#Same Synopsis

[msclaritea]

Mike Flanagan and Trevor Macy of Flanagan Film, I hope you, artist Michael Whelan and Stephen King don't think that I've forgotten about all of this. That painting, Deschain, was created right at the beginning of the sham. And the thing about Dark Tower, which no matter how it's adapted, it's never been very successful, is that it has a very similar theme to The Power of The Dog; "...a gunslinger in a world which has moved on" is quite similar to a cowboy, whose time has moved on. Benedict Cumberbatch, and his likeness has been fraudulently used by King and his cohorts, to try and boost this series. Interesting synopsis of a man alone, who lost his friends and headed towards "...the end of the line". Sounds too, too fucking familiar.

[mollysunder]

The way Ambessa talks about the Guile is interesting. She speaks of it with such suspicion, dislike, and literal resentment. At first you'd assume that her attitude is driven by her fued with the Black Rose, but we don't know how long that's been going on, or if this was her own bias prior to it. Under the lens that these are Ambessa's own preconcieved biases before she got involved with the BR then it immediately becomes a critique on her own family. You just can't divorce her comments from how the show depicts her children, from Mel.

Almost every word Ambessa used to describe the Guile describes Mel, except "absent honor" of course. And when you understand that, it becomes clear just how doomed Ambessa and Mel are as mother and daughter. Ambessa indirectly, without the intention to imply Mel, states that her distaste for the fundamental aspects of Mel's personality. Ambessa loves her daughter, but she doesn't LIKE her.

[dollypopup]

I think it's interesting to look at the 'Mr. Bridgerton' scene as a backdrop for the eventual mirror scene. Firstly, in the fact that I think we've kind of misinterpreted it.

So many people are of the mind that scene's purpose to 'drag' Colin, but really, that scene has 3 primary functions. The first is to inform Colin that Penelope is aware of what he said of her, thus opening the door to clearing the air between them and providing an avenue for which Colin can apologize. The second is to establish the ground that they are currently on: Penelope has given up on the dream of Colin Bridgerton, in particular the perfect prince that can do no wrong, and has made it clear to him. It also creates distance between them that they will bridge.

But the third, and to me the most wrapped up in the mirror and the inner workings of their relationship is that it reveals how Penelope feels about *herself*. It's not necessarily an echo of what the ton considers her as, after all, we have a lot of evidence indicating that, for all intents and purpose, people aren't *unkind* about her, but rather that they ignore her. Audience members recognize this as Penelope's own shyness being the cause, she is often sitting off on the sidelines or not really talking to much of anyone, in the books she's referred to as the 'one who doesn't speak', and her LW business takes her away from being a character in the action of the ton to a bystander, kind of a self-fulfilling prophecy of sorts that perpetuates itself. Pen felt unseen so she became LW to have some power, but then LW herself must remain unseen and Penelope continues to be by design of her own making.

No, I think what it really reveals is that Penelope has incredibly low personal self esteem. We as a fandom has lauded that scene as her dragging Colin, saying that he's cruel and calling him Mr. Bridgerton is absolutely meant to create distance between them, but I don't think she's dragging him.

Because the person she is *actually* dragging here. . .is herself. And it is a general theme in her life. In Whistledown. Aloud. Even with Marina, when she complimented her, she assumes that she's lying. When Edwina says she's wearing a pretty dress, Penelope puts herself down and doesn't believe her, even when the compliment is genuine. In truth, Portia is not seen as being particularly unkind to Penelope. At least, speaking as someone who's mum was *awful* about my size and weight and outfits, Portia is. . .overall rather mild. She's not KIND and loving, not by a long shot, but she's also not targeting Penelope only. She's plenty mean and critical to Prudence, too, even to the point where she foists her off to her own cousin as a pawn piece. Penelope has low self esteem because of a lot of reasons, she's bullied by Cressida (I think a lot of girls are, she was pretty mean even to Daphne in S1) and her family isn't very tender to her, and she's not being pursued at every turn, but part of it is also her own perpetuation.

