#pretty sure that was during the Among Us craze and we had a full house so that poor message recipient

[cultivating-wildflowers]

one time a bunch of my online friends met up in discord to play a game and we got sick of waiting for the last girl to show up, so another girl called her and, when we got her voicemail, we all shouted into our microphones "come play with us, Kenzieeeee" which had to sound terrifying on the receiving end

and then the girl who'd made the call realized she had the wrong number in her phone and we had just left that voicemail for a complete stranger

[dottie-wan-kenobi]

I loveeee all the songs u chose for Tim!!! Can u maybe do a post or smth explaining why cus it’s so interesting seeing the choice behind these songs

Hi yes I can!! I’m not gonna do all of them here (I can def do the rest if you’d like!!) bc that’s just a Lot all at once lol. Also I might have typos and I apologize but dkjsfhakh I have bandaids on my fingers and it’s hard to type :^/

Disclaimer: some of these songs fit a lot better than other ones

Hard Times by Paramore

I chose this song bc it’s abbout being sad, but the tone is upbeat and happy. Something I’ve noticed abt Tim is that he is (usually) functionally depressed. Like, I read an article about high functioning depression, and it said that a lot of people who have it have a hole in their life – that they can have a job (and Tim does, being either CEO or Red Robin or both), a partner (who I like to think of as Kon), and be part of a family, maintaining this happy/upeat facade, but if you ask them what they do for fun…they usually can’t answer that. And I don’t think Tim can. When he was younger, he could, but what now? 

Fave Lyric: “Walking around / With my little rain cloud / Hanging over my head/ And it ain’t coming down / Where do I go? / Gimme some sort of sign / You hit me with lightning! / Maybe I’ll come alive”

Little Lion Man by Mumford & Sons

I chose this bc I can picture Tim, during a low moment like when Kon or Bruce died, just falling apart and thinking he’s not going to survive it, isn’t strong enough, had something to do with their deaths happening,,, etc. Also there’s a line that references anxiety and like lmao that’s Tim!

Fave Lyric: “Tremble for yourself, my man, / You know that you have seen this all before / Tremble, little lion man, / You’ll never settle any of your scores / Your grace is wasted in your face, / Your boldness stands alone among the wreck / Now learn from your mother or else spend your days biting your own neck”

Heroes (we could be) by Alesso feat. Tove Lo

I chose this bc Tim needed a happy song and also because this has such Young Justice vibes !!!! This is Tim and his friends having fun, roaming around, kicking bad guy ass together!! Actually upon looking at the lyrics again, it’s both YJ and Batman & Robin. It just encompasses Tim’s early days of being a hero I think, the happy carefree nature and the bravery and the hope

Fave Lyric: “Everyday people do everyday things but I / Can’t be one of them / I know you hear me now, we are a different kind / We can do anything”

Burn The House Down by AJR

Tbh I mostly chose this bc its a bop and I think he would sing along to it. BUT I also think this kind of represents his life as a public figure/celeb??? And if I wanna go even further, I think it could represent him when he’s older and more confident, with a better self esteem and maybe a lil less depressed (which I hope is in the cards for his future). Also it talks about lying a lot???? I’m sorry, I don’t have a good analysis for this one lmao

Fave Lyric: “Way up way up we go / Been up and down that road / Way up way up, oh no / We gon’ burn the whole house down / Watch me stand in the line / You’re only serving lies / You’ve got something to hide / We gon’ burn the whole house down”

Don’t Let Me Down by The Chainsmokers feat. Daya

I chose this bc it reminded me of Tim and Dick. I’m of the opinion that Tim getting fired from Robin was the right choice and that Dick wasn’t being cruel or anything like that at all, but I also think that Tim probably saw it that way which is valid. So it’s like, to him, Dick was his big brother who was basically always there for him, and then suddenly… he’s not. And everything else going on in his life starts to suck dramatically, and not having his big brother makes it worse, and he feels betrayed. Meanwhile Dick really is on his side, life is just also terrible for him too so they can’t be as close as they were when Tim was Robin. It can also be about Bruce or Kon tbh – just, wanting one of them to be there and they’re not.

Fave Lyric: “Crashing, hit a wall / Right now I need a miracle / Hurry up now, I need a miracle / Stranded, reaching out / I call your name but you’re not around”

More under the cut!!

