Confederate Comedy

A no hold barred really obnoxious but historically accurate behavior of slave owners, drawn from Historical Dramas, which in fact mocks the disturbing reality, much like Hogan's Heroes mixed with Gone with the Wind, except, more like TV show and less about Glamor.

The Cotton is partially taken over for Watermelon production. The Plantation is set in 1864, so it goes from Confederate uniforms for the first third, then prisoner in the town with courtroom drama-comedy (as the Carpetbaggers take over), then back out to the plantation to employ a lot of the slaves left over, lingering on.
Doesn't need to mock Gone with the Wind but its the same plot. Except the War is not in Georgia, but in Lake Caddo, in Texas.

They're cariacatures, like Dukes of Hazard. The young blacks like Good Times, while the Father transforming, over the same period, like Father from Good times, to George Jefferson, a sort of hysteric taking desperate control over a business opportunity, and then Sanford and Son, a guy with a lot of wealth but its a "junk yard".
However, this Junk Yard is full of things he slowly auctions off and invests...but he a totally deluded Christian convert, and horribly manipulative...later acting like Black Adder to other familes.

Its not meant to be all that serious, you see.

But not at first.

The first episodes, the injured Confederate staying home for the war laugh and drink over the work of the slaves, taking advantage of their contributions, advice, adjudicating fairly over disputes, but totally economically exploiting them as they were a bit confused.
The white preacher goes and reads to the blacks.
There is mockery but the Plantation owners are not all that cruel, and do adjudicate disputes fairly, though, there is many times when the justice is ridiculous.

There is another black guy, younger, who invents clever lyrics mocking the Plantation owners and their visitors...its sorta like Hogans Heroes, the confederates sneaking in and out during Union troop movements, the Blacks wondering why these people are so authoritarian.
This one guy sings really well, but the Plantation owners gather to listen once in awhile, and of course, this develops into a questioning, which the Black guy singer doesn't really understand, and begins to quote from the bible perfect refutations, and then is hauled into the local town court.

Then the Court is going to find him guilty and black responses is rational but intimidated.

Some violence, but the black guy that talks about that is then included in these back room brawls.

But instead of being beaten up, he wins fights.
Then he is hauled into court for fighting and held up to the now invaded Yankees, who have come into the courtroom and make the Southerners change their tone.
So they bring this guy in and let the Singer go into Jail for awhile. Secretly.

But its a courtroom scene like Joe Pesci and Fred Gwynn.

In this case, starting from the beginning we move towards a Satire of Thanksgiving, or a Satire of James Fenimore Cooper...sketching in all the worry and evil and haplessness and ignorance of human folly...of the ongoing Colonial Imperialism, Piracy, and Virginia Slave Trade.
So more "Indian caricatures", more Indians to hire, in addition to Southern, and African caricatures in Satire. Not mean spirited...this is a fine line. Not so broad a caricature as...what we think. The actors are going to overcome, well, they should be able to overcome, and edit too, when the depiction is too mean spirited and ridiculous, and, not putting it in proper context of Historical ugliness.
They used to use ugly names in the Newspaper from back then, but there is no real interest in focusing on rebelling against political correctness...the Satire should not for instance, use Mohammed...its not meant to be so over the top as South Park.
More like black satirical writers....Do the Right Thing was a pretty good line to follow, and Spike Lee is a good example...but trying too hard to avoid the History, well, that is why we have a Southern Plantation owner caricature.
Everybody is an idiot, but nobody is a mean spirited caricature. Its a fine line, but an obvious line to follow so the work might require a narrower set of writing satire skills not typically available.

The Union are bedeviled by idiots, the common guys who are thugs are blank hipsters. Who are bigoted and fighting between themselves based on ethnicity, so the Irish guy is always fighting with the English guy, who is always fighting with the Dutch guy, who is always fighting with the German guy, who is bullying the Irish guy from the beginning.
Another ongoing shtick.

Now the idea is that from the History we also include serious scenes. Its a jarring tone shift...but, the point is to be able to draw from the narrative written three seperate threads, yet, also be able to weave them together.

Its not as hard as it sounds. This can be senses from the idea of including a History track, and a Historical Fiction track.
And then Satire track.

On the history track there is a black written history...but its site specific. So, there is a range of concentration.

