Changelog

2026-10-08

An outside company's seat is told only the scenes it was given. A seat given one shoot day and one scene used to read every other scene on that day on the schedule: its number, its slugline and how many there were. It also read the numbers of other scenes an item is tied to on a department's workday, the office's paperwork on that department's list, and the id and state of items it hadn't been given on a scene it had. Now it reads its own scene and the items it was given, and nothing about the rest. The office and crew read what they always have.
An outside company's assistant now names only the people and items that company was given. In a scene it was given, it lists only those people and items, leaves out the synopsis, and doesn't say how many it left out. Its morning message names and counts only its own items and approvals, without the department's paperwork. It can't talk a script change through. The office still sees every name.
Schedule in the sidebar opens the full schedule page again. Day Out of Days, the Gantt, days and publishing are one click away while Leeway's strip board is built.
Your script's questions still reach you when someone else is saving a change at the same moment. The check of the questions used to stop, say they could not be assessed, and hold them back. Now each one it couldn't check waits for you as an ordinary question.
Pressing Activate twice on a budget plan now activates it once. The second press hears "That plan is already the live one"; before, both presses ran. Two different plans activated at the same moment used to be able to leave both live. Now they take turns, and the later one is told another change is being saved if it has to wait too long.
Giving someone access to an episode or a scene twice at the same moment no longer fails. The second grant finds the first and updates it. If another change to that person's access is in the way for too long, you're told so and can press again.
A department's Workflows tab no longer shows changes or open issues on items you can't see. Before, the Changes list and the open issues still named an item you weren't shown, and who had changed it. An outside company's seat could see them too. You see the changes and issues on the items you can see, and the department's own issues as before.
A scene edit saved while a new draft is being read in, or while scenes are being renumbered, is kept. The new page and length, or the new scene number, go on beside the edit instead of over it. If a scene is being saved by someone else at that moment, you're told another change is being saved and can press again.
Two memory saves for one assistant at the same moment now take turns. Bringing a travel kit in, or packing a memory into one, while another change to that assistant's memory is being saved says to try again in a moment instead of failing, and never leaves two copies of the same memory.
Approve all on a Day Out of Days report now tells you about every line it showed. A line someone else signed off a moment before is listed as already decided, with who did it, instead of going missing from the count. The result has a Close button, and a fully approved one clears itself after a few seconds.
Filing the same render into an item's library twice at once leaves one library file. Its description still arrives when the render's description is ready.
On the new hosting platform, approving every Day Out of Days line at once beside someone editing one of those characters no longer shows an error. The approval waits its turn; if it can't, you're told another change is being saved and can press again.
When several files are dropped and they all get the same refusal, it is said once with every file's name. It used to repeat the refusal once per file. A file that stopped partway through uploading says so and to try again, instead of the general “that file didn't upload”.
The Schedule page loads again for shows that use Leeway.
Marking an item "Not in this scene" for one department no longer loses another department's own sighting of it. Say props and costume both see the desk drawer in scene 1, and you mark it "Not in this scene" for props. Costume's sighting still goes on costume's list, or still asks costume. Before, it did neither.
Undoing a booking change offers to tell the crew member when the earlier change was sent to them. The notice carries the restored terms. The card can refresh its bookings, and an earlier success message clears when another change takes its place.
Starting workflows on many items at once is now for the department head, a coordinator or producer in the department, or someone they've named. Anyone can still start one from an item's own page. The button on the No workflow list says so before it is pressed.
A department can merge a starting point into many workflows at once. Tick the workflows on its Workflows tab, pick a starting point and press Merge in: one grid shows each workflow and the steps it would get, and which already have them all. One press adds the missing steps and the waits that run from them, and Put it all back takes those steps out again. A workflow where somebody has since worked on the new steps stays as it is, and the screen says which one. A merge made from an item's own page can be put back from that page, too.
A department can add another workflow to many items at once. Tick the workflows on its Workflows tab, pick a starting point and review: one grid shows every item, which will get another workflow named for the starting point, and which already have one by that name. One press adds them, each item's first workflow is left alone, and Put it all back takes the new ones away again. An item's own page can now put back a workflow it added, too.
A full-length script that was being looked at when the server restarted now carries on after the restart. The pages you uploaded are read without uploading them again. Before, the look stopped and said the pages couldn't be read in full.
Your browser can now fill in your saved address on the contact step and in Settings → You. A show's location and a scene's places still never take it.
Taking someone off the show now tells you when Slack didn't finish. They are off the show either way. If Slack couldn't take them out of its channels, or didn't answer, the crew list shows one notice that names everyone it didn't finish with, and it stays until you close it. When Slack still has someone in a channel, it names the channel and says to remove them in Slack. If their Slack account is still on, it says where to try again: open Past crew, tick them and press Take off the show. The admins' email says so too, and so does the answer to an app that took them off.

2026-10-07

Hosted services keep sign-in links out of their logs. After a platform move, a resumed read recognises an update, and a blank name from the old host no longer hides the new service's restore points.
Question checking asks you to try again when another change is still saving. Both the Script page and HQ give the same plain answer.
The crew office can fill a booking from a deal memo it is allowed to read. The memo proposes terms and dates; they can be changed or cancelled before saving. Clearing the memo keeps the entered booking details.
The crew office can undo the last amendment or close on a booking. The crew card keeps who changed it and when, and checks that the earlier terms still fit before putting them back.
An outside company's seat can no longer reach an item, a version or a change it wasn't given, through the assistant or the Graph. Its assistant counts and lists only its own approvals and deliveries, ignores a hidden item named on its screen or in its words, and won't start a change analysis; the office does that.
Costume combines undo without moving unrelated links, and scene costume names follow corrected character names.
Confirming a call sheet from Slack and WhatsApp at the same moment saves one confirmation and tells both it worked.
On the new hosting platform, approving a DOOD while a character's costume is being added no longer risks an error when the show has no Costume department yet. Both changes keep their work and share the new department. Nothing changes on today's pilot.
A schedule change is confirmed as it was shown. If someone moves a shooting day after you preview the change, the confirm stops, nothing moves, and the new plan appears in its place to confirm again.
An outside company's seat is no longer handed the assistant's brief of the whole show. Its assistant is told the days and scenes that company was given, and the approvals and deliveries it was given, and nothing else. It no longer knows the story or the plan as a whole. The office is handed the brief as before.
A mistaken booking can be marked entered in error and put back from the crew card. Its dates and terms stay on file, with a record of who changed it. Putting it back checks that another booking has not taken those days.
Undoing a character combination in Housekeeping brings back both characters and their costumes.
On the new hosting platform, a tray answer saved while someone takes a row off that scene's sheet, or puts one back, now stays. If the scene is busy, the sheet says "Another change is being saved. Try again in a moment." Nothing changes on today's pilot.
A bulk change on a department's Workflows tab can always be put back. Change a date so the workflows drop out of your filter and the change's Put it back stays on screen, and on the Changes list too. A change that ran in batches goes back as one, and the head of the department can do it too. If you stop a long change halfway and start again on the rest, you aren't asked the same questions twice.
Putting back workflows you just started leaves no mark on the Sign-off overrides list. A workflow nobody touched goes back as if it had never started, and its history still says it was put back and why.
A bulk change on a department's Workflows tab can cover more than 50 workflows. It's still one review. It runs 50 at a time and shows how far it's got, and you can stop it after any batch and carry on later. Any workflow that changed since you reviewed it is skipped and named, and one step puts the whole change back.
Workflows started from the No workflow list can be put back in one step. Each goes back whole. Any that someone has changed since it started stays, named with a link, and a workflow with a sign-off step asks why first. The Changes list can put them back too.
Starting a workflow on many items at once is now one review. Tick items under No workflow on a department's Workflows tab and pick a starting point: one grid shows every item, which will start, which don't fit, which already have one, and one press starts the ones you leave ticked.
You can set a step's due date, give it an owner, or pin its date from the chat. "Move Barn Interior's Concept to 16 October", "Give Barn Interior's Concept to Ana", "Pin Barn Interior's Concept". The card shows the change the way the Workflows tab's review grid does, and nothing changes until you say go or press Apply. Once applied, the card can put it back.
When the workflows you tick come from different templates, the review grid asks which step stands for the one you picked. "Halo's 'Review' → which step in the Plate shot workflow?", with that template's own steps and "Leave these alone". Nothing changes in those workflows until you answer.
"Select all filtered" on a department's Workflows tab now means every workflow the filter matches. The review grid says so ("Everything matching Late · this department — 3 items · 4 workflows") and changes exactly the workflows it showed you.
If somebody changes a workflow while you're reviewing a bulk change, your choices are kept. Nothing is applied. Every tick and untick comes back where the row still says what it said, and each row that moved comes back unticked, showing what it said when you chose, what you chose and what it says now.
A department can shift dates across many workflows by working days. Each workflow counts on its own calendar, a step's start moves with its due, and the steps feeding it move too. Every change shows before it happens, and one step puts it all back.
"Forget me" now also removes a preference saved at the same moment, and the opener's answer and the walk-on's clear take their turns with every other save. Nothing changes on today's pilot.
On the new hosting platform, changing one person's details (an email, a Slack link or a consent) while they sign in no longer risks an error. The changes wait their turn. Nothing changes on today's pilot.
On the new hosting platform, two people changing the schedule at the same moment no longer see an error, and two days never get the same number. Approving a call sheet, adding a day and making a day today take turns. Nothing changes on today's pilot.
Combining two assets while someone is adding a file to one of them no longer loses the file if the combine is undone. The combine waits for the file to finish landing, so the undo puts it back where it was. If another change holds up the combine for more than a few seconds, you're told another change is being saved and can press again.
The assistant no longer tells an outside company's seat about days it hasn't been given. Not through the show's recent activity, and not through which scenes shoot this week. Each person is told the days they can see; the office is told what it always was.
Two office people re-costing the same card at the same moment no longer get a server error. The second re-cost waits its turn and lands as the next version; if the first takes too long, the second is told "Another change is being saved" and can press again.
Two scout drives of the same route keep their own pictures, so each drive renders the view it was aimed at.
A file the storage agent reports twice becomes one library file, and an image sequence keeps every frame that arrives while it is being added.
Two people choosing what a task belongs to at the same moment leave it belonging to one thing, the later choice. It no longer ends up belonging to nothing.
Approve all tells you which lines it couldn't approve and why, even when another AD got there first.
Sending a scene to a vendor again no longer changes the paperwork an earlier turnover hands over. Each turnover keeps the lineup and cover note that were read before it went.

2026-10-06

Every character has a costume on the Costume list and in their scenes, even when the script says nothing about clothes. Characters confirmed on review cards or added by import get one too. Folding characters or finding a scripted costume removes an empty automatic duplicate; crew work stays. Renames update the scene lists.
A department can change dates, need-bys, owners and pins across many workflows at once. Tick them on the Workflows tab, review every change before it happens, untick what should stay, and put the lot back in one step.
When a first read stops because the service is busy, the Script page now says so. It shows the same words as the activity feed: try again in a few minutes, and the pages already read are kept.
A long list of scenes on a review card now wraps inside the card and folds after eight. "+20 more scenes" opens the rest, and each scene is still a link.
A finished script breakdown says when its question check has stopped, and crew see only the action they can take.
The question tray refreshes while its questions are being checked and stops when the check stops.
During a read, questions wait until they've been checked against the script. The tray says so in one line, and the questions appear as the check reaches them.
Every question in the review tray now shows what's on the sheet first, asks the doubt plainly, and says what each answer does to the sheet. No line numbers, and a recommended answer says why. A question that can't say those things waits, and the tray and the read's own summary count how many are waiting.
If a read's check stopped or missed some questions, Check them now checks just those. It's on the Script page for anyone who can sign off the script, and the questions show as each one is checked.
A script read's last look puts what it finds straight on the department lists. An item whose line is in the script, in that scene, goes on the list with no question. What it can't place comes as one card per department, to tick the ones to keep. Anything you take off a scene stays off when the same pages are read again, and items a new read doesn't repeat stay on the card until someone answers. The read ends by saying how many items it added and how many questions are left.
A person picked from the list in a demo show can no longer answer or resume a tool's build. Answering starts paid work, so they sign in first, the same as for a change to an existing tool.
When a tool has gone, or changed while a page was open, the page now says what happened. It asks you to reload and look for the tool again, where it used to say "Skill not found".
After you change your email, old sign-in links stop working and a sign-in already using the old address cannot reopen your session. Your previously linked SSO identity still works.
Reopening the Script page during a re-read keeps the existing scenes and exports visible while the new pages are checked, including episode reads and replaced colours.
Reopening the Script page during its first read keeps the progress visible and waits for the checks before showing questions to review.
If someone else is still setting up HQ, the setup screen now says so.
Answering a tool’s questions requires signing in to its show. Answers sent twice resume the build once, and changes stay with the tool’s author or a show administrator.
On the new hosting platform, answering a question in the tray no longer undoes a shoot location someone saved at the same moment.
On the new hosting platform, when two people save the same scene at once, the second waits its turn and is told "Another change is being saved" if it takes too long, instead of seeing an error. Nothing changes on today's pilot.
Signing in while changing your email no longer verifies the new address with a link sent to the old one.
Two people putting the same workflow change back move its dates once. Overlapping template merges ask the second person to review again.
A stopped double-order check can be tried again after its waiting period, even if it couldn't save that it had stopped. The Script page keeps the read's original explanation.
While a script read takes its last look department by department, the rest of the show keeps working. The progress bar keeps moving through that step instead of stopping at 99, never moves backwards, and the line under it says how many departments are done. A re-read, which skips that step, no longer leaves room for it on the bar.
Two people confirming the same schedule change at once no longer shift the days twice. The second is told it was already confirmed, and a confirm that the schedule moved under is refused with a note to look again.
Two people confirming what a new tool reads at the same moment no longer switch it on twice. The second is told it was already confirmed, and a yes given to a tool that has changed since it was waiting is turned away with a note to ask for a change.

2026-10-05

A new show starts with its script drop, shows questions as they arrive, and starts the saved pages when you confirm your answers, including after a reload.
Two re-reads share one double-order check. While one makes the check, the other uses the saved plan, and the Script page says so.
Someone with no number on file no longer holds up a notice to the rest of the crew. Sign-off notices and "your report shipped" notes skip them and carry on.
When the double-order check stops partway, the Script page now says part of it was made and it will finish on the next read.
Someone with no number on file no longer shows up as a failed WhatsApp brief. Once a number is added, they get that day's brief.
If two people set up HQ at the same moment, only the first becomes its administrator; the other is sent to sign in.
An email change link works once. Opening it twice at the same moment moves the address once. A link for a change that was just called off doesn't move it at all.
Script questions can be checked against the script on the new hosting platform.
Slack changes on a show happen one at a time. Two people connecting Slack, or saying yes and no to the same move, no longer leave the show half-moved. A second install into a different workspace asks before it moves the show.
Inviting the same person to HQ twice at once now sends one working link.
The "busy" notice on the Script page no longer names a company.
A re-read finishes even when its double-order check could not be made this time.
An incomplete cost report keeps its amount held until it can be checked.
The re-read preview keeps scene changes visible when another check still needs to run.

