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#sarah cho
ultrameganicolaokay · 7 months
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Red Light #2 by Sarah Cho, Priscilla Petraites and Miroslav Mrva. Cover by Jeff Dekal. Variant cover by Alison Sampson. Out in December.
"AWA's red-hot sci-fi thriller continues! Lacy, one of the most sophisticated A.I. ever created, is a sex worker in a futuristic brothel. Now, sparked by her new friendship with pre-teen Natalie, Lacy is looking to escape the brothel and find freedom outside the only life she's ever known. Luckily she has a client with the right set of skills to help break her out—and the arsenal to stop anyone who gets in their way."
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smashpages · 6 months
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Out this week: Red Light #1 (AWA, $3.99):
Sarah Cho and Priscilla Petraites head into a futuristic red light district where an AI designed to serve her clients befriends an orphaned child and decides to escape her shackles.
See what else is arriving in comic shops this week.
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graphicpolicy · 8 months
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AWA announces Red Light from Sarah Cho and Priscilla Petraites
AWA announces Red Light from Sarah Cho and Priscilla Petraites. Red Light looks at the intersection of sex and technology in the guise of a futuristic thriller #comics #comicbooks
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shipwreckedcomedy · 10 months
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The first look at Shipwrecked Comedy's The Case of the Greater Gatsby - a new audio narrative coming July 26th!
THE CASE OF THE GREATER GATSBY Written and created by Sean Persaud and Sinead Persaud Directed by William J. Stribling Produced by Sean Persaud, Sinead Persaud, and Mary Kate Wiles Recorded by Ears Up Audio and Noah Hunt Audio Edited by Lizzie Goldsmith Music by Dylan Glatthorn
FEATURING Sean Persaud as Ford Phillips and Jimmy Stewart Sinead Persaud as Fig Wineshine Curt Mega as The Announcer Mary Kate Wiles as Vivian Nightingale Matthew Mercer as Officer Mo Beats Brian Rosenthal as Rex Punchwhistle Julia Cho as Sheilah Graham Sarah Grace Hart as Wilhelmina Vanderjetski Dante Swain as Bixby Crane Tommy Hobson as Barnaby Nightingale Lauren Lopez as Penny Nickelpenny Lesli Margherita as Mel Hammermeister Tom DeTrinis as Cliff Calloway Joanna Sotomura as Claudette Knickerbocker Joey Richter as Dash Gunfire
Video edited by Sean Persaud, featuring clips from "The Case of the Gilded Lily," shot by Alex Gallitano
Kickstarted by 921 accomplished sleuths
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anamoon63 · 28 days
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Lauri: Okay. Ahem, excuse me, professor?
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Lauri: Wait, where's the professor? Sarah: I don't know, perhaps he was bored too and decided to drop his class - thank goodness.
*You know, my sims have this habit of attending lectures given by invisible professors. 😄
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mostunderratedawards · 10 months
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Most Underrated Supporting Actress in A Limited Series /TV Movie
Penelope Ann Miller in Dahmer – Monster: The Jeffrey Dahmer Story
Sarah Pidgeon in Tiny Beautiful Things 
Nabiyah Be in Daisy Jones and The Six
Jennifer Coolidge in Shotgun Wedding
Anjelika Washington in Praise This 
Margaret Cho in Fire Island
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I want to start creating again, and I think making tumblr moodboards is a good way to start. I'd love to get recs about who and what to make moodboards for! ✧*❤️
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selfieignite · 1 year
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Go On: The Complete Series (DVD) (2012) will be officially available on May 23, 2023.
From Mill Creek Entertainment / Distribution Solutions / Universal. 
Pre-order on Walmart, Target, and Amazon. 
It’s a wonderful sitcom about grief therapy with heartwarming moments. The show was canceled in its first season with 22 episodes. I’ve read Mill Creek Entertainment’s compression quality is a hit or miss and there doesn’t seem to be any extras included. But if you like having physical media and not have it disappear from streaming services, add this to your collection.
It’s also officially streaming on The Roku Channel and Vudu.
Starring: Matthew Perry, Laura Benanti, Julie White, John Cho, Allison Miller, Suzy Nakamura, Tyler James Williams, Brett Gelman, Sarah Baker, and more.
Some of the cast (John Cho, Allison Miller) and crew also worked on Selfie (2014).