The presentation would present in order, therefore, the black history to be built, or the other minority histories, must proceed from the founding of the Nation.

Then, another track would be produced perhaps the Indian and European War.

These people to be intimidated by insults.

But thats after a few main bits of production go through a second year.

So it kind of tracks along, the Satirical thread.

In this case we move towards a Satire of Colonial Imperialism, and Virginia Slave Trade, so more Indians caricutures. Again, the only sane character, who is killed, is the rational one who questions all this...and is always knocked as a function of the plot. So all the rational people are the unluckiest.


In fact, it might be more favorable to do first, not the South, but the North part of America.

Or, we start at Jamestown, Roanoke, Plymouth.

After that first year, the production has reached a point where it can expand exponentially, yet, what this core group would do is execute during that time is the Writing of the Constitution in that House thats still a museum., the drama of Jefferson, Franklin, Adams arguing and talking over composing the Constitution...

In that room. Then the presentation of it. Then the signing of it. In Independence Hall, with the proper confusion.

Then some footnotes...as the production expands into multiple areas.

My group doing the Halifax, and the crossing of the Delaware.

This becomes the question of how and what will be produced based on expansion wherein these initial State sponsorship kicks in and each state gets four more. The second year a plan for 200, with a bias we discuss wherein, we start with the earliest, post Signing of the Constitution. After that, its whatever, but many states dont kick in until later. Also, that is a strong suggestion, with perhaps insisting on at least one the earliest if not all to contribute to a model database.

The model database is built in accord with industrial catalogue and machine simulations, capable of falling apart, or, realistically assembled from general parts.

These parts can be generated by a modeler with a Historical framework one can dial on, and then of course add wear.
But it not executed in a systematic in the first year, for that year there are airplane components, wood structures from contemperaneous sawmills, iron rivets, tubular structures...the frame of the Hindenburg being quite a work of art, and even as disassembled, forms very useful frames for other fitting.
It may be possible to initiate a 3-d scanning project for museum pieces but I think they can be created by modelers. A United States 3-d product.
I dunno, sell some Treasury Bonds too?

More about Nationalizing the production later...

Well, given a great deal of funding...the production would occur in accord to Senatorial and House divying up the funds, and being producers of their pet areas and Tourists sites.

Furthermore, I think a second division should refer to Historical Marker database, and produced these micro dramas. Some horrors; hanging, torture, and of course battles.

4 divisions: State Historians, Federal Historians, First years, and a Tourist.

The military would supply consultation on battles. But I think we can rely on a generation or two of Historians now, stepping into the spotlight and capable of composing the Battle merely with a BA, and the use  of digital media.
If the Historian could direct, as it is directed to him by other directors, he can describe moment by moment what happened.
Its a certain kind of specific discipline, wherein, we find the Military historians very precise in moment by moment, blow by blow dramatics. Its only reference, wherein, the audio may contain a narrative track, but the Historicans writings as read by dramatizers is going to be the more solid dramatic presentations.
Occasionally you can get a Historican with great charisma, and this might enable many young graduates to let out their visionary energy in painting a very precise picture.

So its kind of a hiring bonanza for History graduates. And, in that case 3 are to be hired to cover each subject...as consultant.
This consultation includes more pay if writing is accepted.
Now, the overall Audition cycle would include a lot of people reading aloud the text of this consultation, for it is to be a very small group online.

Before I get into that, I want to widen the range at which these graduates are accepted. So that no matter the quality, there is always to be three filling four productions. So if there are State funded productions, those production must also fund this template.
Casting agencies can present this material, the readers audition reading it, it is submitted, I believe, once daily, aroudn 4pm, to the Audio staff.

They can be doctrinaire, what they are doing is participating, more or less, in being provided minimal funding, something they can do on the side instead of working 40 hours...they have a part time job, a gaming habit, and time to do this job. Or they can live lower, with more slack, and not have a second job, and hopefully, with this prompting, get progressively more competent in the exercise of the different phases of the work. Consutling, Writing, Presenting (voice over...enters into the Actors agreement).

Historical consulting, writing if they pass the Editor, reading voices if they pass the director.

These are drawn from the first year, wherien, one of the Historical writers is appointed Editor, and continues into the second year.
So there four Historians. An Editor who is using social media to assign and review and discuss.

