The end stretches on forever.

THE STORY OF WOLF STREET – BEFORE THE PILOT

As it was mentioned in Bodies, Wolf Street is on the precipice of a crisis. While this crisis takes on many shapes, Wolf Street

While this crisis is one that, like any good ol’ fashioned American institution, is Beginning with the financial wizards casting their bones and reading doom forecasting a rapid financial decline of Wolf Street there is a pressure that manifests for all within the company. For the Corps, this pressure takes on shape as they look up. Above them, they now notice an axe, poised to fall on the weakest among them at the slightest misstep. For our political leaders, our Shakers, this fear manifests as they look down to find they are walking a tightrope suspended high up into the air, the slightest errant breeze threatening a Hephaestian fall from the heavens. As it can’t be denied that they were the ones who were supposed to look out for the company, their fear is of a more complete nature. For Wolf Street to be in such a state is an irrefutable indictment of their own leadership abilities.

While some of them have tried to hide behind the narratives of Covid or larger economic recession, as they face the bar graph that shows them the decade long trajectory of decline exposes these narratives as small and empty things. It is in the latest fiscal year when they notice the beginnings of a nosedive and if they don’t pull themselves up Wolf Street will die and take their professional careers out with it. The predicament they face is not so simple as a storm to be weathered but the beginnings of a final ice age and to survive they are going to need to do nothing less than change the weather. However, as each of our leaders have a particular belief about how to handle this crisis, here is where the Game of politics and strategy come into play.

Financially, the Game here has been seen a million times before: do more with less, cut costs while hyper-driving the generation of capital. So the financial leaders play this Game, they drop axes on the heads of those in the Corps considered most unessential, they consider subletting space, they strategize with the board, they go out into dinners and events in the hopes of rainmaking. However, while capital is the blood that runs through the veins of any good ol’ fashioned American institution, it is not necessarily the heart. That heart, that vital organ is the product that the institution sells.

Here now is the time to quickly point out that Wolf Street and dance companies at large embody a tragically rare kind of American institution, the non-profit. So while they spiritually still share the same heart of product, the product of a non-profit is a fundamentally more intangible one. As Peter Drucker says in his book Managing the Non-Profit Organization: Principles and Practices, ‘“The “non-profit” institution neither supplies goods or services not controls. Its “product” is neither a pair of shoes nor an effective regulation. Its product is a changed human being. The non-profit institutions are human-change agents. Their “product” is a cured patient, a child that learns, a young man or woman grown into a self-respecting adult; a changed human life altogether.”’ So this is all to say that the heart responsible for pumping the blood of Wolf Street is the dance, the creative and so, here at Wolf Street, it is the creative who has committed the most egregious failure and thus is the branch of leadership that needs to take the largest corrective action.

So the creative plays their half to the Game of politick. They strive to connect more with audiences, foster community relationships, get their name back out into the world and have it mean something again. They need to be better.

SEASON 1 – THE GAME OF DANCE / THE COMPETITION FOR PRINCIPAL

As our focus will be on the Corps
As it pertains to the first season and our focus being on those within the Corps, this political aspect of the Game will be told in relative silence but shown loudly and consistently throughout. The pilot exemplifies this approach through, characters reconciling the aftermath of the first fallen axe or the witnessing of muted office conversation from afar. In future episodes, it will be shown in other specific ways, sudden pop-ins and specific requests from Peter and Denise, strange pressures and cryptic warnings from Theo and Vanita (as well as Vanita’s own firing). Most importantly, however, it will also be shown in drastic structural overhauls that challenge our Movers. The most notable one being the introduction of the coveted “Principal” title to the company, the rewards of which will, be of course numerous but, above all, specific and coveted for Sena, Quinn, and each of our Movers. This will be the competitive device that both catalyzes and unites our Corps throughout the remainder of our first season,

Motion draws its inspiration from a variety of sources, both internally (the script, the characters, etc.) and externally (the State, the larger structures and systems, etc.) However, evinced by One of the most fundamentally important inspirations, as evinced by the website itself, is this breaking down of Motion into four separate categories. These categories, Bodies, Energy, Space, and Time are known as the most
ou
As a series, Motion aims to tell its story over the course of four seasons with each season reflecting one aspect of a larger cycle.

To any interested, there is an argument to be made for expanding the story to five seasons as there is a basis for it

The first season will tell the story of grief and love. As Sena recovers from her

EPISODIC STRUCTURE

As the Sopranos and Mad Men united their characters around certain themes with each episode, Motion will do the same. At times, these themes will likely be ones of conflict. Each episode, will be centered around a “move” and their will be winners and losers.

101 – What You Lose in the Fire…

Sena and Quinn compete for the favor of Lyra, the new resident choreographer. Pilot here.

102 – La Petite Mort

A week after the events of the first episode, we discover that Sena has captured Lyra’s attention and as a result, has been cast alongside Andrea to perform an excerpt of Lyra’s choreography for the upcoming gala. Quinn, stung by this defeat mopes but picks herself up and vows to show Lyra what she is missing at the gala. However, she is finding that the piece she is participating in is being stymied by her pas de deux partner, Bailey. As a result, she seeks to change partners by backchanneling to Peter directly and manages to do so, having Matan step in as a backup for a session and Bailey stepping down.

Meanwhile, Sena, Andrea, Lyra, and Mia (as backup) continue working on their piece, encountering a difficulty in the partner work of it all.

The partnerings – the broader introduction, the verbal communications

Sena and Andrea practice an excerpt together with Lyra guiding and Mia shadowing – Lyra steps in and the two dance

Quinn and the gang fight out a test of stamina – a long night ahead




Buckle up,

Introduce Louis, Ket, Matan, Mia, Tiff, Flora

103 – The Oldest Profession in the World – the ways in which we sell ourselves

There is a game of love afoot, each character throughout the night has a different objective (an A, B, and a C)

104 – Glitter’s Made of Plastic – the masks we wear – season begins

105 – Breathing Without Choking – Graham technique workshop, bodies at rest, what happens when it catches up to you

Firings, swings, goodbye Bailey

106 – Walk On, Girl! – rock bottom, a Quinn episode

The sun rises and she steels herself

107 – Goddamn Grand Piano
Auditions

108 – Season of Fuck
rehearsal

109 – Rite of Spring
The opening

110 – Like No One’s Watching
The final night

111 – You Hear That?
A wedding

- A performance
- A break
- An upstage
- A relegation
- A rehearsal
- A show
- The night is short, walk on girl

However, it is in the second season, after this large “Principal” arc of our movers, where we will begin to have this political Game take a more central stage. The conversations we once witnessed from afar will now be told up close and what is being said within them, these philosophical differences between Peter, Denise, Theo, Lyra, Robert Kurvitz, and the board will be given arcs of their own (which will, of course, ALWAYS trickle back down to the Movers in many different ways). The competition that will unite our characters in this season will be two-fold, taking the form of both an overarching succession war and an underlying dance festival debut, the casting process for both dancer and choreographer/choreographic piece. Again, this competition will be intense and the meanings of victory or success will once again be contrasted against the core philosophies of each of our characters.

Why Now?

While Motion strives to portray its characters in a timeless human lens, confronting the nuanced complexities of not just survival but life in a world with other people and a ticking clock, it is also a story meant to be told in this time, this specific sliver of history.

From stone to bronze or middle to modern, the changing of an age was a slow turning, a matter settled over the course of centuries or even millennia. However in this contemporary moment, we are shifting ages in the span of decades or even years, drinking the nectar of a moment and, before we have even finished, we are presented with the next. With an efficiency and strain of wealth never before seen, we have leapt to the atomic age before we have even realized we were in a post-industrial one and from there we have leapfrogged the space age to find ourselves deep within the digital information age.

Human change, like our exponential technological growth, is getting shorter, faster and more constant and not just on a macro scale, but on a micro level as well. We blink and there’s dial-up, blink again, the iPhone, before you can even blink the next time, social media, AI, self-driving cars, virtual reality. It is not just a matter of one thing, but seemingly almost every single thing and all at once. In this era, the only stability is the regularity of constant disruption.

However, as technology is neither inherently good nor bad, rather just a physical manifestation of some broader human desire, Motion aims to address the question of tempo and rhythm in these times. Not just reflecting the faster and shorter contemporary pace as a half-hour drama but as a broader series, with each season reflecting one aspect of a larger cycle. Through this combination of narrative architecture surrounding the story of Quinn and Sena, our head and heart, our yin and yang, we will witness how Motion is not just a physical action but something more.

In a world undergoing constant change the only true death is stagnation. So whether it is by trudging or skipping, j’ete-ing or falling, grooving or shaking, one must dance not just because there is music, but rather they must Move to prove that (they’re playing your song), (to prove that you’re alive), (it all feels so good), (Rome is burning and ain’t there just something about a fire), (they’re making you), (you don’t know what else to do with my arms), (the wind is blowing and making you feel like a swaying reed above a starry pond), (there’s nothing else to do), (a million trains are crashing and you can almost catch a fucked up kind of rhythm) they are alive.

