Tara

The SheVerse and Tara project

Seeing stories from the Inside

Twenty years ago, I found myself behind the monitors of a television set, script in hand, checking that each moment made sense, noticing the silences and the decisions about what was not being told. Every story carried a shape, a logic, and an implicit authorial point of view. But often, it wasn’t my own. It wasn’t the perspective of women, or of people whose voices were historically absent from the frames we watched.

That experience shaped how I think about stories: they aren’t neutral. They are decisions in motion. And today, as the founder of Screen Innovate Lab, we are designing a portal that gives women more control over the stories they tell and leave for the future.

Linear Narratives to platformed stories

For decades, storytelling was largely linear. Television, cinema, and stage had a single direction: the story flowed from author to audience. The people making those decisions were mostly men, often operating within similar cultural frames. Even when women appeared as characters, few had authorship behind the camera.

The move to digital platforms promised democratisation: anyone could upload, share, or broadcast their story. In practice, algorithms now mediate what audiences see. Recommendations reward engagement, clarity, and often favour stories shaped by dominant, already-visible voices. Women creators appear, but often without editorial power; the broader system still privileges certain perspectives over others.

Observing gaps, not casting blame

I have learned that these patterns are structural rather than personal. They reflect historical tendencies, institutional inertia, and unexamined assumptions in technology design. My curiosity has always been: How can we design systems that encourage diversity, amplify marginalised voices, and preserve creative freedom?

At Screen Innovate Lab, one of our central guardrails is to build prototypes with AI that augment rather than replace human creativity. The idea is simple: provide tools for ideation, character development, and narrative exploration while keeping authors firmly in control. Provide a safe and inclusive space for all to engage and view She Stories told by real-world women. 

At Screen Innovate Lab and Studio, we want AI to be a collaborator that listens, suggests, and adapts, not one that quietly dictates what a story “should” be.

Why women’s perspectives matter

Globally, women are still underrepresented in creative leadership. Whether in film, TV, or interactive media, women create a small fraction of the stories that are widely distributed. This absence is not only about fairness; it shapes the cultural imagination itself. Stories influence how communities perceive themselves and others. They help us find place and identity. When half of humanity’s perspectives are underrepresented, the world is only half discovered. It is is like the myth that humans only use half of their brain, when in fact they every part of it daily, just not all at once.

The balance of the body, brain, and senses gives us an overall sensory experience. Like the brain, culture and society also need a balance in perspective for the benefit of the world. The push to create an environment for diverse stories to come to light also brings the same balance across all genders. We do not live in isolation, and an imbalance in one affects us all.  

Our goal is to provide women with tools to explore story worlds in ways that have been historically constrained, from narrative arcs and character relationships to complex cultural contexts.

Designing with the audience

We’ve been approaching the system design with the following questions:

  • How can an AI understand multiple story grammars without imposing a single cultural lens?
  • How do we create a system that amplifies female voices, rather than replacing?
  • How do we offer women a safe space to share their authentic voices and narrative stories?

It is a design philosophy as much as a technical challenge.

I began my career ensuring that stories made sense from shot to shot. Now I am building tools to ensure that stories themselves, across media, cultures, and platforms, reflect the richness of the voices creating them.

I do not believe that AI or any other technology is the answer in isolation; it is a mirror. The stories we teach it to understand will shape the stories we tell next. By centring women’s authorship, we hope to expand the circle of storytellers and broaden the imagination of audiences everywhere.

AR studio and image - 16 by 9

London to Helsinki: 2024 Highlights

In 2024, our mission was to reach out and connect with fellow creators and innovators within the tech and games industry in the UK, and we did just that.

2024 was our first year of formation, so we picked up the ideas that we had brewing and immersed ourselves in the industry to validate our assumptions. 

The studio participated in the Games London: Game Changer programme with our founder, Renae Moore, heading to SLUSH: Helsinki in November last year as a part of the programme, pitching the company and our future ideas in the Nordics. The programme was funded by the UK Government and supported by the Mayor of London.

The lab had the pleasure of participating in Barclays Eagle Lab  Funding Readiness programme, powered by Capital Enterprise. We pitched our first agentic framework idea and how it might intersect with young people.

Our 2024 approach in reflection

Ideas are great, but focus and understanding market needs are fundamental to business success. Throughout 2024, we realised that our 3-year tech and IP roadmap was centred around several emerging technologies. The products had development overlaps. 2025 is shaping up to be the year to build. 

Profile shot of a 20's something girl's face emerging from computer static, on a black background

Games London: Game Changer 2024

Screen Innovate Studios is proud to announce selection in the 2024 Games London: Game Changer Programme. The programme is an opportunity to progress the studio’s first IP offering: A Girl in This World. The Game Changer programme supports London-based games business founders from underrepresented backgrounds. The programme helps founders make significant strides to become investment-ready through workshops, mentoring, and networking events. It also includes an outbound mission to Slush in Helsinki, a leading start-up event that brings founders and investors from around the globe to one spot. The programme culminates in the Game Changer Finance Market, taking place in central London, where the studio will pitch and connect to financiers and publishers.