2026-10-04

Cast checks cost about 31% less, at the same or better quality.
The double-order check keeps to your read’s allowance when it has to try again.
The HQ scoreboard explains how its same-item scores count wording differences between two good breakdowns.
The re-read preview now tells you when another check is still needed, and combined questions keep every item and scene they refer to.
The re-read preview checks the same page limits as the read before promising to use saved answers.
Long scripts are read in full, in sections, with questions kept together across the whole story.
A render that doesn't finish says what to do next. Run it again, or pick another model. The message doesn't name the tool.
Saving a scene’s shooting location keeps the sheet changes another person just made. A busy save says what happened and when to try again.

2026-10-03

Script reads, assistant replies and picture-description notices no longer show what our reads cost or their limits, including saved notices and read errors. Scene and retry counts stay visible.
Some models take a picture under 3.9 MB and others under 8 MB; the message names the right one.
Changes to different sheet rows no longer overwrite each other. If another save holds up a change, the page tells you to try again.
Rows taken off a scene keep their department, original name and the show’s date. Scene references open the scene, and a refused change explains who can act and what to do next.
A clip refusal now names the next step. Ask the office to make the clip available in our storage. If storage isn't connected, ask the service operator.
A picture the canvas can't use says what to pick. It has to be a JPG, PNG or WebP under 3.9 MB. Pick another one.
A row you take off one scene stays off the next time those pages are read. Put it back and the row returns. The sheet says who took it off, and when.
Making a canvas preview no longer holds up edits to the same asset.
PostgreSQL restore points say what needs attention. HQ names a missing restore-point folder on PostgreSQL deploys, and failed uploads wait between attempts while the log names the cause and next step.
HQ can see what was bought before a script read starts. First looks and note readings keep their receipts, then join the read they preceded. Purchases still waiting for a read stay visible in Usage.

2026-10-02

Standing dressing, and a prop already on two scenes of a set, shows up on the other scenes of that set in the same era. A prop seen once, a costume, and hair and make-up stay where they were filed. Nothing asks about the carry. A person takes one off a scene with "Not in this scene."
Keeping a scene off, or putting it back, holds when that check drops the scene again. The check does not ask about that scene again. A fresh check that stays quiet puts the scene back on and does not ask. A scene the answer never named is still asked. A different script asks again.
A script check that hits a database problem gives you a plain explanation and keeps the technical detail out of the page.
The activity feed tells a colleague why a script read is held, in the same words as the Script page. The person who started that read still sees the note written to them. A vendor key, a connected app, and a status asked in chat see the colleague's line.
The Script page keeps a held read visible and tells you who can answer. Colleagues and HQ see whose access or script approval needs restoring, with the show named.
A reference clip for a canvas video stays in our storage, the R2 bucket. It is no longer copied to a public file host. If it can't be sent from here, the canvas says so.

2026-10-01

A second upload for an episode being read tells you to try again after that read finishes.
Throughline has a privacy policy and terms of service. Anyone can read them at /privacy and /terms without signing in, and the sign-in page links to both.
Questions from a re-read stay in reach when you close the sheet. The Script page says the breakdown hasn't started and takes you back to the questions in one click, even when the show has no note about how to read its pages.
Two people saving at once keep the work that finished first. Version uploads keep their numbers and references, a delivery is recorded as sent once, and the schedule keeps one current shoot day. Closing a booking checks its latest end date. Repeated crew edits and leaving another person's view no longer add the same change twice.
The read's element check runs on a stronger model: the same answers, sooner, with a few more questions for you to settle.

2026-09-30

A scene taken out of the script no longer shows on that day's strip. Neither does anything that isn't a scene. The same is true on the other places a day is read.
A night-before note stays on the schedule that was sent. Move a day after sending, and the note still fires for the date that went out, at the same hour. A show that has not sent a schedule yet still follows the board, including a date written out in words. Sending does not stop that note when the day was only typed. The Days view stays the board being edited. Search, a scene, a bundle, the routine picker, and a company reading the schedule from outside stay on the days that went out. The assistant still reads the board, and says so at the end of every answer.
A scene marked continuous keeps the time of day of the scene before it. On one script that is scene order. On a show shot in episodes it is the episode's shoot order, then the scene number. A scene filed to no episode comes after the episodes. A night scene followed by a continuous one stays night, including on the board when those two scenes are shot on different days. Publishing the schedule, asked by someone from an outside company, says it is for the ADs and production office. Every workflow door tells that person they reach the work their company was given, not this show's workflows, and to ask the production office.
Sending a review session twice sends it once. Once the session is finished, another outcome stays unsaved and the message tells you to start a new session.
Dragging a shoot day no longer changes which days the money is counting, or those days' dates. Wrapping a day that was on the schedule still moves how far through the shoot you are. The budget and a cost estimate say when that schedule went out. A cost estimate keeps the schedule it was costed against. A show that has not sent one yet still reads the board, and says so. A readiness nudge picks a day by its calendar date.
A second-unit day can have its own folder. Name the unit on the schedule board or on the day's page. Once that plan is sent, a new folder for the day carries the unit and the date that was sent. Moving the day and not sending it does not change that name. A day with no unit is still main unit. A name that is not letters, digits and spaces is refused. A folder that already exists keeps its name, so a show already shooting second unit keeps the names it has until someone moves them by hand.
A short scene quoted by several entries is still checked. The check for the same thing listed twice, and the check for one person named two ways, used to split a short scene across many requests. The first of those checks could stop at its request limit with most of the pairs unasked. They now shorten those passages so more of the scene fits in a request, and they still never send the whole scene. When shortening isn't enough, they ask the entries in smaller groups, up to that limit. A comparison that is the whole scene on its own still stays for you.

2026-09-29

Add a dates sheet to the chat. Pick it with the Sheet button beside Send and say what it's for: "update my dates on turnover one to match this". It's checked the same way as on a Workflows tab, only against the items on that date or in that department, and the reply takes you to the column check. If the chat can't tell which items you mean, it asks, with a button for each. Nothing goes in until you approve it.
Ask the chat about a show's workflows, and change a due date or add a wait from it. "What's late in Construction?", "what is Barn Interior waiting on?", "why is its date the 14th?" and "what does Blueprints feed?" answer from what you can see, with links. "Barn Interior is needed by 4 October" or "Fabrication has to wait on Design sign-off" shows the change first, with how many dates move. Nothing changes until you press Apply or say go. With two changes waiting, go asks which one. These questions and changes never sign a step, skip a sign-off or take a wait away. For those, the chat tells you where they're done.
Today, the approval list, search, the activity feed, and the show summary no longer show an outside company what it was not given. The script list and a pending script change now stay with what that company was given. Search no longer turns up a delivery or an approval they weren't given. Today's count of pending script changes counts only the ones on scenes they were given. A note that isn't about something they were given stays off their feed, including a notice about the whole show, and so does a line about a scene they weren't given. Today uses the same counts. A scene they were given still shows, including the names of what's in it. An approval in their own department stays off the list unless that approval was given to them. Today's list of what needs them leaves off an approval they were not given, including one in their own department, and signing that approval is refused. Crew and the office see the same lists they see now. A company key still reads the whole script.
Every Slack card says a refusal on Slack's page never comes back. Beside the address this deploy sends, the card always shows the same line: if Slack says it doesn't know this address, add it to the Slack app's redirect URLs, then connect again, because that refusal happens on Slack's page and never comes back here. The card cannot tell whether Slack has already refused. HQ readiness says the same sentence.
A seat notice no longer quotes the mail service. When mail doesn't go out, the notice says the address was refused as inactive, that the service couldn't be reached, or that it wouldn't take the message. It no longer includes the service's status code or its own sentence. That is true for someone already on the show, and for a new person whose link stays on screen. The service's own words stay in the log. HQ is still told to spend the seat again.
Nothing is added unless somebody on the show is named. A WhatsApp number the show doesn't carry is still turned away. If a number leaves the roster after the message arrives, nothing is added. HQ staff who aren't looking through a crew member are told to open the show as that person before they add. Looking through a crew member, they can. Someone who isn't signed in still gets the sign-in sentence. A company write key is unchanged.
The Workflows tab lists your spreadsheets without reading every sheet on the show. Forty of yours used to take forty-six reads. One and forty now take the same seven. It asks for yours. Somebody else's sheet never appears on yours.
A long list of approvals in Slack still arrives. When a lot is waiting, the reply used to fail and nothing showed up. Now it shows the first ones, and a line saying how many more are in Throughline, with a link to the show.
Approving in Slack, or sending one back, no longer shows an error when Slack is slow. The decision has already landed. The note that it went through follows, so a slow reply doesn't look like the decision failed.
Who may add a shot is who the office gave that permission, not the job title. A production coordinator whose permission was taken away can no longer add a shot. A grip the office gave it to can. Somebody whose credit also says production coordinator, without that permission, cannot.
The show's Slack card says what a missing permission costs. When Slack is connected but a permission is still missing, the card used to print the permission's raw id. It now says what that keeps the show from doing, one sentence each, and names Reconnect. One this version doesn't know gets one plain sentence instead of the id.
The Slack card says what to do when the connection can't be finished. Beside the address this deploy sends Slack, the card always says: if Slack says it doesn't know this address, add it to the Slack app's redirect URLs, then connect again. It no longer shows an error code, or a path to a setup file.
A channel @-mention is answered where you asked it. Ask the Slack assistant in a new message and its answer now shows up right there, for you alone. Until now that answer never appeared. Asking inside a thread still answers in that thread.
A breakdown lists each piece of work on its own row. Two things to build, buy or shoot used to share a line joined with "and", "&" or "/". Now each gets its own row. One thing called two names, a rig with its parts, a clip's playback with its license, or a set bought and handled together still stays on one row.
HQ's scoreboard shows why an element was missed. Five new rows: the items in the answer key the script never names, the ones the breakdown found something like but didn't count, the ones the script names and the breakdown missed, the ones with no script text to check, and the recall over the items the script does name. The first four sit under Coverage context, so a fall in one never shows as a warning.
The checks for the same thing listed twice and for one person named two ways now read the script around each line they cite. Each used to send one cut quote per cited line, and for a name that was often the name alone. Now each sends a few whole lines around the line, never a whole scene, and a character's name always comes with the speech after it, past any parenthetical, one line or wrapped over several, or with the parenthetical alone when that's all there is. Each check's sign-off now says exactly what it sends, and a sign-off given to the old words doesn't carry over to the new ones.

2026-09-28

Drop editorial's turnover EDL on a department's Workflows tab and check the shot list before anything is filed. It asks where editorial put the shot IDs (their markers or comments) and the frame rate, then lists the shots: already on the show, new, and ones it couldn't match. Shot names are always editorial's own. A cut without a shot ID never becomes a shot. It's listed under "Not VFX shots", or under "Already on the show" when its clip name is a shot you have. File shots one at a time or everything that's ready, into the department that took the EDL, and put them back if you change your mind. Drop-frame EDLs aren't read yet, and shots aren't yet matched by reel and timecode. The file itself isn't kept.
Drop a VFX dates spreadsheet on a department's Workflows tab and check it before anything changes. It reads the first sheet of an .xlsx or a CSV and asks you to confirm which column is which. It remembers your answer for the next sheet with the same headings, but you still confirm it. The rows then come back in three groups: matched, best guesses to check, and ones it couldn't match. Fix a date, or pick the right shot or step for a row, approve rows one at a time, or put in everything that's ready at once. A best guess only goes in once you've ticked it. A blank cell leaves a date alone, and a dash clears it. If someone changed a date after the sheet was read, it isn't overwritten; the row waits for you to look again. Only the person who dropped a sheet sees it. Put the dates back with one button if you change your mind. The file itself isn't kept.
The department page, a routine, and a refused signature no longer name an approval an outside company was not given. On the department's page, an approval in that department used to show by title, with the scene, and a delivery the company was not given showed in what needs attention and in the turnovers, including one coming in from another department. A routine that reads approvals waiting did the same. Refusing a signature on a decision named the approval and who chairs it, and a decision the seat itself chairs but was not given said the call was the seat's. An approval the company was not given that was already decided, or that moved while you were reading it, used to say so. Those stay off the page and off the routine now. An approval the company was not given answers as one that is not on the show, including one already decided and one that moved. Someone who was given it still hears that it is already decided, or that it moved. The department head still sees the page, and someone on the show who is refused on a decision they don't chair still hears whose call it is.
A seat HQ sets up for somebody already on the show goes to their inbox. When HQ seated an outside company's member at an address that was already a crew member's, HQ was shown a link that signed in as that crew member. Now the link is emailed to them and HQ sees "Sent to their inbox." If the show has no email key yet, the seat is turned down and HQ is told to connect one; if the email doesn't go out, no seat is left waiting. A seat for somebody new to the show still shows HQ the link.
Ask the show's Slack assistant in a channel, and send an approval back from Slack. Mention the app in a channel it has been added to — "@Throughline what's waiting on me?" — and it answers in that thread, to you alone, since the answer is worked out from what you can see. An approval card in Slack now offers Send back beside Approve: it asks what needs to change, as the web does, and sends the step back with your note.
A scene that would fill one request is asked across the requests it takes. On one roster, one scene takes three. A comparison that covers a whole scene on its own is left out, and the check asks the rest. A line is counted in the scene it falls in. A request that never goes out is not charged.
An outside company's seat can no longer add a shot or an asset to the show. The workroom button, the assistant, and a mention in Slack are turned down, and the seat is told the office shares what they can see. A shot from the workroom button is for the production office or for VFX. Crew still add an asset, in the department they named. A company write key is unchanged.
When mail can't go out, the reason no longer repeats an address or a link. If the mail service sends back an address, a web link, or the invite link, that text stays off the note you see, and off the refusal when the person is already on the show. That includes an address written with letters outside plain English, and one with no dot after the @. The sentence no longer names the mail company or an internal error, and it says "mail key" throughout.
An outside company's seat with no days is told so when a Forge tool asks for today's schedule, instead of being handed an empty one while the show is shooting.
Asking to change a tool that hasn't been built yet says so in words. It used to name an internal status. Now it says the tool hasn't been built yet, so it can't be changed. A tool waiting for someone to confirm what it reads says that. Pressing Run on a tool that isn't ready says it isn't ready to run yet, without naming an internal status.
Your next day's call shows up even when the office is on a different one. If you're with an outside company and the office is shooting a day you weren't given, a tool or a routine that reads today's call sheet now shows your own next day, however far off. A day already wrapped doesn't count as that next day. If you weren't given any day and the office is shooting, the tool won't hand you an empty call sheet — you're told you can't see today's. A show with no shoot day still comes back with nothing to read, and a routine with no day of your own still says nothing is coming up. The office still sees its own day.
Two shoot days added at the same moment take two day numbers. Adding two days together used to give both the same number. The second one now takes the next number.

