The moment a series usually loses its character is not a generation — it is a crossing. The stills are hers; then the work crosses to video, or to a swap, and the new tool receives a new description, and the woman who arrives is a near relative of the woman who left. Crossings are where the orrery card earns its keep.
The rule beside the instrument is that the card crosses first. Whatever the destination tool, the same five lines are pasted word for word at the head of the brief, and the result is judged against the card before anything else about it is discussed. A clip whose performer fails the card is a cull at the crossing, not a keeper to be finished.
Crossings also have an order, like the rings. Stills prove her. The editor repairs the stills. Swaps carry the proven face. Video moves the proven still. Upscalers finish what every earlier ring has passed. Skipping a ring does not save its cost; it moves the cost, with interest, to the ring where the failure is finally noticed.
Many tools turn around this instrument. They all read the same card, and that is why they all arrive at the same woman.