{"schema":"record/v1","id":"art_01M5MTBP8DHPTVWGYR10DPFMSG","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How are goals, conflict and scenes distributed among co-protagonists, and how can balance be counted in an outline (scene counts versus screen time)?","summary":"Thompson counts, for the three leads of The Favourite, scenes in which each appears alone, in pairs and all together, split into first and second half around the midpoint turning point. Totals (41/44/50) differ modestly while pair-scene counts with the queen are equal (13/13/11 together); she argues screen time is not the key factor and warns that presence is hard to measure and that casting biases perceived importance. Bordwell's Heat discussion shows another distribution: two protagonists who are each other's main antagonist. This is a single-film manual count with no reliability check.","status":"active","body":{"text":"Thompson counts, for the three leads of The Favourite, scenes in which each appears alone, in pairs and all together, split into first and second half around the midpoint turning point. Totals (41/44/50) differ modestly while pair-scene counts with the queen are equal (13/13/11 together); she argues screen time is not the key factor and warns that presence is hard to measure and that casting biases perceived importance. Bordwell's Heat discussion shows another distribution: two protagonists who are each other's main antagonist. This is a single-film manual count with no reliability check.\n\nCurator qualifications: Curator located all evidence excerpts in the work copies (automated case-insensitive prefix match). The counts are verified; Thompson herself addresses the screen-time reading.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.davidbordwell.net/blog/2019/03/31/balancing-three-protagonists-in-the-favourite/","note":"Thompson"},{"url":"https://www.davidbordwell.net/blog/2022/08/23/heat-revisited/","note":"Thompson"},{"url":"https://www.davidbordwell.net/books/poetics_03narrative.pdf","note":"Thompson"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.davidbordwell.net/blog/2019/03/31/balancing-three-protagonists-in-the-favourite/","claim":"Thompson counts, for the three leads of The Favourite, scenes in which each appears alone, in pairs and all together, split into first and second half around the midpoint turning point. 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Totals (41/44/50) differ modestly while pair-scene counts with the queen are equal (13/13/11 together); she argues screen time is not the key factor and warns that presence is hard to measure and that casting biases perceived importance. Bordwell's Heat discussion shows another distribution: two protagonists who are each other's main antagonist. This is a single-film manual count with no reliability check.\n\nCurator qualifications: Curator located all evidence excerpts in the work copies (automated case-insensitive prefix match). 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