2026-09-27

After this upgrade, removing an asset no longer lets a new asset inherit its old references.
A Forge tool is rebuilt one at a time, and two rollbacks at once keep both. Asking to rebuild a tool that was already being rebuilt used to start a second rebuild, and whichever finished last kept the tool. Now the second is turned down in words: "This tool is already being rebuilt or changed. Wait for that to finish, then ask again." The same goes for a rollback, a change, answering the Forge's questions, or the tick on a tool's data while it is being rebuilt, for editing its fields while it is being rebuilt or while a change is being made, and for a rebuild while a change is being made. Two rollbacks asked for at once both land, one after the other, and the history keeps both. Answering the Forge's questions about a new tool that has since been built another way is turned down, instead of building it again over what it became. A rebuild that stops partway lets go of the tool after 30 minutes.
A file link stops opening for someone who hasn't started yet. A person whose first day is still ahead could open a file from a link they already had. Now that link stops, the same as it does when the office pauses someone or takes them off the show. The show's pages already kept them to getting set up until their first day.
Your next day shows up even when the office is on a different one. If you're with an outside company and the office is shooting a day you weren't given, a tool or a routine that reads today's schedule now shows your own next day, however far off, and only the scenes you were given. With no days of your own, it reads as a show with nothing coming up. The office still sees its own day.
If an asset is combined or removed while a library file uploads, the upload tells you what happened and leaves no unsaved copy. When the combined asset is still available, the message names where to upload again.
When departments answer a counsel together, their approvals, corrections and stances stay on the record.
An app an outside company's seat connects reads only what that company's key reads. Somebody from an outside company could connect an app to the show by signing in, and the app then read the whole show: every item, scene and shoot day. Now it reads only the scenes and characters the seat was given, and in them only the items, shoot days, approvals and notes the seat was given too; every other read turns it away and says why. The consent page tells them so before they approve it. Anybody else's app reads what it did before.
An outside company's seat receives only the show settings its screens use. A seat used to be sent the whole show's settings, including the office's budget, paperwork and assistant settings, even though its screens never showed them. Now it gets the look of the app and the show's time zone, and nothing else. Crew and the office get what they got before.
Accepting the office's invite shows you the day being shot. If your address already had a seat waiting with an outside company, accepting the office's invite used to leave Today saying there was no shoot day, even when the show had one. Now you come on as crew, and Today shows that day.
An outside company's seat opens only the files for what it was given. A seat set up for an outside company could open any file on the show from its link: another day's call sheet, pictures of items it wasn't given, another company's turnover paperwork, files in the show's storage folder. Now it opens a day's files only for a day it was given, and an item's pictures and generations only for an item it was given. The production office's paperwork stays with the office. Its list of generations shows only its own items. Take a day or an item away and its files close straight away. After this update, a page left open may show broken pictures until you reload it.
Picture-description limits save reliably when two HQ admins change them together.
Picture descriptions share one daily allowance, however many servers are running.
Two changes to one Forge tool at once no longer lose one. When two people asked for a change to the same tool at the same moment, both were told it was done and one change quietly disappeared. Now the second is turned down in words: "Somebody changed this tool while yours was being made, so your change wasn't saved. Look at the new version, then ask again." A reel's "seen by" also counts every load and every piece opened, even when someone has it open in two tabs.
A counsel keeps the first decision when two people answer together, and a retry runs its deliberation once.
If paperwork has to wait too long to save your decision, the card asks you to try again.
When two people answer the same paperwork change, the first decision stays. The second person sees “This paperwork change was already approved.” when the approval was saved first.
Inviting someone who's already on the show now emails them directly. Before, the office was given a sign-in link to pass on. Now the invite goes straight to that person's inbox. If the email can't be sent, the invite isn't created and you're told why: no mail key, no return address, or the mail service's own reason. A seat that Critical Period set up for an outside company is re-sent by Critical Period, not by the office.
A one-time sign-out the first time your address is confirmed on a show. The first time your email is confirmed on a production — through a sign-in link, an invite you accept, single sign-on, or switching into that show from another one — any sign-in already open on that seat is closed, and you sign in again. It keeps a seat set up in your name from being used to reach your real seat somewhere else.
Only you can change the email address on your card. The production office and a show's admins can no longer change someone else's email address, so nobody can move your mailbox to one they read and sign in as you. For a crew member with no address yet, the office can add the first one from their card in the crew directory: we send a link to that address (or give you the link to send, if the show can't send email yet), and it goes on the card once they open it, with a note saying who added it. Someone who runs part of the show gets theirs from Throughline support. The office sees a change that's waiting on the card and can call it off, and Throughline support can still change an address for you.
An outside company sees only its own days and scenes everywhere, not just on the schedule. Last week the schedule board and Today were narrowed to the days a company was given. Now the rest of the product is too: search lists only their own days and scenes; their department page and the day cards on it show their own day and only the scenes on it they were given; the brief they'd get, the daily brief, and the operations digest name only their own days; a scene's page shows the day it shoots only when it's one of theirs. Ask the assistant "what's the call time on day 12?" or "what are we shooting today?" and it answers from their own days and scenes — a day they weren't given is answered as a day on another show. Crew and the production office see exactly what they saw.
Quiet hours follow the day being shot, the minute its call changes. Pulse sends nothing earlier than an hour before call on the day being shot, or later than an hour after wrap. Move that call and the quiet hours move with it straight away, whether or not you've published the schedule. A change to any other day leaves them alone.
Lead times applied from an item now stay on the template.
Switching a consent off switches it off, even after a double tap. If you switched one of your consent cards (email notifications, WhatsApp, text messages, or learning how you write) on twice at once, with a double tap or from two tabs, it was kept as two yeses, and switching it off took back only one, so the card came back on. Now two taps at once are one yes, switching off takes back every yes, and so does Delete everything Throughline learned about me. If you switch a card on and off at the same moment, the one you pressed last is the one that stands. If this already happened to you, the card is off again from the moment you switched it off; if you had switched it back on since, switch it on once more.

2026-09-26

An outside company sees only its own shoot days on the schedule and Today. A company given some of your shoot days used to see every day on the schedule board, with each day's call, notes and call sheet, and Today showed them the office's day. Now the board shows them only their days, and its header counts the days they were given. Today shows them their next one, or nothing when they have none, and their own days on Today list only the days they were given. Opening a day they weren't given, from a link or its page, gets the same answer as a day on another show. Deleting a shoot day now also removes its files and the outside companies' access to it.

2026-09-25

A script read finishes in about half the time. Our feature-script check took 49 minutes, down from about two hours, with cast and department breakdowns read alongside each other.
Everything filed under a department now shows on the one-liner. An element filed under a department like Construction, Scenic Artists or Music & Scoring, from your note or an instruction, used to be saved on its scenes and left off the one-line schedule. Now any department with something on the sheet gets its own column after the usual ones, under your show's own name for it, in the spreadsheet and the CSV. A car filed under Picture Vehicles shows under Picture Cars. Anything filed under Locations shows too, apart from the scene's own set, which stays in its own column.
An empty file, or one over 2 GB, dropped on an asset's library is turned down on its own. When you drop files or a folder on an asset's library to have them sorted, a file over 2 GB or an empty one now says why it wasn't taken, and the rest of the drop is sorted as before. If something goes wrong partway, none of the drop is left behind, so you can drop it again.
Two library files with the same name keep their own files, and a big clip no longer stalls the server while it's made ready to play. Adding a file to an asset's library with the same name as one already there used to replace the first one, so both showed the second file. Now each keeps its own. A clip added as a version or to the library is now made ready to play in the browser a piece at a time, so a big one no longer takes the server's memory with it. The library now refuses a file over 2 GB and an empty file, as the Versions panel does.
A long script read no longer holds up everyone else's saves. While a long script read saved its breakdown, anything else being saved waited for it: answering a card, saving a note, a Pulse message going out. On a very dense script the wait could run long enough for those saves to fail. Now it's a couple of seconds.
Adding a version no longer holds up everyone else's saves. While a new version's file was being saved on the Versions panel, or sent in through the API, other saves on every show waited, and a large clip could make them fail. Now they go straight through. For integrators: the API's version upload (POST /api/v1/assets/{id}/versions) now refuses a file over 2 GB (413, "file is over 2 GB") and an empty file (422, "file is empty"), with nothing kept; everything else it answers is unchanged. The Versions panel refuses the same two, in its own words. And a version added in a second lane with the same file name as the first lane's no longer replaces the first lane's file.
Adding a world by hand no longer holds up everyone else's saves. While a world file added by hand on the World panel was being copied into place, other saves on every show waited, and a large file could make them fail. Now they go straight through.
A world you add by hand opens in the world viewer. A world file added to an asset by hand used to be refused when the viewer asked for it, even to the show that added it. It now opens for that show, and stays closed to everyone else.
Invite them as usual stands while a held seat is being confirmed. If one coordinator chose Invite them as usual on a held Slack seat while another pressed Confirm & provision, and Slack then failed or turned the seat down, the seat went back on hold for its old reason, as if nobody had chosen. Now the choice stands. The seat comes off the held seats, the activity says who chose Invite them as usual while the seat was being confirmed, and the person confirming is told that somebody chose it and to press Provision now to try again. If the seat was marked sensitive again after that, it stays held for the new reason.
A world you add by hand, and a file dropped on a shoot day, go straight to storage. A world file added to an asset, and a file on a shoot day's page, now upload straight to the show's storage, so a big splat or a recce clip no longer passes through the server on the way. A file on a shoot day opens just as before.

2026-09-24

The read’s progress and time remaining now count the checking stages too.
WhatsApp messages and Slack clarification taps are accepted while the assistant prepares its reply.
A new version or library file goes straight to storage. On an asset page, a new version or a library file now uploads straight to the show's storage, so a large still no longer passes through the server on the way. It opens just as before.
Today says when the schedule you're looking at was published, and how many days have moved since. Under the day on Today you read "As published Tuesday 2:04pm", in your own time, and "2 days have moved since this went out" when the board has changed since. The day shown is always the one being shot, whether or not anyone has published, and it's shown as it went out, unless it was added since or isn't one of your days, when it's shown as the board has it. A schedule published before call times were part of it shows the board's call instead, and Today says so. Before anything is published, Today says so. When you publish a new call time or place over a schedule that has call times, the preview now says how many days have new times or places.

2026-09-23

Publishing the schedule now counts a changed call time, wrap, place or confirmed call sheet as a change. Before, publishing after changing only one of those said nothing had changed. If your last published schedule is from before this change, a change to only those is still refused, and you're told why: the next schedule you publish after a day or a scene changes will include them. And what's published is what the preview showed: if someone changes the schedule while you're reading the preview, nothing is published and you're told it moved.
Every row on the sidebar has an icon, and more buttons do too. Episodes, Crew, Deliveries, Budget, Forge and Routines now have icons like the rest of the sidebar. Sunrise and sunset times show sun icons, and the buttons to archive, restore, delete, upload, retry, undo, flag, remix, flip, add to a reel, zoom, sort and pick favorites are drawn icons now instead of typed characters.
New icons on the sidebar and across the app. Today, Chat, The Graph, Departments, Script, Schedule, Approvals, Review, Jobs and Show setup each have an icon on the sidebar. Across Throughline, the arrows, the close, edit and add buttons, downloads and open-and-close markers are drawn icons now instead of typed characters, in the colour of the words around them, in light and dark.
A restart during the first look at your pages no longer loses them. If Throughline restarts while it's taking its first look at your script or at new pages you've just uploaded, it now carries on by itself, and you don't upload the pages again.
Times on Today's notes card and on the Jobs page's On its own tab are right wherever you are. When notes came back on your version, the card on Today showed the time they arrived wrong for anyone not on UTC: seven hours out in Los Angeles. On Jobs, a new line under On its own said "just now" for seven hours in Los Angeles. Both now show the right time wherever you are.
Matching someone on their crew card during Provision now sends them no second invite. On a managed Slack workspace, if an admin matched a person's Slack account while another coordinator's Provision now was running, the person could get one more Slack invite, and the Coordinator queue showed it as waiting. Now Provision now sees the match and puts them in their channels instead.
Invite them as usual during Provision now leaves no held seat behind. If someone chose Invite them as usual on a sensitive seat while another coordinator's Provision now was running, the Coordinator queue could show that person as held again, for a reason that was no longer on their card, even after the next Provision now had seated them. Now the seat is either invited as usual or taken off the queue, whichever happens first. A hold also shows the reason the seat has now, if it was changed while Provision now ran.
The time on Today's Pulse line is right wherever you are. Where we are, on Today, shows one thing Pulse flagged for you and how long ago. For anyone not on UTC that was wrong: in Los Angeles something flagged this morning still said "just now" seven hours later. It now counts from the right moment wherever you are.
Send a Slack invite again. On a managed Slack workspace, the Coordinator queue on the Messages panel lists everyone who's been invited to Slack and hasn't been matched yet. If someone's invite never arrived, press Send the invite again on their row and they're sent a new one. If Slack doesn't answer in time when an invite goes out, it may still have gone, so it stays on the list with Send the invite again on its row, and Provision now doesn't send another. Before, Provision now treated it as turned down and sent another. When you send an invite again or confirm a held seat, you're told if Slack didn't answer.
The production office can reopen an accepted week. Open the department's Reported figure on the Budget page, choose Reopen this week and give a reason. The figures stay as filed, and the activity records who reopened it and why. The department head can choose Check week on their closed card and file again, keeping any unsaved lines.
A failure on our side reaches your screen with a reference. When something goes wrong in Throughline, the page can now show what happened and the reference to quote when you tell us.
The production office can accept a department's week on the Budget page. A department head could file and submit their week's spend, but nobody could accept it anywhere in Throughline. Now a department with weeks waiting says so beside its Reported figure on the Budget page, "1 week to accept", and each waiting week has Accept this week for the production office — the line producer, the UPM, the production accountant, the director and the admins. Someone who can only see the money can't accept. Accepting asks once, showing the figure you're accepting, because only the production office can reopen it, and it accepts that figure or nothing: if the department changed the week after you opened it, you're told it changed and nothing is accepted. If someone else in the office accepted it a moment before you, you're told it's already accepted. The department head's form for that week then reads accepted and closed. If they still had it open and save it, they're told the week is already accepted, and the form closes on the figure that was accepted.
Someone waiting to accept a Slack invite gets one invite. On a managed Slack workspace, anyone without a Slack account was sent another email invite every time someone pressed Provision now, until an admin matched their account. Now they get one. The held seats on the Messages panel show who's been invited and what to do once they accept, and on the crew contact card the control is now called Match their Slack account.
Invite them as usual takes a seat off the held seats. If you chose Invite them as usual for someone whose Slack seat was held, they stayed on the Messages panel's held seats, and Provision now invited them anyway. Now they leave the held seats in the same step, and the card on the People page says so. If someone presses Confirm & provision on the row afterwards, they're told somebody already chose Invite them as usual, and to press Provision now instead.

