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venusiancharisma · 29 days

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Your Femme Fatale Persona Based On Moon Sign...

Just for fun, astro observations. Enjoy! This is based on the manifestation of... "they made me do it". So, while I dont agree this is the Femme Fatal "homeostasis" of each moon sign, I believe that, at one's darkest hour, these are the specific persona's each of us would take on...

Aries Moon - Lara Croft (Tomb Raider): Strong, independent, and fearless, the Aries Moon femme fatale is a daring adventurer who isn't afraid to take risks. Like Lara Croft, she's always ready for action and thrives on challenges. Additionally...

The Bride (Kill Bill): Driven, vengeful, and skilled in martial arts.

Aeon Flux (Aeon Flux): Athletic, daring, and rebellious.

Taurus Moon - Satine (Moulin Rouge!): Sensual, alluring, and grounded, the Taurus Moon femme fatale is a master of seduction. Like Satine, she knows how to use her beauty and charm to get what she wants while remaining emotionally steadfast. Additionally...

Sugar Kane Kowalczyk (Some Like It Hot): Sexy, charming, and pleasure-seeking.

Regina George (Mean Girls): Popular, manipulative, and materialistic.

Gemini Moon - Catwoman (Batman Returns): Clever, adaptable, and enigmatic, the Gemini Moon femme fatale is a master of disguise. Like Catwoman, she's quick-witted, elusive, and always keeps others guessing. Additionally...

Jordan Baker (The Great Gatsby): Clever, charming, and unpredictable.

Marion Crane (Psycho): Secretive, impulsive, and multifaceted.

Cancer Moon - Norma Desmond (Sunset Boulevard): Emotionally intense, nostalgic, and manipulative, the Cancer Moon femme fatale is a complex character. Like Norma Desmond, she may cling to the past and use her vulnerability to control others. Additionally...

Annie Wilkes (Misery): Obsessive, nurturing, and unstable.

Alex Forrest (Fatal Attraction): Clingy, possessive, and emotionally demanding.

Leo Moon - Foxxy Cleopatra (Austin Powers in Goldmember): Confident, dramatic, and alluring, the Leo Moon femme fatale knows how to command attention. Like Foxxy Cleopatra, she's bold, charismatic, and always steals the spotlight. Additionally...

Marilyn Monroe (The Seven Year Itch): Charismatic, flirtatious, and attention-seeking.

Jessica Rabbit (Who Framed Roger Rabbit): Seductive, enigmatic, and theatrical.

Virgo Moon - Catherine Tramell (Basic Instinct): Intelligent, calculating, and mysterious, the Virgo Moon femme fatale is a master of manipulation. Like Catherine Tramell, she uses her intellect and attention to detail to outmaneuver others. Additionally...

Tracy Lord (The Philadelphia Story): Perfectionist, analytical, and critical.

Amy Dunne (Gone Girl): Cunning, organized, and vengeful.

Libra Moon - Gilda (Gilda): Charming, sophisticated, and flirtatious, the Libra Moon femme fatale is a social butterfly. Like Gilda, she knows how to use her charm and beauty to captivate and influence others. Additionally...

Madeleine Elster (Vertigo): Elegant, charming, and mysterious.

Daisy Buchanan (The Great Gatsby): Charming, indecisive, and idealistic.

Vesper Lynd (Casino Royale): Sophisticated, diplomatic, and elusive.

Scorpio Moon - Phyllis Dietrichson (Double Indemnity): Intense, secretive, and seductive, the Scorpio Moon femme fatale is a master of psychological manipulation. Like Phyllis Dietrichson, she uses her sexual allure and emotional depth to ensnare others. Additionally...

Cersei Lannister (Game of Thrones): Power-hungry, manipulative, and intense.

Brigid O'Shaughnessy (The Maltese Falcon): Mysterious, alluring, and deceitful.

Sagittarius Moon - Beatrix Kiddo (Kill Bill): Independent, adventurous, and philosophical, the Sagittarius Moon femme fatale is a free spirit. Like Beatrix Kiddo, she's a skilled warrior who follows her own moral code and seeks justice on her own terms. Additionally...

Nikita (La Femme Nikita): Rebellious, independent, and adventurous.

Lisbeth Salander (The Girl with the Dragon Tattoo): Unconventional, daring, and justice-seeking.

Capricorn Moon - Miranda Priestly (The Devil Wears Prada): Ambitious, disciplined, and powerful, the Capricorn Moon femme fatale is a formidable presence. Like Miranda Priestly, she's a master of her craft and expects nothing less than perfection from herself and others. Additionally...

Evelyn Mulwray (Chinatown): Reserved, ambitious, and secretive.

Lady Macbeth (Macbeth): Ambitious, manipulative, and ruthless.

Aquarius Moon - Mia Wallace (Pulp Fiction): Unconventional, independent, and mysterious, the Aquarius Moon femme fatale is a true original. Like Mia Wallace, she marches to the beat of her own drum and isn't afraid to break the rules. Additionally...

Mathilda (Léon: The Professional): Unconventional, intelligent, and rebellious.

Clementine Kruczynski (Eternal Sunshine of the Spotless Mind): Eccentric, free-spirited, and unpredictable.

Pisces Moon - Nina Sayers (Black Swan): Imaginative, emotionally vulnerable, and self sacrificing. Like Nina, she uses her damseled distress and emotional depth to draw others into her web of desire and deceit. Additionally...

Melissa Robinson (The Last Seduction): Deceptive, adaptable, and seductive.

Laura Hunt (Laura): Elusive, enigmatic, dreamy, and idealization.