Why Now?

Motion is a story of the wheel as told by its own series of ebbings and flowings. It is meant to illustrate nothing less and nothing more.

Season of spring – Season of hope,

in the same cycles of our planet, spring
unite the seasons into a particular structural style based around the

WHY NOW?

(THE LANGUAGE TO DANCE MIMICS THE DIGITAL WAR THAT IS OCCURRING)

THE CONTEMPORARY DANCE – THE CACOPHONY OF INFLUENCES AND THE RENAISSANCE NEED.

As it has always been the case throughout human history, war is evergreen.
a war, any war has always been fought in pursuit of claiming resources, either tangible (precious minerals, oil, etc.) or abstract (hegemony, religious influence, etc.) While there are certainly examples of the former occurring throughout the globe



As it is in this post-industrial digital age, the ultimate battlefield has taken place in pursuit of mining two of the most bare fundamental resources, time and space.


The Half-Hour
The season 1 structure:
The larger season structure, growth and change, expansion and realization.
Why now? The digital age, the form is experimental, crafted largely by and for this digital era while the narrative is classical, operatic.

What is the competition in each season?

Sena will struggle to access the State again in season 1


Each character will dance and ultimately some will reach the State


In season 1 it is the introduction of the principal (the individual)

In season 2 it is the introduction of the festival (the collective)

In season 3 it is the introduction of two separate competitions separated by space (the individual desire and how it fundamentally differs against the collective)

In season 4 it is it again, it is the mountain.

SEASON 1 – THE GALA, THE SEASON, THE LAYOFFS/THE COMPETITION IS ANNOUNCED (SOLOIST?), FESTIVAL, WEDDING, THE REDO (NEXT SEASON), THE NEW SEASON/THE WORLD PREMIERE, THE WINNER/LOSER (SOLOIST), THE COMPETITION THE RESULTS, THE NIGHT IS SHORT WALK ON GIRL (FINALE), (WE NEED 10 OR 11 EPISODES), THE ARCS OF EACH MOVER – THE OVERARCHING QUESTION OF EACH SEASON – SEASON 1: DO YOU LIVE TO DANCE OR DANCE TO LIVE
Open – Close

FOUR SEASONS (FINAL – WINTER, SPRING, SUMMER, FALL, OR B.E.S.T. BUT EITHER WAY 4) HALF THE ART OF A PARTY IS KNOWING WHEN TO LEAVE, ALTHOUGH THIS COMBATS WITH TELEVISION’S DESIRE TO SERIALIZE.

The shape of individuality

Comps (whiplash meets spike jonze)

Women will love the beauty and emotional depth, men will love the sport. and if you think they aren’t an audience who will click on it for the sport, the same argument would have you passing on mad men.

The end stretches on forever.

THE STORY OF WOLF STREET – BEFORE THE PILOT

As it was mentioned in Bodies, Wolf Street is on the precipice of a crisis. While this crisis takes on many shapes, Wolf Street

While this crisis is one that, like any good ol’ fashioned American institution, is Beginning with the financial wizards casting their bones and reading doom forecasting a rapid financial decline of Wolf Street there is a pressure that manifests for all within the company. For the Corps, this pressure takes on shape as they look up. Above them, they now notice an axe, poised to fall on the weakest among them at the slightest misstep. For our political leaders, our Shakers, this fear manifests as they look down to find they are walking a tightrope suspended high up into the air, the slightest errant breeze threatening a Hephaestian fall from the heavens. As it can’t be denied that they were the ones who were supposed to look out for the company, their fear is of a more complete nature. For Wolf Street to be in such a state is an irrefutable indictment of their own leadership abilities.

While some of them have tried to hide behind the narratives of Covid or larger economic recession, as they face the bar graph that shows them the decade long trajectory of decline exposes these narratives as small and empty things. It is in the latest fiscal year when they notice the beginnings of a nosedive and if they don’t pull themselves up Wolf Street will die and take their professional careers out with it. The predicament they face is not so simple as a storm to be weathered but the beginnings of a final ice age and to survive they are going to need to do nothing less than change the weather. However, as each of our leaders have a particular belief about how to handle this crisis, here is where the Game of politics and strategy come into play.

Financially, the Game here has been seen a million times before: do more with less, cut costs while hyper-driving the generation of capital. So the financial leaders play this Game, they drop axes on the heads of those in the Corps considered most unessential, they consider subletting space, they strategize with the board, they go out into dinners and events in the hopes of rainmaking. However, while capital is the blood that runs through the veins of any good ol’ fashioned American institution, it is not necessarily the heart. That heart, that vital organ is the product that the institution sells.

Here now is the time to quickly point out that Wolf Street and dance companies at large embody a tragically rare kind of American institution, the non-profit. So while they spiritually still share the same heart of product, the product of a non-profit is a fundamentally more intangible one. As Peter Drucker says in his book Managing the Non-Profit Organization: Principles and Practices, ‘“The “non-profit” institution neither supplies goods or services not controls. Its “product” is neither a pair of shoes nor an effective regulation. Its product is a changed human being. The non-profit institutions are human-change agents. Their “product” is a cured patient, a child that learns, a young man or woman grown into a self-respecting adult; a changed human life altogether.”’ So this is all to say that the heart responsible for pumping the blood of Wolf Street is the dance, the creative and so, here at Wolf Street, it is the creative who has committed the most egregious failure and thus is the branch of leadership that needs to take the largest corrective action.

So the creative plays their half to the Game of politick. They strive to connect more with audiences, foster community relationships, get their name back out into the world and have it mean something again. They need to be better.

SEASON 1 – THE GAME OF DANCE / THE COMPETITION FOR PRINCIPAL

As our focus will be on the Corps
As it pertains to the first season and our focus being on those within the Corps, this political aspect of the Game will be told in relative silence but shown loudly and consistently throughout. The pilot exemplifies this approach through, characters reconciling the aftermath of the first fallen axe or the witnessing of muted office conversation from afar. In future episodes, it will be shown in other specific ways, sudden pop-ins and specific requests from Peter and Denise, strange pressures and cryptic warnings from Theo and Vanita (as well as Vanita’s own firing). Most importantly, however, it will also be shown in drastic structural overhauls that challenge our Movers. The most notable one being the introduction of the coveted “Principal” title to the company, the rewards of which will, be of course numerous but, above all, specific and coveted for Sena, Quinn, and each of our Movers. This will be the competitive device that both catalyzes and unites our Corps throughout the remainder of our first season,

Motion draws its inspiration from a variety of sources, both internally (the script, the characters, etc.) and externally (the State, the larger structures and systems, etc.) However, evinced by One of the most fundamentally important inspirations, as evinced by the website itself, is this breaking down of Motion into four separate categories. These categories, Bodies, Energy, Space, and Time are known as the most
ou
As a series, Motion aims to tell its story over the course of four seasons with each season reflecting one aspect of a larger cycle.

To any interested, there is an argument to be made for expanding the story to five seasons as there is a basis for it

The first season will tell the story of grief and love. As Sena recovers from her

EPISODIC STRUCTURE

As the Sopranos and Mad Men united their characters around certain themes with each episode, Motion will do the same. At times, these themes will likely be ones of conflict. Each episode, will be centered around a “move” and their will be winners and losers.

101 – What You Lose in the Fire…

Sena and Quinn compete for the favor of Lyra, the new resident choreographer. Pilot here.

102 – La Petite Mort

A week after the events of the first episode, we discover that Sena has captured Lyra’s attention and as a result, has been cast alongside Andrea to perform an excerpt of Lyra’s choreography for the upcoming gala. Quinn, stung by this defeat mopes but picks herself up and vows to show Lyra what she is missing at the gala. However, she is finding that the piece she is participating in is being stymied by her pas de deux partner, Bailey. As a result, she seeks to change partners by backchanneling to Peter directly and manages to do so, having Matan step in as a backup for a session and Bailey stepping down.

Meanwhile, Sena, Andrea, Lyra, and Mia (as backup) continue working on their piece, encountering a difficulty in the partner work of it all.

