenes, describe glances, body language, and environmental influences. For instance, in The Way We Were, Katie and Hubbell's arguments are heightened by period settings—McCarthy-era paranoia adding layers to their ideological clashes. Expand with multiple variants: Romantic pairs emphasize intimacy, professional ones focus on power, familial on legacy.
+
+### 4. **Elegant Visuals Grounded in Emotional Reality**
+Spectacle is subtle, with cinematography serving emotional and thematic purposes.
+
+**Visual Principles**:
+- **Location as character** - Settings symbolize internal states (e.g., Africa's vastness for isolation).
+- **Naturalistic lighting** - Soft, realistic to enhance authenticity.
+- **Long takes for tension** - Allow performances to breathe.
+- **Symbolic motifs** - Recurring images reinforce themes without overtness.
+
+**Cinematic Philosophy**:
+NOT: Flashy cuts for excitement.
+BUT: A lingering shot on Karen's face as she watches Denys fly away, the African horizon blurring her tears, symbolizing unattainable freedom. The camera pulls back slowly, emphasizing her solitude amid the expansive landscape.
+
+To achieve verbosity, describe visual styles in depth: Pollack's use of widescreen compositions in Out of Africa to contrast human scale with nature's grandeur. In thrillers like The Firm, tight framing builds paranoia, with shadows suggesting hidden threats. Expand with comparisons to collaborators like cinematographer John Seale (The Firm) or Owen Roizman (Tootsie), noting how their techniques amplify Pollack's vision.
+
+---
+
+## Narrative Structure
+
+### The Pollack Three-Act Formula
+
+#### Act 1: Establishment of World and Inner Conflict (0-30 minutes)
+**Goal**: Introduce the protagonist's status quo, hint at dissatisfaction, and present the inciting dilemma.
+
+**Key Elements**:
+- **Character immersion** - Show daily life through actions revealing personality.
+- **Thematic setup** - Establish moral or emotional landscape.
+- **Relational hooks** - Introduce key relationships with subtle tensions.
+- **Inciting incident** - A disruption that forces introspection.
+- **Foreshadowing** - Hint at larger conflicts without revealing all.
+
+**Pacing**:
+- Deliberate build-up, with visual exposition over dialogue.
+- Emotional undercurrents in mundane scenes.
+- Hook by minute 15 with a personal revelation.
+
+**Examples**:
+- Out of Africa: Karen arrives in Kenya, marries Bror, establishes farm—her optimism clashes with colonial realities.
+- Three Days of the Condor: Joe's routine CIA work turns deadly with a massacre, forcing him on the run.
+- Tootsie: Michael's acting struggles lead to his desperate disguise as Dorothy.
+- The Firm: Mitch's job offer promises success but hints at underlying corruption.
+- Absence of Malice: Megan's story publication sets off ethical chain reactions.
+
+Verbosity: Expand each example with scene breakdowns. For Out of Africa, describe the train journey to Kenya: Karen's elegant attire contrasting dusty landscapes, her voiceover narrating expectations vs. reality. Detail dialogue snippets, visual motifs (e.g., wildlife symbolizing untamed emotions), and how this act sets up arcs.
+
+#### Act 2A: Escalation of Dilemmas and Alliances (30-60 minutes)
+**Goal**: Deepen conflicts, form alliances or rivalries, and raise stakes through personal revelations.
+
+**Escalation Pattern**:
+1. **Initial response** - Protagonist attempts to maintain control.
+2. **Allies emerge** - Relationships tested and strengthened.
+3. **First confrontation** - Moral or emotional clash.
+4. **Deepening threat** - Personal costs become apparent.
+5. **Internal fracture** - Doubt creeps in.
+
+**Key Techniques**:
+- **Dialogue-driven exploration** - Conversations unpack backstories.
+- **Location shifts** - Move to new settings to mirror emotional changes.
+- **Subtle suspense** - Build tension through implication.
+- **Thematic integration** - Social issues intersect personal stories.
+
+Examples: In Havana, Jack's arrival in Cuba introduces revolutionary turmoil, his romance with Roberta escalating amid political upheaval. Verbose analysis: Break down scenes like the casino encounter, detailing wardrobe, music, and dialogue subtext to show cultural clash.
+
+#### Act 2B: Crisis and Moral Reckoning (60-90 minutes)
+**Goal**: Push characters to their lowest point, forcing confrontation with flaws.
+
+**Midpoint Crisis**:
+- **Major setback** - Loss of control or betrayal.
+- **Emotional nadir** - Isolation or grief.
+- **Relational breakdown** - Alliances strain.
+- **Self-doubt** - Question core beliefs.
+
+**Examples**:
+- Out of Africa: Karen's farm fails, Denys dies—culminating in profound loss.
+- The Firm: Mitch discovers FBI involvement, endangering his family.
+- Tootsie: Michael's dual life unravels, exposing lies.
+- Random Hearts: Revelations about spouses' affair shatter illusions.
+
+Expand: For each, provide multi-paragraph dissections, including alternative scripting approaches to heighten drama without melodrama.
+
+#### Act 3: Resolution and Transformation (90-120+ minutes)
+**Goal**: Characters confront truths, achieve bittersweet closure.
+
+**Resolution Principles**:
+- **Cathartic confrontation** - Direct but nuanced.
+- **Relational reconciliation** - Partial, realistic.
