Workshop opening storyboard and speaker-note draft

Prepared for Jason Kridner • 14 October 2026 • Draft for review

This is a story and production plan, not a revised slide deck. Chloe and Bridget are fictional characters. The first illustration is the requested drawing; the later compositions and wording below are proposals for review. The historical examples are real and separately sourced. The fictional factory and companies do not represent an identified manufacturer.

The point to preserve

The accepted framing from the conversation:

Expression that still leaves children dependent on systems they can't meaningfully influence. The talk has to make teachers see that gap without pretending we can close it in a lesson. The story's job is to show the size of the problem honestly, so teachers can notice when they're increasing dependence, even unintentionally, and ask themselves what control students actually have after each activity.

The earlier teaching goal still belongs underneath that larger problem:

Give students the understanding to read the logic, predict its behavior, and make a machine carry out their intentions, even if AI helped write the code.

The second statement is a capability worth teaching. It is not a claim that a short coding lesson restores control over the entire technical, economic, and institutional system.

What Jason established in the call

• Build the full reason this matters before starting a hands-on exercise. State the idea, let the examples reinforce it, then return to it.
• Use images as the main storytelling surface. Keep detailed context in speaker notes.
• Open with young Chloe, crayons and the nearby gun, drawing on the Pearl Jam “Choices” composition, paired with RJ’s line: “Ideas are equal, opportunities are not.” Use a new illustration, not the shirt image pasted into the deck.
• Maintain the colored-pencil visual language of the Mechanical Turk artwork. The Turk is a style reference, not the opening scene.
• Chloe visits a crayon factory, sees how a tool is made, and makes crayons in a classroom. Her understanding and confidence grow together.
• Her expressive reach grows through increasingly powerful tools, including AI. The creations can go beyond present technology if clearly framed as imagined future possibilities.
• During Chloe’s life the factory closes. Her world changes around her. She later cannot confidently give Bridget the opportunities she remembers, and is unsure she still has that agency herself.
• Bridget is intimidated by what Chloe can produce. That is a distinct barrier alongside cost, consolidation, restricted access, and dependence.
• Effective control exists within conditions. The story should neither promise absolute independence nor dismiss meaningful practical agency.
• The firsthand classroom example is AI-generated alebrije artwork. Do not infer the product, school contract, price, or data practices from that account.

Visual continuity

Use one recognizable creative motif throughout: a house that grows into an imagined inhabited world. This is a proposed narrative device, not an approved design. It begins as a crayon scribble and eventually becomes an extraordinary constructed world. Keeping the creative intention recognizable lets the audience see what changes in the tools and their surrounding conditions.

The first drawing now establishes young Chloe with a chestnut bob, cream short-sleeved shirt and blue shorts, drawing a house. Preserve her facial identity and hair-color continuity as she ages; carry the cream-and-blue palette as a subtle visual thread. Verify handedness against the actual image before generating later frames. This first drawing is a review draft, so character continuity remains subject to Jason’s feedback. Bridget may resemble her mother without becoming a duplicate. Leave ordinary practice visible: trials, erasures, offcuts, unfinished pieces. The later wonder should feel earned as well as technologically amplified.

Style: textured paper, visible colored-pencil strokes, believable anatomy and material detail, restrained photorealistic elements, warm human attention. Avoid diagrams disguised as scenes, floating interface labels and obvious villain imagery. The same gentle visual language should survive the loss of access; the emotional shift comes from what Chloe can do in the space.

Text should be applied as editable slide text later. Do not ask an image generator to render logos, licensing terms, prices or the RJ quote. The first frame reserves a quiet region for the quote.

The gun in the opening is symbolic, unattended and untouched. No injury, threat, aiming or handling. Do not later suggest that frustration with art causes violence, or that Bridget has only two life choices. The shirt’s slogan is an artistic reference, not evidence of a measured “nine out of ten” statistic. The composition is deliberately unsettling; test its effect with teachers before treating it as settled for the live session.

First illustration draft

The current illustration places Chloe and her drawing on the right, the unattended revolver on the left, and quiet ivory space above-left for RJ’s line. It is a draft for review. The house in her drawing provides the proposed visual motif for the later frames.

Proposed five-minute spoken opening

Read this as one story. The keyframes below supply staging and fuller notes. The wording is a draft in Jason’s direct speaking style, not a verbatim transcript. Approximately 450 words; allow pauses for the images and time it aloud.

RJ says, “Ideas are equal, opportunities are not.”

