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#Sharon Kelly
sonofshermy · 10 months
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cantsayidont · 3 months
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Movies movies movies:
THE WITCH WHO CAME FROM THE SEA (1976): Disquieting, bloody psychological drama, directed by Matt Cimber (later the founder of G.L.O.W., and the basis for the "Sam Sylvia" character played by Marc Maron on the 2017–2019 G.L.O.W. TV series), about a disturbed young woman named Molly (Millie Perkins, wife of screenwriter Robert Thorn), whose horrifying history of childhood abuse causes her to sublimate sexual attraction into dissociative homicidal fits, when she isn't doting on her two young nephews or drinking herself into a haze. Vibes like an exploitation movie, but too arty and surreal to really qualify as one, and it doesn't ever feel quite like a horror movie despite the lurid subject matter; probably the closest comparison is Abel Ferrara's MS.45, with which it would make an apt double bill. Demands strong CWs for CSA and suicide, both of which are pretty rough, but it definitely makes an impression, perhaps most strikingly in the later scenes where Molly's seedy boss (Lonny Chapman) and bitchy coworker (Peggy Feury) begin to grasp how unhinged Molly has really become, leading to a disturbing finale. Too unsettling to easily recommend, hard to forget.
ALICE GOODBODY (1974): Lightweight, smutty exploitation movie, written, produced, and directed by Tom Scheuer, starring Sharon Kelly as a starstruck Hollywood waitress who loves old movies and movie stars (most of whom the people she meets in the industry have barely even heard of) and who is determined to get a small part in a new musical about Julius Caesar, even though it means sleeping with almost everyone in town. A kind of cheerful low-stakes sex comedy they don't make anymore: The situation is obviously sleazy, but not in any way that ever puts Alice in any particular jeopardy (she's in far more danger on set, where she keeps suffering different workplace accidents). The movie's central running joke is that the men whose favor she's supposed to be cultivating are at least as fixated on their own weird obsessions and neuroses as on sex, something Alice just has to sort of work around as best she can, which ends up making her sympathetic and even relatable. More likable than you'd think.
SPICE WORLD (1997): Delightfully dopey Girl Power homage to Richard Lester's A HARD DAY'S NIGHT, starring the Spice Girls, Richard E. Grant at his Richard E. Grantiest, and a cast of thousands. (Just picking out all the cameos and guest stars is half the fun.) This is what I think the Greta Gerwig BARBIE movie was going for: obviously a commercial product, and making no apologies for its mercantile ambitions, but self-aware enough and full of enough sly piss-taking to be thoroughly enjoyable even if you aren't in (or never had) a Spice Girls phase. Goes on a bit too long, but Grant's outfits alone are worth sticking it out for, and the bridge-jumping climax is very funny.
KALIFORNIA (1993): Mordant thriller starring a disconcertingly young-looking David Duchovny as Brian Kessler, a young writer who blows his advance for a new book about serial killers on an old convertible for him and his horny art photographer girlfriend Carrie Laughlin (Michelle Forbes, with disconcerting bangs) to drive across the country, photographing famous murder sites. Along the way, they pick up a couple of hitchhiking hicks, Early Grayce (Brad Pitt) and Adele Comers (Juliette Lewis), to help pay for gas, not realizing that Early is a paroled convict who's just murdered someone and has no qualms about dropping more bodies along the way. Tim Metcalfe's script (with obligatory '90s voiceover narration) scores some points early on in its depiction of Brian and Carrie's obvious classism and brittle middle-class hipster intellectualism, but the story ends up validating their prejudices rather than questioning them, which keeps the film from being entirely satisfying despite its effectiveness as a thriller. The cast is very good, with Pitt and Forbes the real standouts — Pitt plays Early as a man who draws no line between aw-shucks Southern congeniality and murderous rage, while Forbes makes Carrie's mix of ambition, appetite, and roiling intensity so vivid that you come away wondering what she's doing with Brian, who Duchovny plays as a somewhat gormless jackass. As for Lewis, suffice to say this would make an interesting double bill with NATURAL BORN KILLERS, released about a year later, where she plays a variation on the same damaged theme.
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gotankgo · 1 year
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ameliandil · 1 year
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Another character for Hidden Phantom!
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invisible-pink-toast · 8 months
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bl00dfroma-fairy · 1 month
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nexttopbadbitch · 7 months
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S I L V A & Shiny Things
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Lol I can't believe that this comic ended with Steve, Bucky, and Sharon happily going on a run together after all the bullshit with Ian. Ah, comics. Never change.
(Actually, please do. I really can't handle all the poor writing.)
Captain America Finale (2023) #1
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sapphicsukeve · 4 months
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EastEnders | THE SIX (22/12)
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xosiren · 6 months
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✨️
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avengerscompound · 28 days
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Bucky Barnes & Sharon Carter
Thunderbolts (2023) #1
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hellgirl666xx · 4 months
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gotankgo · 1 year
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«A giddy 1974 T&A comedy, Alice Goodbody is one of the strongest vehicles for redheaded softcore goddess Sharon Kelly, a name familiar to many Something Weird devotees thanks to her indelible roles in The Dirty Mind of Young Sally and Sassy Sue before she eventually jumped into hardcore in the early '80s (as Colleen Brennan).»
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thebristolboard · 2 years
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Original painting by Ken Kelly from the cover of The Crystals of Mida (Jalav, Amazon Woman #1) by Sharon Green, 1982. I love that this cover flips the tired cliché of the woman on the ground, clinging to the hero.
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sleep-knot · 5 months
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look at all them, happy late birthday Ozzy <3
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monicasnymphet · 22 days
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i just wanna be like them 😭
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