Don’t Play by Halsey

This…. I chose this bc I really love the celebrity versions of the Bats, and also how competent Tim can be, and this song brings both of those together. Lol this could also be like…what other people think the Bats/Tim think like?? “Don’t play with me, I’m rich and will fuck you up” kinda thing. This is one of the ones that fits less well than the others but I still get Tim vibes from it so I’m keeping it

Fave Lyric: “Tryna take back what you say to me / I don’t give a damn what you say to me / There ain’t no time for games with me”

Over My Head (Cable Car) by The Fray

I get the feeling that after bad shit happens to Tim, he feels the way this song shows. I haven’t read much YJ so I can’t be sure, but I get the feeling that Tim, no matter what the truth is, feels like he’s alone and there’s no one who will help him. Obviously that can be tied back to his childhood and how he had to take care of himself, and so when there are people who actually do wanna help him he doesn’t see it?? And he’s down on himself so he’s probably thinking “they don’t want to help me, and I can’t blame them”

Fave Lyric: “But that’s how it’s got to be / It’s coming down to nothing more than apathy / I’d rather run the other way than stay and see / The smoke and who’s still standing when it clears” 

Icarus by Bastille

Okay not so much the drinking aspect of this song but EVERYTHING ELSE. I even used one of the lyrics for a fic title. Basically my thoughts here are: 1) everyone looks to the Robins and sees how much they do and it’s just A Lot, 2) Tim knows Jason died and so he probably thinks that’s in his future too even if Dick survived, and 3) Tim is doing a lot and feeling a lot and trying to protect himself and his feelings, which is hard work especially for someone so young

Fave Lyric: “Living beyond your years / Acting out all their fears / You feel it in your chest”

Needed Me by Rihanna

Again,,,, the Competence. I love that shit. I love BAMF!Bats, and tbh I think this could apply to more than just Tim, but I picked it for him bc of the first lyric!! This is also one of those ones that doesn’t fit super well but djkhfjkdshah I think this could really fit an AU Tim where he’s like. More morally gray. Not necessarily a bad guy but just more confident, more arrogant maybe, and more jaded from the hero-ing life

Fave Lyric: “I was good on my own, that’s the way it was, that’s the way it was / You was good on the low for a faded fuck, on some faded love / Shit, what the fuck you complaining for? / Feeling jaded, huh?”

What I’ve Done by Linkin Park

Okay I think this fits a lot of different things: his actions after Kon’s death, his and Damian’s relationship, the lies he’s told (to ppl like Steph, his dad, Tam?), his relationship with Bruce maybe?? I can also see it as him thinking on who he was as a kid – a stalker basically lmao, but ultimately harmless – versus who he is now – a skilled vigilante who’s definitely not harmless. Stark difference there. Also he’s forgiving himself, which is something I think is important for somebody with a low self view

Fave Lyric: “In this farewell / There’s no blood / There’s no alibi / ‘Cause I’ve drawn regret / From the truth / Of a thousand lies”

Tell Me You Love Me by Demi Lovato

I chose this because I think Tim is fucked up by the neglect he suffered in his childhood. I think parts of this song can be directed at his parents, the Batfam, his partner(s). He’s afraid that they’ll leave him and he needs the reassurance. Whether or not he gets it is another matter but kdsjfjkdsah. Really, I think this is all just what he’s thinking, and NOT what he’s saying. He needs the reassurance, yes, but he’s not actually asking for it because he doesn’t know how

Fave Lyric: “Bad at love, no, I’m not good at this”

bellyache by Billie Eilish

When I first added this to his playlist I somehow didn’t realize it was about a murderer but dkjfhkjshjkah whatever I’m keeping it. Let’s just go with this is a song about being fucked up (in whatever sense u wanna take that as) and it’s not happy? But like the first one, it’s upbeat and positive. I think the happy sound hiding the less pretty truth is something that explains Tim a lot. Also its a bop and he might sing along to it

Fave Lyric: “Everything I do / The way I wear my noose / Like a necklace / I wanna make ‘em scared / Like I could be anywhere / Like I’m reckless”

Migraine by Twenty One Pilots

Just Another Song About Tim’s Abysmal Mental Health

Fave Lyric: “Behind my eyelids are islands of violence / My mind ship-wrecked / This is the only land my mind could find / I did not know it was such a violent island / Full of tidal waves, suicidal crazed lions / They’re trying to eat me, blood running down their chin / And I know that I can fight or I can let the lion win / I begin to assemble what weapons I can find / 'Cause sometimes to stay alive you gotta kill your mind”

Fake Love by Drake

I hate Drake but kjdsfkjdsfhajh this goes back to a few things. His celebrity and how he’s seen/treated differently by others because of it, his low self view and the paranoia that people aren’t really there for him no matter what the truth might be, how he sees things others wouldn’t, his relationships with people like Damian and Bruce. I think he’s more forgiving than this song would imply, so maybe this is also for that AU Tim I mentioned above???