Go On Trailer:
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jaynaneeya · 2 years
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Day 8 - Underrated Performance/Project
American Whoopee is the most underrated Shipwrecked project. More people need to appreciate how absolutely delightful Sinéad is as Clara Fairbuckle
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ultrameganicolaokay · 5 months
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Red Light #4 by Sarah Cho, Priscilla Petraites and Miroslav Mrva. Cover by Jeff Dekal. Variant covers by (2) Paul Pope & Bruno Seelig and (3) Chris Ferguson. Out in February 2024.
"Lacy's Escape May Have Failed, But Now She Has Bigger Plans! With her escape proving to be short lived, sophisticated A.I. sex worker Lacy finds herself back in the brothel that's the only home she's ever known. But her yearning for freedom has not been extinguished – and this time Lacy doesn't intend to just escape. She's going to bring down the whole brothel, defeat her domineering creator, Mister, and unlock the secret of Natalie, the young girl who has come into her care."
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icepandawarrior · 1 year
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Amber Midthunder // Laura Kinney
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Arden Cho // Betsy Braddock
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Logan Lerman // Peter Parker
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Sarah Shahi // Janet Van Dyne
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Jesus Castro // Pietro Maximoff
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Caleb McLaughlin // Virgil Hawkins
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sloshed-cinema · 9 months
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The Handmaiden [아가씨] (2016)
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It’s kind of cute when movies have only one twist, right?  The basic outline of Park Chan-wook’s elegant and depraved adaptation of the Sarah Waters novel Fingersmith is simple enough: a poor Korean duo aim to swindle a naive Japanese heiress out of her wealth, seduce and marry her, and then ditch her in an insane asylum to enjoy the spoils.  But as the story unfolds, it is more of a fractal in its structure.  A triptych of perspectives taking in each of the co-conspirators slowly unfolds in turn, revealing the myriad ways in which we are all manipulating and manipulated.  Layers build, folds of pleasure and pain intertwining and overlapping, revealing secrets and exposing intimate truths which had always been apparent but perhaps not immediately noticed.  A simple enough ruse is revealed to be a double-game, but it’s not even so simple as that.  Betrayal begets betrayal, and between Sook-hee, Lady Hideko, and our so-called Count Fujiwara, everyone thinks that they hold an ace up their sleeve at all times.  Escape can be promised, for escape is what is needed: both Hideko and Sook-hee have had traumatic upbringings, and “Faux-jiwara” asserts he suffered greatly to become the conman that he is in the narrative.  But as structured by our Count, escape is a self-serving plot.  He claims to go through the motions to help at least one woman in this ménage à trois, but finding him lying in a bed of money reveals his true self-serving motive.  When people say what their interests are, believe them.  Rather, Hideko and Sook-hee find release in their collusion and companionship, forging a genuine partnership as they plot to break free of their oppressive influences and make a new life for themselves.  This requires great sacrifice on both of their parts, but represents the only true emotion experienced by any two characters in this film.
Pleasure and pain, as experienced by Sook-hee and Hideko, is the crystalline structure at the center of The Handmaiden.  The two are inextricably linked, by circumstance and desire alike.  These two women’s love is clouded not only by heteronormativity, but by their desires to break free.  In a certain regard, the apparent betrayal at the asylum is asexual; “Sook-hee” as an identity simply wants not to suffer, whomever that woman may be.  But this is true of the greater sexual superstructure built into this remote and twisted world.  Hideko is always greatly tired by her reading sessions for her uncle-cum-husband, though the reasons for this initially remain clouded.  As the dark secrets of this household are revealed, as the film steps past the snake guarding the gate of knowledge in this reading room, the true nature of these sessions are revealed.  This is puppetry, the usage of a woman groomed for pleasure from an early age, allows for imaginative role-play by the men attending these sessions.  No matter how aesthetic you make the reading room, no matter how performative the augmentation to the reading itself, this is the work of impotent men seeking to control and fantasize about women, manipulating them like marionettes.  Uncle Kouzuki is an entirely false man, a self-hating Korean turned Japanese national who tortures individuals for pleasure.  His tongue and lips are stained with book ink, indicating his literary sexual proclivities.  Even when torturing Fujiwara in the close, he has to rely on fictional reference points to describe sex, recounting and taking revenge for texts which he lost by the women’s sexual rediscovery on this man he’s captured.  Fujiwara, too, operates on a field of lies, viewing himself a domineer and yet wholly incompetent.  At least our two antagonists mutually self-annihilate.  I only wish I knew what Kouzuki would have done with that octopus.  Park Chan-wook, you have your kinks…
If much of the film dedicates itself to the notion of nurture (if it can be called that) triumphing over nature, at least the close offers a rebuttal.  Throughout the dramatic cycle of ruses and lies that informs much of the structure, everyone is a false actor.  Lies flow freely and everyone is bound by their previous experiences.  Everyone uses words and phrases which they’ve heard before in other contexts to garner favor or sow fear.  Sook-hee assures Hideko about her troubled birth by using things she’d heard before, and Hideko preys on Sook-hee’s smitten nature by stealing how she’s “alone in this world” to seem more vulnerable than she really is.  The initial sex scene between Hideko and Sook-hee, initially organic and erotic, becomes manipulative once we know that Hideko has read out plenty of scenes of this nature and is not, in fact, a complete naif.  And yet there is release.  In a closing scene of passion, Hideko and Sook-hee enact the “bells” erotic novel, but it’s just for their mutual pleasure.  They’re united and freed from this toxic and controlling death-spiral even as their supposed masters destroy themselves.  I can only hope that in the future, Hideko becomes a drag king, because werk, bitch.
