Every video in here is described by how it looks, not just what it is called.
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An archive you can search by how something looks, and move through by why one thing leads to another.
Music video, 1966 to 2026
Match Cut is a music video archive that you and your agent are meant to use at the same time, on the same screen.
Every video here carries a measured visual fingerprint: motion, brightness, warmth, saturation, contrast, average shot length. You could not put that behind a filter panel anyone would use. Six continuous dimensions, plus a request like "something shot like this one but from a different decade", is not a control. It is a sentence. The tool find_by_look exists because language is the only sensible interface to that question.
The archive holds 49,753 links between videos, and not one of them is a similarity score. Each states the reason it exists: a shared director, era, movement or tag. So when the agent moves sideways through the archive it can tell you exactly what it followed, and you are free to disagree with it.
Like something enough and the agent will find the record. find_records returns real physical pressings for the artist on screen, straight from the Discogs database: year, label, catalogue number, how many copies are currently for sale and the lowest price actually listed. Ask for it, or press the ◉ beside the transport. Nothing is invented and nothing is sold here. The buy link goes to the real listing.
Keep something and it stays, with the reason you kept it. Kept in the top bar opens the collection, and plays the lot as a run whenever you want it. The agent can read that back: not just the list, but its shape, the average motion, brightness, warmth and shot length of everything you have kept, and the eras and directors you lean toward. Ask what to watch and it answers from your own collection rather than from what is popular.
That collection lives in your browser. This is the case WebMCP was written for. An agent talking to a server would need your state copied somewhere it can reach; an agent working inside the page just reads what is already there.
Back and forward step through what you have actually watched, so you can sit with something, go back to the one before it, and pick the thread up again. Arrow keys work too. Nothing the agent does takes the controls away from you.
Turn on Keep it going and the agent takes over the screen: when a video ends it chooses the next one and says in a line why it went there, usually by following a connection so the run has a thread through it. It is a station programmed live, with its reasoning out loud, and it is off until you ask for it.
The page offers thirteen tools through WebMCP, and each one maps to something you can also do by hand. Every call is printed in the conversation with its arguments and what came back, so you can see how the agent got somewhere rather than only where it landed.
Each video carries cultural context, a curatorial assessment and a director biography, and every attribution carries a recorded confidence: confirmed, likely or unknown. Where the archive is unsure, it says so on screen rather than quietly rounding up, and the agent is told to flag that rather than state it flatly. An archive that tells you how sure it is beats one that sounds certain about everything.
Match Cut is not a standing start. It sits on two projects by the same builder.
MTV Rewind is a continuously running music video station: roughly 100,000 videos across 87 curated channels, programmed rather than recommended, with a synchronised room where people watch the same thing at the same time. The premise underneath this page, that watching together beats a list of results, was worked out there first.
RAD, the Rewind Archive of Data, is the research layer: the 7,139 annotated records this archive runs on, spanning 1966 to 2026, with per-label archives, a director index and the connection graph. The cataloguing behind it is rigorous and academic, and none of it was reachable by an agent until now. WebMCP is what made it addressable in a sentence.
The corpus and the annotations are used here with the permission of their author.
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