Review · RME-31.8.1 · the whole webinar as one live talk · all eleven sections

The webinar, built as a live talk

The stage above is what the room sees while Nakimbe speaks. Each scene plays slowly, settles, and stops at a hold. It only moves on when she clicks. Her words run as captions in a band at the bottom of the stage, paced like speech, two lines at most (C turns them off). The helper beside or under the stage holds the info only: the hold cue, the next beat, the stage word and the Almanac source. She presses S to hide the helper before she shares her screen. Step through it with the right arrow, then highlight anything on this page to leave a note in the Hypothesis panel.

Built from the approved storyboard (section 01) and the locked v3 script. The story centres on Review My Emails Clean, the list itself, not the report. The house and the envelope row are built as reusable pieces so the close can replay them exactly (W4).

Driving it

→ Space Page DownNext. If a scene is still moving, the first press finishes it and lands on the hold, the second press moves on. A slide clicker sends these keys. ← Page UpBack to the previous hold, shown as a still. CCaptions on or off. They show her words at the bottom of the stage. On by default for review. Turn them off to present live without them. SShow or hide the helper (the cue, next beat, stage word and source). Hide it before sharing the screen with the room. NNotes and sources in a panel over the page, for rehearsal. FFull screen, the stage plus the helper. Press S in full screen to leave only the stage. HomeBack to the start.

For the live talk with one screen, press F, then S, and share the screen. With two screens, share the full-screen stage and open the notes in a second window on Nakimbe's own screen (the button above, or add ?notes to the address). Both windows stay in step. People who ask their device for reduced motion see every hold as a still. Add ?still to the address to review it that way.

The live-talk format, DO and DON'T

DoStop on a hold and wait. The scene settles into a calm, still picture and stays there while she talks, for as long as she talks.

Don'tAuto-advance, loop, or flash anything during a hold. A moving picture pulls the room off her words.

DoShow one word or number at most, plus the chapter chip in the corner. The room listens to her and watches the scene.

Don'tWrite the script into the scene. Her words live only in the caption band (C to hide), never as scene text. The scene keeps one word or number.

DoKeep the next arrow small, quiet and in the corner. It is hers, not the room's.

Don'tPut anything on stage that looks like a button or a call to action. The scenes are pictures, not controls.

DoKeep the hold cue, the next beat and the Almanac number in the helper. It is hers, hidden with S before the share.

Don'tShow sources, notes or a progress counter on the shared screen.

Every hold

The whole talk: the Open and sections 2 to 11, frames 1 to 51. Add ?hold=12 to the address to open the page on a hold.

Hold	Frame	What the room sees	On stage	She clicks after

Calls made in this build, push back here

A title card, then a stand-by hold for Frame 1 (YT). The title card holds while Kennedy introduces her. In Frame 1 the desk is an email tool that walks through the real steps as she names Kennedy's craft (write, story, template, segment, send), and the email only starts travelling on "the quieter half".
W5 on Frame 3. Ten plain envelopes arrive and wait while she says "let me tell you what we see". Her next click flips the nine.
W1 as the last hold. The road folds into the corner chip, which then reads "1/3 how a list goes bad" and stays for the rest of the talk.
No words on the pictograms. The storyboard sketch labelled the chips ("what to say", "the fix"). Here they are drawings only, so each frame keeps to its one word or number.
Frame 4's road. The three chips became three stops on one road, the third solid teal, so it reads as a journey and never as three buttons.

YT's review, 2026-09-24, what changed

Captions on the stage, info in the helper (YT: "put the script just what will be said as subtitles in the animation and only keep info on sidebar"). Her words are captions in a band at the bottom of the stage, two lines at most, paced like speech. The scene shrinks above the band so no scene word is covered. C turns captions off for the live talk. The capital-letter stress marks show in her notes only, not in the captions.
A title card first. The logo from the library, the working title (the v3 section 01 heading, for YT to confirm) and Nakimbe with a photo placeholder, while Kennedy introduces her.
Frame 1's craft is the real steps in an email tool: a subject line types itself, the story and its picture, a newsletter template (from the library), a segment of the audience lights up, and send is pressed, paced to her lines.
Frame 2's house is redrawn in the brand palette (paper-warm walls, deep-teal roof, teal-50 glass, green shrubs, a touch of amber). Its foundation is a real email list with approved demo addresses on reserved .example domains, and the list arrives last, sliding in under the waiting house. The same house is used in Frames 44, 46 to 48, 50 and 51.
Frame 4 has an animation for each phrase. An envelope rides the road, and each stop opens a small live preview: rows going grey, a delivered tick over an empty inbox, and the list cleaned.
The empty hold after the road is gone (YT: "what picture?"). The road folds into the corner chip on the click and runs straight on into Frame 5.
Frame 7 lasts the whole line. One hand goes up every second, each one adding a row to a list beside them. In the "now" row the same list rows change, and small tags give the reasons, each backed by the Almanac: job change, abandoned inbox, typo, bot signup, domain expired.
Frame 48 now says the credits line from the drafted offer beat: credits added to either audit tonight are ten percent off too. Credits alone are never discounted, and no audit includes credits.