Fave Lyric: “I’ve been down so long it look like up to me / They look up to me / I got fake people showin’ fake love to me / Straight up to my face, straight up to my face”

Six Feet Under by Billie Eilish

TIMKON TIMKON TIMKON. Post Kon’s death TimKon and Tim is grieving and trying to forget bc it’s so painful!!!!!!

Fave Lyric: “Our love is six feet under / I can’t help but wonder / If our grave was watered by the rain / Would roses bloom? / Could roses bloom / Again?”

Flaws by Bastille

Idek, I feel like this could be how he could view his relationship with Steph, Cass, Damian, Bart, Dick??? Anyone? Just feeling like he hides his flaws and how he feels, and they don’t really (or at least, he thinks they don’t), and he likes that.

Fave Lyric: “There’s a hole in my soul / I can’t fill it, I can’t fill it / There’s a hole in my soul / Can you fill it? Can you fill it?”

do re mi by blackbear

I’m mostly joking when I say this but this is how he feels about Ra’s al Ghul. It doesn’t fit exactly, bc Tim and Ra’s were NOT together ever at any point, but this song is about being annoyed by someone you have a history with and wishing you’d never known them. Which is how I feel Tim should feel about Ra’s. lol

Fave Lyric: “If I could go back to that day we met / I probably would’ve stayed in bed / You wake up everyday and make me feel like I’m incompetent”

Bored by Billie Eilish

I really think this is Tim talking to his parents. Like, when he’s a kid, or when he’s older and looking back, he’s thinking “I did everything I could, it wasn’t enough, and I know it’s not fair but I can’t do anything about it.” I think this song is supposed to be romantic but I’ve never heard it that way skdjfkjsdhakjh I just always think about Tim, home alone and thinking about his parents.

Fave Lyric: “I’m not afraid anymore / What makes you sure you’re all I need? / Forget about it / When you walk out the door and leave me torn / You’re teaching me to live without it / Bored, I’m so bored, I’m so bored, so bored”

Rose-Colored Boy by Paramore

This one is like… everyone else seems to have an easier time being optimistic and positive than Tim does, in his mind. Idk I don’t have much to say kdsjfhsdjkah

Fave Lyric: “Hearts are breaking, wars are raging on / And I have taken my glasses off / You got me nervous / I’m right at the end of my rope / A half-empty girl / Don’t make me laugh, I’ll choke”

King of the Clouds by Panic! At The Disco

This is mostly because it’s a bop and Tim would like it. But also…this is a song about dimensional travel (apparently) and having ambitions that seem lofty, both of which I think Tim can definitely understand!! 

Fave Lyric: “And when I fall to rise with stardust in my eyes / In the backbone of night, I’m combustible / Dust in the fire when I can’t sleep a wink, I’m too tired / This old world, this old world”

[prevazilazenje]

“WITCH MUSEUM OPENS IN CLEVELAND”

A witchcraft museum has landed in Cleveland.

The Buckland Museum of Witchcraft and Magick has set up shop in a storefront in the city’s Old Brooklyn neighborhood.

As curious as the collection is — and there’s some pretty strange stuff, including a vessel supposedly containing some fur of Lil Bub, a magical cat from outer space — the tale of how it ended up in Northeast Ohio is just as extraordinary.

Much of the collection now on display was either curated or created by the late Raymond Buckland, aka Robat, a writer and historian of Wicca and the occult, and a high priest in the Gardnerian and Seax-Wica beliefs.

In the 1960s, Buckland worked for British Airlines, which gave him an opportunity to meet collector Gerald Gardner, who had an occult museum in England.

They struck up a friendship, and Buckland set off on his lifelong path of dabbling and practicing in the occult. He began amassing odd artifacts ranging from ancient Egypt to the Salem witch trials.