The partnerings – the broader introduction, the verbal communications

Sena and Andrea practice an excerpt together with Lyra guiding and Mia shadowing – Lyra steps in and the two dance

Quinn and the gang fight out a test of stamina – a long night ahead




Buckle up,

Introduce Louis, Ket, Matan, Mia, Tiff, Flora

103 – The Oldest Profession in the World – the ways in which we sell ourselves

There is a game of love afoot, each character throughout the night has a different objective (an A, B, and a C)

104 – Glitter’s Made of Plastic – the masks we wear – season begins

105 – Breathing Without Choking – Graham technique workshop, bodies at rest, what happens when it catches up to you

Firings, swings, goodbye Bailey

106 – Walk On, Girl! – rock bottom, a Quinn episode

The sun rises and she steels herself

107 – Goddamn Grand Piano
Auditions

108 – Season of Fuck
rehearsal

109 – Rite of Spring
The opening

110 – Like No One’s Watching
The final night

111 – You Hear That?
A wedding

- A performance
- A break
- An upstage
- A relegation
- A rehearsal
- A show
- The night is short, walk on girl

However, it is in the second season, after this large “Principal” arc of our movers, where we will begin to have this political Game take a more central stage. The conversations we once witnessed from afar will now be told up close and what is being said within them, these philosophical differences between Peter, Denise, Theo, Lyra, Robert Kurvitz, and the board will be given arcs of their own (which will, of course, ALWAYS trickle back down to the Movers in many different ways). The competition that will unite our characters in this season will be two-fold, taking the form of both an overarching succession war and an underlying dance festival debut, the casting process for both dancer and choreographer/choreographic piece. Again, this competition will be intense and the meanings of victory or success will once again be contrasted against the core philosophies of each of our characters.

Why Now?

While Motion strives to portray its characters in a timeless human lens, confronting the nuanced complexities of not just survival but life in a world with other people and a ticking clock, it is also a story meant to be told in this time, this specific sliver of history.

From stone to bronze or middle to modern, the changing of an age was a slow turning, a matter settled over the course of centuries or even millennia. However in this contemporary moment, we are shifting ages in the span of decades or even years, drinking the nectar of a moment and, before we have even finished, we are presented with the next. With an efficiency and strain of wealth never before seen, we have leapt to the atomic age before we have even realized we were in a post-industrial one and from there we have leapfrogged the space age to find ourselves deep within the digital information age.

Human change, like our exponential technological growth, is getting shorter, faster and more constant and not just on a macro scale, but on a micro level as well. We blink and there’s dial-up, blink again, the iPhone, before you can even blink the next time, social media, AI, self-driving cars, virtual reality. It is not just a matter of one thing, but seemingly almost every single thing and all at once. In this era, the only stability is the regularity of constant disruption.

However, as technology is neither inherently good nor bad, rather just a physical manifestation of some broader human desire, Motion aims to address the question of tempo and rhythm in these times. Not just reflecting the faster and shorter contemporary pace as a half-hour drama but as a broader series, with each season reflecting one aspect of a larger cycle. Through this combination of narrative architecture surrounding the story of Quinn and Sena, our head and heart, our yin and yang, we will witness how Motion is not just a physical action but something more.

In a world undergoing constant change the only true death is stagnation. So whether it is by trudging or skipping, j’ete-ing or falling, grooving or shaking, one must dance not just because there is music, but rather they must Move to prove that (they’re playing your song), (to prove that you’re alive), (it all feels so good), (Rome is burning and ain’t there just something about a fire), (they’re making you), (you don’t know what else to do with my arms), (the wind is blowing and making you feel like a swaying reed above a starry pond), (there’s nothing else to do), (a million trains are crashing and you can almost catch a fucked up kind of rhythm) they are alive.

Why Now?

Motion is a story of the wheel as told by its own series of ebbings and flowings. It is meant to illustrate nothing less and nothing more.

Season of spring – Season of hope,

in the same cycles of our planet, spring
unite the seasons into a particular structural style based around the

WHY NOW?

(THE LANGUAGE TO DANCE MIMICS THE DIGITAL WAR THAT IS OCCURRING)

THE CONTEMPORARY DANCE – THE CACOPHONY OF INFLUENCES AND THE RENAISSANCE NEED.

As it has always been the case throughout human history, war is evergreen.
a war, any war has always been fought in pursuit of claiming resources, either tangible (precious minerals, oil, etc.) or abstract (hegemony, religious influence, etc.) While there are certainly examples of the former occurring throughout the globe



As it is in this post-industrial digital age, the ultimate battlefield has taken place in pursuit of mining two of the most bare fundamental resources, time and space.


The Half-Hour
The season 1 structure:
The larger season structure, growth and change, expansion and realization.
Why now? The digital age, the form is experimental, crafted largely by and for this digital era while the narrative is classical, operatic.

What is the competition in each season?

Sena will struggle to access the State again in season 1


Each character will dance and ultimately some will reach the State


In season 1 it is the introduction of the principal (the individual)

In season 2 it is the introduction of the festival (the collective)

In season 3 it is the introduction of two separate competitions separated by space (the individual desire and how it fundamentally differs against the collective)

In season 4 it is it again, it is the mountain.

SEASON 1 – THE GALA, THE SEASON, THE LAYOFFS/THE COMPETITION IS ANNOUNCED (SOLOIST?), FESTIVAL, WEDDING, THE REDO (NEXT SEASON), THE NEW SEASON/THE WORLD PREMIERE, THE WINNER/LOSER (SOLOIST), THE COMPETITION THE RESULTS, THE NIGHT IS SHORT WALK ON GIRL (FINALE), (WE NEED 10 OR 11 EPISODES), THE ARCS OF EACH MOVER – THE OVERARCHING QUESTION OF EACH SEASON – SEASON 1: DO YOU LIVE TO DANCE OR DANCE TO LIVE
Open – Close

FOUR SEASONS (FINAL – WINTER, SPRING, SUMMER, FALL, OR B.E.S.T. BUT EITHER WAY 4) HALF THE ART OF A PARTY IS KNOWING WHEN TO LEAVE, ALTHOUGH THIS COMBATS WITH TELEVISION’S DESIRE TO SERIALIZE.

The shape of individuality

Comps (whiplash meets spike jonze)

Women will love the beauty and emotional depth, men will love the sport. and if you think they aren’t an audience who will click on it for the sport, the same argument would have you passing on mad men.

The end stretches on forever.

THE STORY OF WOLF STREET – BEFORE THE PILOT

As it was mentioned in Bodies, Wolf Street is on the precipice of a crisis. While this crisis takes on many shapes, Wolf Street

While this crisis is one that, like any good ol’ fashioned American institution, is Beginning with the financial wizards casting their bones and reading doom forecasting a rapid financial decline of Wolf Street there is a pressure that manifests for all within the company. For the Corps, this pressure takes on shape as they look up. Above them, they now notice an axe, poised to fall on the weakest among them at the slightest misstep. For our political leaders, our Shakers, this fear manifests as they look down to find they are walking a tightrope suspended high up into the air, the slightest errant breeze threatening a Hephaestian fall from the heavens. As it can’t be denied that they were the ones who were supposed to look out for the company, their fear is of a more complete nature. For Wolf Street to be in such a state is an irrefutable indictment of their own leadership abilities.

While some of them have tried to hide behind the narratives of Covid or larger economic recession, as they face the bar graph that shows them the decade long trajectory of decline exposes these narratives as small and empty things. It is in the latest fiscal year when they notice the beginnings of a nosedive and if they don’t pull themselves up Wolf Street will die and take their professional careers out with it. The predicament they face is not so simple as a storm to be weathered but the beginnings of a final ice age and to survive they are going to need to do nothing less than change the weather. However, as each of our leaders have a particular belief about how to handle this crisis, here is where the Game of politics and strategy come into play.

Financially, the Game here has been seen a million times before: do more with less, cut costs while hyper-driving the generation of capital. So the financial leaders play this Game, they drop axes on the heads of those in the Corps considered most unessential, they consider subletting space, they strategize with the board, they go out into dinners and events in the hopes of rainmaking. However, while capital is the blood that runs through the veins of any good ol’ fashioned American institution, it is not necessarily the heart. That heart, that vital organ is the product that the institution sells.

Here now is the time to quickly point out that Wolf Street and dance companies at large embody a tragically rare kind of American institution, the non-profit. So while they spiritually still share the same heart of product, the product of a non-profit is a fundamentally more intangible one. As Peter Drucker says in his book Managing the Non-Profit Organization: Principles and Practices, ‘“The “non-profit” institution neither supplies goods or services not controls. Its “product” is neither a pair of shoes nor an effective regulation. Its product is a changed human being. The non-profit institutions are human-change agents. Their “product” is a cured patient, a child that learns, a young man or woman grown into a self-respecting adult; a changed human life altogether.”’ So this is all to say that the heart responsible for pumping the blood of Wolf Street is the dance, the creative and so, here at Wolf Street, it is the creative who has committed the most egregious failure and thus is the branch of leadership that needs to take the largest corrective action.

So the creative plays their half to the Game of politick. They strive to connect more with audiences, foster community relationships, get their name back out into the world and have it mean something again. They need to be better.