From this social media there is the Auditions.

But that is a minor track. I just want to add the most minor track as a concept of granularity, which is inherent in using the Historical Marker Database in a earliest to latest scheme.

Anyway, the Historian, doing more eventually, they would incrementally receive pay and have more time devoted....moving out of a part time job and receiving some perks, like travel perks to participate in on site consultations, but they would be writing.

So there is some funding to seed that, hiring three recent PhD graduates in History here in Austin.

Wherein, there is consultation with a sitting professor in Archaeology and/or History.
They are given a budget to provide for their own consulting...which is procured by request to admin, so they have a standard fee they pay to justified specialists.
Not sure what that exact number should be.

These specialists are credited but their contribution is by approval of the sitting professor in Archaeology and or History, the SPAH, and, the provider of the funds, always available on the social media (the Exec?) then immediately, on contact BING spends some time examining the reasoning and references and, perhaps sampling the specialist beyond the references as implicit but not really necessary a practice. They might be recruiting for writers.

So, the Editor has the specific references, the stories, the specific History that is the VR...after the first year these might be significantly larger files...then let the Executive distribute funding for the Historians to use each other to reference! That is possible. This is done on the social media site for everyone to read...but really the other Historian is not really beholden.
Its more casual perhaps.

Whats written and submitted is read by the Actor. What is written to be read aloud by the actor is a kind of strict level. There are two lengths of sentences, and two kinds of paragraphs. Each one half the size of the other. So the brief, or, the lengthy, with a maximum number of commas being four.
Actually, a strict requirement.

In the program mixer it is possible to add sounds as transitions. Its like producing a radio show, so, the presentation of the Oral database as read by these three actors/Voice Talents, refines these practices and perhaps enables by some more complex ways, to create transitions from voice to voice without it being a Editorial effort, but simply programming with the User can decide a kind of Edit.

Before this, there is the Austions, the readings of the social media, identities obscured, who read out loud, by voice actors, as a minimal side work involved in casting...so the reading is also done for casting, and the casting will be consistently dynamic.
So a minimum number of actors (stressing more Voice talents really) will be hired per project.

While the Historians social talk the issues of the day as presented by the Editor on social media...each person is allowed ten posts, asking for advice but not so involved as to create the other to find a reference, although that gives them a bit of pay...but unlimited comments.
The work for each other is only obligatory once per day.

So one person is up, always, there is one person required to do some research footwork to examine a written work of another Historian...but since its Social Media...they are required to run it while they work...and once a day get a certain different "bing" wherein, its their turn to check somebodies reference. These can be expected to occur in a scheduled time period.

The posts are read out loud with a string of sorta improv auditions. A new person is added to the mix and one person leaves, but there are five readers...

So the company is constantly auditioning, and then sending a group of actors into a reading of the history as voice talents, 3 per project.
So, on any one State, there may be four projects per year. That means a local agency is funded to audition, in order to draw out twelve voice talents per year.
But since these voice talents work six months, there are two hiring phases, and three more are hired every three months.

This in effect goes into the Nationalizing of some agencies.

They Voice Talents shift from written material to written material..as the same content is read again, by another group, in order to add programming to the reading.

So, when new scripts are being written for the History to be read, there is Historical Drama writers to then be included, who listen and participate.

The Actors Voice talents have some leeway, but, they are listened to, and then commented on by these Historical Drama writers...wherein the Drama is composed and during the Virtual reality readings of history, they work out, sorta like Header and Footer of the event.

So the work is kinda of piecemeal, for as the Historians publish, the Actors read it (regardless of version..in order to test its formatting), then that recording is stored in the database by length of time.

Meanwhile, the Actor and HD writer discuss what this brief expository writing in the audio program of the Virtual Reality.

All right, so the Dramatic Writers are making entertainment.

The Actors are reading History and Dramatic scripts.

The Historicans are discussing and writing commentary and voice over work for VR.

So, this means to go into the Entertainment industry, and leveraging the backing of the Virtual Realities, to Nationalize as many Actors and Writers as we can...depending on the funding.

In other words, what we would be getting investment from for the Entertainment productions (who get a easy deal on using the VR realities) is in part to Nationalize the content being produced.

