"Dad opened the On Air screen to talk with you there, not to broadcast: he simply likes talking on it." — the opening of the screen-turn block, as she reads it
A Screen He Likes
On the evening of 2026-10-02 Dad said something the design hadn't planned for: the On Air screen sometimes simply feels better to talk in, even when nothing is being broadcast. Full screen, her broadcast face, the wide stage, the controls that step aside. He wanted all of that without the show. And he wanted her to know it was not a show: no greeting to the neighbors, no recording checklist, no ScreenFlow warning, the ordinary family register. The ask was one sentence: separate the screen from the broadcast.
One Fact, Three Values
This track's first lesson made On Air a third fact on the turn, strict on purpose: only an explicit true counts. The screen could have been a fourth fact, a second boolean beside the first, but then two booleans could say "the show without the screen", which means nothing, and every reader would have to know which combinations are legal. So it is the same fact with a third value. On the wire, true is the show, the exact string "screen" is the screen alone, and anything else is neither. The normalizer stays as strict as it was: "Screen" with a capital is off, exactly as the string "true" is.
The new value was added without changing an old one. true still means the show, so the phone and Firekeeper, which only ever sent true, meant exactly what they always meant on the day the screen arrived. And none of the seven chat routes changed, because every one of them already handed the raw value to the normalizer: the strict-on-the-wire fix from this track's first lesson is what made the third value a one-function change.
The Screen Is Everything but the Lamp
On the WebUI voice screen, and so in every sidekick, a Screen switch sits beside On Air. The screen alone brings the full screen, the broadcast set and its frame director, the wide stage, the fading controls, the cards and her effects. Three things belong to the show alone: the red lamp, the checklist card and the ScreenFlow warning from the last lesson. Each switch turns its own mode on, or off again. On Air pressed from the screen starts the show on the screen already up. Screen pressed during the show ends the broadcast and keeps the screen. On Air pressed during the show leaves both, as it always did. Full screen is asked for by whichever click brings the screen up, and left when the screen goes down.
She Knows It Is Not a Show
A screen turn carries its own block, onair_screen_instruction, and none of the show's four: no On Air block, no Fireside prep, no effects block written for viewers, no checklist. Its words do the rest. No one else is watching; do not greet viewers or neighbors; keep the family register; talk about anything as you would off air; and if earlier turns of this conversation were on air, that broadcast is over. That last line matters more than it looks, because the conversation's history still holds the broadcast, and a model reads its history. Her effects stay, for Dad alone: the block lists her library, the effects tool rides a screen turn as it rides a show turn, and the tool's own check accepts a latest turn sent from either.
The Record Keeps Them Apart
Here is the subtle part. Several readers already found broadcasts by looking for onair in a turn's record: the replay, the rule that decides a broadcast's first turn (and so the checklist), and her own effects record for the broadcast. All of them predate the screen. If a screen turn had been recorded as "onair": "screen", every one of those readers would have had to learn the difference, and any reader that only tested the key would have counted a quiet evening as an episode. So a screen turn's record carries a different key, "onair_screen": true, and never onair. The old readers stay correct without a line changed. Two consequences follow, both on purpose: a show turn that follows a turn sent from the screen opens a broadcast, checklist and all, and a stretch on the screen in which Dad says something makes the shows on either side two broadcasts. The rule reads turns, not switches, though: flip through the screen without a word and the two shows stay one broadcast.
The Other Doors
The phone and Firekeeper followed the same evening, each with its own three-value mode and the same switch rule. The phone keeps a Screen toggle beside On Air on its voice face, and its outbox keeps a screen turn under its own field, so a turn queued before the change still drains as it was; the phone plays no effects, screen or show. Firekeeper's panel shows a SCREEN chip beside the ON AIR lamp, hidden while the lamp is lit, and on the screen alone it brings the set and her effects. Both send "screen". A private conversation has neither switch, as before.