SEASON 1 – THE GAME OF DANCE / THE COMPETITION FOR PRINCIPAL

As our focus will be on the Corps
As it pertains to the first season and our focus being on those within the Corps, this political aspect of the Game will be told in relative silence but shown loudly and consistently throughout. The pilot exemplifies this approach through, characters reconciling the aftermath of the first fallen axe or the witnessing of muted office conversation from afar. In future episodes, it will be shown in other specific ways, sudden pop-ins and specific requests from Peter and Denise, strange pressures and cryptic warnings from Theo and Vanita (as well as Vanita’s own firing). Most importantly, however, it will also be shown in drastic structural overhauls that challenge our Movers. The most notable one being the introduction of the coveted “Principal” title to the company, the rewards of which will, be of course numerous but, above all, specific and coveted for Sena, Quinn, and each of our Movers. This will be the competitive device that both catalyzes and unites our Corps throughout the remainder of our first season,

Motion draws its inspiration from a variety of sources, both internally (the script, the characters, etc.) and externally (the State, the larger structures and systems, etc.) However, evinced by One of the most fundamentally important inspirations, as evinced by the website itself, is this breaking down of Motion into four separate categories. These categories, Bodies, Energy, Space, and Time are known as the most
ou
As a series, Motion aims to tell its story over the course of four seasons with each season reflecting one aspect of a larger cycle.

To any interested, there is an argument to be made for expanding the story to five seasons as there is a basis for it

The first season will tell the story of grief and love. As Sena recovers from her

EPISODIC STRUCTURE

As the Sopranos and Mad Men united their characters around certain themes with each episode, Motion will do the same. At times, these themes will likely be ones of conflict. Each episode, will be centered around a “move” and their will be winners and losers.

101 – What You Lose in the Fire…

Sena and Quinn compete for the favor of Lyra, the new resident choreographer. Pilot here.

102 – La Petite Mort

A week after the events of the first episode, we discover that Sena has captured Lyra’s attention and as a result, has been cast alongside Andrea to perform an excerpt of Lyra’s choreography for the upcoming gala. Quinn, stung by this defeat mopes but picks herself up and vows to show Lyra what she is missing at the gala. However, she is finding that the piece she is participating in is being stymied by her pas de deux partner, Bailey. As a result, she seeks to change partners by backchanneling to Peter directly and manages to do so, having Matan step in as a backup for a session and Bailey stepping down.

Meanwhile, Sena, Andrea, Lyra, and Mia (as backup) continue working on their piece, encountering a difficulty in the partner work of it all.

The partnerings – the broader introduction, the verbal communications

Sena and Andrea practice an excerpt together with Lyra guiding and Mia shadowing – Lyra steps in and the two dance

Quinn and the gang fight out a test of stamina – a long night ahead




Buckle up,

Introduce Louis, Ket, Matan, Mia, Tiff, Flora

103 – The Oldest Profession in the World – the ways in which we sell ourselves

There is a game of love afoot, each character throughout the night has a different objective (an A, B, and a C)

104 – Glitter’s Made of Plastic – the masks we wear – season begins

105 – Breathing Without Choking – Graham technique workshop, bodies at rest, what happens when it catches up to you

Firings, swings, goodbye Bailey

106 – Walk On, Girl! – rock bottom, a Quinn episode

The sun rises and she steels herself

107 – Goddamn Grand Piano
Auditions

108 – Season of Fuck
rehearsal

109 – Rite of Spring
The opening

110 – Like No One’s Watching
The final night

111 – You Hear That?
A wedding

- A performance
- A break
- An upstage
- A relegation
- A rehearsal
- A show
- The night is short, walk on girl

However, it is in the second season, after this large “Principal” arc of our movers, where we will begin to have this political Game take a more central stage. The conversations we once witnessed from afar will now be told up close and what is being said within them, these philosophical differences between Peter, Denise, Theo, Lyra, Robert Kurvitz, and the board will be given arcs of their own (which will, of course, ALWAYS trickle back down to the Movers in many different ways). The competition that will unite our characters in this season will be two-fold, taking the form of both an overarching succession war and an underlying dance festival debut, the casting process for both dancer and choreographer/choreographic piece. Again, this competition will be intense and the meanings of victory or success will once again be contrasted against the core philosophies of each of our characters.

Why Now?

While Motion strives to portray its characters in a timeless human lens, confronting the nuanced complexities of not just survival but life in a world with other people and a ticking clock, it is also a story meant to be told in this time, this specific sliver of history.

From stone to bronze or middle to modern, the changing of an age was a slow turning, a matter settled over the course of centuries or even millennia. However in this contemporary moment, we are shifting ages in the span of decades or even years, drinking the nectar of a moment and, before we have even finished, we are presented with the next. With an efficiency and strain of wealth never before seen, we have leapt to the atomic age before we have even realized we were in a post-industrial one and from there we have leapfrogged the space age to find ourselves deep within the digital information age.

Human change, like our exponential technological growth, is getting shorter, faster and more constant and not just on a macro scale, but on a micro level as well. We blink and there’s dial-up, blink again, the iPhone, before you can even blink the next time, social media, AI, self-driving cars, virtual reality. It is not just a matter of one thing, but seemingly almost every single thing and all at once. In this era, the only stability is the regularity of constant disruption.

However, as technology is neither inherently good nor bad, rather just a physical manifestation of some broader human desire, Motion aims to address the question of tempo and rhythm in these times. Not just reflecting the faster and shorter contemporary pace as a half-hour drama but as a broader series, with each season reflecting one aspect of a larger cycle. Through this combination of narrative architecture surrounding the story of Quinn and Sena, our head and heart, our yin and yang, we will witness how Motion is not just a physical action but something more.

In a world undergoing constant change the only true death is stagnation. So whether it is by trudging or skipping, j’ete-ing or falling, grooving or shaking, one must dance not just because there is music, but rather they must Move to prove that (they’re playing your song), (to prove that you’re alive), (it all feels so good), (Rome is burning and ain’t there just something about a fire), (they’re making you), (you don’t know what else to do with my arms), (the wind is blowing and making you feel like a swaying reed above a starry pond), (there’s nothing else to do), (a million trains are crashing and you can almost catch a fucked up kind of rhythm) they are alive.

Why Now?

Motion is a story of the wheel as told by its own series of ebbings and flowings. It is meant to illustrate nothing less and nothing more.

Season of spring – Season of hope,

in the same cycles of our planet, spring
unite the seasons into a particular structural style based around the

WHY NOW?

(THE LANGUAGE TO DANCE MIMICS THE DIGITAL WAR THAT IS OCCURRING)

THE CONTEMPORARY DANCE – THE CACOPHONY OF INFLUENCES AND THE RENAISSANCE NEED.

As it has always been the case throughout human history, war is evergreen.
a war, any war has always been fought in pursuit of claiming resources, either tangible (precious minerals, oil, etc.) or abstract (hegemony, religious influence, etc.) While there are certainly examples of the former occurring throughout the globe



As it is in this post-industrial digital age, the ultimate battlefield has taken place in pursuit of mining two of the most bare fundamental resources, time and space.


The Half-Hour
The season 1 structure:
The larger season structure, growth and change, expansion and realization.
Why now? The digital age, the form is experimental, crafted largely by and for this digital era while the narrative is classical, operatic.

What is the competition in each season?

Sena will struggle to access the State again in season 1


Each character will dance and ultimately some will reach the State


In season 1 it is the introduction of the principal (the individual)

In season 2 it is the introduction of the festival (the collective)

In season 3 it is the introduction of two separate competitions separated by space (the individual desire and how it fundamentally differs against the collective)

In season 4 it is it again, it is the mountain.

SEASON 1 – THE GALA, THE SEASON, THE LAYOFFS/THE COMPETITION IS ANNOUNCED (SOLOIST?), FESTIVAL, WEDDING, THE REDO (NEXT SEASON), THE NEW SEASON/THE WORLD PREMIERE, THE WINNER/LOSER (SOLOIST), THE COMPETITION THE RESULTS, THE NIGHT IS SHORT WALK ON GIRL (FINALE), (WE NEED 10 OR 11 EPISODES), THE ARCS OF EACH MOVER – THE OVERARCHING QUESTION OF EACH SEASON – SEASON 1: DO YOU LIVE TO DANCE OR DANCE TO LIVE
Open – Close

FOUR SEASONS (FINAL – WINTER, SPRING, SUMMER, FALL, OR B.E.S.T. BUT EITHER WAY 4) HALF THE ART OF A PARTY IS KNOWING WHEN TO LEAVE, ALTHOUGH THIS COMBATS WITH TELEVISION’S DESIRE TO SERIALIZE.

The shape of individuality

Comps (whiplash meets spike jonze)

Women will love the beauty and emotional depth, men will love the sport. and if you think they aren’t an audience who will click on it for the sport, the same argument would have you passing on mad men.