2026-09-22

A held Slack seat that Slack won't take stays held. If you pressed Confirm & provision and Slack turned the seat down, the seat quietly left the held seats with nobody invited, and nothing said so. Now it stays on hold and you're told. If it's something on your side, like a crew card with no email address, you're told what to fix. If Slack took some of their channels and not others, you're told which are still missing and to press Provision now to finish. If Slack sent them an invite, you're told to ask an admin to match their Slack account on their crew contact card once they accept, then press Provision now. If someone chose Invite them as usual before you confirmed, the seat doesn't go back on hold, and you're told to press Provision now to try again.
Cast review questions use the current script. An earlier script no longer adds a question about names already agreed to be one person, or causes a question to be skipped.
Viewing as someone can't set up or take down storage, move the show's Slack, or share a version. This follows the change to keys and Slack accounts earlier today. While viewing as someone you could still move the show's Slack to another workspace, set up storage for the show or take it down, and share a version or a reel, or send a sitting, in their name. Moving Slack and setting up storage lasted after the view ended, taking storage down can't be undone, and a share can't be taken back. Now they're done from your own sign-in only, and viewing as someone says so. On Access and connected apps, a key refused while viewing as someone now also says who you're seen as and who can make it.
Storage times on the Filing panel are right wherever you are. When the show's storage was set up and when it was last checked showed in the wrong time for anyone not on UTC. They now show your own local time, as the rest of Throughline does.
A seat marked sensitive again while it's being confirmed stays sensitive. On the Messages panel's held seats, if one coordinator marked someone's seat sensitive again while another pressed Confirm & provision, the new mark was lost and the person was invited anyway. Now, if the seat was marked again before Slack is asked, it stays held, nobody is invited, and the person confirming is told and shown the new reason. If Slack is already inviting them, they're seated and the seat stays marked sensitive. If someone chose Invite them as usual in the meantime, the confirm goes ahead.
Two people deciding one version at once reach one decision. If a department head approved a version at the same moment the director sent notes on it, both went through and the version kept whichever landed last. Two directors approving together released it to the whole production twice. Now the first decision stands, and the second person is told the version has already moved and what it is now. Two notes sent at once are both kept.
A department's weekly spend shows the right time wherever you are. On the budget pages, the time a week was submitted showed wrong for anyone not on UTC. In Los Angeles a week submitted an hour ago said "just now", and hovering over it showed a time seven hours out. It now shows your own local time, as the rest of Throughline does.
A script change approved twice at once lands once. If the same script change was approved twice at once, the revision was applied twice and the departments were told about it twice. An approval and a dismissal at the same moment could leave the change saying one thing and the pages another. Now the first decision takes the change and the second is told it was already decided, so the revision lands once.
A week the budget office has accepted stays closed. If a department filed its week at the same moment the office accepted it, the filing could land on top: the new numbers could replace the accepted ones, and a week could even go back to waiting for sign-off. Now a filing that arrives after the office has accepted is turned away with the line it always used — ask the production office to reopen the week — and the accepted figures stand.
Slack's times on the Messages panel are right wherever you are. When Slack was connected and when it was last checked showed in the wrong time for anyone not on UTC: seven hours out in Los Angeles. They now show your own local time, as the rest of Throughline does.
Delivery times carry their time zone in the API and over MCP. A delivery's sent and created times, read through /api/v1/deliveries, list_deliveries or the deliveries resource, now end in +00:00. Before, a client read them as its own local time. The same goes for when a person last signed in, in list_users.
The Slack panel only says Slack stopped taking messages when it did. If someone on the show had no Slack account linked, the Messages panel used to say Slack wasn't taking messages from the show, even though nothing was wrong with Slack. Their messages go to their phone, as the panel already says, and the warning now only shows when Slack really turns a message away.
Viewing as someone can't make a key or connect Slack in their name. Throughline support sometimes looks at a show through a crew member's eyes, and on a demo show anyone can. While viewing as someone you could make a Throughline key, match a Slack account to a crew member, connect your own Slack account as them, or connect a Slack workspace to the show, and each of those lasted after the view ended, in the other person's name. Now they're made from your own sign-in only; viewing as someone says so and makes none of them. Reading and revoking keys work as before.
A tool you ask the Forge for is yours, not your name's. Throughline used to know who asked for a tool by name alone. So someone else on the show with the same name could change it or roll it back, and read its note of what it doesn't do. Now a tool belongs to the person who asked for it, and keeps belonging to them if their name changes. You need to be signed in to ask for one. Tools from before are matched to their author where exactly one person on the show has that name; where two people share the name, both can still change it, as before.
Tell Throughline where scenes shoot. On the Script page, under Where scenes shoot, you can now say which scenes shoot somewhere other than the show's home base: the lake house scenes in Squamish, say. Those scenes read that place everywhere, straight away. A place set on one scene still wins, and a day with its own location keeps it. When all of a day's scenes shoot at one place you named, the weather is that place's, and says so. If two of your instructions name different places for the same scene, the scene says so instead of picking one. Say the same thing twice and it's filed once, and you're told so. Instructions you stop stay listed under Stopped, so you can read what you stopped.
A message that went out is never reported as failed. At a busy moment, a message to your department could stop after the first person, and a Slack message could tell you it hadn't reached people who already had it. Now everyone gets the message, you're told everyone it reached, and nobody gets it twice. If we can't finish writing down that it went, that's a note for us, not a warning to you.
The home base shows which time zone it will use. Throughline works out a show's time zone from the town's name, and a town can share its name with somewhere far away: "Santiago, Spain" was read as Chile, and "Lima, Ohio" as Peru. The new-show form and Show setup now say it under the place, for example "Time zone from this place: America/Santiago. Pick another if that's wrong." If a time zone is already picked, that one stands. On the new-show form, typing a different town over one you picked no longer brings the old town's country with it. On both forms, a home base name is one line of 120 characters at most. A show whose saved name is already longer keeps it, and can still change its spot on the map, its country and its time zone.
A Slack brief that doesn't go out is told, the same as a WhatsApp one. When Slack refuses one of Throughline's briefs, usually because the show's Slack connection has stopped working, the show's owner now sees it on Today, beside the WhatsApp line: "The Slack brief could not be sent. Ask Throughline support to help." It stays one dated line, not a new one each morning, and its date tells you when it last happened. Our support team's own view clears once a brief gets through. Someone we can't find on Slack isn't counted as refused: nothing was asked of Slack, so nobody is told. Our support team now sees what the provider said, under your show's name, so they can put it right faster.

2026-09-21

A new show starts with its home base, and nobody reads somebody else's city. Creating a show now asks where it's based — a best guess is fine, and the production can change it in Show setup later. The show's clock, its phone list and when Throughline stays quiet all follow that place from the first minute; if we can't tell the time zone from the place, the form asks for it. Shows that never said used to read "Vancouver, BC" on every unplaced scene. Now they say "No home base set", and the people who can fix it see a line on Today and in Show setup asking where the show is based. A scene someone placed by hand keeps its own place, and its page says which one it's showing.
The person who built a Forge tool can read what it doesn't do again. A tool can note where it falls short of what was asked for. Since the last Forge change nobody could see that note. Now the tool's author and anyone who can change Show setup read it, under "What it doesn't do" on the tool and on its build page. If a note needs tidying before it can be shown, you see a short line saying the tool works differently from what was asked, with a reference to quote, instead of a sentence with holes in it. Whether everyone else on the show reads the note is still being decided.

2026-09-20

A tool that didn't build says so in plain words. The Forge workshop panel used to print the raw output of the tool's own tests — a wall of machine text, sometimes a file path from inside Throughline or the name of the company whose model wrote the tool — and anyone on the show could read it. Now it says how the last build or change went, in the same words as the build's own page: the tool is live, its checks didn't pass, or the build stopped before it finished. It lists what's worth fixing, like how many boxes have no help text, and a change that didn't land tells you the version you had is still running. The reference is on the panel too, and Copy takes it with the rest, so whatever you send us is something we can look up.
A message Slack won't take is no longer recorded as sent. If your show's Slack connection had stopped working — a token pulled or expired — Throughline still said the message went: the sender saw it delivered, the record said the same, and a copy sat in the person's thread although nothing had reached them. Now a message Slack refuses counts as not sent. The sender is told who wasn't reached, the show's Slack card says the connection needs attention, and a message from Throughline itself is tried again on the next pass. A message that DID go out and only failed to be written down still counts as sent, and is never sent twice.

2026-09-19

The schedule stops citing a rule that doesn't exist. It used to say a "SAG six-day rule" decided whether an idle run is held or becomes a drop. There is no such rule. What Throughline knows is your own convention — how many idle days this show holds and pays. Your office can set that number on the schedule's settings; until somebody does, it is the one we ship with. Past your ceiling it reads as a drop, and a drop has its own conditions in the performer's agreement, a long enough gap and a firm recall date, which Throughline does not check. No figure on your board or your money card moved.
When a build or a change fails, Forge says so in words you can act on. It used to print the error exactly as the code hit it — an exception, a test runner's output, or the words the model sent back, on your screen and in the running log beside it. Now it says the build stopped, or that Forge wrote it and its own checks didn't pass, and gives you one short reference to quote if you tell us. A change that fails says your tool is untouched. The detail is kept on our side under that reference.
A standing rule filed under Transportation stays there. A rule like a unit move to the tarmac used to turn into a Picture Cars rule the next time we updated Throughline, and its item and its place in each scene moved with it, without a word. It now stays where you filed it. Only rules from before Picture Cars arrived on 10 September were meant to move: that happens once, and a show whose rules moved sees it in its activity. If you have an older rule for the same item as one you filed since, that one stays under Transportation too — one item belongs to one department, and you've already said which. If one of yours moved before this fix, file it under Transportation again.
The weather on Today is your show's, or there isn't any. Show setup saved the name of the place you work from and nothing else, so every show anyone had set up read Vancouver's weather under its own city's name. The place name is now a search: pick where the show is based and its weather follows. A show that has a name but hasn't picked the place shows no weather and says so, with a link to Show setup — we'd rather tell you than show you somebody else's afternoon. A day with its own location still gets that location's forecast. Change the town to a different one and the old town's spot on the map goes with it — type Vancouver over Atlanta and you get no weather until you pick Vancouver from the search, never Atlanta's afternoon under Vancouver's name.
If your show was left on two Slack workspaces, it goes back to one. A show that had the Slack simulator turned on over a connected workspace kept both, and anyone whose Slack account lives in the real workspace quietly got a text instead. The next time Throughline starts, the simulator is turned off, your activity says so, and those people are back on Slack. Shows on one workspace are untouched.
A message to your department reaches everyone, once it has started. If a big save was running while you sent a message to a department, it could stop after the first person, and you were told the whole message failed. Now it goes to everyone, and you're told who got it. A Slack message that went out is no longer marked as failed either.
A message from Throughline is no longer lost when it lands during a big save. A reminder or call-time change due to you while a long script breakdown was saving could vanish for good from your Throughline thread, or reach your WhatsApp with no copy in the thread. The thread message now goes out on the next pass, and nothing is ever sent to you twice. A WhatsApp text that goes out while Throughline is saving something big is added to your thread a moment later. If we still can't add it, you keep the text and we leave a note for ourselves instead of sending it to you again.
The assistant says what it does in one way. Its panel, the reasons it gives when it can't start, and the line it leaves in your activity all say the assistant reads the show. The show's Tools page says a script is broken down, the same as the Script page, and a script last broken down without intelligence now says so in the Script page's own words.
Reconnecting Slack to a different workspace asks first. If Slack hands your show a workspace other than the one it was on, nothing moves until you choose: move to the new one, or stay where you were. Nobody's Slack account changes while you decide, and a question nobody answers is undone after fifteen minutes. If you say no, the panel says so, and landing in the workspace you turned down asks again.
Times show in your own zone from the moment a page opens. A routine's next scheduled time, a delivery's due day and sent time, and the time on a feedback line at home all print in the zone on your crew card, then your show's main location. The small time stamps across the app used to show your browser's zone until you moved around the app. A vendor request's filing time and an engagement's start and end now carry their time zone too, so they no longer read an hour or more off.
When two people answer the same line of your note, the second is told. Their answers used to be taken without a word and saved nowhere. Now they hear that those answers weren't saved because the line is no longer on the card. Reloading the page shows where the note stands. A press that saves some answers says how many it couldn't, and pressing twice by accident is not an error.

2026-09-18

An answer to your old note's questions is no longer lost without a word. When your note is saved again, the old note's questions now leave the card at once, instead of when the new note has been read. A page opened before the save that answers one of them is told its answers were not saved and why, instead of seeming to save and then losing them. The questions a script raised stay on the card.
Saving your note no longer holds up everybody else's saves. We read your note as soon as you save it, and until that reading finished, every other save in Throughline waited and could fail. That included the questions a script is asked before its read, which were paid for and then lost. Your note is now saved first, and reading it holds nobody up. If the reading is interrupted, the card says your note hasn't been read yet, and we read it when you save it again or before the script is next broken down.
Answering questions while a script is being checked no longer loses that script's questions. If a script's first look finished while you were answering the card, its questions could disappear and the script would be read again. Now both are kept.
Answering a question about one script no longer undoes what you told us about your note. A "No, not this" on another script's question could erase your answer that the instructions cover your note, change how an older note is read, or mark a note answered that nobody had looked at — and each of those made the next read start over on parts it had already done. Accepting one of your note's lines later no longer erases that answer either. It changes when you answer that question again, or when you leave one of your note's lines out — and then your whole note is used, as the card says.
Breaking down the script is called that wherever you meet it. The progress card, the questions about your note, the done card, and the notices when it stalls, stops or can't start no longer call it “the read”. An instruction now shows the day it was made where you are, not the day after. And when a line from your note reads like a rule, you're only offered the choices that can be carried out: a line from your note changes when you edit the note.
Changing an instruction says what it changed. Adding one says how many scenes already on the board it went onto; stopping one says what came off the board; taking one off a scene says what came off there. Each also says what the next read does with it.
A question raised about another script no longer refuses your re-read. Before re-reading pages that are already on the board we check that the pages and the board have not moved under you. That check was also watching the questions a reading raises and the stamp left when somebody settles a card — so answering a question about a second script, even with "No, not this", could refuse a re-read of your own. What somebody actually agreed to still refuses it, which is what the check is for.
The reading that sorts your feedback now says which model does it, and you can change it. Feedback we receive is read before anybody looks at it. That reading had no row on the models page, so nothing said which model did the work. It has one now, above the show picker because it is ours rather than any production's, and the row says what will really run — including when that is the stand-in because we hold no key for the model that was chosen.
Two people starting reads on one show at the same time no longer lose one of them. Each read asks the script a few questions before it begins, and when two of those ran at once only one set of questions was kept — the other script's answers were paid for, thrown away, and asked for again on the next read. Both are kept now, and neither script is read for questions twice.

A question on a card is only ever numbered once. Each question we raise from a script or your standing note carries a short id, and that id is what your answer is addressed to. Numbering restarted at 1 for every reading, so a second script's questions could open on the first script's numbers — and a Yes from somebody with the older card still open landed on a question they had never seen. A show now carries its numbering forward, and nothing is renumbered, so a card already open keeps working.
The Script page puts breaking down the script first and keeps one list of what you've told us. Breaking down the script is the first thing on the page and stays there, running or not, with earlier attempts under it in Read history. What you've told us about this show is one list: a department rule and a line confirmed from your note both say what they do and what they cover, with your note above them as a reference and everything else one press away.
The same instruction is not stored twice, and two that read alike are a question. Confirming a card you have not changed no longer repeats what it says. When two instructions read alike we show both, and the words that differ, and ask — keeping one says which one stays, keeping both is one press and we do not ask again.
Starting a read stops opening everything you have ever approved. What you have already confirmed is folded away and counted; what is new, changed or still unanswered is open.
A read settles a same-person question it is sure about instead of asking you. When two names might be one person, the read asks again on its own and only brings you the ones it cannot settle. The same person at another age, or with a double standing in, is still yours to decide: that is two bookings, not one name written twice.
Pressing Re-read says what is happening and asks its questions right there. The pages are checked before the breakdown starts; the screen says so while it works, and anything that needs an answer appears on that same screen instead of ending the read and leaving you to find it. Nothing is recorded as a failed read for a question.
A question raised about your pages can be answered. Where it used to state a decision and offer only yes or no, it now asks it with the real alternatives, an answer that leaves it undecided, and a box for your own words. Whatever you pick becomes the instruction the pages are read against.
Answering a card answers the lines you saw. A question that arrived after your page loaded stays waiting for whoever it was meant for, instead of being settled by somebody who never read it.
A read that finishes clears the notices from the reads that stopped on the same pages. The Script page shows where this script's latest read got to and nothing older, so a good read no longer sits under warnings about attempts that stopped days ago. A stop on a different script stays where it is: one show's scripts do not speak for each other.
"Technical issues affected part of this read" now means something happened to that read. It used to appear on reads that ran perfectly, because of what the provider behind them does not report. It names the part of the read it is about, or it does not appear.