He began inviting visitors to view — for a small fee — the collection housed in the basement of his home on Long Island, N.Y.

As his reputation grew, so did the collection, and he eventually moved it to New Hampshire. It was displayed in Virginia for a brief stint and then New Orleans, before that museum closed for good and the collection vanished.

Steven Intermill, whose full-time gig a couple of years ago was making sure everything was running merrily at the “A Christmas Story” House and Museum in Cleveland, wondered one day what became of Buckland’s collection.

Intermill said he grew up on a steady diet of comic books and those old paperback books about oddities and strange happenings, and he remembered reading about Buckland’s museum.

After a little sleuthing, Intermill found Buckland’s then-email address — “raymondbuckland@hotmail.com” of all things — and reached out to inquire about the trove.

Much to his surprise, Buckland answered the email right away, saying that some items unfortunately had been sold off, but what remained of the collection was sitting in totes in the basement of a friend who lived in Columbus.

Intermill said he drove down Interstate 71 right away, offering to restore the collection and put it back out on public display in a space near the “A Christmas Story” house that was featured in the beloved movie.

Parts of the collection were unveiled in 2017, but Intermill said the space he had in Tremont was simply too cozy. He acquired the new digs at 2155 Broadview Road so more items can once again capture the curiosity of visitors. The new museum space will celebrate its grand opening at noon Saturday.

On a recent day, Kristina Pellegrini of Minneapolis wandered in with her sister, Moriah Pfotenhauer, whom she was helping to move from Chicago to Washington, D.C.

She said they were looking on Google for interesting places to visit along the way, and the Buckland Museum popped up.

She explained they are not followers of the occult but do collect crystals and spent a fair amount of time looking over those offered in the museum’s gift shop to see which ones “spoke” to them. Several did and they purchased them.

The sisters also forked over their $7 admission fee to hear Intermill weave the history of the collection and its curator, and even see a fork that supposedly twisted during a seance in New York.

“We wanted to make the drive memorable,” she said. “The collection was intense and even a bit scary. It was very different.”

Among the collection’s items is a sacrificial troll doll with human hair stuck in its back.

Buckland’s personal purple ceremonial robe holds court in the middle of the space not far from a predictable collection of tarot cards.

And tucked in a corner is a demon in a box.

The story goes that a magician friend of Buckland had a ritual go awry in the 1970s and unwittingly unleashed a demon in his New York City apartment. It took them three days to conjure up the right spell to lure the demon into the wooden box, where it has remained ever since.

Intermill, who readily admits he is not a personal practitioner of the occult, said he does have a healthy respect for the collection and each piece’s backstory.

One night, he said, he was sitting at the counter when a man barged through the front door, bolted into the museum without paying and started to try to open the Demon Box. Intermill said he told the crazed man that he was going to call the police.

“The guy told me he was driving by and something called out to him and said, ‘Hey, I’m trapped in here and I want to be friends,’ ” Intermill said. “It was just weird.”

Before Buckland died in September 2017, he visited Cleveland to look over the collection. Intermill asked Buckland about the Demon Box and what he should do with it.

“He told me to never open it,” Intermill said with a laugh. “OK. I never thought I’d end up being in charge of something like this.”

The Demon Box, wrapped in crude wire to keep it shut, has since been moved to a more secure display case that Intermill keeps a safe distance from those on tours.

The cool thing about this witchcraft collection, he explains, is the craft aspect to everything.

Each piece was handmade — most by Buckland himself, like the high priest ceremonial horned helmet. Buckland used things lying around the house and found at a hardware store, from the fur to the cow horn to the stainless-steel mixing bowl to the thimbles on top.

“Some see this as a witchcraft collection,” he said. “But I see this as an art collection. All this stuff was handmade.

“It was made with a passion and fury.”

[cinematicwasteland]

In a genre full of homespun movies, Buddy Cooper’s The Mutilator is among the most homespun of slasher flicks. While it doesn’t have the camcorder charm of its shot-on-video brethren, it’s about a half-step removed from that scene, particularly in spirit. Doused in regional dressing, it certainly has that backyard quality, as if Cooper gathered up a bunch of his buddies to make a slasher flick during a weekend beach retreat. Very little of its cast ever went on to do anything of note, and Ben Moore’s four screen credits, most of which came in Herschell Gordon Lewis joints two decades earlier, are enough to garner him a “special appearance” status here. Amateurism pervades The Mutilator, and, as it so often is for these types of films, it’s both a blessing and a curse all at once since the film undoubtedly wouldn’t be the same without it.