The end stretches on forever.

THE STORY OF WOLF STREET – BEFORE THE PILOT

As it was mentioned in Bodies, Wolf Street is on the precipice of a crisis. While this crisis takes on many shapes, Wolf Street

While this crisis is one that, like any good ol’ fashioned American institution, is Beginning with the financial wizards casting their bones and reading doom forecasting a rapid financial decline of Wolf Street there is a pressure that manifests for all within the company. For the Corps, this pressure takes on shape as they look up. Above them, they now notice an axe, poised to fall on the weakest among them at the slightest misstep. For our political leaders, our Shakers, this fear manifests as they look down to find they are walking a tightrope suspended high up into the air, the slightest errant breeze threatening a Hephaestian fall from the heavens. As it can’t be denied that they were the ones who were supposed to look out for the company, their fear is of a more complete nature. For Wolf Street to be in such a state is an irrefutable indictment of their own leadership abilities.

While some of them have tried to hide behind the narratives of Covid or larger economic recession, as they face the bar graph that shows them the decade long trajectory of decline exposes these narratives as small and empty things. It is in the latest fiscal year when they notice the beginnings of a nosedive and if they don’t pull themselves up Wolf Street will die and take their professional careers out with it. The predicament they face is not so simple as a storm to be weathered but the beginnings of a final ice age and to survive they are going to need to do nothing less than change the weather. However, as each of our leaders have a particular belief about how to handle this crisis, here is where the Game of politics and strategy come into play.

Financially, the Game here has been seen a million times before: do more with less, cut costs while hyper-driving the generation of capital. So the financial leaders play this Game, they drop axes on the heads of those in the Corps considered most unessential, they consider subletting space, they strategize with the board, they go out into dinners and events in the hopes of rainmaking. However, while capital is the blood that runs through the veins of any good ol’ fashioned American institution, it is not necessarily the heart. That heart, that vital organ is the product that the institution sells.

Here now is the time to quickly point out that Wolf Street and dance companies at large embody a tragically rare kind of American institution, the non-profit. So while they spiritually still share the same heart of product, the product of a non-profit is a fundamentally more intangible one. As Peter Drucker says in his book Managing the Non-Profit Organization: Principles and Practices, ‘“The “non-profit” institution neither supplies goods or services not controls. Its “product” is neither a pair of shoes nor an effective regulation. Its product is a changed human being. The non-profit institutions are human-change agents. Their “product” is a cured patient, a child that learns, a young man or woman grown into a self-respecting adult; a changed human life altogether.”’ So this is all to say that the heart responsible for pumping the blood of Wolf Street is the dance, the creative and so, here at Wolf Street, it is the creative who has committed the most egregious failure and thus is the branch of leadership that needs to take the largest corrective action.

So the creative plays their half to the Game of politick. They strive to connect more with audiences, foster community relationships, get their name back out into the world and have it mean something again. They need to be better.

SEASON 1 – THE GAME OF DANCE / THE COMPETITION FOR PRINCIPAL

As our focus will be on the Corps
As it pertains to the first season and our focus being on those within the Corps, this political aspect of the Game will be told in relative silence but shown loudly and consistently throughout. The pilot exemplifies this approach through, characters reconciling the aftermath of the first fallen axe or the witnessing of muted office conversation from afar. In future episodes, it will be shown in other specific ways, sudden pop-ins and specific requests from Peter and Denise, strange pressures and cryptic warnings from Theo and Vanita (as well as Vanita’s own firing). Most importantly, however, it will also be shown in drastic structural overhauls that challenge our Movers. The most notable one being the introduction of the coveted “Principal” title to the company, the rewards of which will, be of course numerous but, above all, specific and coveted for Sena, Quinn, and each of our Movers. This will be the competitive device that both catalyzes and unites our Corps throughout the remainder of our first season,

Motion draws its inspiration from a variety of sources, both internally (the script, the characters, etc.) and externally (the State, the larger structures and systems, etc.) However, evinced by One of the most fundamentally important inspirations, as evinced by the website itself, is this breaking down of Motion into four separate categories. These categories, Bodies, Energy, Space, and Time are known as the most
ou
As a series, Motion aims to tell its story over the course of four seasons with each season reflecting one aspect of a larger cycle.

To any interested, there is an argument to be made for expanding the story to five seasons as there is a basis for it

The first season will tell the story of grief and love. As Sena recovers from her

EPISODIC STRUCTURE

As the Sopranos and Mad Men united their characters around certain themes with each episode, Motion will do the same. At times, these themes will likely be ones of conflict. Each episode, will be centered around a “move” and their will be winners and losers.

101 – What You Lose in the Fire…

Sena and Quinn compete for the favor of Lyra, the new resident choreographer. Pilot here.

102 – La Petite Mort

A week after the events of the first episode, we discover that Sena has captured Lyra’s attention and as a result, has been cast alongside Andrea to perform an excerpt of Lyra’s choreography for the upcoming gala. Quinn, stung by this defeat mopes but picks herself up and vows to show Lyra what she is missing at the gala. However, she is finding that the piece she is participating in is being stymied by her pas de deux partner, Bailey. As a result, she seeks to change partners by backchanneling to Peter directly and manages to do so, having Matan step in as a backup for a session and Bailey stepping down.

Meanwhile, Sena, Andrea, Lyra, and Mia (as backup) continue working on their piece, encountering a difficulty in the partner work of it all.

The partnerings – the broader introduction, the verbal communications

Sena and Andrea practice an excerpt together with Lyra guiding and Mia shadowing – Lyra steps in and the two dance

Quinn and the gang fight out a test of stamina – a long night ahead




Buckle up,

Introduce Louis, Ket, Matan, Mia, Tiff, Flora

103 – The Oldest Profession in the World – the ways in which we sell ourselves

There is a game of love afoot, each character throughout the night has a different objective (an A, B, and a C)

104 – Glitter’s Made of Plastic – the masks we wear – season begins

105 – Breathing Without Choking – Graham technique workshop, bodies at rest, what happens when it catches up to you

Firings, swings, goodbye Bailey

106 – Walk On, Girl! – rock bottom, a Quinn episode

The sun rises and she steels herself

107 – Goddamn Grand Piano
Auditions

108 – Season of Fuck
rehearsal

109 – Rite of Spring
The opening

110 – Like No One’s Watching
The final night

111 – You Hear That?
A wedding

- A performance
- A break
- An upstage
- A relegation
- A rehearsal
- A show
- The night is short, walk on girl

However, it is in the second season, after this large “Principal” arc of our movers, where we will begin to have this political Game take a more central stage. The conversations we once witnessed from afar will now be told up close and what is being said within them, these philosophical differences between Peter, Denise, Theo, Lyra, Robert Kurvitz, and the board will be given arcs of their own (which will, of course, ALWAYS trickle back down to the Movers in many different ways). The competition that will unite our characters in this season will be two-fold, taking the form of both an overarching succession war and an underlying dance festival debut, the casting process for both dancer and choreographer/choreographic piece. Again, this competition will be intense and the meanings of victory or success will once again be contrasted against the core philosophies of each of our characters.

Why Now?

While Motion strives to portray its characters in a timeless human lens, confronting the nuanced complexities of not just survival but life in a world with other people and a ticking clock, it is also a story meant to be told in this time, this specific sliver of history.

From stone to bronze or middle to modern, the changing of an age was a slow turning, a matter settled over the course of centuries or even millennia. However in this contemporary moment, we are shifting ages in the span of decades or even years, drinking the nectar of a moment and, before we have even finished, we are presented with the next. With an efficiency and strain of wealth never before seen, we have leapt to the atomic age before we have even realized we were in a post-industrial one and from there we have leapfrogged the space age to find ourselves deep within the digital information age.

Human change, like our exponential technological growth, is getting shorter, faster and more constant and not just on a macro scale, but on a micro level as well. We blink and there’s dial-up, blink again, the iPhone, before you can even blink the next time, social media, AI, self-driving cars, virtual reality. It is not just a matter of one thing, but seemingly almost every single thing and all at once. In this era, the only stability is the regularity of constant disruption.

However, as technology is neither inherently good nor bad, rather just a physical manifestation of some broader human desire, Motion aims to address the question of tempo and rhythm in these times. Not just reflecting the faster and shorter contemporary pace as a half-hour drama but as a broader series, with each season reflecting one aspect of a larger cycle. Through this combination of narrative architecture surrounding the story of Quinn and Sena, our head and heart, our yin and yang, we will witness how Motion is not just a physical action but something more.

In a world undergoing constant change the only true death is stagnation. So whether it is by trudging or skipping, j’ete-ing or falling, grooving or shaking, one must dance not just because there is music, but rather they must Move to prove that (they’re playing your song), (to prove that you’re alive), (it all feels so good), (Rome is burning and ain’t there just something about a fire), (they’re making you), (you don’t know what else to do with my arms), (the wind is blowing and making you feel like a swaying reed above a starry pond), (there’s nothing else to do), (a million trains are crashing and you can almost catch a fucked up kind of rhythm) they are alive.