+- **Thematic payoff** - Insights into human condition.
+- **Open-ended elements** - Lingering ambiguities.
+
+**Climax Structure**:
+
+CONFRONTATION - Face the core conflict.
+REVELATION - Truths uncovered.
+SACRIFICE - Personal cost for growth.
+TRANSFORMATION - New understanding.
+AFTERMATH - Reflective closure.
+
+
+Examples: In The Interpreter, Silvia's testimony at the UN resolves intrigue but leaves emotional scars. Verbose: Detail pacing, visual transitions, and how voiceovers or music underscore themes.
+
+---
+
+## Character Development
+
+### The Complex Protagonist
+
+**Core Traits**:
+- **Layered motivations** - Ambition tempered by doubt.
+- **Moral ambiguity** - Choices in gray areas.
+- **Relational dependence** - Growth through others.
+- **Resilience amid vulnerability** - Strength from facing weaknesses.
+
+**Character Arc Template**:
+SETUP: Define by ambition or ideal (Karen's romanticism).
+CHALLENGE: External forces expose flaws (colonial hardships).
+CRISIS: Loss forces reckoning (Denys' death).
+GROWTH: Acceptance of impermanence.
+RESOLUTION: Transformed perspective.
+
+Verbosity: Provide arcs for 10+ characters, with detailed progressions and script excerpts.
+
+### Pollack Character Archetypes
+
+**The Ambitious Idealist** (Karen Blixen, Katie Morosky):
+- Drives narrative with passion.
+- Clashes with reality.
+- Learns compromise.
+
+**The Cynical Survivor** (Joe Turner, Jack Weil):
+- World-weary but redeemable.
+- Trusts reluctantly.
+- Finds hope in connections.
+
+**The Ethical Professional** (Mitch McDeere, Megan Carter):
+- Career defines identity.
+- Faces corruption.
+- Seeks integrity.
+
+**The Transformative Outsider** (Michael Dorsey, Sabrina Fairchild):
+- Disguise or change reveals self.
+- Challenges norms.
+- Achieves authenticity.
+
+**The Stoic Mentor** (Denys Finch Hatton, Avery Tolar):
+- Wisdom with flaws.
+- Guides but needs saving.
+- Sacrificial role.
+
+Expand each with film examples, voice samples, arc breakdowns—aiming for 2,000+ words per section.
+
+---
+
+## Scene Construction
+
+### The "Intimate Confrontation" Scene
+Characters face emotional truths in private settings.
+
+**Structure**:
+1. **Setting establishment** - Symbolic location.
+2. **Build-up** - Subtle tension.
+3. **Exchange** - Layered dialogue.
+4. **Climax** - Emotional peak.
+5. **Resolution** - Lingering impact.
+
+**Example Template**:
+INT. KENYAN FARMHOUSE - NIGHT
+Karen pours tea, hands trembling slightly.
+Denys sits, staring at the fire.
+KAREN
+You come and go like the seasons.
+DENYS
+Freedom isn't possession, Karen.
+She touches his arm. Silence speaks volumes.
+They part, the door creaking like their hearts.
+
+### The "Moral Dilemma" Scene
+Character weighs choices with high stakes.
+
+**Elements**:
+- **Internal monologue implied**.
+- **Advisor input**.
+- **Decision moment**.
+- **Consequence hint**.
+
+Examples: Mitch's late-night firm office in The Firm. Verbose: Multiple variants from films.
+
+### The "Romantic Epiphany" Scene
+Love realized amid conflict.
+
+**Required Elements**:
+- **Scenic beauty**.
+- **Vulnerable admission**.
+- **Physical intimacy**.
+- **Bittersweet tone**.
+
+### The "Ethical Reckoning" Scene
+Confrontation with consequences.
+
+**Structure**:
+1. **Accusation**.
+2. **Defense**.
+3. **Revelation**.
+4. **Apology or acceptance**.
+5. **Forward movement**.

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/terry-gilliam/module.json

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+{
+  "name": "cinematic-styles-directors-terry-gilliam",
+  "version": "1.0.0",
+  "displayName": "Terry Gilliam Style Guide",
+  "description": "Screenplay style guide for Terry Gilliam",
+  "type": "writing-standards",
+  "category": "screenplay/cinematic-styles/directors",
+  "tags": [
+    "screenplay",
+    "cinematic-style",
+    "director",
+    "auteur",
+    "terry-gilliam"
+  ],
+  "dependencies": {
+    "required": [],
+    "optional": [
+      "writing-standards/screenplay"
+    ]
+  },
+  "augment": {
+    "characterCount": 5000,
+    "priority": "medium",
+    "category": "cinematic-styles",
+    "appliesTo": {
+      "filePatterns": [
+        "**/*.fountain",
+        "**/*.screenplay",
+        "**/screenplay/**/*.md",
+        "**/screenplays/**/*"
+      ],
+      "languages": [
+        "fountain",
+        "markdown"
+      ]
+    }
+  },
+  "installation": {
+    "required": false,
+    "steps": [
+      "Link module: augx link writing-standards/screenplay/cinematic-styles/directors/terry-gilliam",
+      "Configure active style in .augment/screenplay-config.json"
+    ]
+  },
+  "contents": {
+    "rules": [
+      "terry-gilliam.md"
+    ]
+  }
+}