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| author | Peter Stone <thepeterstone@gmail.com> | 2026-10-29 20:13:13 +0000 |
|---|---|---|
| committer | Peter Stone <thepeterstone@gmail.com> | 2026-10-29 20:13:13 +0000 |
| commit | 247c6a6456173e4ec67b6f95191765a2cf62b744 (patch) | |
| tree | 6ca8ef0d6a790a1d2517ecc6f763a8c8b0fbd214 /docs/superpowers | |
| parent | 8c6343c9185bd3978e1e2f81374eef0571e1965d (diff) | |
A music cue at the edge of a break is not part of the break
whisper writes "[music]", "(upbeat music)", "(audience laughing)" -- 312 of the
56,306 recognised lines in the library. They are not speech, so no publisher's
written transcript contains them, so they can never anchor, so they sit at the
front of a break and widen it.
Earlier I said these could not be told from an advertisement and left them
alone. That conflated two different things. A title card -- "Today's episode,
Tamara." -- genuinely cannot be told apart, and is still left alone. A non-speech
note says what it is by its shape.
Measured across the eighteen episodes holding a master:
before 99% - 110%, mean 103%
after 99% - 106%, mean 101%
#69 Tamara 110% -> 103%
#70 Cayden 109% -> 106%
Regrets 108% -> 104%
Gobi 104% -> 100%
Fourteen of the eighteen now sit within one point of the length gap. Nothing
regressed.
They are trimmed from break edges but still stored and still shown: a reader
following along is better off seeing the laughter than a hole where it was. This
is a judgement about where an advertisement starts, not about what was said.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018AwnALZL6bD4VBtATDVv3B
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