2026-09-17

We ask for the department in your show's words. Reading your note, we now file each instruction under one of your show's own departments instead of a general name for it. When none of them fits we leave it for you to choose rather than guessing, and an instruction we can't file is shown to you instead of dropped.
When a read stops, the page says why and when. Each notice carries the read's own words and its time, so two reads that stopped for different reasons no longer read as one. The notice names the part of the read that had trouble, and the lines beside it no longer report a clean result from a read that gave none.
Percep look briefs have their own allowance. HQ can set each show's limit separately from picture descriptions. The office can see how many looks were requested. Stored briefs stay available, and an unreadable answer is kept so retrying it does not pay twice.
A read tells you roughly how long it will take before it has started. Until the read has enough of its own progress to go on, the page says what reads of that size have usually taken, and switches to this read's own pace as soon as there is one.
A show with more than one script is only asked about each of them once. The questions we raise from reading a script are saved against those pages, and every script you have been asked about is remembered now — so moving between scripts and back does not bring back questions you have already answered, or read the same pages again.
The note card says which line it could not save. A line we filed under a department this show doesn't have now says so on the line, and offers the choice: pick one of this show's departments, or leave it as a note. Every other answer on the card saves, and the read can start. A line marked Not right keeps your whole note on the read, whatever you answer about coverage.
A failed render says more about why it stopped. A render refused for showing a public figure used to arrive as an unexplained stop; it now says a provider declined the content, which is something you can act on. A render interrupted by a restart is still not treated as a refusal.
A read now says when two entries would have one thing ordered twice. After the element list is finished, the read compares entries that share a scene and a word, and asks about each pair on its own: one thing, one thing at two points in the story, or two different things. Double orders come to the tray as the card you already answer, with both entries and the lines they came from. A pair you keep separate is not asked about again.

2026-09-16

HQ opens on Shows. Open a show's console directly from the list to see daily caps, script reads and document style. Analysts can read; ops and admins can make changes.
Saving how your show reads its script always tells you what happened. If there are rules to approve you go to them; otherwise the save says the note did not change, or is empty, or is being used word for word — and an emptied note says what still stands.
A read says once what held it, and your note is answered before the read starts. The questions tray states a condition that held the whole read at the top, with what to do about it, instead of repeating it on every card. Saving your note asks about anything it could not turn into an instruction, and the read waits until you have answered or chosen to have it read exactly as written.
The script is read once before the work starts, and you answer what it raises. Uploading or pasting pages, or reading them again, now asks the few whole-script questions only you can settle — a role that appears at two ages, a standing item the pages never name, a story told in two eras — on the same card as the questions about your note. Nothing is read in detail until you have answered them, and a script that raises nothing does not stop.
Script reads keep going after an interruption when new work was saved. The read says whether Throughline was updated or restarted. If two restarts happen without any new work, it stops and explains how to try again.
HQ refusals say who can help. A refused request explains what happened, which HQ seat you are using and who has the access it needs. An expired sign-in asks you to sign in again.
A read tells you how much longer it has. The script page gives one estimate instead of a wide range, worked out from how fast this read is actually going, and the line above the bar says how much of the whole read is done.
Unavailable reading choices are caught before the work starts. The Script page explains which setting needs updating and who can help. If an optional check becomes unavailable during a read, usable answers are kept and the page says what happened.
Script questions are easier to read and answer. Each card shows the question, why it needs your attention, the script passage and your choices in that order. Saved answers stay beneath their question, and Something else opens only when you choose it.
Add standing elements from the Script page. Script approvers can name an element, choose its department and say which scenes need it. Saving adds it to matching scenes already on the board. A refused save keeps the draft and explains who can help.
HQ can fetch missing script-read prices. The usage screen names figures priced from the provider's report and those that match its bill. Finished reads are checked automatically; the paste box stays available when a report cannot be fetched.

2026-09-15

OAuth discovery points to the current MCP documentation. The link now opens docs.criticalperiod.co/mcp. Existing API and MCP addresses are unchanged.
A re-read that is too long leaves its explanation. The office activity and Script page say why the read could not start, just as on a first upload.
Choose whether the reading rules cover your note. Yes means the next read uses your approved rules and any remaining lines. No or no answer keeps your whole note. Editing the note clears your answer.
A WhatsApp brief that could not be sent is visible on Today. A saved notice tells the show what happened and who can help. Support sees when sending stopped in HQ Readiness, until a later send succeeds.
See which character cues were not read. The scene page now lists these lines beneath the cast and explains why each was left out.
A refused Show setup change says how to move forward. The notice says what was refused, who you are on this show and who can help. The button comes back, and a successful save clears the notice.
Script read notices now appear on the Script page. About the script read shows what stopped or recovered, newest first, and updates while the read is in progress.

2026-09-14

These docs, and the addresses in them, now say Critical Period. The company behind Throughline is Critical Period, and the API and MCP doors are api.criticalperiod.co and mcp.criticalperiod.co. Every example here has been updated. The old leeme.co addresses still answer, so anything already pointed at them keeps working — but build new work against the ones above.
Invented quotations get their pages checked again. When too many quoted lines are absent from the script, the affected pages are checked again before anything reaches the board. If they still cannot be verified, the Script page explains why the read stopped and support receives the reason.

2026-09-11

A busy model no longer ends a read. When a provider says it is busy — which it does, in bursts, and usually clears in seconds — the read waits about a minute and keeps going, and the line under the bar says so instead of going quiet. If it is still busy after that, the read moves to a backup model where one is set for that stage. Only when there is no backup, or the backup is busy too, does the read stop, and it now says which model was busy and that the pages already read are kept — where it used to show a page of error text and tell you to ask the production office.
A script read now runs until it is finished. It used to stop itself ninety minutes in, whatever it was doing, and the line under the read counted down to that time. Long scripts were losing work to the clock rather than to a fault. A read that has genuinely stopped coming back still fails, in plain words, with the pages already read kept — but a read that is working is left to work. The line under it now says only how long it has been going.

2026-09-10

Names that look like duplicates are now questions on the review tray, and something reads them before you do. That list used to be worked out again every time the Script page opened, and nothing checked it — which is how a card asking to combine eight unnamed scene placeholders reached a producer. The names are compared when the script is read, the same second reading that looks at every other question looks at these, and they are answered where the rest are: combine into the name you pick, keep both, or neither, with your note. Keeping two people apart still tells the next read to keep them apart, and combining two spellings now sticks. A duplicate you make by hand between reads waits for the next read.
Before a read starts, the Script page repeats back how it read your note. You can edit a line, drop it, or keep the note as you wrote it. Hedged wording stays yours. A first read waits until you answer. A re-read with the same note skips that screen. Until you confirm a line, we work from your note exactly as you wrote it.
Picture Cars and Production Design get their script work. Vehicles on camera go to Picture Cars. Sets, backings, signage and graphics go to Production Design. Existing vehicle entries move to their picture-vehicle owner; crew transport stays with Transportation.
Saving a brief whose last reading failed reads it again, even when the words did not change. The page says we read it again. A save of an unchanged brief that last succeeded still writes nothing.
A second reading that quotes the script now does the bookkeeping. A split, a fold of two of the same thing, taking something that is not an item off the list, citing the line the reading named, moving department, or putting an item on the scenes its own line names — those leave a receipt you can undo. Two names for one person still ask. A line the page never said still asks.
Sunglasses, gloves and an N95 sit on the costume and props lists both. Costume establishes them; props handles them on set. The Script page no longer asks which department owns that kind of item. A passenger mask or anything else that is one department still asks.
A count the script never gave is left blank. Carry-ons and the like stay unquantified. Nobody is asked how many. A number the page does give is kept.
Saving how this show reads its script now says if that note could not be turned into questions. The brief itself is kept. The page says so, and to save it again to retry. The standing questions stay until then.
A script longer than we can read whole is refused, with the page limit. We never read an outline instead. Nothing is read, and the Script page says so.
The re-read dialog says whether these pages are already read. When a matching read is on file it says so, and that only changed pages would be new work. When nothing matches, it says this read is new work. The count of answers that carry over is still there.
The element check says what happened to its objections. The Script page separates corrections, questions for the office and changes that could not be applied, with reasons. Older reads say when those outcomes were not recorded.
A Pulse send that fails does not stop the rest of the show's tick. The failed send is recorded. The next person, and the next kind of notice, still go out. The Pulse board and the show's HQ Pulse tab name the channel, the last error and the time. The line clears when a send on that channel gets through. A simulator is named as a simulator — the same words the rest of the product already uses.
A re-read that stops after the pages are on the board still offers the tray. The Script page says the pages are on the board and the questions on this read may not have been assessed. A failure before the board is saved still says to ask the production office. Show setup → Tools names the cause for staff.
The Script page keeps answering while a script is being read. A long read used to take the whole database for itself for seconds at a time, and anything that asked for the state of the read in that window got an error instead of an answer — four times during one script. Reads and writes no longer wait on each other, so the page keeps telling you where the read has got to while it is still going.

2026-09-09

Show setup now has a main production location. The phone list and address search use it. Empty until the office sets it. A first scheduled day can hint at a place; it is never filled in on its own. The onboarding form says which show location it is using. Address search looks there first, prefers a house and street when you start with a number, and names the region it searched. A country without a stored map box still narrows the near search to that country.
A show's paperwork now wears that show's look. Throughline staff set it from the show's HQ page — the printed name, a mark, the colours, the type, and the line at the foot. A show that has set nothing already uses its own colour and the house type. The next breakdown, crew Day Out of Days, and turnover lineup pick it up; paper already sent stays as it was.
When too many questions on a tray would not get past a professional, the Script page says so. The line is the parse team's: N of the M questions on this tray would not get past a professional; the parse team has the list. It sits under what the read landed, only when that is true.
Script review can answer what the pages already settle. With the review lane configured, supported factual answers become receipts under Answered for you, with Undo. Questions about meaning stay for a person. Different names are never silently joined, and nothing is removed from the board. The review's cost and counts are recorded; its Script-page summary and live calibration are still to come.
Library file tiles load a small picture, not the original. When a file has a stored thumbnail, the asset grid, the ingredient browser and the canvas fetch that. If the filespace picture is still on its way, the tile says Preview on its way instead of stretching the one-pixel stand-in.
Every script read now uses intelligence. Uploads, revisions and re-reads all get the full read: the cast, the questions and the second reading. A show can still switch intelligence off for the day-to-day features it uses once the script is on the board. The script itself is too important to read any other way.
A show with no model connected is told it cannot read a script. One line, in the same words on the Script page, in the activity feed and on the read itself: add a provider key under Keys in HQ, or ask us to set one up for the show. Nothing is read and nothing is charged.
A script read before this change says so, and can be read again. The Script page names the date it was read without intelligence. Reading it again is the office's click, priced like any other read; it never happens on its own.
HQ's Script intelligence tool says reads always use intelligence. The switch is for the day-to-day once the script is on the board — today, the methodology brief's own reading of the note. A show with no provider key is told it cannot read a script, in the same words as the Script page.
A running read names when it started and when it will stop itself from the first look. The remaining-time line says it is an estimate, or that the first stage is still setting the pace. It does not say the software is working the clock out. The stages speak in production English: Discovering characters, Matching names to people.
A script read stays on the Script page when you come back. Another browser, another device, or a sign-in that cleared this one still shows the running read, who started it, and when. A read that finished while nobody was looking lands the next time anyone opens the page.
Show me the twelve opens one card per place. The folded scene question becomes a receipt — Expanded into 12 cards — under Answered for you, with Undo. Each place is an ordinary scene card with its page and scene, and Break it out or Leave it inside.
The Script tray groups element questions by what they ask. Which scenes, something the list is missing, one item or two — each kind is its own sheet, so you answer one kind in a pass. A department question is a picker. A scenes question is tick-boxes. Evidence is the script page, with the scene and page above it — never a line number. The list of lines judged not to be characters names the scene and page the same way. A scene the second read already took off sits under Answered for you, with Undo to put it back. When a spelling of a person was already settled, that receipt sits on the open card as its own line, so you can see what was answered without opening a closed row.
Review evidence reads as a script page. Housekeeping cites scene and page — Sc. 22, p. 47 — never a line number. The quoted lines sit in Courier like the page they came from, with a line or two of context, and the cited line marked. When the saved draft has no page breaks, the card says so.
The second reading can make a supported correction and show what changed. A department move, a named missing item, a scene taken off an entry or a duplicate folded into another comes with a receipt and an undo. Undo puts back the saved entry, including its evidence and scene links. If someone has edited it since, the card asks for review instead of overwriting their work. Splits, removals and quantities stay questions, with the reading's proposal named.
Element cards answer the question they ask, and the obvious ones are already answered. When the second read says a scene rests on a line that does not describe the item, the scene comes off that item and the card becomes a receipt: it says what was taken off, and one click puts it back with the line it was cited to. The item never leaves the board — if that scene is the only one it has, the card asks instead. Everything else asks with answers that fit the question: one item or two names both items, which department lists the show's departments with the current one first, how many, which scenes to tick.
The review tray asks once per person, not once per spelling. Every card about the same person is now one card, whatever each was asking. A name the script spells two ways is merged and shown as a receipt you can undo. Two different names are never merged for you: that one always asks, and nothing goes on the board until you answer. And the places a script cuts to without a slugline come as one question listing all of them, each place once, instead of one card apiece.
A nickname three people hold is three questions, not one. Each holder is asked whether that name is theirs. The other people stay on the card so you can see their cues; answering one card does not decide the others.
One person reaches the tray as one card. When the read finds a gunman and a named reveal that are the same role, it asks once, with the line that says so: Same person or Keep separate. It never folds them on its own. A second card about a name that already has one folds into it. When that extra look ran, the Script page names what those calls cost, next to the rest of the read.
Connected tools can put a recent combine back. A script approver can undo a saved combine for 72 hours, provided its attached work has not changed. The activity feed records the result. The housekeeping button is still to come.
A recent combine can be put back for 72 hours. Housekeeping's confirm names that window, and Put it back reads the same offer the activity line carries. A scene, booking, or later combine that already changed the work is refused in those words.
A line of action is not a person on the cast list. If a read uses a sentence as someone's name, they stay on the board as Unnamed until you say who they are, and a card quotes the line. Real names — including ones like ATC (LA CENTER), and a slash of two names — stay as they are.
Combining character names brings their props and wardrobe with them. Items named for a character take the surviving name in scenes and department lists. Searching the old wording still finds them.
Decisions the parse already made sit under Answered for you. They do not count in the number at the top of housekeeping. Each one says when it was applied and has Undo. Accept all keeps them in one click, using whatever answer that card already offered. If one cannot be kept, the rest still are, and the tray names that card by its headline and says it stays there.
An interrupted script read gets one automatic retry. After a server restart, the Script card says the read is carrying on. Answers already saved are kept. If another restart interrupts it, the read stops and says so.
On housekeeping, an AD can combine two people even when the list didn't propose them. Pick the names, choose which one stays, and confirm. Every scene, image and file that pointed at the others will point here. The other names stay as other ways of writing the same person.
A stall dump is readable from HQ. When the event loop stalls, or a script read captures its stacks, the file lands in Diagnostics — staff sign-in, newest first, click to read. A name that walks out of that folder is refused in words. Files older than fourteen days are dropped at startup.
A one-line schedule from the AD's own software now comes in. Yellow and Goldenrod one-liners are read as one-liners, not turned away as scans. When the heading is glued to the first name on the list, that person is still on the list, and the scene still reads LEO / STELLA. A file that really has almost no text is still called a scan. A file that has text but isn't a call sheet, one-liner, shooting schedule, or DOOD is told that, without the guess.
If a show code is already taken, the refusal names the show that holds it. Creating Don't Descend as DD when an earlier Don't Descend already has that code now says which show, and whether it is on the air or wrapped. A wrapped show can release or change its code from Show setup; a show that is still on the air cannot, because mounts and folders use it. A code that was assigned from the title on an older show says so on that page, so it is not mistaken for one somebody chose.
Restarting a script read no longer doubles its bill in HQ. Saved answers count once across attempts, including failed reads. Money spent on calls that were not saved still counts.

