Nothing new gets made this week. The Week 2 mirror sheets go back on the wall in the original handwriting and the studio writes the whole thing again beside them - growth you can see rather than growth you're told about. Then the Studio Contract's last working pass, with every promise checked against those sheets.
By 3:15 today the studio can point at what moved from “trying to be” to “are” in its own handwriting - and every promise in the Contract is backed by something on those sheets.
Something uncomfortable is on the new WE'RE NOT. A studio protecting its reputation at the end learned less than it thinks.
Anything in the Contract that can't be answered from the mirrors gets cut.
Every learner knows this is a review week, not a making week - and that a Lip Dub reshoot is on the table if they want one.
If they were lost, say so honestly and run the new mirror anyway - but the comparison is most of today's value, so it's worth twenty minutes of searching first.
Standard rhythm. Thinking Puzzle up by the cubbies.
Standard rhythm.
Talking points, not a script. Hit these in your own words - the studio can tell the difference, and the ones that land are the ones you actually mean.
The Tally Keeper posts Friday's numbers before 8:30 and reads the studio averages aloud - Intentionality, Civility, Excellence, Energy. That's the job the role exists for, and without this it never gets done.
One question from the guide: "Which of those four is this week's job?" Take the answer, write it on the board, leave it there all week.
Don't discuss it. Two minutes, then move into the launch. If a number needs a real conversation, that conversation is Wednesday's at Town Hall - and naming it now is what gets it onto that agenda.
The opener (2 min):
Put the three sheets from Week 2 back on the wall - WE ARE, WE'RE NOT, WE'RE TRYING TO BE - in the original handwriting, unedited.
Say nothing at first. Let them read it. Somebody will laugh and somebody will insist they never wrote that.
The core (13 min):
"You wrote these four weeks ago, in silence, so nobody would just agree with whoever spoke first. This is the studio describing itself before the boats, before Spark, before the Lip Dub."
Read out three or four notes verbatim - including at least one from WE'RE NOT that is no longer true, and at least one that still is.
Then set up the afternoon: "Today you write it again. Same three sheets, same silence. Then we put them side by side."
Warn them off the trap before they fall in it: "Don't write the nice version. This is only worth anything if it's as honest as the first one, and the first one was pretty brutal about us."
The close (5 min) - what this week actually is:
"Here's the thing about this week. You're not making anything new. The boat's built, the film's shot, the cards are written. This week you go back through all of it and decide what you're proud of, what you'd change, and what you want your families to see."
"And if anybody still wants another crack at the Lip Dub, this is the week we've got room for it. Bring it up Tuesday."
Standard rhythm.
Standard rhythm. Schedule ownership continues: math sits inside it, so the block may move - what doesn't move is that it happens and the PWG opens first.
Standard rhythm.
Standard rhythm.
This is the piece that makes Friday work. A learner who has written it will talk; a learner who hasn't will stand beside their work saying "yeah, that's my boat."
Standard rhythm.
Growth asserted by an adult is a compliment. Growth a studio can see, in two sets of its own handwriting hanging next to each other, is evidence. The mirror turns six weeks of activity into something they can point at - and it feeds the Contract, because you can't promise anything useful until you know who you actually are.
1 - The Six-Week Mirror (20 min):
2 - The comparison (12 min) - the actual moment of the day:
Walk the two sets sheet by sheet and ask three questions, in this order:
2b - The tribe identity statement (5 min) - straight off the back of the comparison:
The room has just spent twelve minutes describing itself honestly with both mirrors on the wall. Don't let that evaporate into the Contract discussion - catch it first.
It goes above the Contract, and it goes up today so it's on the wall before the wording gets locked tomorrow. Everything the Contract promises should be recognizably a promise made by that studio.
3 - Contract final draft (18 min):
Carry forward: Both mirrors stay up through Exhibition. On Friday families read them side by side before anything else - it explains six weeks without a single slide.
Note the time: if the ten minutes have been handed back, this block runs 1:50–2:50.
Standard rhythm. Exhibition week - the studio should be looking at the room the way a visitor will on Friday.
If the ten minutes have been handed back (see W5D1) - this block is 2:50–3:00 and Quest ran to 2:50.
Callouts for whoever wrote the least flattering thing on the new mirror. Honesty at the end of a quest is harder than at the start, because now they have something to protect.
One question: "What moved?"
Send-off by name.
Talking points for this week's email. Drop these into an AI assistant along with two or three live notes from your actual week - a name, a moment, something that surprised you - and it'll give you a draft in your own voice. The specifics are what make it land; the structure below is just the scaffolding.
The draft underneath is an example of the shape and the tone, not a template to send as-is. A parent who gets the same email as every other parent can tell.
Subject: The last week - and a look back at week two
Hi families,
In Week 2 the studio wrote three sheets in silence - WE ARE, WE'RE NOT, WE'RE TRYING TO BE - describing itself honestly two weeks in. I filed them and said nothing more about it.
Today I put them back on the wall in the original handwriting and the studio wrote the whole thing again beside them. Then we compared. The question that mattered was which things had moved from "we're trying to be" over to "we are," and the answers were far more specific than anything I'd have written for them. Some things are still on "we're not," and I didn't tidy that away.
This is a review week rather than a making week. Everything is built - the boats, the film, the writing - and the studio now goes back through all of it to decide what they're proud of, what they'd change, and what they want you to see.
The Studio Contract had its final working pass, with one rule: every promise has to be backed by something on those sheets. We lock the wording tomorrow, and they sign it on Friday in front of you.
- [your name]