Like many slashers, The Mutilator begins with a fever-dreamy prologue that finds an idyllic family scene: little Ed Jr. has just polished off his father’s gun collection while his mother prepares a cake for the patriarch’s birthday. When Junior gets a curious with one of the shotguns, he ends up accidentally blowing his mom away, much to his father’s dismay. A cut to the present day reveals that Ed is now a well-adjusted, beer-nursing college student with nothing to do on Fall Break. Luckily, his estranged old man calls him up and insists that he needs to come out to the family condo and close it up for the winter, so Ed’s buddies decide to take an impromptu beach trip to help him out with the chore. Upon arrival, it’s pretty clear they should have stayed home since this Fall Break will be their last if the homicidal maniac prowling the grounds has his way.

The Mutilator is one of those slashers that works despite itself. It’s easy to mistake large stretches of The Mutilator for a beer commercial, particularly the early bar scene where the kids loll about making bad jokes. Then it careens into an opening credits montage scored by the film’s theme song, “Fall Break,” a finger-snapping, toe-tapper of a tune that encapsulates the utter cheesiness of The Mutilator, not to mention its tone deafness. After all, only a few minutes earlier, you’ve just witnessed a little boy blowing a hole through his mom. Silliness continues to abound through the montage as the kids visit a podunk gas station and battle car trouble, and the whole thing feels more apt for a sitcom rather than a slasher.

Things don’t get a whole lot better, or maybe they do, depending on your persuasion, once the kids arrive at the condo, where they do a bunch of poking around the house. And for a guy who has nightmarish visions involving his dad abusing him, Ed sure has a lot of reverence for the old man, as he proudly shows off all the hunting trophies he accumulated over the years. The guy even once framed a section of the wall where he and his buddies chucked junk into it, thus assuring us that he had more than a few screws loose and totally seems like the type of guy who would try to kill his son and his friends. All of this is done in an almost improvised manner, but there’s something wholly authentic about it all, from the slack-jawed, southern accents to the incredible earnestness of the cast, who just seem pretty happy to be there making a movie. As such, the film is watchable even when it shouldn’t be, the first kill, opening scene excluded, comes a staggering 35 minutes into the movie, and there’s not a remarkably high body count anyway.

Typically, that’s a death knell for a slasher movie, particularly one that has almost no suspense like this one, since there’s never any sense of mystery about the killer’s identity or motives. The characters are routinely dumb and say dumb things as they fill out the expected stereotypes; there’s the chaste, virginal girl who stymies Ed’s attempts at sex, while the more amorous couple look for any opportunity to bang, whether it’s in a garage or an absurdly large pool. A red-headed goofball also accompanies the group, and he fails to really distinguish himself from most of his peers since he’s also a sex-crazed beer-swiller. Even when the slashing starts, these guys are still just prowling around the house, unwittingly isolating themselves for the killer, who spends the movie lurking in the shadows, waiting to pounce. While it’s pretty repetitive, Cooper strikes gold in the setting, a moody, desolate beach whose isolation is an ideal slasher locale and tone-setter. Most of the movie is draped in deep blue moonlight and shadows, and the moodiness compensates for the various other shortcomings.

Cooper also gets the most important slasher element right in the form of the rad gore effects. The Mutilator is a rather savage entry in the 80’s slasher canon, as it lives up to its name by showcasing some tremendously realistic and grisly gore effects. One of them is a bit undercut by the silly reaction of one of the victims, but, otherwise, The Mutilator is the real deal for gorehounds. While Cooper doesn’t prove himself to be the most gifted of storytellers, he understands why we watch these types of films pretty well, so when you see a giant fishing hook early in the film, you can rest assured it eventually serves as one of the film’s signature moments. In fact, the movie is ultimately so unflinchingly violent that the silly, light-hearted tone really betrays its eventual ruthlessness. When the theme song is reprised during the closing credits, the “gonna have a good time” refrain almost feels ironic since it’s been washed away in bloodshed, decapitations, and bisections.

