123 Results with the "Drama" genre
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Chapter
WEDNESDAY BRIAN
The chapter opens with a reflective monologue comparing the disorientation of space travel to the narrator's own sense of confusion upon returning to a world that no longer makes sense. The narrator, an armchair astronomer, grapples with fragmented conversations—realizing they haven’t truly listened to Jesse and that Anna’s words hold missing pieces. This introspection leads to a revelation about perception: like Aboriginal Australians finding meaning in the dark spaces between stars, the narrator…-
208.9 K • Ongoing
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Chapter
WEDNESDAY CAMPBELL
The chapter opens with Campbell vividly describing the debilitating aftermath of a grand mal seizure, comparing it to a severe hangover followed by being hit by a truck. Disoriented and physically weakened, he is approached by Julia, who notices his seizure assistance dog. Their conversation is tense yet intimate, with Julia questioning why Campbell never revealed his condition to her. Campbell deflects her concern, focusing instead on locating Anna, hinting at unresolved tensions and a deeper history…-
208.9 K • Ongoing
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Chapter
WEDNESDAY ANNA
The chapter opens with Anna encountering Campbell in the men's restroom, where he reveals his vulnerability by explaining his seizure disorder and his service dog Judge's ability to predict episodes. Their conversation shifts to Anna's discomfort about testifying in court, as Campbell tries to reassure her with humor and resilience. Despite his recent public seizure, Campbell insists on continuing the trial, demonstrating his determination to uncover the truth about Anna's case. The scene highlights the…-
208.9 K • Ongoing
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Chapter
KATE
The chapter explores the profound and lingering grief experienced by a family after the loss of Anna, a beloved daughter and sister. The narrator reflects on the absence of rules for mourning, describing how each family member copes differently: the father sees Anna in constellations, the mother searches for signs of her presence, and the narrator blames herself for Anna's death. The pain is raw and unrelenting, disrupting daily life and leaving the family emotionally fractured. The narrator's guilt is…-
208.9 K • Ongoing
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Chapter
THURSDAY SARA
The chapter opens with a poignant reflection on the inadequacy of language to describe the loss of a child, noting that while terms like "orphans" and "widows" exist, there is no word for a grieving parent. Sara, the narrator, prepares to say goodbye to her daughter Anna, who has been kept alive by machines after her organs were donated. The hallway is filled with loved ones and medical staff, all there to pay their respects. Sara and her husband, Brian, enter the room where Anna lies motionless, her body…-
208.9 K • Ongoing
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Act IV opens in a place burdened by authority and shadowed by emotional tension, as Queen Mary of Scots navigates the agonizing weight of leadership. With St. Andrew's echoing silence behind her and a restless court observing every motion, she finds herself pulled between public expectation and private longing. The memory of Chastelard lingers not only as a scandal but as a living wound she cannot conceal. Her desire to show mercy battles with the political risks attached to compassion. The Queen’s…-
37.0 K • Ongoing
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Scene I opens in the Upper Chamber at Holyrood, where the four Maries—Beaton, Hamilton, Carmichael, and Seyton—gather during a quiet moment apart from the Queen’s presence. The room carries a hush filled with memory and murmured secrets. Mary Beaton begins to sing in French, her voice steeped in longing, drifting through the chamber like a tide drawing in all emotion. Her companions notice the sorrow clinging to her words and question the reason behind the melancholy. Beaton, quietly, admits that her…
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37.0 K • Ongoing
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Chapter
SCENE II — A Hall in the same
Scene II begins with an air of courtly elegance and subtle friction, as Queen Mary receives a finely crafted gift from the French king—a breast-clasp bearing the figure of Venus. This object, sculpted with poetic symbolism, becomes a conversation piece between her and Chastelard, drawing parallels between the art's portrayal of love and the Queen's own complex emotions. Though surrounded by opulence and admirers, Queen Mary seems mentally distant, as though something about the finely wrought Venus echoes…-
37.0 K • Ongoing
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Scene III begins with Chastelard lingering in Mary Beaton’s chamber, cloaked in silence and uncertainty. The flicker of candlelight casts faint shadows, mirroring the restless emotions running through his mind. Though he awaits a moment that could bring comfort or ruin, he remains committed, cherishing the memory of Beaton’s touch from their last meeting. His reflections drift between hope and resignation, where even the idea of seeing her once more outweighs the dread of death. That two-year ache,…
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37.0 K • Ongoing
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Scene I of Act II opens in the Great Chamber at Holyrood, where Queen Mary and Mary Seyton speak under a veil of tension. The Queen, though composed, seems burdened by whispers and unresolved suspicion. She questions Mary Seyton about a possible breach of propriety—something seen or overheard that might reflect poorly on the court. Mary’s reluctance to confirm or deny deepens the Queen’s unease, not because of the court’s gossip, but because of what such secrets might reveal about herself. The…
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37.0 K • Ongoing
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