The elevated script, applied 2026-09-24 (RME-31.12)

Every spoken line is now the AFTER column of the elevated script (webinar-script-elevated.html). YT skipped the separate confirm: "just update the webinar presentation". Every fact, both prices and their anchors, the free 1,000 inside the account, the credits line, the disclosure line and Frame 22 are word for word.
One headline, three times, the same words: "You do not need a bigger list, you need one you can trust." In Frame 4, Frame 44 and Frame 51.
The villain and the hero. The quiet ones are named in Frame 18 and called back in Frame 34. Review My Emails Clean is named in Frame 42, before the offer. Frame 35 says "the last thing", and "one more thing" opens the offer in Frame 45.
The D8 duplicates line is in Frame 25, word for word from the decision, after the sent-based line and before "So a clean list is healthier". Frame 25 is split into two holds so the unit and the bill shrink on "CHEAPER", not while the duplicates line is still being said.
Fewer "not this, that" lines (YT's note). Nine were turned into plain statements with the same meaning (Frames 19, 23, 25, 31, 34, 38, 39). The strongest were kept: UNDERNEATH (2), NOT reaching (5), the QUIET ones (18), MACHINES (19), before the peak (27), not the same thing (35), I will not guess (37).
Frame 8's three markers are now the Frame 4 road's three pictures and light on the three phrases she names. The Frame 4 hold now ends on the headline.

Calls made in sections 2 to 4, push back here

Vy's rule, one thing still and one status changing, is how every new frame is built. The card, the phone, the grid, the journey and the street stay put, and a status on them turns over.
Frame 5 (Vy). The odometer waits while she says the first line, then stops on 10,000, 50,000 and 100,000 as she names them.
Frame 6 (Vy). The 100,000 itself breaks into the pieces. To answer "what is wrong with that", four people land in two tools at once, linked in amber, the same person stored twice.
Frame 7 split into two holds. Then (every hand up), and now (faded, dashed, cracked), in the order she names them.
Frame 9 (Vy). A real phone with a long contact list, ticks and crosses, and the crossed numbers disappear. Split into two holds so the opening lines of section 3 land on the phone at rest.
Frame 11 (Vy). Each reason has its own picture. The list card stays still and its rows go grey. The last row, for people who pass away, fades with no picture. Split into two holds, the talk's longest passage.
Frame 12 (Vy and W5). Every dot starts green, the question holds on the full grid, then one year greys a scattered quarter.
Frame 13. The dashboard counter is a rising line with no digits, so the only number on stage is the year.
Frame 14. The calculator shows no source line on stage. The source sits in the notes (N). It keeps the Almanac's 20 to 30 percent a year, per the 2026-09-24 decision that the calculator pages use their own research and the webinar keeps the Almanac range.
Frame 1 (Vy). The reader now has a face, so it reads as a person holding a phone, not a shape with a dot.
Frame 16 (W3). Video 1's journey, rebuilt as one reusable piece for Frames 16 and 35.
Chip (W1). 1/3 how a list goes bad from Frame 5, 2/3 why you cannot see it from Frame 15. 3/3 comes at Frame 40.
W7 speaker marks. At most one capitalised word per line in the script strip, for her stress.

