The kitchen wall
A big clock, today's calendar and the weather, sized so they read from the other side of the room.
Features The editor
A wall display is furniture. It should look the way you want it to look, not the way a template thinks a dashboard ought to look.

Every scene is a twelve-column grid. Drag a widget in, drag its corner to size it, and drop it where it belongs. There is no markup, no configuration file and no theme to fight.
A portrait screen gets a taller grid so that cells stay roughly square rather than stretching into letterboxes — the same scene re-flows when you tell Mirra the panel has been turned.
The live preview is not a mock-up of the screen: it is the screen app, running the scene you are editing, in an iframe. The clock ticks, the photographs cycle and the weather is today's.
That matters because the usual way to get this wrong is to design against an approximation and discover the difference on a wall in a hallway.
Nothing reaches the wall until you save. When you do, every screen showing that scene picks it up within seconds — no re-pairing, no restart, no walking to the other end of the house.
A big clock, today's calendar and the weather, sized so they read from the other side of the room.
Bins, school run and the next train, arranged so the glance you give it on the way past is enough.
No. The editor is drag, drop and resize. Everything else is a setting with a plain-English label.
Yes. Scenes are re-flowed for the shape of the screen showing them, so one scene can sit on a landscape wall and a portrait pillar without either copy being the real one.
As many as your plan allows, and a screen can hold several — the scheduler decides which one is showing.
Start free on one screen. No card until you add a second.