This is done somewhat in the past, but from a too old style production method. Those self conscious tools of rhetoric, or what is called cookie cutter drama, too much full of its own sensitivity to History.
Its actually been a steady incline from the low point of arch Historical Myth, each generation toning it down, eventually, due to our literary tradition, also inspiring Satire.
But when we mean to have Wars, and Disease, and Slavery, and cruelty of all kinds, what we need are honest stories and realistic presentations. Actual, HD as possible hangings. Dead bodies bleeding...that kind of realism perhaps only Renderable in the Entertainment product, but certainly eventually we can use the 'over-produced Hero Model' whose resolution had been too high, but now passes a threshold of computation...lets say, three years from now!

Now, there is a collection of such writers, working at Hollywood, making Historical Dramas.
So, specifically, we want to Nationalize those writers...get them out of writing up random Historical Dramas, and instead, employ them and a few more Nationalistic writers, who are younger, graduates of Creative Writing schools, and use them to put pressure on the old doctrinaire...perhaps these two contrasts in History can provide good Satirical writers...who are sometimes Historians or amateur yet insightful. Philosophers a few too...

So, in effect, the filter through which to derive these historians is diversity, they need to repel each other, and be affixed on a axis of Nationalism.
Something the User can move a dot around to get the more biased view...but skewed not in just Libertarian-Authoritarian and Social and Individualistic? What...add to that Idealistic and Pragmatic, and I think a philosopher or a psychologist can meet the requirements.

The Diversity is tricky, for its not really ethnic diversity, but diversity of approach. Sure, always a straightforward Journalistic approach...always that one slot in the twelve.

Now, the States might increasing the funding for more than four productions. Or, the productions might be quite large...so there is this variation.

I mean, if I were Pennsylvania, I would go for Gettysburg, yes. But maybe after one year of micro histories, following the schema of Tourist, etc, to get a handle on the production.

These people are given the posts of the Historians: three Historical Drama writers, like the one from Spartacus or Vikings or Pillars of the Earth, and one like Tarantino or Mel Brooks...Satirists.

These schedule times to consult with the Historians, so the Historians have a third task, but this is scheduling is slotted, so Editors and Execs can listen in. The Historians listen to the drama, and comment...perhaps in the middle of the day, they come back from lunch or during lunch, listen to the Historical Dramatists and Actors voice overs, and say, naw..., or good...or....etc.
I have some rules for this, but then later that day, at 4 pm, there is a break, and they listen in again.
Should be a briefer listen in...

There is a kind of filter or agenda to be employed by the Historians, this perhaps overseen by teh Exec and the Editor: Political Correctness, bullshit characters, poor grasp of the events, wrong tones, mis blocking,etc.
The Exec need not always monitor this but the Actors and HD writers can appeal to the Editor or Exec about a Historian going nuts with microdirecting.
Which means probably a hire in the immediate future...not reading but presenting onsite the picture of how things happened moment to moment.
We will accept a good Oral presentation to writing.

I would suspect these Historian may in fact move to nearby the site and work there for that year.

Now, the historians cannot decide of the jokes are funny, and they cannot make the ultimate staging decisions though again, we want to know which Historians think they can do that, in order to get them to contribute in another way.

To convert this into the first production: Kitty Hawk...who is the voice of Wilber, who Orville, who is in the cast?
Well, at first, its just reading of the text chosen, and then that text, which can be re-enactment writing by the Historian included in the voice over text, then enlivened by the Actors.

So, in a way, the VR provides a peg, into which is drawn a Historical Drama, but, we are not interested in tidy beginning or ending...no need to create more than what is already there...it being a kind of glimpse, and perhaps ultimately having the feeling of stream of consciousness, or a Antonioni/Trauffeut or at best a Bresson Neo Realism sorta be the idea.
Wherein, the dramatization, which will have a range of poetic license, yet, narratively it is verboten that the moment is enlarged into great biography or character backgrounds.
Yet, there can be some skipping ahead and skipping behind.
Only on special requests can these tight sequences make major leaps in time.

But this is not a concern for the first year.

The actors make it fresh as possible, putting drama into the portrayals, drama based upon conversations that are in the Hindenburg, the Shipwreck suprises, so some freedom in composing sidelong conversation to the events as the event occurs in surprising ways...while in the Wright brothers and Spindletop the characters conversation is expectant.

in these first presentations...