Why Now?

Motion is a story of the wheel as told by its own series of ebbings and flowings. It is meant to illustrate nothing less and nothing more.

Season of spring – Season of hope,

in the same cycles of our planet, spring
unite the seasons into a particular structural style based around the

WHY NOW?

(THE LANGUAGE TO DANCE MIMICS THE DIGITAL WAR THAT IS OCCURRING)

THE CONTEMPORARY DANCE – THE CACOPHONY OF INFLUENCES AND THE RENAISSANCE NEED.

As it has always been the case throughout human history, war is evergreen.
a war, any war has always been fought in pursuit of claiming resources, either tangible (precious minerals, oil, etc.) or abstract (hegemony, religious influence, etc.) While there are certainly examples of the former occurring throughout the globe



As it is in this post-industrial digital age, the ultimate battlefield has taken place in pursuit of mining two of the most bare fundamental resources, time and space.


The Half-Hour
The season 1 structure:
The larger season structure, growth and change, expansion and realization.
Why now? The digital age, the form is experimental, crafted largely by and for this digital era while the narrative is classical, operatic.

What is the competition in each season?

Sena will struggle to access the State again in season 1


Each character will dance and ultimately some will reach the State


In season 1 it is the introduction of the principal (the individual)

In season 2 it is the introduction of the festival (the collective)

In season 3 it is the introduction of two separate competitions separated by space (the individual desire and how it fundamentally differs against the collective)

In season 4 it is it again, it is the mountain.

SEASON 1 – THE GALA, THE SEASON, THE LAYOFFS/THE COMPETITION IS ANNOUNCED (SOLOIST?), FESTIVAL, WEDDING, THE REDO (NEXT SEASON), THE NEW SEASON/THE WORLD PREMIERE, THE WINNER/LOSER (SOLOIST), THE COMPETITION THE RESULTS, THE NIGHT IS SHORT WALK ON GIRL (FINALE), (WE NEED 10 OR 11 EPISODES), THE ARCS OF EACH MOVER – THE OVERARCHING QUESTION OF EACH SEASON – SEASON 1: DO YOU LIVE TO DANCE OR DANCE TO LIVE
Open – Close

FOUR SEASONS (FINAL – WINTER, SPRING, SUMMER, FALL, OR B.E.S.T. BUT EITHER WAY 4) HALF THE ART OF A PARTY IS KNOWING WHEN TO LEAVE, ALTHOUGH THIS COMBATS WITH TELEVISION’S DESIRE TO SERIALIZE.

The shape of individuality

Comps (whiplash meets spike jonze)

Women will love the beauty and emotional depth, men will love the sport. and if you think they aren’t an audience who will click on it for the sport, the same argument would have you passing on mad men.

The end stretches on forever.

THE STORY OF WOLF STREET – BEFORE THE PILOT

As it was mentioned in Bodies, Wolf Street is on the precipice of a crisis. While this crisis takes on many shapes, Wolf Street

While this crisis is one that, like any good ol’ fashioned American institution, is Beginning with the financial wizards casting their bones and reading doom forecasting a rapid financial decline of Wolf Street there is a pressure that manifests for all within the company. For the Corps, this pressure takes on shape as they look up. Above them, they now notice an axe, poised to fall on the weakest among them at the slightest misstep. For our political leaders, our Shakers, this fear manifests as they look down to find they are walking a tightrope suspended high up into the air, the slightest errant breeze threatening a Hephaestian fall from the heavens. As it can’t be denied that they were the ones who were supposed to look out for the company, their fear is of a more complete nature. For Wolf Street to be in such a state is an irrefutable indictment of their own leadership abilities.

While some of them have tried to hide behind the narratives of Covid or larger economic recession, as they face the bar graph that shows them the decade long trajectory of decline exposes these narratives as small and empty things. It is in the latest fiscal year when they notice the beginnings of a nosedive and if they don’t pull themselves up Wolf Street will die and take their professional careers out with it. The predicament they face is not so simple as a storm to be weathered but the beginnings of a final ice age and to survive they are going to need to do nothing less than change the weather. However, as each of our leaders have a particular belief about how to handle this crisis, here is where the Game of politics and strategy come into play.

Financially, the Game here has been seen a million times before: do more with less, cut costs while hyper-driving the generation of capital. So the financial leaders play this Game, they drop axes on the heads of those in the Corps considered most unessential, they consider subletting space, they strategize with the board, they go out into dinners and events in the hopes of rainmaking. However, while capital is the blood that runs through the veins of any good ol’ fashioned American institution, it is not necessarily the heart. That heart, that vital organ is the product that the institution sells.

Here now is the time to quickly point out that Wolf Street and dance companies at large embody a tragically rare kind of American institution, the non-profit. So while they spiritually still share the same heart of product, the product of a non-profit is a fundamentally more intangible one. As Peter Drucker says in his book Managing the Non-Profit Organization: Principles and Practices, ‘“The “non-profit” institution neither supplies goods or services not controls. Its “product” is neither a pair of shoes nor an effective regulation. Its product is a changed human being. The non-profit institutions are human-change agents. Their “product” is a cured patient, a child that learns, a young man or woman grown into a self-respecting adult; a changed human life altogether.”’ So this is all to say that the heart responsible for pumping the blood of Wolf Street is the dance, the creative and so, here at Wolf Street, it is the creative who has committed the most egregious failure and thus is the branch of leadership that needs to take the largest corrective action.

So the creative plays their half to the Game of politick. They strive to connect more with audiences, foster community relationships, get their name back out into the world and have it mean something again. They need to be better.

SEASON 1 – THE GAME OF DANCE / THE COMPETITION FOR PRINCIPAL

As our focus will be on the Corps
As it pertains to the first season and our focus being on those within the Corps, this political aspect of the Game will be told in relative silence but shown loudly and consistently throughout. The pilot exemplifies this approach through, characters reconciling the aftermath of the first fallen axe or the witnessing of muted office conversation from afar. In future episodes, it will be shown in other specific ways, sudden pop-ins and specific requests from Peter and Denise, strange pressures and cryptic warnings from Theo and Vanita (as well as Vanita’s own firing). Most importantly, however, it will also be shown in drastic structural overhauls that challenge our Movers. The most notable one being the introduction of the coveted “Principal” title to the company, the rewards of which will, be of course numerous but, above all, specific and coveted for Sena, Quinn, and each of our Movers. This will be the competitive device that both catalyzes and unites our Corps throughout the remainder of our first season,

Motion draws its inspiration from a variety of sources, both internally (the script, the characters, etc.) and externally (the State, the larger structures and systems, etc.) However, evinced by One of the most fundamentally important inspirations, as evinced by the website itself, is this breaking down of Motion into four separate categories. These categories, Bodies, Energy, Space, and Time are known as the most
ou
As a series, Motion aims to tell its story over the course of four seasons with each season reflecting one aspect of a larger cycle.

To any interested, there is an argument to be made for expanding the story to five seasons as there is a basis for it

The first season will tell the story of grief and love. As Sena recovers from her

EPISODIC STRUCTURE

As the Sopranos and Mad Men united their characters around certain themes with each episode, Motion will do the same. At times, these themes will likely be ones of conflict. Each episode, will be centered around a “move” and their will be winners and losers.

101 – What You Lose in the Fire…

Sena and Quinn compete for the favor of Lyra, the new resident choreographer. Pilot here.

102 – La Petite Mort

A week after the events of the first episode, we discover that Sena has captured Lyra’s attention and as a result, has been cast alongside Andrea to perform an excerpt of Lyra’s choreography for the upcoming gala. Quinn, stung by this defeat mopes but picks herself up and vows to show Lyra what she is missing at the gala. However, she is finding that the piece she is participating in is being stymied by her pas de deux partner, Bailey. As a result, she seeks to change partners by backchanneling to Peter directly and manages to do so, having Matan step in as a backup for a session and Bailey stepping down.

Meanwhile, Sena, Andrea, Lyra, and Mia (as backup) continue working on their piece, encountering a difficulty in the partner work of it all.