Here’s Chloe. She has something she wants to put into the world. For now, a box of crayons gives her somewhere to begin.

She tries a line. She changes it. She starts to know what her hand and that crayon will do together. The picture is rough, but she can make a choice and see it matter.

At a factory she sees that the crayon itself was made. There are materials and steps. She doesn’t have to become a crayon manufacturer for that knowledge to change her relationship with the tool.

Then she makes a crayon in class. It isn’t a factory, and it doesn’t make her independent of the world. But she can understand enough, and do enough, to make a tool that works for her.

She keeps going. Pencils give her detail. New tools give her new ways to work. She learns from people, from mistakes, from practice. She can make things she couldn’t make before.

Now she can revise, animate, build worlds. Other people’s work makes that possible. But each new tool also brings conditions: what she can inspect, what she can change, what she can keep using.

Let’s imagine where those tools might take her. AI helps her create something astonishing. Her ideas reach further than ever. That achievement is real. So is the growing distance between using the system and being able to sustain it herself.

And here’s Bridget, looking at what her mother can make. She has crayons too. But she’s beginning in a different world. What feels possible to Chloe can feel unreachable to Bridget.

Chloe wants to show her the way in. But a tool she relied on is gone. Another has conditions she doesn’t set. Her success helped her keep up. It doesn’t mean Bridget has the same path.

Even the factory is closed. The place where she first saw a tool become understandable isn’t there for Bridget. Chloe can remember the experience. She can’t simply hand over the world that made it possible.

Now Chloe isn’t sure she still has that control herself. She can produce more than ever, yet important decisions about her tools happen elsewhere. How does she give Bridget confidence in a world she can no longer confidently explain or influence?

We can give children wonderful experiences and still leave them dependent on systems they can’t meaningfully influence. I don’t have a neat solution to that. But we need to see it.

When we choose an activity, what understanding are we building? What can the student examine, change, predict or repair afterward? What remains outside their control?

Today’s examples help us look at those questions. They don’t make the larger problem disappear.

Five-minute opening: twelve proposed keyframes

These are sequential images, not twelve dense slides. Several can be paired or cross-faded. Times total five minutes, including short pauses. This is a rehearsal target, not a measured duration.

1. A place to begin • 0:00–0:25

Image: Young Chloe on the floor, absorbed in a small drawing. Open crayons and paper within reach; the nearby gun is visible but not dominant. Quiet space for RJ’s line.

Speaker-note beat: Let the image register before explaining it. Introduce the question of opportunity through a child’s ability to express an idea and affect her surroundings. Do not announce an answer to the whole problem.

Possible narration: “RJ says, ‘Ideas are equal, opportunities are not.’ Here’s Chloe. She has something she wants to put into the world. For now, a box of crayons gives her somewhere to begin.”

Transition: Move into the drawing, not toward the gun. The house becomes the continuing visual thread.

Future prompt guidance: This is the separately requested opening illustration. Use the current draft as the continuity reference, subject to Jason’s feedback.

2. The mark is hers • 0:25–0:45

Image: A close, intimate view of Chloe trying the same house twice. A broad rough stroke becomes a deliberate line. Both versions remain visible.

Speaker-note beat: Practical agency is local and meaningful. She can anticipate some effects, change her action and observe the result. She does not need to control every supplier to make this experience real.

Possible narration: “She tries a line. She changes it. She starts to know what her hand and that crayon will do together. The picture is rough, but she can make a choice and see it matter.”

Transition: Match the crayon in her hand to one being made.

Proposed image prompt: Same Chloe and colored-pencil treatment; two imperfect original house drawings, active concentration, natural hands, no magically perfect final drawing, no text.

3. A tool with an understandable beginning • 0:45–1:05

Image: Chloe visiting a small crayon factory with an adult guide. Show wax, pigment and molds as a comprehensible process behind safe barriers. No invented industrial brand.

Speaker-note beat: The visit reveals a construction process. It is not a claim that industrial materials, quality control or supply chains are trivial. Understanding the process makes the tool less mysterious.

Possible narration: “At a factory she sees that the crayon itself was made. There are materials and steps. She doesn’t have to become a crayon manufacturer for that knowledge to change her relationship with the tool.”

Transition: Match a factory mold to a classroom mold.

Proposed image prompt: Fictional modest crayon workshop, same child observing with adult supervision, legible material-to-object relationship, no text or trademarks, consistent room geography for a later return.