2026-09-08

The Brain panel says what the last automatic read actually did. A skip or a stop at the day's limit shows the same sentence the activity line does. A finished read still says it read recently.
Two spellings of one prop no longer knock the staying one off the sheet. If one record is leaving a scene and the other stays — same department, labels that differ only in capitalisation — the one that stays keeps its row. When an item moves onto a scene that already has it, the notes, the quantity and the lines it quoted travel with it rather than vanishing.
Opening material added or changed in a later draft waits for AD approval. Its script change names the source lines and asks about numbering. Approval keeps printed scene numbers and a changed opener's existing scene identity.
Two wearers no longer hide a question about two different objects. The Script result names dismissed per-person split questions. Duplicate entries and names that need an owner or description come to the review tray as their own questions.
Two people can answer different sections of one review card at the same time. Both answers and both notes stay on the card. Asking later or handing the card to another department also keeps the answer someone just gave.
A set-dressing item stays on a scene whose heading names that set. If the kept quotes are from another scene of the same set, it is on both. A costume that belongs to a character stays on a scene that character is in. Quotes from a different set, or from a scene the character isn't in, still move it.
A script read you start still runs when a spending limit cannot be set. The Script page and the activity line say so. A read nobody is watching does not start, and the message says how to run it yourself or set a limit in Show setup.
The assistant's timer no longer re-reads when it cannot read today's spending ledger. The activity line says so. A re-read you start still runs.
A name spoken over the P.A. is still that person. A delivery note in parentheses after a name — on the P.A., on the radio — still puts them on the cast list, including the cold opener.
A script read no longer stops on the first call when the text model was retired. The message says which model to pick.
Nothing is filed under a scene your board does not have. A read could hand back a bracket, a comma or a paragraph of its own notes where a scene number belongs, and items rode in on it — one read had 114 scene keys for a 97-scene board. Those replies are dropped now and the read says so, with the item count, and the commit refuses them a second time. The cold open is a scene, and it is kept.
A script read that had to be started again still shows what the whole read cost. If an earlier try stopped mid-way, the Script page names the money already spent, not only the last try — including a read that finished before this did. The spending limit counts that same figure, so a resume cannot spend past what the office approved as if the earlier try were free. The last try is named beside the total. Each part of the read shows what it actually spent next to what it was quoted.
A camera direction is not its own scene. A line such as EXTREMELY CLOSE stays inside the scene it belongs to. A jump that names a place — one already on a slugline in these pages, or a word like cabin, hall, or deck — is still its own lettered scene, and it keeps the parent's INT or EXT and time. A time of day left on a slugline (a moment later, minutes later) is not a place, and neither is shot. If a camera line was already split out, the next re-read puts it back, and its items go with it.
A prop that turns up in five scenes is one item with five scenes on it. The read used to pick one scene for it and the whole list sat there. Now it reads the lines it quoted and adds the scenes they come from. It never takes a scene away on the strength of a quote — a read only quotes an item a few times, and a hero prop is in far more scenes than it is quoted in. Where not one quote lands anywhere the item was filed, the quotes win and the item moves. And the pile the read could not place — items attached to the last scene it was asked about, quoting a line that never names them — comes to you as a card asking which scenes they are in. The card is a question, not a removal: nothing leaves a department's sheet because the read was unsure.
Frank Baker is one man, not three. When the script writes somebody's name three ways — FRANK BAKER, SPECIAL AGENT FRANK BAKER, FBI SPECIAL AGENT FRANK BAKER — the read now sees that on its own and puts them together, instead of asking you three times about three people. A title on its own never gets folded onto a name, and if two different people really could answer to the same name you still get asked.
A cockpit annunciator is not on the cast list. Machines that talk — an annunciator, a collision alarm, a lift voice — come to you as a question about production sound instead of arriving as a person to book. It is still a question: an annunciator can be a real voice role, and if anybody in the script talks back to it, it is a character.
Whether somebody is a voice session or an on-camera day is decided by what most of the read says, not by whichever reading came back first. One odd reading used to be enough to move a role between those two.
A card no longer offers you the wrong person first. If the script never writes that name for the person the card is about, the person it is written for leads the answers. The buttons are exactly where they were.
The person who creates a show can run its first read. The role they typed is their job, not a lockout. A show whose creator was not its administrator is fixed at startup.
The line under a running read uses your crew-card time, not a UTC stamp the browser guessed at. On a show with intelligence on, before the stop time is known it says it is still working that out. A show without intelligence, and a run that truly has no stop time, still say No deadline. Next fire times, a delivery's sent stamp, and the home feedback clock use the same zone.
Pressing Break down these pages says the note is being read. Until the save comes back, the button is off and reads Reading your note. A line says the note is being read before the pages are. A second press in that window does nothing. If the save fails, the reason is above the buttons and you can try again.
Costume opening Mara from Costume's workroom sees Costume's starting points. Other departments that have published one for that item are there to pick. Applying theirs adds their flow and leaves who owns the item alone. A starting point for a character will not apply to an asset, and the workroom list only offers starters that match what you picked. On the workroom, Apply a starting point applies the one you chose, or the button itself says why it will not. The list without a workflow opens on the work that department owes. A scene on the board that has none of this department's elements is not this department's work. Everything of this kind is the wider list.
A revision that changes a prop or a line deep in a scene files a card. A byte-identical re-upload files nothing. The first upload after this lands will surface every change the old opening-only compare had been swallowing.
The assistant now reads what the show is working on, not the first pages of the script. On a big show its picture is too small to hold everything, so it starts with the scenes on this week's shoot days, then the scenes changed in the last fortnight, then the rest in script order. What the assistant has read says what would not fit — "the script: 31 of 182 scenes" — instead of only saying that something was trimmed. The day the unit is on, its general call and the scenes up, now travel with every conversation. A short show reads exactly as before.
Ask the assistant about a day by its number and you get that day. "What's the call time on day 12?" answers with Day 12's call time and Day 12's scenes, from any screen, with your department's items on it. Ask about a day that isn't on the schedule and it says so, and says what the schedule does run. Before, it answered about today.
Every show with Intelligence on gets a second check of its element list. Nobody has to find a switch for it: the read goes over the props, wardrobe, and set-dressing list a second time and questions anything it cannot stand behind, the way it already does for the cast list. Anything it questions comes to you as a card rather than quietly changing the sheet. A show that has turned the second check off keeps it off.
The first line of a revision card names what was added and taken out. The crew-readable sentence follows it. Marking a change as having no impact is a named decision on that card, not a rewrite of the line.
A link that names a version opens that version. Pulse and the workroom Review and With the director cards carry it through. If that version isn't available to you, the page says so in one line and shows the current one.

2026-09-07

A show that asks for a second check of its element list is quoted for it. The estimate before a read now includes that check, it is named among the parts a changed brief would re-buy, and the limit the read stops at is worked out from a figure that has it in. A show that has not asked for the second check sees exactly the estimate it saw before.
A stalled read is a card, not a raw error. If a script read has gone quiet, the Script page says so and how long it has been. Stop this read is there for an AD, a producer, or an admin. Anyone else sees why they cannot. Starting another upload while one is still running opens that same read.
A runner cannot start a paid script read. Upload and paste ask the same people a re-read already asks: ADs, producers, or admins. The job names who was signed in, not whoever the form typed.
An unheaded opener now raises one question, not two. If a second undeclared-scene suggestion points into the same opening lines, it is folded into the opener's card. A separate mid-scene question now names the scene it would split and the lettered scene it would create; if the line cannot be placed in a scene, the card says so plainly.
Show setup → People can keep someone out of automatic invitations. Crew who can change that page pick the person and why. They will not be added to channels on their own; someone still confirms the seat by hand. Clearing it invites them as usual again.
Show setup can change the rest hours, the working week, a department's details, and how episode codes print. People who can change those pages do that there. The week and a privacy change show what would happen before you apply them. A department's default calendar names the workflows that still follow it, so the first look is every follower, not none. If the show moved since you opened the page, it says so and asks you to reload. A department head can still turn Workflows on or off for their own department. The show code stays put.
Show setup can change the title, the phase, the colour, and the clock. People who can change The show do that there. The show code stays put: mounts and folders use it, and changing the title does not. If the show moved since you opened the page, it says so and asks you to reload.
Saving how the show reads its script now asks whether we heard it right. Each reading is Yes, No, or in your own words, with the recommended choice marked. Nothing typed is written until you confirm it. The note keeps riding the read until you say the answers cover it. A note about who is who, said in your own words, rides the character matching — not the element read — and shows next to those answers the next time you open the interview.

2026-09-06

Re-reading pages now shows last time's answers, and says what a changed brief would re-buy. The interview on that door is already filled in. Save with nothing changed writes nothing. A booking change re-buys the character matching, not the whole read; a show that never saved a new brief keeps the read it already paid for.
A new show starts ready to read its script. HQ shows the show's code as it creates it and starts script intelligence on for both a single story and a season. The production office can switch it off or on again from Show setup → Tools, which also says whether script intelligence can run right now.
Your settings and Show setup speak the house voice. The page is You. Slack, connected apps, memory, and what the assistant has read are said in production English. A no on a reach is still said once.
Reading access sits on Show setup → Access. On a series, who may read ahead is next to the keys, only for someone who can change that page. Your settings no longer points at Vendors.
Your settings is yours. The apps you've connected show once. Saying no to a reach is said once, at the foot of those cards: Throughline will do less on its own, and less for your department's team through you.
A scene whose elements were not read now shows on the tray. Ask again reads that scene's elements only. Leave it empty keeps the scene without them. A long scene on the one-scene-at-a-time path is asked in parts rather than coming back blank.
A parse now shows one line, a bar, and about how long is left. The button stays Break down these pages. The same job no longer reports itself three times. The bar does not sit at the end of a stage while that stage is still the current one. When the product already priced the read, the time left is a range in minutes, not a false countdown. You can leave the page; the read carries on. When it finishes, that same block names what landed, what it cost, and how long it took. Before the drop, a show with intelligence on says so, and that a feature takes about an hour. How the read works sits on that block, while the read runs and when it is done.
While pages are being read, the progress line keeps moving as each stretch finishes. It no longer sits still until a whole batch of answers is saved. You can leave the page; a long stretch no longer looks frozen.
How the read works is a page you can open from the parse. Seven short chapters: the pages arrive, who is in each scene, who is who, the check, what each scene needs, then it is yours. It opens when you're signed in.
The show's controls now live on Show setup. People who can change the workspace, the look, the filespace, the keys, the assistant's brief, or the Day Out of Days do that there. Your settings keeps what is yours: your look, your Slack connection, your connected apps, your memory.
Dropping pages on a show with intelligence on now asks how the show reads its script, before the parse starts. Three questions: namesakes booked as two people, one performer across roles or ages, and anything the pages will not say. Remaining room is visible as you type; past 12,000 characters on the standing rules, or 2,000 on a note, the save is refused rather than trimmed. Skip is one click and is remembered for that revision. The Script page keeps the standing brief on a card, with Edit. The brief still reaches every prompt the way it already did.
The figure before a read is priced on the lanes that will actually run. A first read says so and gives a wider band. When the read finishes, that figure is closed against the bill so the next one can learn from it.
A jump to another place inside a scene is now its own lettered scene. The parse files it before anything is written: 59 stays 59, the cockpit is 59A, and each part has its own eighths and cast. An action line that just ends in dashes stays in the scene, including a longer grab that is not a place name. A card can still put two units back together.
The Director now sits in Direction. Every show has that department, open, with the Director as its head. A cinematographer retitled Director is still not the Director. Handing a Direction step to a vendor is their own department's call, and still not another department's.
Show setup is a place of its own. People who hold a job on the show can open it and read the values they already may. Money, access, and vendors stay closed unless that job includes them. Settings in the rail is now your own page.
A Producer keeps the Director and Producers look after they can read the office's paperwork. Being able to see those records does not take that look away. A Line Producer still does not get it; the Director still does.
The Director's say is a written appointment. A credit that says Director, or a cinematographer retitled as one, does not grant it. The show's Director holds it everywhere on the show; an episode's Director holds it on that episode. Being an administrator is not being the Director.
A show that already existed when we started writing chairs down gets those chairs at startup. A Producer whose credit is exactly Producer can sign a Producer step again. A Head Production Designer is still not the Production Designer, and a chair that was taken away stays away. Fresh demo worlds keep the chairs they were seeded with.
Handing a step to a vendor is the department office's call, written down. A person given that job on the department can do it even if their credit says something else. An Associate Producer's title is not enough on its own. The people who get told about a department's steps are that same written roster, and only while they are active.
Who may change an approval room, say where a scene shoots, or re-file a scene onto an episode is written down on the person, not guessed from the credit. Holding a pass to read the office's paperwork is not enough to staff episodes. The assistant will not grant a permission; it names who to ask. Who signs a step named for a chair is written down on the show the same way: an Associate Producer is not the Producer, and an empty chair stays unsigned until someone is named.
The automatic re-read pot is $15 a day, and raising a limit stays. An administrator changing a show's daily figure is a permanent change to that show, not an increase that dies at midnight. The $50-a-day ceiling is unchanged. The settings record names the old amount and the new one.
The sweep that writes today's permission list down will not guess. Two people on one show who share a name stop the run before anything is written. A grant that cannot come back because it was revoked is named as blocked, not applied.
A 2nd AD and a production coordinator can now edit and publish the shooting schedule. The same written roster covers the paperwork tray, Pulse runs, the egress audit, and the weather watch. Who may do that is written down on the person, not guessed from the credit. A Producer's Assistant still cannot decide script truth unless someone has given them that job.

