Your loop is too long
Every venue on the platform eventually builds a loop with thirty scenes in it. Every one of those loops is a lottery, and the guest is the one holding the ticket.
Do the arithmetic once and you cannot unsee it. Thirty scenes, thirty seconds each, is a fifteen-minute loop. A guest sits for forty-five minutes and sees each scene three times, which sounds fine until you notice that a two-minute live channel in that loop pushes it to an hour, and a game you left at ten minutes pushes it past two. Now a scene comes round once per sitting, if that. The happy hour card you were proud of is seen by a third of the room, by chance.
A loop is the right tool for an evening. It is the wrong tool for a day.
The day, on a timeline
A schedule is a set of windows, each holding a loop. Lunch board until three. Happy hour until six. Sports after seven. Sunday is different. You set it once per zone, and the screens follow it without anyone touching them again. The dining room can run one day and the bar another, because a zone has its own timeline.
Windows wrap past midnight, because a bar does. A screen's own windows beat its zone's, and both beat its everyday playlist, so a single television can have an exception without the zone knowing.
Daypart the slide, not just the loop
Sometimes you do not want a separate loop, you want one slide to keep its hours. Any scene in a playlist can carry its own days and times: a happy-hour card that plays weekdays from three to six and is skipped the rest of the time, still in the loop, never on the wall out of hours. A slide can also be switched off and kept, with everything it was configured with, for the week it comes back.
Between the two, a loop stops being the place you put everything and becomes the place you put what this hour is for.
Say it instead
If timelines are not your idea of an afternoon, tell the agent: put happy hour on the bar TVs from three to six on weekdays, then sports after seven. It reads the zone, shows you the programme it would write, and waits for your tap. The result is the same schedule. The work is one sentence.
The scarce thing on a wall was never what it can show. It is the forty-five minutes a person is actually sitting under it. Programme those, and the thirty-scene loop can stay in the drawer.
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