4. She can make a version herself • 1:05–1:25

Image: A classroom activity. Adult-supervised preparation and cooling; Chloe tests a finished handmade crayon. Her test mark matters more than a polished product.

Speaker-note beat: The classroom version provides useful, bounded control. Avoid showing children handling hot wax. The story is not an instruction sheet for manufacturing crayons.

Possible narration: “Then she makes a crayon in class. It isn’t a factory, and it doesn’t make her independent of the world. But she can understand enough, and do enough, to make a tool that works for her.”

Transition: Carry the handmade crayon beside her later pencils.

Proposed image prompt: Finished classroom-made crayons and test marks, safe adult-supervised setting, pride rooted in making, no dangerous heat handling, same character identity.

5. Her reach grows • 1:25–1:50

Image: Older Chloe with colored pencils, sketches and a more elaborate version of the house. Show practice and craft, not an instant transformation. A small handmade crayon remains on the desk.

Speaker-note beat: More powerful tools can genuinely expand expression. Skill, time and access all contribute. Do not make increasing price a universal law of progress.

Possible narration: “She keeps going. Pencils give her detail. New tools give her new ways to work. She learns from people, from mistakes, from practice. She can make things she couldn’t make before.”

Transition: Match her pencil gesture to a stylus gesture.

Proposed image prompt: Adolescent or young adult Chloe, recognizable face continuity, ambitious but unfinished colored-pencil house drawing, studies and revisions visible, simple credible tools, no brands.

6. A whole new set of possibilities • 1:50–2:15

Image: Adult Chloe working between paper, a drawing tablet and a three-dimensional scene. One creation progresses from sketch to model. Keep the human choices visible.

Speaker-note beat: Digital tools add editing, iteration and forms of creation that were previously difficult. Some are locally runnable and modifiable; some rely on services. Reusing others’ tools is normal. The issue is what avenues remain for understanding, change, continued use and replacement.

Possible narration: “Now she can revise, animate, build worlds. Other people’s work makes that possible. But each new tool also brings conditions: what she can inspect, what she can change, what she can keep using.”

Transition: Expand the scene beyond the screen.

Proposed image prompt: Adult Chloe constructing a coherent imagined town across sketchbook and digital workstation, plausible simplified interfaces with no readable labels, artistic skill visible, no suggestion she built the entire computer.

7. Extraordinary expression • 2:15–2:40

Image: The imagined world becomes a spectacular room-scale artwork, luminous but still rendered in colored pencil. Chloe directs it through AI-assisted tools. This scene deliberately moves into speculative future capability.

Speaker-note beat: Let the achievement be genuinely beautiful. Do not punish her for using AI or imply the expression is false. Mark the future leap in narration or notes rather than passing it off as a current product demo.

Possible narration: “Let’s imagine where those tools might take her. AI helps her create something astonishing. Her ideas reach further than ever. That achievement is real. So is the growing distance between using the system and being able to sustain it herself.”

Transition: Reveal Bridget at the edge of the same composition.

Proposed image prompt: Clearly imagined future artistic installation, original architectural world grown from first drawing, older Chloe directing details, expressive collaboration with powerful tools, no identifiable commercial product, breathtaking scale without generic hologram clutter.

8. The view from the beginning • 2:40–3:05

Image: Bridget with a little box of crayons in the foreground, looking at the vast work. Chloe is present, affectionate and proud, not negligent. Bridget’s unfinished page is small but respected.

Speaker-note beat: The same entry-level tool may feel different against this horizon of accomplished work. Intimidation is its own barrier. Showing a process might help with intimidation, but it does not automatically remove financial or institutional barriers.

Possible narration: “And here’s Bridget, looking at what her mother can make. She has crayons too. But she’s beginning in a different world. What feels possible to Chloe can feel unreachable to Bridget.”

Transition: Move from what Bridget sees to what Chloe tries to show her.

Proposed image prompt: Two generations in same established installation, child quietly overwhelmed rather than caricatured distress, modest crayons and blank space, parent attentive, no gun in this frame.

9. The path has changed • 3:05–3:30

Image: Chloe tries to locate a familiar tool. Her old working materials are nearby, but its replacement requires access she cannot simply pass on. Show a physically blocked route or unavailable workspace naturally, not a collage of warning pop-ups.

Speaker-note beat: This is the fictional point where expense, consolidation and restricted access become visible. Do not assign the fictional sequence to a real company without evidence. Exact gate is a proposed choice: discontinued service, inaccessible account-bound tool, or unaffordable continuation. Pick one for the image.