So, Orville and Wilbur have technically appropriate dialogue about the engineering, the speculation on the wind, all presented in a kind of way that teaches, and is not interested in heightened feels.
Assuming they would be reassuring themselves its going to work in these conditions, and perhaps betting on what breaks (based on their own research or notes on the process....what was the first thing to break? then the next? This they predict as part of the expectant dialogue).
Its not necessary to have hysterical drama, or Television style ginning up of emotionality.

But, for instance if Orville divorced his wife and later develop alcoholism, then in that slice of time that is being produced for leader and footer for the VR, as a narrative of a Historical Drama, Orville might, if his wife is present, have a fight.
Or, Orville can be portrayed as a bad guy.

So what he have is some incremental based on the assumption of character as executed by consultation with Historians.

Therein, the Dramatic writers have to produce perhaps the boring quotidian.

However, later on, after establishing this pipeline, the subsequent VR's chosen, four per State, there will be more sytematically early (so that Texas History begins its signing of a constitution) chosen as that famous dramatic moment of the State History,  and the more touristy.
Meanwhile, overall there is the Historical Marker database, which picks out the earliest Historical Marker there...historical marker having the flexibility of being perhaps a plinth or current museum complex.
There will be plenty of material for a crowd of Nationalistic Historical Dramatists, drawn from doing another series on Rome, or doing another satire comedy sci fi.

The third tier, where it more a professional execution, the sky is the limit, and therein, some of the voice talents are brought out, and perhaps some Writers contribute to both.

However, there is probably going to be a database of these performances available for director and producers to pick out what voice talent or "actor" who performed well in the Historical Drama.

The reader from the Historical material might have quite a journey, if they make it from reading, to acting in the Historical Drama, to then acting in the Satire.

But that is the idea, to have a set, not the typical Theater ensemble, and narrower than a entire casting agency database.

Hence, along with the funding for a Doc crew, is a Voice Over cast of three, who, oddly, each read and have used that text as establishing a database.


The studio rental includes employing a Historical Drama, wherein, another three sets of three actors, all do the production. This way the three Historical Drama produced are to not only contain each set of actors...the first three first working with the "going back from teh VR" writer, the second set of three working to fill in the present, and the third working with the "going forward from the VR".
Then each one of these shifts, so that there are three produced versions...now...the Historical Dramatists are not to try to hard to intrelace, instead, we want their three interpretations to have a totality as well as a capacity to mix into the others....in the sense that secondary characters from Historical Drama One can be taken and replace secondary characters in Historical Drama two. Sometimes.
This is additional hiring of for re-enactments, three writers who consultation with the Historians employed on the VR production, who gets payed for this consultation too.

So as the four production go on, for a total of possibly three sets of three actors are performing three scripts. One however can change the four productions into two productions, therein, what was three actors, three historicans, three scripts, or, in total, twelve Historians, twelve actors, twelve HD writers, there is now six actors, historians, writers.
Which is confusing. Basically, per production for a total of four there is a range of twelve to three set of writers, actors, historians.
Which, then, means, there is possibly a increase in range if the production is two year or three year, like Gettysburg. wherein, the systematic organization breaks down over turf...

But anway, as a format for the first year, and a limit to the sizing to larger in the third year as the production can be more organized over proper talent, scale, and other discussions.

They are also reading the Historical writing of the Historians as voice talents for a VR.
Its possible that a State, after the first year, might do this:

Two production per year (as they are larger). Well, the Actors then come together to form two...means more work more or less, for the basic three. There might thrown in a fourth or fifth at the beginning...for the Entertainment production...all voicing.

So there is a Entertainment funded group, and a Government funded group. Within the government is funded three productions, the VR, the Voice over production, and the Documentary production.

The Documentary project is ongoing, yearly.

The Oral Tradition Library is onging, yearly.

The VR is ongoing, yearly.

The Entertainment, pretty Nationalistic but also producing Satire, is ongoing but otherwise funded through Banks and Venture Capital.

All projects coordinated into parallel projects.

This starts the second year, after the first year of implementing the VR and producing mere re-enactments as animation.