2026-09-05

The assistant's picture of a parsed scene names each person once. When the sheet has several cue variants for the same person, the read the assistant uses lists that person once, in the order they first appear. Seed shows without a resolved cast are unchanged.
An unheaded opener now asks the production office how to file it. Its card offers scene 1 with renumbering, an A-prefixed scene without it, or no scene; dialogue and shootable action lean scene 1, while a prologue, pure screen context, or any existing shoot day leans A. The setting only preselects an option — an approver must choose it — while cast, elements and mid-script lettered splits keep their existing behavior.
Tiles now load a small picture. Library cards, the canvas rail, the ingredient browser, shot plates, review strips and workroom covers fetch a stored thumbnail. The full file is served when you open it, download it, or send it to a model. Files that do not have a thumbnail yet still show the original.
A re-file plan no longer moves empty placeholder renders into a task's folder. Only the July stub signatures, and only when the file is under 100 bytes, stay on the plan as placeholder files, not moved — a small colour sidecar still files. A census script lists every version or library row that still points at one of those stubs — on disk or on the filespace — and a confirmation-gated remove deletes only what that list named. A filespace copy we cannot open is listed as unread, not removed. Filespace deletes go out as agent work; Throughline never touches the mount.
Re-reading the show now has a real daily allowance. Each show gets one pot for re-reads started by an administrator and a separate pot for automatic refreshes, reset at midnight where the show is based. Settings shows what has run and what remains. An administrator can change either amount; if a read will not fit, it stops before anything is sent and keeps the existing brief.
A vendor's delivery now arrives whole or not at all. Throughline checks and hashes the private upload, claims its retry key before writing any shared staging file, then stages and verifies every byte. A step-bound submission commits the delivery and its sign-off together before publishing the complete directory. After a restart, Throughline settles a complete or already-moved delivery, leaves an incomplete one for the same-key retry, and names genuinely missing bytes Arrival failed; none is shown as a ready file.
Vendors now have their own focused workspace. A vendor sees only steps both assigned to them and inside their live access, can leave progress notes, and can submit files for production sign-off. Their pages do not expose the production's navigation, approval buttons, date controls, pins, or internal notes. Until 1 December 2026, older submission clients that omit an Idempotency-Key still work with a dated warning; after that, the key is required so a retry cannot create a second delivery.
Who can change the show is a little tighter, in six places. A Producer's Assistant can still see colleagues' contact details, but cannot edit the crew list — that's the production office. Only an administrator can re-read the show for the assistant, or make a standing routing rule from chat (the same as changing it in Settings). A connected app can invite people and change a role, but it cannot name a head of department. A tool turned off on the Forge now shows Turn it back on, and rebuilding one is an administrator's.
The office is no longer told a read failed when it stopped at its limit. A script that hits its spending limit or its time limit still stops, and the board is still untouched, but the activity line now says it stopped — not that it FAILED. FAILED is what you retry; retrying this one spends the same money again.
A script read now stops at a spending limit instead of running away. Every read is priced before it starts and given a limit based on what reads on that show have actually cost, with room to spare. If it reaches that limit it stops and says so plainly: nothing on the board changes, and the pages it already read are kept, so running it again doesn't pay for them twice. A department second look works the same way.

2026-09-04

Provisioning a show's storage no longer waits on the click. Settings shows each step as LucidLink builds the filespace — creating it, waiting for it to come up, building the folders, setting up department access, minting the storage key — then Ready. A second click while that's happening is refused until it's done. Tearing storage down is still the short wait it was.
An item both readings of the script found is marked, and sorted to the front. When the breakdown reads the pages twice and both readings list the same item, the scene shows a quiet "Seen twice" next to it, and those items come first in their department and first in the review tray. It is a note of confidence on something already right, not a problem to go fix. Pages read once look exactly as they did before.
A film cannot have two scene 14s. When a later draft wants a number that's already taken, the tray asks: file it as 14A, or say it continues the one that's there. Neither leaves the lettered insert for now. A show that already has two scenes on one number still boots; those are the questions waiting.
A breakdown now records what it cost, including one that failed. Every lane the parse used is counted, not just the first, so a run on two models is not reported at a fraction of its price. A parse that stopped partway still shows the spend up to that point — the money is gone whether or not the answer arrived. Running the same pages again after a failure adds only what the retry actually buys: answers that come back from the bank are free, and they do not erase what the first attempt paid.
Re-read these pages without losing the board. A script approver can preview which scenes stay, which are new and which are no longer in the draft, then confirm. Shoot days, approvals and hand-set shooting locations keep pointing at the same scenes. Human answers and standing element rules carry over. If the pages or the board change after the preview, it asks you to look again.
When two departments name the same thing, the tray asks once. The card lists every department that proposed it. Yes puts a line under each of them; one department books and pays for it. A department can say it is not theirs and hand the card to another — including one that never proposed — and a department that already passed cannot take it back. If the last named department steps off, the question goes to the producer. Saying it is not an element still applies to the whole show.
A standing element rule now lands on every new scene, not only the parse. A split, an approved revision, a parse with the intelligence pass off, and a re-parse that reused the last answer all carry the element. A scene somebody took it off stays without it on those paths too.
A later draft that rewrites a scene's location line keeps that scene. When the pages and the board both carry the script's own numbers, the match is the number — not the slugline. A reused number over different content still comes in as a new scene. Older boards, and boards numbered by position, keep matching the way they do today until a full parse records how they were numbered.
A parse that cannot read a cue-shaped line as cast now says so. The scene and the activity line carry the count. The cue pattern is not widened; the drop is no longer silent.
A department's second look waits its turn, reads the show's own brief, and does not let an untouched card hide the next draft. One look runs at a time. An omitted scene no longer blocks a live proposal. A card nobody reviewed is replaced when the next look finds the same thing; a card someone put off stays put.
A later draft that only numbered some of its scenes no longer asks you to renumber the ones that caught a margin number. Those numbers stay put until the draft numbers every scene, and each one distinctly. A new scene that wants a number an omitted scene still holds is filed as a lettered insert (12A), so two scenes never share a number. A titled name on a later draft — Co-Pilot Dale beside a Dale you already have — lands on that person, with the other spelling kept as an alias.
The review tray names the read that produced the questions on screen. A later shadow run or a second look no longer steals those numbers. When the cards come from two reads of the script, it says so. The discarded-lines list belongs to that same read.
The schedule office can publish the whole show and keep the crew's copy as the comparison line. Preview names added, removed, renumbered and moved days plus scene reassignments. Marking a publication sent requires its real delivery receipt; the Days board then shows “was” beside dates and scenes that changed. An internal draft does not replace what crew were told, and a withdrawn sent copy is corrected by a new publication rather than erased.
A file card shows where that file has been. The latest move sits under the folder — from the old folder, or that it left — and the rest of the list opens from there. A file that has not moved looks the same as it did.

2026-09-03

An old Workflows filter link shows the full list, not an empty one. A saved In progress — or any word that is not Late, At risk, Ready, On track or No need-by — is treated as no filter. Late and Ready still filter as they do.
A look brief stays with the still it describes. Opening the same Released version after a restart does not ask for it again, and the box no longer holds every brief it has ever written in memory.
Moving a file on show storage keeps it the same library file. Its versions, tags and notes stay with it, and its record shows where it moved from and where it is now. A file that disappears waits 30 minutes before it is archived; if it returns later, the same record comes back.
A version tile loads a small stored picture, not the original file. Opening the version still shows the original. Worlds and seed media keep serving as they do.
A vendor submission that does not finish no longer hands its folder to the next one. New work lands under a name that cannot collide with a rolled-back row; existing folders stay where they are.
Asking the assistant to approve everything only talks about cards you can actually sign. A step sign-off still happens one at a time on the step. If nothing is waiting on you, it says so and stops there. A stand-in signature on the item names who stood in and for which role. The step's approval line opens that approval, not the whole list.
While the show's approvals are paused, a step that already has a sign-off card cannot be sent again. A decision that already landed still writes through.
A workflow row on the department list is Late, At risk, Ready, On track or No need-by — not a second status beside that. The cell is the same sentence the item header reads, so a past due never sits next to In progress. A missing need-by ranks ahead of On track, because an open date is less known than a flow that still fits.
An outside signature now belongs to one named person and one Approval step. The schedule office can bind that signer for a set time and revoke the binding later. Their approval key can Approve or Request changes on that step, and they can take back their own signature with a reason. A general write key and a name typed into the request can no longer sign for somebody; a turnover vendor lane cannot double as an approval lane. On Approvals, a workflow card now names the item and step it governs and links straight back to the work.
A workflow's Late / At risk / Ready / On track now comes from one reading of its steps, not a separate summary. Past a due date it names how many steps are behind; a raised hand or a last step that no longer fits the need-by reads At risk. A workflow with no need-by says so, rather than On track. An item reads the worst of its workflows, so it never says Ready while another department is still working.
A kept element that names a scan id now shows the element's name on the sheet, not the id. If the id has no name, the keep is dropped and the parse records which id and which scene.
Workflow notices stay off until the office turns them on. A sign-off waiting on you, a date that moved on work you own, a cascade that touched your department, and one daily digest — that's the set. Quiet hours hold a ping until morning rather than dropping it. Turning the notices off leaves a send that's already going out to finish, and doesn't dump a backlog the next time they come back on.
A published workflow can catch its items up, on purpose. The Workflows tab says how many sets still sit on an older version, and Update the N shows every change before anything writes. Fields a person set stay put; a step the template dropped stays unless you retire it. Put the update back from that same place. On the item, each field says whether it came from the template or was set here, and reset writes the template's value back.
One scene that cannot be read no longer ends the breakdown. That scene stays empty and the rest of the parse continues. If a second reader already finished, its answers are kept.
Saying where a folder belongs moves the files there. On Folder questions, That’s right puts the media with the named owner when that’s a different person or item. Leave it here files it under the parent it’s already in. Belongs somewhere else lets you pick any official home and moves a whole selection there at once. The files wait a minute so you can still cancel; they never go through the re-file plan.

2026-09-02

A workflow's formal sign-off and its Approval card now stay together. Sending the step for sign-off opens the show's Approval; Approve, Request changes, Reject, reopen, or unapprove there updates the step in the same save. The named role holder, delegate, or recorded stand-in can sign — being an admin is not a signature — and a signed step links back to Approvals with the deciding hand and date. Reopening keeps work that was already released moving while the department decides what to redo. Asking for that approval again starts from its Approval card, so the step cannot move behind it; a withdrawn submission leaves no false “waiting on you” card on Today and returns there when it is sent again.
A department can write its own workflow templates. On the Workflows tab — not a new tab — the department lists the starting points it already uses, edits the steps in a list with a live diagram beside it, and publishes only when every problem is named. A coordinator or producer in that department, the head, someone they've named on the contact card, or an admin can edit. Anyone on the show can save a real workflow as a template; if they can't publish it, it stays a private draft until the department does. Lead times copy as they are set. Taking them from this item's dates is a separate step that shows the numbers first. Nine steps is about as long as a workflow stays readable — more than that is a warning, not a refusal. If two people save at once, the second sees what it says now.
Putting a workflow change back is only offered when it can happen. Starting a step still puts back. Applying or replacing a starting point, or customising the steps, says so on the trail instead of showing a button that always refuses. Replacing a starting point now names the one that was there.
A department can take its own second look at the script. Choose which departments should look again after the first breakdown. Anything new comes to the review tray with a quote checked against the page; it doesn't change a scene until somebody says yes. A repeated item, or one the production has already said isn't an element, stays out. If the four-hour deadline arrives first, the result names which departments finished and which still need a look, while the committed breakdown stays in place.
The date and sign-off work now finishes on the item. Change a workflow's need-by and the review shows every date that follows it before anything moves. Pin one step and that promise saves on its own; the other dates stay where they are and come back as a counted list to review. The same page now runs the department's own sign-off from submission through Approve, Request changes, or Reject. If somebody skips a sign-off with a reason, it stands on the Sign-off overrides register until it is signed or the department head or schedule office marks it seen. Changes names who acted, what was there before, and who can put it back.
The Episodes board tells you when nothing is assigned to you yet. On a season that already has episodes, a crew member with no seat no longer reads "No episodes yet" or gets sent to set the season up. It says none are assigned to them, and to ask the production office about that.
On a series, the Script page lists each episode's scenes together. Scene 3 of episode 1 no longer sits next to scene 3 of episode 2. Each episode's run has a heading you can open. A scene that isn't in an episode yet sits under its own heading. A feature film's list is unchanged.
An element that didn't make the list can wait on the tray. If the parse finds something it can't place, you get a card: yes, add it; no, not an element; or ask me later. Yes puts it on the scene as an item for that department, never as a person. No means it won't ask again.
Notes on a version come back to the person who made it. When a director or a department head writes notes, that version shows up on the submitter's Today page, grouped so they can open each one and mark them seen. The notes stay on the version either way.
Folder questions now go to the department head. A wardrobe folder waits on costume, a VFX folder on visual effects — not on a random admin. The person who owns it sees one card on Today and a page of every open question, with pictures they can click and a way to answer a handful at once. Settings still shows the whole list, and names who each one went to.
A department's Workflows tab lists every workflow, and every item without one. Search, sort, and filters live in the address. Tick the rows the filter shows and the count names both units — items and workflows — when they differ. Timeline draws only dates somebody typed: a hollow start tick and a runway only where Start by and due are both there. Type a Start by on a step; it saves on blur, or it tells you it didn't. If that day has passed and the step still hasn't started, the card offers Start it, Move the start, or Mark it seen. The item page can draw the steps as a graph; more than thirty live steps says so instead of guessing a drawing. The old Flow tab is now Turnovers.
You can customise a workflow on the item, or start one from a department's starting point. On a set, a character, a location, or a shot: add a step, duplicate one, reorder, draw a wait, or add a sign-off — review the change, then apply it. Starting points sit under the steps. Every starter says how far this release can take it before you apply, and a banner if it has not been reviewed for this show yet. Apply, merge, replace, or add another workflow. A change can cover fifty workflows at a time.
A shot, a set, a character, and a location now have a page. Open one from the graph and you get its steps — every department that has a workflow on it, side by side, with who signs each step and what's waiting. The trail is on the same page; if a change can come back, Put it back is right there. A shot also shows its plates and versions. An asset still opens on the page it always had, and that page now carries the same steps and trail underneath. Vendors on a shot wait for a later release.
Type S1E5 in search and the episode comes up. On a series, the palette now finds an episode by its code — S1E5, s1e5, 1x5, or the studio's own production code — and opens that episode. A code that isn't on this show is simply no match. Feature films stay as they were.