Possible narration: “Chloe wants to show her the way in. But a tool she relied on is gone. Another has conditions she doesn’t set. Her success helped her keep up. It doesn’t mean Bridget has the same path.”

Transition: Return to the factory architecture from frame 3.

Proposed image prompt: Same adult Chloe attempting an ordinary creative adjustment, familiar studio with one essential capability unavailable, understated frustration, no fabricated logos or readable pricing. Choose one access barrier before generation.

10. The factory is closed • 3:30–3:55

Image: Older Chloe and Bridget outside the now-closed fictional factory. Match the earlier perspective, windows and distinctive roofline. Nothing is catastrophically destroyed; it has simply ceased to function as a place they can enter and learn from.

Speaker-note beat: The factory closure is a narrative fact Jason wants, not a documented claim about a crayon company. It gives visible form to lost routes of access, knowledge and continuity. The existence of a recipe somewhere does not recreate an institution or its resources.

Possible narration: “Even the factory is closed. The place where she first saw a tool become understandable isn’t there for Bridget. Chloe can remember the experience. She can’t simply hand over the world that made it possible.”

Transition: Match Chloe’s hand holding her old crayon to an uncertain hand at the studio controls.

Proposed image prompt: Exact same fictional factory as frame 3, later season and older characters, visibly closed entrance, quiet accumulated disuse, no dramatic ruins, no readable company name.

11. Chloe’s question • 3:55–4:25

Image: Chloe and Bridget together in the studio. The extraordinary work remains around them. Chloe studies a tool she once used confidently; Bridget watches her mother. Neither has an easy answer.

Speaker-note beat: This is not only a child’s lack of confidence. Chloe is unsure of her own effective agency now. Do not resolve it with a kit, a tiny compiler, a subscription coupon or a sentimental return to crayons.

Possible narration: “Now Chloe isn’t sure she still has that control herself. She can produce more than ever, yet important decisions about her tools happen elsewhere. How does she give Bridget confidence in a world she can no longer confidently explain or influence?”

Transition: Hold on both people; bring back RJ’s line or the closing question as separate editable text.

Proposed image prompt: Older Chloe and daughter at creative workstation, spectacular prior work retained, thoughtful mutual uncertainty, tools within reach but missing practical control, quiet human expressions, no tidy solution symbol.

12. What are we giving them? • 4:25–5:00

Image: A restrained return to the two generations and their drawings, with room for one question. No new metaphor. Optional text: “What control do students have after this activity?”

Speaker-note beat: Address teachers without accusing them of bad intentions. A beautiful classroom result can coexist with stronger dependency. We owe students more than exposure and usage. The workshop examines mechanisms and distinctions while remaining honest about the scale of the problem.

Possible narration: “We can give children wonderful experiences and still leave them dependent on systems they can’t meaningfully influence. I don’t have a neat solution to that. But we need to see it. When we choose an activity, what understanding are we building? What can the student examine, change, predict or repair afterward? What remains outside their control? Today’s examples help us look at those questions. They don’t make the larger problem disappear.”

Transition into the hour: Only now begin the procedural activity. Explain what it illuminates and what it does not establish.

Proposed image prompt: Reuse or crop frame 11 after its design is approved rather than generating a redundant ending; preserve quiet text area and character continuity.

Longer treatment, if the story earns more time

An eight-minute version can add approximately three minutes without adding new images:

• Spend 45 seconds across frames 3–4 on the difference between knowing how a tool is made and personally manufacturing an equivalent industrial system.
• Spend 60 seconds across frames 6–9 connecting two real computing histories to changing conditions. Pick one change-of-terms example and one shutdown. Do not recite three brand case studies in the five-minute version.
• Spend 30 seconds on the open-source counterexample: ownership arrangements can change in a direction that preserves or expands agency.
• Spend 45 seconds across frames 8–12 distinguishing intimidation, money, permission, infrastructure and understanding. They can compound; fixing one does not fix them all.

An eight-minute opening requires recovering three minutes elsewhere in the hour. The current proposed hour already has no transition buffer. This is a choice to make after rehearsal, not an invisible addition.

Grounded computing parallels for speaker notes

These examples help explain the fictional story. They are not claims that Chloe literally used these products, or that a single product represents the entire industry.

Changed terms: Unity

Unity canceled its Runtime Fee for games on 12 September 2024. The episode illustrates that the provider can propose changes to conditions on which creators depend, and that those changes can be contested and reversed. Tell both halves. Do not say the canceled fee currently applies or describe a fee that was charged to Chloe. The reversal is important evidence that outcomes are neither uniform nor inevitable. Unity’s announcement; Unity’s follow-up terms update.