Wherein, those three separate production tracks begin as well. But that requires a separate Entertainment Budget, wherein, there is hired nine actors, three of which do voice over narrative, and then nine doing three versions of Historical Re-enactment, but in this first year, voice over and animation, not Live Re-enactment.

Two first year productions of limited size.

The Historical Drama is composed from this filling in the leader and footer of the Virtual Reality, so there are three script writers working with the three historicans, who compose footer and header for voice over and supplemental action in consultation with the Mocap for animation.

However, when the first year is over, the bigger Entertainment budget comes in along with a State by state budget funding...and a move of the Federal NEH granting moved to the Department of Historical Markers, who then also work with the State projects.

In addition to the ongoing yearly funding for the Doc, Voice narrative, and VR production which also expands as part of the NEH funding, but then supplemented by the State productions.

The Historical Drama to be produced in 2017 will begin with the moments before Kitty Hawk and the moments after, whose length depends purely upon the Writer and Historian discussing, in consulation with the Exec, where to stop.

First, some writers are selected and offered the project. Three Historians are picked out, and the Editor is picked out, the Drama writers, and some first Actors: all paid minimum, but all working online as social media is online.

Later. the second year funding by the Entertainment side, keeping up with the State projects, there is
implemented onsite a Virtual Reality, there is also a Re-enactment or live production, with part of the production becoming animation here (at the Virtual Reality) and there.

The Actors act out and mouth lines, or actually perform and the other audio is conformed, animated characters that are actually the Actors being motion captured.

The Virtual Reality then having very hi rez which at the state of the Art of the VR, is not necessarily what the VR can be, which I suspect is a resolution somewhat lower. Therein, the production of the animation need be realistic as possible yet included into not only into the Re-enactment, but also into the Historical Drama, wherein, larger budgets and more time spent rendering is the option.

These models will be available for PhD, who order up renders whose resolution might be lower, for free...as their PhD are to published online...when hired for the position. If their PhD has any reference to the History they are two consult about, write up, and otherwise help to create.

So, the second year production has a bit of expansion in various areas.



The Entertainment, pretty Nationalistic but also producing Satire, is ongoing but otherwise funded through Banks and Venture Capital.

All projects coordinated into parallel projects.

This starts the second year, after the first year of implementing the VR and producing mere re-enactments as animation.

Wherein, those three separate production tracks begin as well. But that requires a separate Entertainment Budget, wherein, there is hired nine actors, three of which do voice over narrative, and then nine doing three versions of Historical Re-enactment, but in this first year, voice over and animation, not Live Re-enactment.

Two first year productions of limited size.

The Historical Drama is composed from this filling in the leader and footer of the Virtual Reality, so there are three script writers working with the three historicans, who compose footer and header for voice over and supplemental action in consultation with the Mocap for animation.

However, when the first year is over, the bigger Entertainment budget comes in along with a State by state budget funding...and a move of the Federal NEH granting moved to the Department of Historical Markers, who then also work with the State projects.

In addition to the ongoing yearly funding for the Doc, Voice narrative, and VR production which also expands as part of the NEH funding, but then supplemented by the State productions.

The Historical Drama to be produced in 2017 will begin with the moments before Kitty Hawk and the moments after, whose length depends purely upon the Writer and Historian discussing, in consulation with the Exec, where to stop.

First, some writers are selected and offered the project. Three Historians are picked out, and the Editor is picked out, the Drama writers, and some first Actors: all paid minimum, but all working online as social media is online.

Later. the second year funding by the Entertainment side, keeping up with the State projects, there is
implemented onsite a Virtual Reality, there is also a Re-enactment or live production, with part of the production becoming animation here (at the Virtual Reality) and there.

The Actors act out and mouth lines, or actually perform and the other audio is conformed, animated characters that are actually the Actors being motion captured.

The Virtual Reality then having very hi rez which at the state of the Art of the VR, is not necessarily what the VR can be, which I suspect is a resolution somewhat lower. Therein, the production of the animation need be realistic as possible yet included into not only into the Re-enactment, but also into the Historical Drama, wherein, larger budgets and more time spent rendering is the option.

These models will be available for PhD, who order up renders whose resolution might be lower, for free...as their PhD are to published online...when hired for the position. If their PhD has any reference to the History they are two consult about, write up, and otherwise help to create.

So, the second year production has a bit of expansion in various areas.