Park Chan-wook is fucking funny.  There’s so much humor buried in this subversive narrative in the camera language and timing of the edits.  Pratfalls, people running about like dipshits, that fucking pussy-eating POV shot.  And yet he’s deeply erotic when the moment calls for it.  “Ladies are just dolls for maids,” Sook-hee muses as she unbuttons all of those buttons on Hideko’s dress.  It’s humorous, to a degree, but also sensual, especially when Hideko reciprocates the gesture.  Another layer of performance in this performative vision of sex, yet they can realize it in a constructive way.  That darkness haunts the periphery in the hangings of generations of women here.  It’s oblique at first, Sook-hee discovering the beautifully braided rope by which Hideko’s aunt allegedly hanged herself.  It remains with Hideko as a threat from her uncle.  Later, Sook-hee “hangs” her mother figure in a silhouette with her braid, and saves Hideko from suffering the same fate.  The bonds of control reclaimed by those meant to limit them.
I really need to call out the searing, lush, romantic and fraught score furnished by Jo Yeong-wook.  Fucking phenomenal.  As with the architecture of the home, the score melds flavors of English and Japanese traditions and instrumentation to create something achingly beautiful, bringing to mind the likes of James Newton Howard within the film world, or perhaps Samuel Barber within the classical canon.  The “My Tamako, My Sook-hee” cue is an all-timer, far as I’m concerned.
THE RULES
SIP
Someone opens a door.
Inner monologue begins.
Sook-hee has to come up with a lie.
A reading session begins.
BIG DRINK
A part intertitle appears onscreen.
Kozuki licks his pen.
TOO MANY BUTTONS
Octopus imagery.
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Dream 2023 Emmy Nominations: Outstanding Supporting Actress in a Limited Series, Anthology Series, or TV Movie
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In alphabetical order:
Maria Bello (Beef)
Margaret Cho (Fire Island)
Tanzyn Crawford (Tiny Beautiful Things)
Claire Danes (Fleishman is in Trouble)
Katja Herbers (Mrs. Davis)
Elizabeth Marvel (Mrs. Davis)
Britne Oldford (Dead Ringers)
Sarah Pidgeon (Tiny Beautiful Things)
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anamoon63 · 21 days
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The show at the Cinema Plumbob is over. It wasn't the happiest group outing, but at least things are now clear, especially for Lauri. (Or so Dale hopes).
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On their way back home, no one spoke to each other. So much for group bonding. 🙄
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Another day ended at the Uni dorm. Soon the term will also be over, fortunately for all of them.
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thedestinysunknown · 2 years
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Turning Red (2022):
“ A 13-year-old girl named Meilin turns into a giant red panda whenever she gets too excited. “
PERSONAL RATING:  ★ ★ ★ ★ ★ ★ ★ ★ ☆ ☆
This is such a cute movie about a girl and her “panda side”. It has some fun jokes, gorgeous visuals and a lot of personality. I really like it.
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movie-titlecards · 1 year
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Turning Red (2022)
My rating: 7/10
Man, they were not subtle with their metaphor, I can see why the weird prudes got upset. I thought it was very fun, though, and it seems to be hitting a special chord with a lot of people.
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