Listen to what she says "Of course you would never court me" "I embarrass you" "I am the laughingstock of the the ton". She sees *herself* as an embarrassment. She puts *herself* down. Arguably, more so than the ton does. She's meaner to herself than anyone else is, aside from Cressida. And honestly? Looking at Colin's face there. . .he is HURT that she considers herself this way. That she's projecting that onto him. Yes, he's hurt that he hurt her, of course he is, he never wants to hurt her. And yes, he's ashamed that he said he wouldn't court her the way he did and that in doing so, he validated her fears that she is unloved and unwanted, but also because. . .she already feels that way about herself. She's felt that way for years. And it's painful to care about someone, to see them as wonderful, and realize. . .they don't feel the same about themselves at all. I don't think Colin is out here feeling so wounded over the fact that she called him cruel and won't refer to him by first name anymore, but that he's most hurt by what she says about herself.

Because he *doesn't* see her the way she accuses. She says she never expected him of all people to be so cruel, but he feels the same way. He never expected her to be so cruel to *herself*. He wants to go somewhere private, not because she is an embarrassment, but because he wants to have a private conversation with her. Maybe assure her. Maybe explain himself. Maybe hash it out. But god Luke Newton's acting. . .he is *aching* for her. And it feels like he's going to do those lessons not in atonement for what he said (thank god) but to genuinely help his friend who thinks badly of herself. To lift her up. It's not about him at all, not about earning forgiveness, but about elevating Penelope. And that's. . .fuck, I just find that's just so heart stoppingly beautiful.

You can see, in that scene, how much he cares about her. How deeply and genuinely he adores her as a person. And just how painful it is for him to know he has validated, whether on purpose or otherwise, how poorly she feels about herself. How low her self-confidence really is. She is giving him a glimpse into the cracks of her heart, and when he sees them, he wants to reach out with both hands and make it feel better. Make her feel better.

After she says 'even when I change my entire wardrobe', he looks so fucking crushed. So 'don't say that'. So 'you really believe that?'. So 'God, I hate that you think that way'.

Because regardless of it all, he does love her. It's not romantic yet. It's not sexual yet. But he genuinely, truly, from the bottom of his heart, thinks she's wonderful. That was evident even in the 'purpose' scene. Every time Penelope opens up and reveals a facet of herself, he likes it. He likes her barbs and her dreams, he likes talking to her. He likes her. And he feels awful that he hurt her. And he feels awful that she's hurting herself. He loves her. He wants her to love herself.

And that's where the mirror scene comes in. Because the mirror scene isn't about sex, not really. Not entirely, at least. The mirror scene is about *intimacy*. The mirror scene is about being seen. Not just her seeing him, or him seeing her, but for Penelope to see *herself*. In a way, through his eyes. Because hers are biased rather negatively toward herself, which is evidenced in the 'Goodnight Mr. Bridgerton' scene, and in so many little moments we've already gotten where she's literally looking down on herself, feeling down. She doesn't necessarily *like* what's in the mirror, but he does. Because he likes *her*. And he wants to show her that he does. Show her that he finds her beautiful and have her recognize that in herself.

The 'Goodnight Mr. Bridgerton' scene is about Penelope revealing how she sees herself. The mirror scene is about Colin showing her how *he* sees her. The Goodnight scene is about Penelope thinking she means nothing to him, that he thinks of her the way she thinks of herself, that this is how everyone thinks of her, and the mirror scene is a direct response to that: No, he doesn't. No, he doesn't think she's embarrassing. No, he doesn't think she's a laughingstock. No, he doesn't think she's unappealing. And he doesn't think she should, either.

And he's going to show her that. Not just tell her, but show her. The mirror scene is so often a focus on Penelope, so much of Polin is in Penelope's focus, but approaching it from Colin's perspective and his motivations is so fulfilling, too. It's a glimpse into them in conversation, and a demonstrate of how Colin loves her. How Colin loves in general, openly and earnestly and altruistically. How he encourages her to be braver and more confident in herself, bolstering her because he just likes her *that much*. How he finds the most fulfillment and satisfaction in caring aloud. The mirror scene is a demonstration of his heart in reflection.

When Luke Newton said the first word that came to mind with the word 'Mirror' was 'Exposed', he doesn't just mean physically. He means emotionally, too.

