Raimon entered Billy's office cautiously, the foolish expression on his face enough to bring a smile to Billy's face at Raimon's lack of impersonality, trying to blend in with the office.

-Things didn't go well with Alice, - Raimon said.

-They didn't. Now I want to keep working, - Billy said.

-Jim Gianopulus is reviewing the production teams; it seems he's ordered to double the work. There'll be a collective meeting in five minutes about which series to start, in addition to the ones already in progress. I came to see if you had time to attend the meeting, but... you were in a very antagonistic breakup, - Raimon recounted, avoiding looking Billy in the eye, focused on a script titled 'Star Wars Trilogy: The Phantom Menace'. His fingers itched to read Billy's script, but until he had approval, he couldn't indulge.

Both left the office to finally finish the Lux Toons meeting. - So far, what are the series the animation teams are working on? -

-Well, for now, it's all about episodes of 'Cow and Chicken.' Fourteen have aired, but a draft is being made for another 14 episodes. Meanwhile, another team is in charge of 'Samurai Jack,' Anna is handling 'Train Souls,' and, well, the collective team working on 'The Iron Giant' movie," Raimon said, pausing. "Jim wants a small team to handle the production of 'Amy and Puffy.' They have everything ready, including scripts and storyboards. At least three or four can focus on finishing the series by February of next year, under our parameters, - Raimon said.

-About the programming issue, - Billy asked.

-That's right. It's good to have extra episodes, although we have a 24-hour schedule, we often repeat programs. The summer season is the most anecdotal, and, well, he wants enough programs to have eight-hour blocks without repetition and to divide the programming into segments: superhero block, anime, and Luxtoons originals... He even values your idea of

opening Cinema Lux, - Raimon said.

-Why do they need me? - Billy asked.

He organized the teams: five animation production teams, with team 2 being the largest, in charge of films; team 1 had the veterans; team 3, the enthusiasts; teams 4 and 5 were for the rookies, overseen by team 1. To relocate team 5 to work on the 'Amy and Puffy' series without completely disrupting the animation dynamics.

-Have we received good results? - Billy asked.

-The audience continues to grow, but the fight is in the air. The last report had a peak of 120,000 viewers in North America, - Raimon said.

-Speculative figure? - Billy asked.

At Raimon's confirmation, the eight group leaders, who were responsible for guiding and coordinating the creation of the series, and parts of the creative process, along with some others who likely had proposals for different TV programs, entered the office. This only meant more work for Billy.

-Gentlemen, - Billy said.

Raimon went to the game room, a topic that wasn't needed; he didn't need to be part of that team. The animators were silent, although there was a certain trust, the corporate figure grew limitlessly, and it was certain that the creative veil would continue to rise in the coming years, something that separated people.

-Let's get to work. First, you should know that manuscript submissions are graded by Mr. Gorman. Secondly, for those who surpass that proposal, you can give me and Jim a copy. He's the head of the creative department, and he has a team that reviews all the dynamics of the new series full-time. However, I also take a look at hidden gems, - Billy said.

Jim nodded. He was the new head of the animation team, and as he saw it, the company couldn't meet the demand for animators. The growth mentioned could only be supported by animated successes in movies, which taught two important things: if they wanted, they could limit the number of animators to 80, and firing the remaining 30 would still allow them to produce the same amount of series per year. However, Billy advocated for quality above all.

The two printed folders on his desk were the approval signal.

-Well, we've decided to separate the entire Team 5, and reform Team 1, Team 4 will be in charge of the 'Train Souls' series, which is quite sensitive for children, but we'll push it as a project. However, this type of series needs better publicity to attract attention. Our programming category is +9 years old; such a deep and philosophical series can be seen in another type of programming, - Jim Gianopulus said.

-I have plans to address this issue in the distant future. However, we'll provide late-night programming for the series; we have connections that can place them on some well-known channels, - Billy said.

-That's what I thought. Now we have four teams; team four is divided into two groups, and the 'Amy & Puffy' project will have a deadline for February. At the same time, team 1 will have to start the approved 'Hey Arnold!' series. According to our schedule, in 20 days, - Jim Gianopulos said.

-I don't think it'll be possible. I'm thinking of hiring a company to handle the animation for 'Hey Arnold.' And I'd prefer them to take care of the 'Green Brothers Tales' on behalf of team 1, - Billy said.

Jim was surprised.

-Who will you hire? - he asked.

-Kalky Csupo, - Billy said.

-I want them to produce three series on commission. For now, I want you to close the deal and submit the proposals, - Billy said, somewhat pensive. But he decided to drop the bomb. - Our idea is to have two animation channels, one for young people and one for adults. Limiting animators to their creations is just a shame. It's not very conducive to the creativity of animators to have to create something because of rules. I hope we'll hire more companies to fill the schedule of two channels, one for adults and one for children, - Billy said.

Surprising the animators and, of course, Jim, who began sketching. At least now he had information about three channels: one to meet the demand for series, another for the adult or teenage audience, and a final one for children. However, even the production of films, including the latest from 'The English Patient,' would only offer a different idea, about the proposal that would only create an animation channel.

-Is that a yes for our series? - Sarah Kino asked.

-It is. You can create freely, - Billy said.

Anthony Fizzori, the new head in charge of bringing Amy Puffy to life, has a clear mind. This is just a carrot. He wants to test us; the better our series is, the more impressive our ratings will be.

-I'm the team leader for the production of Amy and Puffy. Will there be a redistribution again? - Anthony asked.

-There will be when someone else has to be a team leader and produce more series. It all depends on success. If we succeed, we can free up a lot of space and hire more people, expanding our series creation. The limit of that expansion lies in our success, - Billy addressed the room.

The formal meeting ended, but both Jim and Billy had a closed space where they considered the projects to choose from. New ones are not yet approved.

The first was "Astronauts," an animated series about space. A family of astronauts embarks on a space journey to all the planets in the solar system. It consists of 16 episodes, 3 on Earth, and the rest in outer space, but it's a space quest. Very much in line with Arthur C. Clarke's like-minded ideas. Something that fascinated both Jim and Billy.

The second, "The American Revolution," is more historical and bibliographical, based on a book that tells the story of a mother with two sons fighting for different sides. They recount their lives in letters; one fought for slavery, and the other against slavery. The story was a textbook of many historical summaries but focused on the two characters. And the mother had a total of at least 40 thirty-minute episodes, which caught their attention completely. Apart from adding a sinister style, it included battles and wars, along with great fighters, historical names, and memorable events that marked a beginning and an end.

-This one needs a lot of tweaking, - Jim said.

-I like the project. We'll give it the green light, along with $10,000 to conduct further research. And if so, hire history professors to lend more credibility. And well, add sword fights. We can include the power of God, a bit of magic, and martial arts skills to provide better ideas, - Billy said.

Knowing that the success of these series lies in the grand battles, Samurai X style, that recount particular moments with slightly fantastical ideas without harming the story. Perhaps creating a comic on their own with the animator and turning it into a series.

-But wouldn't it be wrong to make the series fantastical? - Jim asked.

-It might be, but that's what sets animation apart from live-action cinema and television: the fantasy that can be added, - Billy said.

...