[firebirdjudith]

Judith Anderson’s most powerful films of the Forties

The 1940s is arguably the most extraordinary – and certainly the most prolific – period in Judith Anderson’s Hollywood film career. After earning an Oscar nomination for her commanding performance in Hitchcock’s Rebecca, she appeared in more than a dozen other movies during the rest of the decade. Some were high-profile and celebrated, while others quickly became cinematic curiosities; but Judith’s talent always shone through and her commitment never faltered.

For me, the list below represents the top five most powerful performances Judith Anderson gave in 1940s films (with Mrs Danvers occupying the top spot, naturally!). All the characters listed are complex and compelling; they carry dark secrets or are forced to make incredibly difficult choices. In other words, they’re precisely the kind of roles in which Judith excelled.

1. Mrs Danvers – Rebecca (1940)

When Maxim de Winter (played by Laurence Olivier) brings his timid second wife (Joan Fontaine) to his vast, secluded ancestral home, he attempts to reassure her and calm her nerves. ‘There’s no need to be frightened!’ he promises the (unnamed) young woman, shortly before her first glimpse of the imposing Manderley takes her breath away.

From the moment Manderley’s intimidating housekeeper sweeps into view, however, it’s clear that the newlyweds will never find happiness there. Mrs Danvers, with her black hair coiled round her head, Medusa-like, and black dress like a mourning gown, gives her new mistress a distinctly chilly welcome.

For Mrs Danvers, Maxim’s late wife, Rebecca – beautiful, powerful and ruthless – is not simply the first Mrs de Winter but the only Mrs de Winter. When Maxim’s second wife plucks up the courage to enter the housekeeper’s lair, Rebecca’s opulent bedroom, she uncovers a shrine to her predecessor’s memory. In that room, the obsessively devoted Mrs Danvers abandons any pretence of deference in favour of terrorising the young woman. Again and again, the housekeeper emphasises Rebecca’s supposed superiority. ‘She knew everyone that mattered. Everyone loved her,’ Mrs Danvers declares.

With her rigid posture, clasped hands and inscrutable expression, the housekeeper cultivates an air of icy detachment. She’s cold and calculating; a formidable foe. Look beneath the mask, though, and you’ll see that Mrs Danvers is in the grip of turbulent emotions: shock, grief and anger. Her determination to drive out Maxim’s second wife is a clear indication that Rebecca’s death has overturned the balance of Mrs Danvers’s mind.

‘You thought you could be Mrs de Winter; live in her house, walk in her steps, take the things that were hers. But she’s too strong for you. You can’t fight her. No-one ever got the better of her. Never, never.’

The deranged housekeeper is soon plotting to rid Manderley of the young woman once and for all by encouraging her to jump from Rebecca’s window. ‘You’ve nothing to stay for. You’ve nothing to live for, really, have you?’ Those must surely be among the most menacing words ever uttered on film.

Mrs Danvers is undoubtedly devious and malevolent; but she’s also a victim of Rebecca’s dangerous cult of personality. Her fascination with her mistress has spilled over into infatuation. Mrs Danvers lived through Rebecca, and part of her died with the wicked woman. As a servant, she isn’t permitted to express her feelings openly; instead, she’s imploding. Realising that it is in fact she herself who has nothing to live for, her final act will be her most destructive.

2. Gerd Bjarnesen – Edge of Darkness (1943)

Formidable innkeeper Gerd Bjarnesen, whose father has been murdered in cold blood by the Nazis, channels her grief into the struggle to free Norway from its wartime oppressors. When her neighbours weigh up the risks of staging an armed revolt, she delivers one of the film’s most stirring, impassioned speeches. Addressing a farmer who doubts that the potential sacrifices would be worthwhile, Gerd demands to know:

‘What sacrifice? What are you giving up? Your life? Maybe they’ll take that from you whether you fight or not. Your farm? It isn’t yours anyway until you fight for it. Your peace? What peace is there when a body of troops can come in the middle of the night and arrest you as a hostage. Be shot for something you never did or never even thought of, like my father.’

Soon afterwards, the community votes almost unanimously to fight the invaders with weapons smuggled from England.

Later, resisting a German soldier’s persistent attempts to win her affections, Gerd declares, ‘We’ll fight until we push the last one of you into the sea.’

Her resolve is unshakeable.

3. Medora ‘Ma’ Callum – Pursued (1947)

‘As soon as the boy told me someone tried to kill him, I knew it was you,’ announces strong-willed Medora Callum. She’s face-to-face with Grant Callum (played by Dean Jagger), her crazed brother-in-law and would-be murderer of her adopted son, Jeb Rand. Grant took a shot at her boy, and she’s wasted no time in confronting him.