The partnerings – the broader introduction, the verbal communications

Sena and Andrea practice an excerpt together with Lyra guiding and Mia shadowing – Lyra steps in and the two dance

Quinn and the gang fight out a test of stamina – a long night ahead




Buckle up,

Introduce Louis, Ket, Matan, Mia, Tiff, Flora

103 – The Oldest Profession in the World – the ways in which we sell ourselves

There is a game of love afoot, each character throughout the night has a different objective (an A, B, and a C)

104 – Glitter’s Made of Plastic – the masks we wear – season begins

105 – Breathing Without Choking – Graham technique workshop, bodies at rest, what happens when it catches up to you

Firings, swings, goodbye Bailey

106 – Walk On, Girl! – rock bottom, a Quinn episode

The sun rises and she steels herself

107 – Goddamn Grand Piano
Auditions

108 – Season of Fuck
rehearsal

109 – Rite of Spring
The opening

110 – Like No One’s Watching
The final night

111 – You Hear That?
A wedding

- A performance
- A break
- An upstage
- A relegation
- A rehearsal
- A show
- The night is short, walk on girl

However, it is in the second season, after this large “Principal” arc of our movers, where we will begin to have this political Game take a more central stage. The conversations we once witnessed from afar will now be told up close and what is being said within them, these philosophical differences between Peter, Denise, Theo, Lyra, Robert Kurvitz, and the board will be given arcs of their own (which will, of course, ALWAYS trickle back down to the Movers in many different ways). The competition that will unite our characters in this season will be two-fold, taking the form of both an overarching succession war and an underlying dance festival debut, the casting process for both dancer and choreographer/choreographic piece. Again, this competition will be intense and the meanings of victory or success will once again be contrasted against the core philosophies of each of our characters.

Why Now?

While Motion strives to portray its characters in a timeless human lens, confronting the nuanced complexities of not just survival but life in a world with other people and a ticking clock, it is also a story meant to be told in this time, this specific sliver of history.

From stone to bronze or middle to modern, the changing of an age was a slow turning, a matter settled over the course of centuries or even millennia. However in this contemporary moment, we are shifting ages in the span of decades or even years, drinking the nectar of a moment and, before we have even finished, we are presented with the next. With an efficiency and strain of wealth never before seen, we have leapt to the atomic age before we have even realized we were in a post-industrial one and from there we have leapfrogged the space age to find ourselves deep within the digital information age.

Human change, like our exponential technological growth, is getting shorter, faster and more constant and not just on a macro scale, but on a micro level as well. We blink and there’s dial-up, blink again, the iPhone, before you can even blink the next time, social media, AI, self-driving cars, virtual reality. It is not just a matter of one thing, but seemingly almost every single thing and all at once. In this era, the only stability is the regularity of constant disruption.

However, as technology is neither inherently good nor bad, rather just a physical manifestation of some broader human desire, Motion aims to address the question of tempo and rhythm in these times. Not just reflecting the faster and shorter contemporary pace as a half-hour drama but as a broader series, with each season reflecting one aspect of a larger cycle. Through this combination of narrative architecture surrounding the story of Quinn and Sena, our head and heart, our yin and yang, we will witness how Motion is not just a physical action but something more.

In a world undergoing constant change the only true death is stagnation. So whether it is by trudging or skipping, j’ete-ing or falling, grooving or shaking, one must dance not just because there is music, but rather they must Move to prove that (they’re playing your song), (to prove that you’re alive), (it all feels so good), (Rome is burning and ain’t there just something about a fire), (they’re making you), (you don’t know what else to do with my arms), (the wind is blowing and making you feel like a swaying reed above a starry pond), (there’s nothing else to do), (a million trains are crashing and you can almost catch a fucked up kind of rhythm) they are alive.

Why Now?

Motion is a story of the wheel as told by its own series of ebbings and flowings. It is meant to illustrate nothing less and nothing more.

Season of spring – Season of hope,

in the same cycles of our planet, spring
unite the seasons into a particular structural style based around the

WHY NOW?

(THE LANGUAGE TO DANCE MIMICS THE DIGITAL WAR THAT IS OCCURRING)

THE CONTEMPORARY DANCE – THE CACOPHONY OF INFLUENCES AND THE RENAISSANCE NEED.

As it has always been the case throughout human history, war is evergreen.
a war, any war has always been fought in pursuit of claiming resources, either tangible (precious minerals, oil, etc.) or abstract (hegemony, religious influence, etc.) While there are certainly examples of the former occurring throughout the globe



As it is in this post-industrial digital age, the ultimate battlefield has taken place in pursuit of mining two of the most bare fundamental resources, time and space.


The Half-Hour
The season 1 structure:
The larger season structure, growth and change, expansion and realization.
Why now? The digital age, the form is experimental, crafted largely by and for this digital era while the narrative is classical, operatic.

What is the competition in each season?

Sena will struggle to access the State again in season 1


Each character will dance and ultimately some will reach the State


In season 1 it is the introduction of the principal (the individual)

In season 2 it is the introduction of the festival (the collective)

In season 3 it is the introduction of two separate competitions separated by space (the individual desire and how it fundamentally differs against the collective)

In season 4 it is it again, it is the mountain.

SEASON 1 – THE GALA, THE SEASON, THE LAYOFFS/THE COMPETITION IS ANNOUNCED (SOLOIST?), FESTIVAL, WEDDING, THE REDO (NEXT SEASON), THE NEW SEASON/THE WORLD PREMIERE, THE WINNER/LOSER (SOLOIST), THE COMPETITION THE RESULTS, THE NIGHT IS SHORT WALK ON GIRL (FINALE), (WE NEED 10 OR 11 EPISODES), THE ARCS OF EACH MOVER – THE OVERARCHING QUESTION OF EACH SEASON – SEASON 1: DO YOU LIVE TO DANCE OR DANCE TO LIVE
Open – Close

FOUR SEASONS (FINAL – WINTER, SPRING, SUMMER, FALL, OR B.E.S.T. BUT EITHER WAY 4) HALF THE ART OF A PARTY IS KNOWING WHEN TO LEAVE, ALTHOUGH THIS COMBATS WITH TELEVISION’S DESIRE TO SERIALIZE.

The shape of individuality

Comps (whiplash meets spike jonze)

Women will love the beauty and emotional depth, men will love the sport. and if you think they aren’t an audience who will click on it for the sport, the same argument would have you passing on mad men.

The end stretches on forever.

THE STORY OF WOLF STREET – BEFORE THE PILOT

As it was mentioned in Bodies, Wolf Street is on the precipice of a crisis. While this crisis takes on many shapes, Wolf Street

While this crisis is one that, like any good ol’ fashioned American institution, is Beginning with the financial wizards casting their bones and reading doom forecasting a rapid financial decline of Wolf Street there is a pressure that manifests for all within the company. For the Corps, this pressure takes on shape as they look up. Above them, they now notice an axe, poised to fall on the weakest among them at the slightest misstep. For our political leaders, our Shakers, this fear manifests as they look down to find they are walking a tightrope suspended high up into the air, the slightest errant breeze threatening a Hephaestian fall from the heavens. As it can’t be denied that they were the ones who were supposed to look out for the company, their fear is of a more complete nature. For Wolf Street to be in such a state is an irrefutable indictment of their own leadership abilities.

While some of them have tried to hide behind the narratives of Covid or larger economic recession, as they face the bar graph that shows them the decade long trajectory of decline exposes these narratives as small and empty things. It is in the latest fiscal year when they notice the beginnings of a nosedive and if they don’t pull themselves up Wolf Street will die and take their professional careers out with it. The predicament they face is not so simple as a storm to be weathered but the beginnings of a final ice age and to survive they are going to need to do nothing less than change the weather. However, as each of our leaders have a particular belief about how to handle this crisis, here is where the Game of politics and strategy come into play.

Financially, the Game here has been seen a million times before: do more with less, cut costs while hyper-driving the generation of capital. So the financial leaders play this Game, they drop axes on the heads of those in the Corps considered most unessential, they consider subletting space, they strategize with the board, they go out into dinners and events in the hopes of rainmaking. However, while capital is the blood that runs through the veins of any good ol’ fashioned American institution, it is not necessarily the heart. That heart, that vital organ is the product that the institution sells.

Here now is the time to quickly point out that Wolf Street and dance companies at large embody a tragically rare kind of American institution, the non-profit. So while they spiritually still share the same heart of product, the product of a non-profit is a fundamentally more intangible one. As Peter Drucker says in his book Managing the Non-Profit Organization: Principles and Practices, ‘“The “non-profit” institution neither supplies goods or services not controls. Its “product” is neither a pair of shoes nor an effective regulation. Its product is a changed human being. The non-profit institutions are human-change agents. Their “product” is a cured patient, a child that learns, a young man or woman grown into a self-respecting adult; a changed human life altogether.”’ So this is all to say that the heart responsible for pumping the blood of Wolf Street is the dance, the creative and so, here at Wolf Street, it is the creative who has committed the most egregious failure and thus is the branch of leadership that needs to take the largest corrective action.

So the creative plays their half to the Game of politick. They strive to connect more with audiences, foster community relationships, get their name back out into the world and have it mean something again. They need to be better.