God this couple is so fucking good.

[adrenaline-whump]

Novel concept that I will never write:

MC is a bodyguard. His current protectee is a very rich kid, probably 14 or 15. The antagonists set up an ambush and kidnap both of them. Probably just a simple ransom thing.

Exchange is made, and the bodyguard is mildly surprised that he's set free along with the kid. It seems smarter to dispose of the adult witness who might have noticed more details about their captors.

The motive becomes clear when he's accused of being the "inside man" who enabled the kidnapping by leaking the where/when of the kid's travel schedule. Because yeah, it's unusual (and suspicious) that he made it out alive.

Of course, it's a setup. The antagonists have planted false clues that point to him. He has to find the real culprits to prove it wasn't him.

Rest of the story is danger and mystery and car chases and fights. I think the antagonist would turn out to be one of three people: the kid's dad (some kind of money laundering thing), another bodyguard at the firm (who seems like an ally at first), or the owner of that firm.

[renegadesstuff]

SYNOPSIS FOR 7x05 & 7x06 🥺

[butterfirefly]

If someone died while working at the morgue, would it be considered ironic?

Yoojin has never had reason to wonder, but walking through the hallways of his new workplace—a hospital where a technician had dropped dead of a heart attack a week ago—he imagines the convenience of it all, how it must've greatly expedited the process of getting the dead ready for their final resting place, and leans more towards fortuitous.

He puts his belongings in his new locker and shucks off his clothes, changing into his brand new scrubs whose creases have stubbornly remained despite his valiant attempts to iron them away.

Once his own clothes are neatly put away, he fingers his stud earrings, debating on whether or not he could get away with wearing them. It's a hospital morgue in a sprawling modern city after all, so maybe he could break a dress code or two.

Then again… he thinks with a sigh.

He recalls his first meeting with his new boss when he came in for his final interview a few days ago: an imposing woman whose sharp voice and militaristic demeanor more than made up for her lack of height.

Bemoaning his luck at being saddled with her instead of the other medical examiner—a sweet, kindly old man who one would guess to be a pediatrician, or perhaps an elementary school teacher—he takes his earrings off and glumly shoves them in his pockets.

He'll just have to be extra careful not to touch anything he shouldn't.

Yoojin gives his reflection in the full-length mirror at the end of the room a final check, making sure nothing's amiss, and heads out to face the day.

He gets the body washed and prepped in record time, but when he rolls it into his new boss's office, he still gets greeted with a scowl.

"It's ready, doctor," he announces needlessly, locking the gurney in place next to the examining table and getting to work sliding the body onto it.

Dr. Seo grunts in acknowledgment, then begins to shift her weight from one foot to the other when Yoojin dares to take more than three seconds maneuvering the literal dead weight off the gurney.

With a final tug, the body finally slides to the middle of the table. An arm almost rolls off to the edge, but Yoojin is quick enough to catch it before it can. Resting it neatly onto the side, he backs up towards the door and hovers there till he's shooed away with an impatient wave of a hand.

"You're dismissed."

And after giving a respectful bow that goes unseen, Yoojin hurries back to the mortuary refrigerators, and gets to work for real.

He chitchats with the other technician there, exchanging introductions and earning a promise to a free lunch at the hospital cafeteria as a welcoming present, then waits a minute after their footsteps have well and truly receded before turning back to the silent occupants of the room.

"All right-y," he calls out with a clap of his hands. "Which one of you wants to go first?"

He consults the sheaf of files resting on the desk and looks for possible homicide victims, narrowing it down to three, and picks one arbitrarily. He checks the number on the file, finds the corresponding chamber, and swings it open, trying and failing not to feel refreshed at the burst of freezing air that hits his face, then pulls the body tray out.

His latex glove gives an audible snap as it slides off his right hand. Yoojin stuffs it in his left pocket, mindful of his earrings in his other one, and folds the sheet partway down to expose the corpse's face, the fold resting just below the chin to preserve the dead woman's decency. He takes a bracing breath, then cups his bare hand against her forehead.

Twin spots of crimson light reflect off of the metal surface of the mortuary chambers as Yoojin's eyes begin to glow, and soon the frigidness under his palm is replaced by a pleasant warmth.