Armed with her wits, not weapons, Medora urges hot-headed Grant to put aside thoughts of bloody vengeance and spare Jeb’s life. ‘You can’t start it all over again, Grant. I won’t let you,’ she warns. Her brother-in-law is determined to settle old scores, but Medora insists that the boy is innocent.

By dismissing her behaviour as ‘kind of uppity’, Grant severely underestimates Medora’s courage, strength and tenacity. One day he’ll pay a high price as a result. They’ll both be old by then, but Medora will have lost none of her fire.

While fighting her own demons, Jeb’s adoptive mother is determined to protect her son from the past. Despite her best efforts, the troubled, tormented boy turns into a troubled, tormented man with a gun (Robert Mitchum). By that point, it’s clear that the conflict between the Callums and Rands exerts a greater hold over poor Jeb than Medora had ever believed (or allowed herself to believe) was possible.

4. Madame – All Through the Night (1942)

The mysterious woman known only as Madame, with her floor-length black gown and plait wound tightly round her head, bears more than a passing resemblance to Mrs Danvers. The corrupt Madame’s heart, however, is even darker and her motives more sinister than the terrifying housekeeper’s.

Madame is part of a ruthless group of Nazi spies in wartime New York, plotting to blow up a US battleship. Domineering and forceful, she challenges the authority of the group’s despicable leader, Ebbing (played by Conrad Veidt), and questions his judgement. ‘If anything goes wrong tonight, it will be your fault,’ she asserts.

When a young woman she treats with contempt, Leda Hamilton (Kaaren Verne), bravely speaks out against the spies and exposes their terrible plans, Madame vents her rage. She’s furious that Ebbing ignored her warnings about Leda. ‘You fool! You’ve let a pretty little face destroy everything you’ve worked for.’

Ebbing slaps Madame. She staggers backwards in shock and anger. In an instant, her loyalty to the spies evaporates. Madame’s grim expression suggests that she knows they’ve lost, even if Ebbing is too obstinate to accept defeat. There’s no escape; a bleak future behind bars awaits her.

Shortly before being taken to the police, Madame tells the film’s hero, gambler ‘Gloves’ Donahue (Humphrey Bogart), where to find her former leader. Whether she’s grasped the full horror of what she was working towards under Ebbing’s command or is motivated solely by her hatred of the man who dared to raise a hand to her, she’s decided that he must be stopped.

5. Ann Treadwell – Laura (1944)

'I adored her,’ New York society hostess Ann Treadwell assures police detective Mark McPherson (played by Dana Andrews) after her niece, Laura Hunt (Gene Tierney), has been brutally murdered. It takes a lot to ruffle flinty Ann’s feathers, but McPherson’s speculation about the nature of her relationship with Laura’s idle fiance, Shelby Carpenter (Vincent Price), soon sees her struggling to maintain her glacial facade – and casts doubt on her words.

Ann has more than enough money, but she’s short on morals. (Shelby illustrates the corrupt value system of the movie’s social elite with a casual remark: ‘I can afford a blemish on my character but not on my clothes’!) As the administrator of Laura’s estate, Ann must decide how to dispose of the beautiful young woman’s apartment and possessions. Shelby she’ll keep for herself.

When Ann’s attempts to buy Shelby’s affections prove less effective than she’d anticipated – he has a roving eye and taste for younger women – she seethes beneath a fabulous hat and fake smile. ‘Aren’t you being a little bit nasty, Ann?’ asks her toyboy with an air of studied nonchalance. ‘I feel nasty when I don’t see you,’ she responds darkly before changing tack. Ann proposes to Shelby as if conducting a business transaction and aims to seal the deal by promising him ‘the best lawyer that money will buy’. After all, Shelby is in a tricky situation now that McPherson is putting him under pressure.

‘He’s no good but he’s what I want,’ Ann declares, staking her claim to Shelby. She knows that she’s ‘not a nice person’, to put it mildly. He’s no better than she deserves; the selfish pair are made for one another. Shelby soon comes round to elegant, ruthless Ann’s way of thinking once he realises that all other doors are closed to him. Ms Treadwell, it seems, always gets what she wants in the end.

[virginiamccarty]

How To Increase Your Height In 3 Months Top Cool Ideas

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