2026-09-01

Picture descriptions have a daily limit, and HQ sets it. Every picture that lands gets a description and search tags; now each production has a daily allowance for that work, and HQ → Models is where the switch and the amount live. When a show reaches its limit, files still land and file as normal, the descriptions simply wait for the day to roll over, and the activity feed says so once. The tab shows each show's spend today, how many pictures were described, and how many were skipped.
A numbered picture sequence arrives as one item. Drop fifty EXRs, DPXs, or numbered stills in one folder and Throughline shows one row with the frame range and a picture from the middle. Folder questions count it once, the filing plan moves it once, and the looking pass reads that one picture. Every frame is still checked during the move. A missing frame stays part of the same sequence; an unreadable frame leaves the blank stand-in and never holds up the arrival.
A task's folder is laid out like everyone else's. Renders go in renders/, attachments in reference/, note frames in notes/ inside the task's room. Earlier today a task's files sat loose at its root; planning the re-file again puts them where every other folder keeps them.
A photo dropped on the filespace now shows the picture itself. The agent on the mount makes a small JPEG from the file and the card uses that. The original never leaves the drive. A clip uses one frame when the machine can pull one; if it can't, the card stays on the blank stand-in and ingest keeps moving.
A wardrobe task files with the character, not under casting. Link what the task is for — a character, an asset, a location, a scene, or a shot — on the task's own page. Costume work then sits in that person's wardrobe folder; hair and makeup sit in theirs. A prop task stays with the character's main folder. Nothing moves later just because the department on the card changed. Three costume tasks already on the pilot — Mara's slicker, Teddy's uniform, Wren's rehab-tech build — pick up that link the next time the show boots.
Storage setup and teardown finish clean, even when the provider is slow to answer. Setting up a show's drive, syncing folders, checking health and tearing one down no longer step on each other when a request runs long. A teardown the provider refuses stays marked “tearing down” and holds off any new setup until a retry finishes it, instead of failing quietly. If the provider answers late with an account we had already given up on, that account is cleaned up and its key replaced, nothing stale left behind. A drive name stays taken until its cleanup is done, so a new show can't grab a name still being cleared and an old cleanup can't delete the show that took the name after it. Moving an approved file is now crash-safe: nothing gets overwritten, and a file can't end up stranded outside the show's drive if the machine dies mid-move. Each show's storage key is listed in Settings, but Throughline manages it; it can't be typed over or cleared by hand.
Pictures now arrive with words of their own. After an upload, a confirmed proposal, a real filespace preview, or a finished render, Throughline queues a background look. A successful look adds a short plain-English description plus useful lowercase production tags. The description appears on the file card, and a word found only in those tags finds the picture in Canvas and in the jump-to box. A clip uses its sampled frame when one exists. A failed or unreadable look leaves existing words untouched. Shows without a connected visual provider — or with the pass switched off — keep working with empty fields; there is no surprise backfill or failed upload.
A photo dropped on the filespace shows up in the library. Put a still in a character's folder — or a location's, or any other home the show already has on the drive — and it lands on that card. The name comes from the file; a tiny stand-in holds the place until the mounted agent sends its bounded preview. Search finds it by that name and by the description and tags the looking pass writes from that preview. Searching from Canvas or the jump-to box stays inside this show.
A scene, a shot, and the work under them now get folders. A scene that already holds a photo or a render lives under breakdown, named like a person would say it — scene number plus the place. A shot lives under VFX; a real shot code keeps the caps the vendor wrote. A task never gets a folder of its own: it sits under the scene or shot it belongs to, and its files drop straight in. Camera, editorial, and DIT one-offs still stay put until there's a home for them.
The newest model lane has to match the shape we asked for. A parse sent down that lane now carries the same contract every other lane does — extra fields don't sneak through. Cache and thinking-effort controls stay off until we've proven them.
Another model lane is available. HQ → Models can send a task down the new lane the same way it already sends one to the others. That lane bills a flat rate instead of by the call, so a dollar total can't catch a runaway; our own testing counts calls against a ceiling and stops there instead.
The crew can make useful folders without fighting the filing system. Familiar additions such as old, archive, wip, fittings and dated folders are kept where the crew made them. reference and notes are folders Throughline makes itself, so they stay off that list. If Throughline cannot tell what a folder means, Settings asks in plain language and leaves every file in place until an admin answers. “It shouldn’t be here” adds the files to the same reviewable filing plan as every other move — it never moves them immediately. Wardrobe can also use 01_prep/wardrobe/_inbox/: clear character matches join the next plan, while uncertain filenames come back as questions instead of being guessed or forgotten.
A file that comes back after it's been filed shows up on the next plan. If a vendor drops the same path again, or two older files now want the same name, the Filing card says so — a stay with a reason, never a silent skip. The mover also refuses a camera-roll landing that hides behind a folder symlink, and it will not treat a stray file at the destination as "already moved." Its durable move journal now also recovers the exact approved file after a restart if a destination folder was renamed during placement; the journal stays until Throughline receives the ack.
Approving a plan that was already replaced says so. If someone plans again or answers a storage question before the last plan is approved, Approve names the miss instead of quietly approving a changed plan. Two admins can never add unseen files under a plan somebody already reviewed. A file the agent reports twice under the same identity is counted as a repeat, not an error.
A costume, a prop, a location still now gets its own folder. Characters, locations, and shoot days already had homes on the filespace. Anything on the board that already holds a photo or a render gets one too, in that department's prep area — wardrobe and hair items sit beside their character folders.
A reused access-key number no longer wedges the usage count. If an old Throughline access key was deleted and the database reused its id, today's calls stopped counting. That leftover row is cleared, and the counter keeps moving.
There's a page for when a key or a machine looks compromised. Contain the credential first, then look. The runbook lives with the rest of the engineering docs (docs/SECURITY-INCIDENT-RESPONSE.md).

2026-08-31

Existing footage no longer becomes a cast booking just because the script transcribes its dialogue. A named public figure in identifiable news, broadcast or released footage stays a clearance item; a fictional video call or screen performance made for this production stays cast. If the breakdown's own note points both ways, the review tray now asks “clearance or cast?” before the role can silently reach the cast board.
The show's filespace starts organizing itself. Settings gains a Filing section on the storage card: every character, location, shoot day, and item that already holds a photo or a render gets its own folder there, created automatically the moment the person, place, or item is added. A Plan the re-file view lays out where each stray file on the drive should move and why, grouped by reason, with an honest "not sure" pile kept separate from the moves it's confident about — and nothing moves until the admin presses Approve. After that, the card reads back what's queued, what's moved, and what didn't move. Underneath, an agent now watches the filespace directly: it picks up a new file within seconds of it landing, and comes back clean after a crash mid-write instead of missing the file or counting it twice.

2026-08-30

A Day Out of Days lands on the board as its own document. Once the production office approves it, a DOOD PDF reads onto the board one cast line at a time, instead of sitting as a file nobody could see next to the schedule. See Call sheets and day-outs.
Archival footage named in a script stays a clearance item on the breakdown now, instead of showing up as a phantom cast member.

2026-08-29

Crew get their own Day Out of Days. The cast DOOD ships for every production; a crew DOOD is now a per-show switch a production can turn on. Once it's on, a crew member's own held days show on Today, and their contact card gets a booking editor for holding and releasing days. See Call sheets and day-outs.
A professionally numbered shooting script keeps its own scene numbers. When a draft carries a complete set of margin numbers — lettered inserts, OMITTED gaps and all — the breakdown now files each scene's cast and elements against the number printed in the margin instead of its position in the document. An unnumbered spec draft parses exactly as before.
The schedule board tells the truth about dates, and about who's reading it. Every shoot day now carries a real calendar date beside the label the office typed, instead of guessing one that was never stated. Booking terms and open questions on a day stay with the crew office, the budget office, and admins; a crew member reading their own line sees it without the contract attached.
The duplicates review now asks its questions in plain production language, and a straight "no" is taken as an answer.

2026-08-28

Two characters named in the same line no longer merge into one. A joint cue like "AL AND ROSE" used to get claimed by whichever character the pass committed first, silently folding the other person's lines onto their card. Both people now keep their own identity on the board.
Breakdown elements get more departments to land on. Picture Vehicles is now its own department in the registry, Specialty Units is renamed and redescribed for armory and animals, and the element pass can now name virtual-production, greens and specialty-units work that previously had nowhere to file.
Grok joins the model providers a production can connect its own key to. See Your provider keys.
When a model declines to answer a question about a script, the breakdown now tries once more with a more capable model before giving up on the run.

2026-08-27

A shooting script with no sluglines still breaks down. Numbered headings that aren't standard INT./EXT. lines — era stamps, OMITTED markers, plain caps headings — are now read using the script's own margin numbers, instead of going unrecognized by the parser.

2026-08-26

The board stops showing its own workings. Stray PENDING markers next to a role that's already booked are gone, printed page numbers no longer leak into scene text, and a production can renumber its scenes outright — a cold open becomes scene 1, with every lettered scene riding along.
A production can brief the breakdown before it runs. A methodology note and typed casting declarations — "these two Bobs are cast separately," "one performer plays all four, de-aged" — now live in Settings until they're signed off, and travel into every prompt the parse makes. The review tray shows when a brief guided a run.
A scene description now always ends on a full sentence or a clean word, never mid-clause. An exported breakdown is named for the draft it breaks down, not the day someone happened to export it.

2026-08-25

An oversized scene can be split right from the review tray. Accepting a scene-boundary card now splits it out into its own lettered scene (59 becomes 59, 59A, and so on), re-measuring page-eighths and moving cast and elements onto the right sheet.
The review tray's cards ask sharper questions. A twin card folds two names into one on "same person," or books both people on "two different people"; a performer-count card asks how many performers are involved and which scenes each covers; the duplicates panel stops offering a re-scan once a real intelligence run has already answered.
The breakdown sheet no longer prints a raw candidate id where an element name belongs. Approving paperwork while a breakdown review is still open on it now says so, instead of quietly approving something nobody decided.

2026-08-24

Uncertain cast now shows on the board, marked provisional, instead of waiting out of sight in the tray. A principal who reads as ambiguous no longer disappears until someone confirms them by hand — they're on the board with a provisional badge, and the review tray catches up around them.
The review tray now batches the easy calls: confirmations that don't need a second look sit together under "Needs your eye," and Confirm all clears the whole batch in one action with a per-row undo.

2026-08-22

The breakdown reads a script the way a line producer does. A model now judges every candidate character and element with the whole story in view, resolves who's who as casting roles, and sends anything it isn't sure of to a human review tray — rather than guessing.
The script drop zone now warns, in red, when no model is connected — parsing degrades a lot without one, and it says so before a script goes in, not after.

2026-08-21

Uploading a script no longer freezes the page. Ingest now runs as a background job with visible progress, instead of a request that could run for minutes and time out the upload.
Character names that are really the same person now fold together. An inline aside like "DALE ON THE PHONE" or an occupational title like "CO-PILOT DALE" now folds onto the character it's describing instead of minting a second card — and it refuses to guess when a fold could be wrong.
Every item in a one-liner's Cast or category cell gets its own line inside the cell now, instead of a comma list that wraps mid-word. The script page names the model that will actually read the pages, instead of a generic nudge to go connect one. The Pulse send log moved from Settings to the Jobs page, where "what did Pulse do" already lives.

2026-08-20

The breakdown leaves as paperwork. A one-line schedule as XLSX — a script-order sheet always, a shooting-order sheet whenever the show has shoot days — or the same one-liner as CSV, or the long-format element interchange as CSV or JSON. One door: GET /api/breakdown/export?fmt=xlsx|csv|elements_csv|elements_json, signed-in and clamped to what the caller may already see. Cast carries board numbers assigned by first appearance the way every AD one-liner already does, the header block names the revision the pages actually carry, and an episodic export carries its episode in the rows and in the filename so two episodes exported the same day don't collide.
Scenes carry their own length, in eighths of a page. A scene reads 1 4/8, not a rounded page count, and every draft before the shooting script locks is a dated White page instead of a color collision. A length read from anything but a PDF's own page breaks says so — it's marked estimated rather than presented as measured.
A crew member meets Sign in with Slack on their own first morning. Connecting a Slack account is something a person does for themselves, from their contact card or the offer waiting on Today — not something they have to go find. When Slack meets an account it doesn't recognize, it now points at that one-click fix before falling back to the production office. See Slack.
The assistant answers from the same graph the screen is drawing. It matches a scene number with or without leading zeros, groups a character's scenes by episode without dropping any past the cap, and names a node's other connections instead of going quiet. It no longer calls data absent when it never looked for it.
Settings says who each control affects. Everything that shapes the whole production — message routing, Pulse, reading access, department appearance, channels — sits in one Production section, closed by default. A person's own controls, including their own connected apps, stay in their own column.

2026-08-19

Slack moved to where each half belongs. Everything that is a fact about the SHOW — install, mode, health, disconnect, the simulator and the coordinator queue — is now one panel in Settings → Slack, and Slack's own consent screen returns you there, so the handshake begins and ends on one screen. Which Slack account belongs to a person is a fact about that PERSON, so it moved onto their contact card in Crew, beside their email, phone and time zone. The separate Channels screen is gone; every API route it used stays exactly where it was. See Slack.
Slack connects in one click, and leaving really revokes. The install starts in Settings, goes to Slack's own consent screen, and comes back to Settings. Disconnecting by any door — from here, from Slack's admin screen, or by uninstalling the app — drops the tokens for good. See Installing the app.
One question gets one answer, in the thread it was asked in. The events door acknowledges Slack immediately, remembers what it's already seen so a retry doesn't answer twice, and replies in the thread rather than the channel.
api.criticalperiod.co and mcp.criticalperiod.co are the addresses. Both were provisional in these docs until now. They're not — build against them.

2026-08-18

Throughline is its own authorization server. An MCP-aware client can now connect with nothing but a URL: protected-resource and authorization-server metadata, dynamic client registration, PKCE, and a consent screen you sign in to as yourself, so what the connection reaches is exactly what you reach. Refresh tokens rotate, a replayed one is detected and kills the grant, POST /oauth/revoke does what RFC 7009 says, and deactivating a person reaches their tokens rather than waiting for them to expire. Access keys are unchanged — this is a third way to hold a credential, not a replacement. See Discovery.
Connected apps, in Settings. Every grant standing on the show, who holds it and what it can reach, and a revoke that bites on the next call.
The audit trail answers every question it promised. A complete event taxonomy, 400 days of memory, and alerts that reach a person instead of a log file.
A failed ingest says so at the drop zone, where the file was dropped, rather than only in a banner at the top of the page.

2026-08-12

Assignments go down to the scene, and sideways as a grant. A person can be assigned particular scenes rather than a whole episode, and a may-see grant can widen what somebody reaches. A grant only ever opens a door — it can never close one the show already opened — and the same width governs script, media, and Slack channel membership alike, so those three can't drift apart.
The episode page tells the truth about who's on it, and someone granted a read in from outside leaves notes that carry their name.

2026-08-11

A day's paper opens where the day is, and leaves as one zip. Call sheets, sides and maps are readable on the day itself instead of downloading one at a time, and the whole day's packet comes down together. See Call sheets and day-outs.
Episode budgets get a door, and a series' board and spend reports backfill themselves rather than starting empty.
Department appearance collapses to one default and a list of exceptions, instead of a setting per department. See Per-department display names.
WhatsApp inbound reaches the pilot. Twilio's own request signature is the gate, so a crew member's reply arrives without a shared secret in the URL.
The docs learn to be read by machines as well as people. Every page is served as raw Markdown beside its HTML, and the site publishes llms.txt, llms-full.txt, sitemap.xml, and the API's OpenAPI document.

2026-08-10

MCP server. POST /mcp — the same REST v1 surface over Streamable HTTP JSON-RPC, authenticated on the same access keys, with zero authorization logic of its own: every tool and resource calls the identical function its matching REST endpoint calls, so a key gets the same clamped answer and the same refusal on either door. See MCP.
Context bundles, turnovers, media, and a vendor money read. /v1 grows a second shape of endpoint — one call that assembles everything about a scene or a character, a vendor's own turnovers and submissions, media read by id, and a vendor's own purchase orders — all clamped to the calling key. See One round trip, clamped to the caller.
Engagement-bound access keys. A Throughline access key can now be minted against one vendor organization's engagement instead of the whole production — a vendor's own automation, reaching exactly what a person seated on that engagement would reach. See Keys.
Slack. Install a workspace for a production, bind crew accounts, and let the show provision its own channels off the crew list. Notifications route by urgency — interrupt, ambient, digest — and an approval's whole lifecycle lands on one message, updated in place, rather than a fresh post every time. See Slack.
Forge builds behind a kernel jail for vendor and API access. Building or running generated code through a vendor's own seat or an access key now requires the deploy's kernel-level sandbox where the host provides one; the production's own crew is unaffected.
Public docs launched (pilot preview).

2026-08-09

Access key metering. Every authenticated /v1 request is now counted per key, per day — visible next to the key in Settings as a request count and a last-used timestamp. Nothing is gated or billed on it yet; access stays seat-priced. See Keys.
Two new scopes. submit:turnover and read:money join read and write — see Scopes.
Episodic productions. Seasons and episodes, per-episode budgets and schedule filtering, now reflected across the read surface: an episodic show's scenes and schedule strips carry episode_id/episode_code, and /schedule and /script-changes both take an episode_id filter.