Calls made in sections 5 to 7 and 06B, push back here

Frame 19 is Vy's build (storyboard-anim-tests.html): one notification card that never moves, and its status turns from sent to seen while the reader sleeps. Adapted to the stage rules: the status is a tick with no words, the machine is a picture with no label, and the sleeper's z marks are still, not looping. W5: the unread card holds first, on the question.
Frame 23 split into two holds. The unit and its boxes, then the invoices stacking, one a month.
Frame 24 (W2). The stage shows 1/3, not 30%, to match "roughly a third".
Frame 25. The same storage unit piece as Frame 23. The sends vanish into the ghost boxes, then (second hold, since RME-31.12) the ghost boxes float out, the unit and the bill shrink, and the sales line stays flat.
Section 06B order. The storyboard puts the quiet-then-blast line (Frame 27) before the Black Friday ramp line (Frame 28). The locked v3 script has the ramp line first. This follows the storyboard, with every word as locked. Push back if she should say them in the v3 order.
Frame 29. The score is a meter, not digits, so the only word is score. The glass clears after the stamp, too late.
Frame 30 (W6). Two holds: good signals, then bad.
Frame 32 split into two holds. The storyboard's "no names" and "shown" labels are left off the stage (one word per frame). No percent anywhere, because the Almanac has no figure for the Gmail share of a list.
06B now follows the locked v3 order (the Video PM's call): the ramp scene (Frame 28) plays before the quiet-then-blast scene (Frame 27), and "clean before the peak" closes on the gate.
Frames 33 and 34 split into two holds each, so the spam press and the let-go each land on her line.
Frame 34's seesaw. The grey pile drags its end down, the wanted mail tips up towards the spam folder, and when the pile is let go it settles back by the inbox.

Calls made in sections 8 to 11, push back here

Frame 35 (W3, W5). The same journey piece as Frame 16. It holds first on the proud 99%, then the mail is accepted and splits: three to the inbox, one to a tab, one to spam, one to quarantine.
Frame 36 (D4). The storyboard's D4 wording: most people never check, healthy is above 90, nobody hits 100. The locked v3 page still shows the old 85 percent line, so the final words land in the post-lock pass. No needle for anyone's own rate.
Frame 39 (W6) is three holds: the Gmail view, then SNDS with the fogged limits, then the direction (a green line rising, no number). The windows are generic, no provider logos.
Frame 40. The chip moves to 3/3 (W1).
Frame 42 (W8). The stage keeps the storyboard's 3. The three verdict words would break the one-word rule. The bins are colour only, no labels, and nothing is clickable.
Frame 45. The split comes back with the numbers the room typed into the calculator on the night.
Frames 46 to 48 are one ladder scene with five holds: free, $600 alone, $540, $1,500 alone, $1,350. Each earlier price dims so one number leads. The free rung is never struck.
The disclosure is spoken beside the ladder, word for word, before the Full Audit anchor, and never shown on stage. The commission is never named.
Credits flag. The drafted offer beat has no spoken credits line. The rule (10 percent off only with an audit, never alone) is in her notes on Frame 47. If YT wants it said, it needs a line from her.
Frame 49 replays Frame 1's own scene. Frame 50 (W4) replays the Open's house and envelope row with the same code, and the ninth envelope gets a green tick.
Frame 51 is the last hold. It stays on the garden into the questions.

Built from the library

Reused from the illustration library

emoji/envelope-flying-teal.svg, the email in flight (Frame 1)
emoji/envelope-open-teal.svg, the email opened on the reader's phone (Frame 1)
emoji/envelope-closed-ink.svg, the ten envelopes (Frame 3)
Palette, type and the teal editorial look from the brand system

New pieces made for this build

Six line pictograms: pen, subject line, offer tag, fading list, hidden eye, list with a check
The house on its list foundation (reusable, for the close)
The list card on the back of each envelope (reusable, for the close)
The reader with a phone, the road with three stops, the chapter chip
Sections 2 to 4: nineteen line pictograms (person, server, inbox, receipt, contact card, spreadsheet, doc, envelope, briefcase, moving box, gift, full tray, swap arrows, padlock, calendar, clock, rising chart, tick, cross)
YT's review round: the title card, the email tool on Frame 1's desk (with a drawn send button), the redesigned house with its email-list foundation, the road rider and three previews, the Frame 7 list card and reason tags
Sections 8 to 11: the honest scale (used twice), the email tool with its peeling label, the two provider windows, the garden (used three times), the year of tiles, the sorting line and three bins, the lift chart, the ladder with three rungs and the account, the tree, and one pictogram (a tab)
Sections 5 to 7: four line pictograms (gear, spam folder, watchtower, boat), the notification card (Vy's build), the compass, the address with its lens, the storage unit (used twice), the bill row, the pipe and valve, the gate (used twice), the staircase, the frosted scorecard, the signal tower, the ranked lineup, the globe of inboxes, the two lists, the seesaw
Sections 2 to 4: the dashboard card, the five tool windows, the raised-hand person, the phone with a contact list, the treadmill row, the dot grid with a year clock, the calculator, the gauge, the journey (from Video 1), the street of doors
Added to the library only once approved