Same chair. Same hands. New number on the wall.
Twelve frames behind him. Twelve identical poses. Hands pressed together, camera rolling, face arranged into the exact expression that focus groups say reads as contrite. Number thirteen is live and it looks like the rest because at some point the apology became the content. The wall is the career retrospective. The camera on the tripod hasn’t moved because why would it. He found the angle that works and he will use it until the audience stops watching, which they won’t, because the cycle is the product now. Film it, frame it, film the next one.