"Hello, ma'am," he chirps down as the body comes to life with a gasp, raising the hand from her forehead and giving her a little wave. "Welcome back to the land of the living."

The woman rolls away from him with a yelp and lands in a heap on the floor, clutching the sheet against her chest protectively. "Wh—wha—what's going on? Who are you? Where am I?"

"My name is Han Yoojin, and I'll explain everything to you later, ma'am, I promise," he soothes, taking a few careful steps back in an attempt to calm her down. She doesn't seem to have noticed him moving at all, however, or even heard a word he's said, too busy looking around for an escape—more than fair, given her current predicament, but patience and fairness aren't exactly what he's known for these days.

Shrugging internally, Yoojin lets his eyes glow red again, just to help things along, and it works as well as he expected—her mind takes in the spots of light past the haze of panic, and she freezes, her gaze jumping to his eyes.

"Like I said, my name is Han Yoojin," he says, his words spoken no less cheerfully than before. "And I'll answer any questions you might have. Before that, though, I have to ask." He pauses, then starts to slowly make his way around the body tray.

The woman stares at him in dawning horror, rapidly losing the newly regained color in her cheeks as realization sets in.

His name.

His words from earlier.

His horrible, gleaming red eyes.

Yoojin stops and crouches just a foot away from her, and lets his voice drop to a near whisper.

"What are you willing to do to stay alive?"

[kugamoogle]

Does anyone have or know where to find a subtitled version of the Miles Edgeworth Musical??? I want desperately to understand Gregory Edgeworth's villain arc(?) and also what the the lyrics he sings to his theme song are. There's only so much I can gleam from the choreography and tone alone and I'm having trouble finding even a decent plot synopsis, let alone lyrics.

[lovscb97]

Your nerd!Chan story is awfully similar to @/p4ranormaluv story bed chem 🤨

gasp! no way!! the concept of nerds x cheerleader being done before? not just in popular media but also fanfiction?? how could it ever be!!!

[outofthiisworld]

ᯓ🧪💜˖° It had been a month since they fell from the stars. An entire month since their escape pod crash landed far out into the wild woods of Nowhere. Only one month since they took refuge in a forgotten farmhouse.

Though the snow had begun to melt, a winter ache still gnawed at Doc’s bones as a shiver shook his spine. The chill crept past worn walls as the wooden floorboard settled with a creak underneath each step up the stairs— to what led to her room.

Doc went to open the door. A whole month … and still he forgets that arm is gone (yet, it too still ached). He took a deep breath in. Nostrils flared as a cloud of air puffed out. Then, he turned the knob with his only remaining hand. Creeeaak. The worn wood of the door groaned in protest.

It had been a whole month, and still GHOST-713 slept on the floor. All bundled up in a blanket but the bed remained untouched.

A small tut of a ‘tsk’ from the old man brought her eyes wide open. FRENZIED AND DRIVEN BY INSTINCT— THE ROOM PULSED ALIVE WITH STATIC SHOCKS OF ECTOPLASMIC ENERGY!

The intruder remained statuesque while she slowly, but surely, regained her senses. Not an intruder. The charge in the doom dissipated under a fizzle. Not them. Furniture that floated in the dusty air fell back down to the floorboards below with a thud.

“Sorry. Didn’t mean to scare you,” Doc whispered. Ghost smiled back at him with a yawn and not before long, her eyelids slipped closed once more under a comfortable silence. That is, until he called out again. This time much closer.

“You know … it’d be comfier on the bed.” Though his cadence was soft, she still flinched. Blinked. Stared at the bed with knitted brows and a scrunched nose; then back at him.

“Hey, hey. It’ll be okay. I promise.” Doc bit his lip so as to not laugh at how her face twisted, but despite himself, he made his way over to the mattress. Carefully. Cautiously. She watched ever so curiously while Doc sat on the bed.

“C’mon,” He patted the space beside him. “I’ll stay right here next to you.”

It’d take time to undo those ten years spent under ATLAS. Maybe they never could, not really, not ever. Joseph … no, he couldn’t be Joseph anymore. He’d have to figure something else out, and soon. ‘She was safe now,’ he chastised himself. That’s all that mattered and he repeated it like a mantra.