Supported by the UK Government, the Mayor of London, and the UK Prosperity Fund.

Studio IP background: A Girl in This World

 A Girl in This World is the company’s first multimodal story world. The project is in its early stages and combines gen AI technology with factual and fictional storytelling. Central to the world’s user experience is an operating system that is a developing AI. Women are encouraged to interact and share their stories, weaving stories into the world that define and capture the female identity, producing a virtual open world in which these stories are experienced and shared. 

A Girl In This World was born as a 4-part television series about two teenage girls from different ethnic backgrounds in Australia. Since its inception, and in the spirit of the company’s transmedia approach, the central idea has undergone change, with the initial idea/concept being repositioned as a playable open world, built out with AI tools and an ethical governance system.  

      

Futuristic AR scene with girl

Starting up when the end is the beginning

Culture shapes who we are. Narratives give us an identity. Identity gives us direction. New technology pushes us closer to the story worlds we have always imagined. This is the context that guides our work. Stories in any form provoke action, shift our perception of the world, and help us empathise with the collective. Yet, are we standing at the end of the creative industries, or the start of a whole new frontier? 

But have you ever sat down in front of a screen, knowing deep down what kind of imaginary or documentary-style story you wanted, only to drift into mindless scrolling instead? Constantly amazed by the sheer volume of content, yet unable to find anything that reaches you on a more meaningful level. We have.

Video games, augmented reality, VR, film, television; the list of formats and stories on offer is endless. So why is it still so hard to feel satisfied? Technology has never advanced faster, yet the connection between creators and audiences feels thinner and more fragile than ever. These thoughts surfaced for us long before AI tools became commonplace or before terms like AI slop entered the conversation.

In the AI-infused times of today, we use these terms to blame the technology for the decline of high-quality, original content, but technology has always been part of storytelling. Each era has pushed back against the technological changes to the creative workflow and output of form.

That is not to say there has not been a shift in aesthetic. Every innovation came with resistance, excitement, and reinvention. The creation of the camera transformed fine art. The arrival of movie cameras and recorded sound shifted cinema from silent films to talkies. Digitisation reshaped the entire film aesthetic. Online content platforms encouraged personalisation as algorithms began choosing what we should watch. Cloud computing turned games into live services that communities returned to daily and yearly.

Each development appeared to promise greater democratisation, although in hindsight one gatekeeper often replaced another. Every era created new decision makers who determined what was funded and what reached the public. This is not a criticism, simply a pattern in how the creative form became an industry.

Technology has, and in many ways is bringing us closer to personalisation; a never-ending personalised story with the human at the centre. The big question is whether we will embrace our own reality or one shaped entirely by what algorithms or the gatekeepers feed us.

Creating story worlds is older than language itself, yet put a group of creatives together from different specialisations and the divide becomes clear. One story language rarely translates neatly into another. How do you explain a virtual production lighting schema in Unreal Engine to a gaffer or DOP? How does a scriptwriter convey the subtext of a line to a director who sees the moment differently? Is this even required, or is this, in fact, part of creative collaboration and the sharing of perceptions?

So why found a lab and a studio now? Because frustration eventually turned into curiosity. So much content felt hollow, predictable, or disposable. We kept moving between platforms searching for something with meaning. That is when we realised the problem was not the technology at all. There has never been a better time to take a risk and build an entity that explores novel ways in which narrative and technology augment side by side. Are we the only one in this space? Absolutely not, but we think we have something to offer, be it big or small, to the industry we love.

Our company is beginning at the point where formats, humans, and machines converge. It started with an idea and a dissertation, not a product. Supplemented with many moments of pitching that idea. As a founder with decades of experience as an on-set script technician, in government, and inside one of Australia’s largest archive libraries as a content producer, it became clear that personalised IP steps over format and gives us all a sense of place. Pitching the concept behind the company was preparation for what comes next and offered a valuable temperature check of the industry.

After a pause, the collective team started to emerge. We returned to a simple question. What if we built the creative tools that we had always been searching for? What if we architect spaces where the unheard feel safe, seen, and valued? What if we invited audiences to step inside experiences shaped by bespoke open-source technology, narrating, augmenting, and expanding its functionality the same way in which we imagine a novel or world out of words on a page? Our goal is to do this with playfulness, adaptability, and the realisation that any failures lead to new pathways. We do this while acknowledging the biases and inequalities that have existed since storytelling became a business.

We’ve chosen to build a business where creativity leads technology, not the other way around. A place where stories are crafted for people, not squeezed into algorithmic moulds. A place where innovation is defined by resonance and what it can offer to the unheard and emerging voice. Starting this company meant letting go of the belief that the world does not need another studio, creative business or lab. What the world needs is intention: a voice that signals when something is out of balance.

At Screen Innovate, we champion diversity, innovation, and gender equality. We celebrate curiosity and embed it into everything we make. Stay tuned and meet the team that’s growing, and what comes next as we explore next-generation narratives, and living stories shaped from the bottom up with machine and human intelligence.