SEASON 1 – THE GAME OF DANCE / THE COMPETITION FOR PRINCIPAL

As our focus will be on the Corps
As it pertains to the first season and our focus being on those within the Corps, this political aspect of the Game will be told in relative silence but shown loudly and consistently throughout. The pilot exemplifies this approach through, characters reconciling the aftermath of the first fallen axe or the witnessing of muted office conversation from afar. In future episodes, it will be shown in other specific ways, sudden pop-ins and specific requests from Peter and Denise, strange pressures and cryptic warnings from Theo and Vanita (as well as Vanita’s own firing). Most importantly, however, it will also be shown in drastic structural overhauls that challenge our Movers. The most notable one being the introduction of the coveted “Principal” title to the company, the rewards of which will, be of course numerous but, above all, specific and coveted for Sena, Quinn, and each of our Movers. This will be the competitive device that both catalyzes and unites our Corps throughout the remainder of our first season,

Motion draws its inspiration from a variety of sources, both internally (the script, the characters, etc.) and externally (the State, the larger structures and systems, etc.) However, evinced by One of the most fundamentally important inspirations, as evinced by the website itself, is this breaking down of Motion into four separate categories. These categories, Bodies, Energy, Space, and Time are known as the most
ou
As a series, Motion aims to tell its story over the course of four seasons with each season reflecting one aspect of a larger cycle.

To any interested, there is an argument to be made for expanding the story to five seasons as there is a basis for it

The first season will tell the story of grief and love. As Sena recovers from her

EPISODIC STRUCTURE

As the Sopranos and Mad Men united their characters around certain themes with each episode, Motion will do the same. At times, these themes will likely be ones of conflict. Each episode, will be centered around a “move” and their will be winners and losers.

101 – What You Lose in the Fire…

Sena and Quinn compete for the favor of Lyra, the new resident choreographer. Pilot here.

102 – La Petite Mort

A week after the events of the first episode, we discover that Sena has captured Lyra’s attention and as a result, has been cast alongside Andrea to perform an excerpt of Lyra’s choreography for the upcoming gala. Quinn, stung by this defeat mopes but picks herself up and vows to show Lyra what she is missing at the gala. However, she is finding that the piece she is participating in is being stymied by her pas de deux partner, Bailey. As a result, she seeks to change partners by backchanneling to Peter directly and manages to do so, having Matan step in as a backup for a session and Bailey stepping down.

Meanwhile, Sena, Andrea, Lyra, and Mia (as backup) continue working on their piece, encountering a difficulty in the partner work of it all.

The partnerings – the broader introduction, the verbal communications

Sena and Andrea practice an excerpt together with Lyra guiding and Mia shadowing – Lyra steps in and the two dance

Quinn and the gang fight out a test of stamina – a long night ahead




Buckle up,

Introduce Louis, Ket, Matan, Mia, Tiff, Flora

103 – The Oldest Profession in the World – the ways in which we sell ourselves

There is a game of love afoot, each character throughout the night has a different objective (an A, B, and a C)

104 – Glitter’s Made of Plastic – the masks we wear – season begins

105 – Breathing Without Choking – Graham technique workshop, bodies at rest, what happens when it catches up to you

Firings, swings, goodbye Bailey

106 – Walk On, Girl! – rock bottom, a Quinn episode

The sun rises and she steels herself

107 – Goddamn Grand Piano
Auditions

108 – Season of Fuck
rehearsal

109 – Rite of Spring
The opening

110 – Like No One’s Watching
The final night

111 – You Hear That?
A wedding

- A performance
- A break
- An upstage
- A relegation
- A rehearsal
- A show
- The night is short, walk on girl

However, it is in the second season, after this large “Principal” arc of our movers, where we will begin to have this political Game take a more central stage. The conversations we once witnessed from afar will now be told up close and what is being said within them, these philosophical differences between Peter, Denise, Theo, Lyra, Robert Kurvitz, and the board will be given arcs of their own (which will, of course, ALWAYS trickle back down to the Movers in many different ways). The competition that will unite our characters in this season will be two-fold, taking the form of both an overarching succession war and an underlying dance festival debut, the casting process for both dancer and choreographer/choreographic piece. Again, this competition will be intense and the meanings of victory or success will once again be contrasted against the core philosophies of each of our characters.

Why Now?

While Motion strives to portray its characters in a timeless human lens, confronting the nuanced complexities of not just survival but life in a world with other people and a ticking clock, it is also a story meant to be told in this time, this specific sliver of history.

From stone to bronze or middle to modern, the changing of an age was a slow turning, a matter settled over the course of centuries or even millennia. However in this contemporary moment, we are shifting ages in the span of decades or even years, drinking the nectar of a moment and, before we have even finished, we are presented with the next. With an efficiency and strain of wealth never before seen, we have leapt to the atomic age before we have even realized we were in a post-industrial one and from there we have leapfrogged the space age to find ourselves deep within the digital information age.

Human change, like our exponential technological growth, is getting shorter, faster and more constant and not just on a macro scale, but on a micro level as well. We blink and there’s dial-up, blink again, the iPhone, before you can even blink the next time, social media, AI, self-driving cars, virtual reality. It is not just a matter of one thing, but seemingly almost every single thing and all at once. In this era, the only stability is the regularity of constant disruption.

However, as technology is neither inherently good nor bad, rather just a physical manifestation of some broader human desire, Motion aims to address the question of tempo and rhythm in these times. Not just reflecting the faster and shorter contemporary pace as a half-hour drama but as a broader series, with each season reflecting one aspect of a larger cycle. Through this combination of narrative architecture surrounding the story of Quinn and Sena, our head and heart, our yin and yang, we will witness how Motion is not just a physical action but something more.

In a world undergoing constant change the only true death is stagnation. So whether it is by trudging or skipping, j’ete-ing or falling, grooving or shaking, one must dance not just because there is music, but rather they must Move to prove that (they’re playing your song), (to prove that you’re alive), (it all feels so good), (Rome is burning and ain’t there just something about a fire), (they’re making you), (you don’t know what else to do with my arms), (the wind is blowing and making you feel like a swaying reed above a starry pond), (there’s nothing else to do), (a million trains are crashing and you can almost catch a fucked up kind of rhythm) they are alive.

Why Now?

Motion is a story of the wheel as told by its own series of ebbings and flowings. It is meant to illustrate nothing less and nothing more.

Season of spring – Season of hope,

in the same cycles of our planet, spring
unite the seasons into a particular structural style based around the

WHY NOW?

(THE LANGUAGE TO DANCE MIMICS THE DIGITAL WAR THAT IS OCCURRING)

THE CONTEMPORARY DANCE – THE CACOPHONY OF INFLUENCES AND THE RENAISSANCE NEED.

As it has always been the case throughout human history, war is evergreen.
a war, any war has always been fought in pursuit of claiming resources, either tangible (precious minerals, oil, etc.) or abstract (hegemony, religious influence, etc.) While there are certainly examples of the former occurring throughout the globe



As it is in this post-industrial digital age, the ultimate battlefield has taken place in pursuit of mining two of the most bare fundamental resources, time and space.


The Half-Hour
The season 1 structure:
The larger season structure, growth and change, expansion and realization.
Why now? The digital age, the form is experimental, crafted largely by and for this digital era while the narrative is classical, operatic.

What is the competition in each season?

Sena will struggle to access the State again in season 1


Each character will dance and ultimately some will reach the State


In season 1 it is the introduction of the principal (the individual)

In season 2 it is the introduction of the festival (the collective)

In season 3 it is the introduction of two separate competitions separated by space (the individual desire and how it fundamentally differs against the collective)

In season 4 it is it again, it is the mountain.

SEASON 1 – THE GALA, THE SEASON, THE LAYOFFS/THE COMPETITION IS ANNOUNCED (SOLOIST?), FESTIVAL, WEDDING, THE REDO (NEXT SEASON), THE NEW SEASON/THE WORLD PREMIERE, THE WINNER/LOSER (SOLOIST), THE COMPETITION THE RESULTS, THE NIGHT IS SHORT WALK ON GIRL (FINALE), (WE NEED 10 OR 11 EPISODES), THE ARCS OF EACH MOVER – THE OVERARCHING QUESTION OF EACH SEASON – SEASON 1: DO YOU LIVE TO DANCE OR DANCE TO LIVE
Open – Close

FOUR SEASONS (FINAL – WINTER, SPRING, SUMMER, FALL, OR B.E.S.T. BUT EITHER WAY 4) HALF THE ART OF A PARTY IS KNOWING WHEN TO LEAVE, ALTHOUGH THIS COMBATS WITH TELEVISION’S DESIRE TO SERIALIZE.

The shape of individuality

Comps (whiplash meets spike jonze)

Women will love the beauty and emotional depth, men will love the sport. and if you think they aren’t an audience who will click on it for the sport, the same argument would have you passing on mad men.