Even after everything, Doc’s chest swelled as he watched the once scourge against the stars inch slowly forward. Her eyes locked onto the bed. Breath still yet her hands trembled and twitched with sparks of purple— as if it were more terrifying than she.

Nothing happened. Even when she pressed her hand against the edge of the mattress: nothing happened. Until finally … she laid down alongside him. His eyes slipped closed with another sigh.

The bed was broken; coils and springs snapped with indents morphed into the lumpy mattress. It was the softest thing she ever felt. He was far too exhausted to complain (though, his back will say otherwise come morning).

“See? Much better,” Doc yawned. When he peeped an eye open, he caught her sight locked onto his missing arm. Still bandaged up, but the veins underneath still scarred by a familiar purple.

“It’s nothing to worry about. I feel better than ever. I promise.” They both knew it was a half-lie, but it had to count for something, right? He cleared his throat. “Say … have you come up with a name yet?”

GHOST-713 shook her head.

“Eh. It’s alright. Hooow ‘booout weee … workshop it together? After breakfast tomorrow. That sound good?” Doc pecked the top of her head and she giggled! “Let's get some shut-eye for now, okay?”

“Nightie-night.”

“Nightie-night, sweetie.”

[viiviidlights]

IRUMA-KUN FAN????

Correct!!! I haven't caught up on it in a while but I binged what was there of the anime last year!

I've also read up through the music festival arc, but I'm like... WAYYYYYYYYYYYYYY behind now dhfjfjfjfjjfrj

Gotta Do It For The Sillies at some point when I have the time tbh... It and Sanda are BOTH series I need to get caught up on.

[scarlettfevor]

Finally got ahold of the audiobook of Penance by Eliza Clark and I have mixed emotions about it. On one hand I love the premise and I feel like it's written well enough to where I feel like the author isn't going to clumsily stumble through her own story and fall on her face at the end like the majority of popular thrillers. But also this story suffers from having someone who hasn't been in school for a long time attempting to write teenagers. The funny thing is that whenever I see a horrible portrayal of teenagers, specifically of zoomers its never like, inaccurate portrayals of slang and trends that most teenagers cringe at, it's extremely unnatural dialogue that I don't understand how even a 30 or 40 year old can't see how awkward and cringe and flat out bad of a portrayal they're doing. You can claim that it's regional differences, even if we were all teenagers once I still don't know what it's like to be a popular mean British girl, but I'm fairly certain that actual popular mean British girls don't go around describing themselves as popular mean girls. The funny thing is that they've mentioned several times that these girls (ok it was actually like one girl but she introduced too many characters and I got confused so I can't even remember the name of the girl who said it) are trying to imitate the mean girls in popular American shows/movies. But I think that it's SO funny how instead of going for the obvious Regina George or maybe the more posh Blair Waldorf, they chose Sharpay Evans....I'm very familiar with the popular mean girl trope because I always love the girls who fall into this category and I can say with 100% certainty that none of these girls act like this either. I don't know what the author is going for but it's very painful to listen to.

[lesbianwithchainsaws]

I love how both the original japanese Ringu and the american remake The Ring are generally considered great movies that define the horror genre, and yet not a single other movie in that franchise is ever seen as anything above average

[reztruck]

i feel like i have a phd in gta v old man yaoi studies at this point. And so I can say Houser and co wrote Gta v as their Sexy Beast LA AU fanfic

[chargoeson]

i have dodged watching The Godfather for YEARS. years i say. it was all the men i dated wanted to do but i could not fathom sitting for three hours and having them explain it to me.

flash forward to now. i am 24. i am a born again homosexual. i am watching it alone on my couch on a friday at 3pm. nature is healing. and i reeeeally don’t care about the mafia 🫶🏻

[saetoru]

going into the tags and seeing 3 paragraphs tagged with 15 characters from 5 different fandoms and it’s at 17k notes like literally bye 💀

[mrs-bluemarine]

Oh my gourd happy one year to BenTara. I haven't talked about them a lot recently but trust I still love him so much