Where it fits: Frame 9, in the longer treatment. Ask who gets to change the terms of a tool that has become part of someone’s livelihood.

A tool can disappear: Google Jamboard

Google states that the Jamboard application reached end of life on 31 December 2024. Its guidance included exporting work. A preserved export and continued access to the original editing environment are different things. Do not claim that Jason’s school used Jamboard, lost data, or failed to export. Google’s end-of-life guidance; Google’s 2023 announcement.

Where it fits: Frames 9–10. The factory closure is an analogy for a lost route, not an equation between a physical factory and an application.

A different ownership path: Blender

Blender’s history records a 2002 campaign to release its source code after its earlier commercial trajectory. Its source was released under the GNU GPL in October 2002. This is an example of an institution and community building a different path, rather than progress inevitably ending in closed access. Source access and licensing rights matter; they still do not make a single child able to reproduce all the expertise, hardware and infrastructure involved. Blender’s history; Blender’s 25th-birthday account; Blender’s license explanation.

Where it fits: Longer speaker notes after frame 9. Keep it as a bounded counterexample, not a product recommendation that resolves Chloe and Bridget’s predicament.

Notes to carry into the rest of the workshop

• A readable procedure provides a different basis for predicting behavior from judging plausible output from a learned model. State assumptions and scope. Repeatability by itself does not establish that we understand behavior beforehand.
• Understanding a compiler can expose an important mechanism without making someone a professional compiler author. A classroom translator is an illustration of a mechanism, not an equivalent replacement for a contemporary computing stack.
• The next-word hat samples generation: everyone sees the current text, submits one word or STOP, one slip is drawn, and the chosen word becomes context for fresh submissions. Repeat the complete run twice from the same starting prompt. A third is optional. Keep temperature out of the core version.
• A phone-based submission tool remains a wish-list item for teachers. It could speed repeated runs; paper can reveal the mechanism. This storyboard is not a commitment to build that tool.
• The candy-bar exercise can expose one learned dependency, such as a background correlation. Discovering one bias does not establish the absence of others. Do not make the presentation depend on guaranteed failure in a live demo.
• Keep training economics in the substantive plan. A classroom can use a powerful pretrained model while having little ability to recreate the data collection, training compute, expertise or infrastructure behind it. Avoid unsourced dollar figures and categorical claims that no individual can train any useful model.
• Jason’s alebrije observation is a useful real classroom example: expressive output and reliance on a subscription system can occur together. Describe only what he observed. Do not invent vendor identity, terms, price or motive.
• Refer to corporate incentives and control through concrete arrangements. The story does not require claiming that every employee or company is malicious, or that all shared tools and subscriptions are inherently bad.

Review and rehearsal checklist

1. Does the opening make the scale of the problem visible before inviting teachers into an activity?
2. Do Chloe’s early experiences feel genuinely empowering, without claiming independence from every supply chain?
3. Can viewers follow one creative intention as the tools become more powerful?
4. Are Bridget’s intimidation and the structural restrictions distinguishable?
5. Does Chloe herself lose confidence in her access and influence, rather than merely struggle to explain a tool to a child?
6. Is the factory clearly the same fictional place when it closes?
7. Does the opening image invite the intended reflection, or does the gun overwhelm the story? Test this with a small audience; the image is not evidence of a causal link between limited creative agency and violence.
8. Is speculative imagery plainly introduced as imagination?
9. Are product examples historically accurate, including reversals and exceptions?
10. Can the five-minute read be delivered with space to look at the images? Time an actual read before committing the full twelve-frame sequence.
11. Does the closing leave a serious question teachers can use, without implying the workshop will solve all the dependencies it reveals?

Reference assets

• Existing colored-pencil Mechanical Turk style reference: https://ollama.openbeagle.org/mechanical-turk/uv/assets/mech-turk-pencil.png
• Pearl Jam “Choices” shirt reference identified during the call: https://www.lightningtees.co.uk/products/pearl-jam-choices-official-t-shirt
• Shirt reference image: https://www.lightningtees.co.uk/cdn/shop/products/Pearl-Jam-Choices-TS_1024x1024.jpg?v=1651431768

The shirt reference establishes the visual starting point. The requested opening is a newly generated scene. This document does not claim clearance for commercial reproduction of the shirt design or treat the slogan as a research result.