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purgemarchlockdown · 4 months

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Oh, before I forget: MeMe directly references the film Psycho with the shower scene but the Character Mikoto takes the place of is the female victim Marion Crane. Who before this Bates was actually peeping on through a hole in her room. Bates also kills people because of his “mother” personality who is jealous and possessive of him and comes out when he likes women.

(Also: Not sure how relevant this is but my dad talks a lot about how when it first came out people were surprised Marion, the victim, died since she was a pretty well-known actresss during the time and the film spent half of its time building her up as the “protagonist” before killing her.)

#milgram #mikoto kayano #cw ableism #cause Psycho is…*points above*#cw stalking

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homomenhommes · 5 months

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … November 19

1889 – Clifton Webb (d.1966) was an American actor, dancer and singer born Webb Parmelee Hollenbeck in a rural part of Marion County, Indiana, which would, in 1906, become Beech Grove, a self- governing city entirely surrounded by Indianapolis. Webb's parents were Jacob Grant Hollenbeck, the son of a grocer from a multi-generational Indiana farming family, and Mabelle A. Parmelee, the daughter of a railroad conductor. In 1892, Webb's formidable mother, Mabelle, moved to New York City with her beloved "little Webb," as she called him for the remainder of her life. She dismissed questions about her husband Jacob, a ticket clerk who, like her father, worked for the Indianapolis-St. Louis Railroad, by saying, "We never speak of him. He didn't care for the theater."

Webb was in his mid-fifties when actor/director Otto Preminger chose him over the objections of 20th Century Fox chief Darryl F. Zanuck to play the classy, but evil, radio columnist Waldo Lydecker, who is obsessed with Gene Tierney's character in the 1944 film noir, Laura. His performance was showered with acclaim and made him an unlikely movie star. Despite Zanuck's original objection, Webb was immediately signed to a long-term contract with Fox. Two years later he was reunited with Tierney (with whom he shares this birthdate) in another highly praised role as the elitist Elliott Templeton in Somerset Maugham's The Razor's Edge (1946). He received Academy Award nominations for Best Actor in a Supporting Role for both. Webb received an Oscar nomination for Best Actor in a Leading Role in 1949 for Sitting Pretty, the first in a three-film series of comedic Mr. Belvedere features with Webb portraying the snide and omniscient central character.

Webb's elegant taste kept him on Hollywood's best-dressed lists for decades. Even though he exhibited comically foppish mannerisms in portraying Mr. Belvedere and other movie characters, his scrupulous (read "deeply closeted, highly repressed") private life kept him free of scandal. The character of Lynn Belvedere is said to have been very close to his real life — he had an Oedipal devotion to his mother Mabelle, who was his companion and who lived with him until her death at age ninety-one. Webb's mourning for his mother continued for a year with no signs of letting up, prompting Noël Coward to remark of Webb, "It must be terrible to be orphaned at 71."

Among the many stories, once, he and Tallulah Bankhead were smitten with the same handsome Austrian army officer and vied for the uniformed stud's favors. While Tallulah did her stuff vamping him, Webb retreated for a moment, and returned with an armload of roses. To Tallulah's amusement and the officer's shock, Webb danced around the man and began pelting him with flowers. Tallulah won.

1942 – Calvin Klein, American clothing designer, born; Calvin Richard Klein was born in The Bronx to Jewish-Hungarian immigrant parents. He attended the High School of Industrial Arts and matriculated, but never graduated, from New York's Fashion Institute of Technology, receiving an honorary Doctorate at the graduation ceremony in 2003. He did his apprenticeship in 1962 at an old-line cloak-and-suit manufacturer, and spent five years designing at other New York shops. He later launched his first company with a childhood friend, Barry K. Schwartz.

Klein was one of several design leaders raised in the Jewish immigrant community in the Bronx, New York along with Robert Denning and Ralph Lauren. Cal became a protégé of the ever-so-flaming editor of Town & Country Baron de Gunzburg, through whose introductions he became the toast of the New York elite fashion scene, even before he had his first mainstream success with the launch of his first jeans line. Later, speaking in an interview with Bianca Jagger and Andy Warhol for Interview magazine, published shortly after the Baron's death, Klein said:

"He was truly the greatest inspiration of my life... he was my mentor, I was his protégé. If you talk about a person with style and true elegance — maybe I'm being a snob, but I'll tell you, there was no one like him. I used to think, boy, did he put me through hell sometimes, but boy, was I lucky. I was so lucky to have known him so well for so long."

Calvin Klein was immediately recognized for his talent after his first major showing at New York Fashion Week. Klein was hailed as the new Yves Saint-Laurent, and was noted for his clean lines.

Thirty years on, it all seemed like a surreal curiosity — when the billboard of a well-muscled young man in white briefs went up in Times Square in 1982, it stopped traffic there. The perspective which focused on the obvious bulge in the briefs caused a big controversy. It nonetheless led to the acceptability of the male form in mainstream American advertising and ushered in the era of "male as sex object" which saw a renaissance in the early 1980s. American Photographer magazine named the photo as one of "10 Pictures That Changed America." His wildly homoerotic advertisements transformed the men's fashion advertising and fashion industry.

Married twice, he has never actually come out, but he divorced his second wife in 2006, and it has been reported that he has dated gay, ex-porn star Nicholas Gruber.

Klein and Nicholas Gruber

1955 – Steven Jay Powsner (d.1995) a founder and former president of the Lesbian and Gay Community Services Center in Greenwich Village.

Born in Brooklyn and raised in Oceanside, L.I., he graduated from New York University in 1976 and the New York University School of Law in 1979. After working as an associate at a New York City law firm, he established his own practice in 1982, specializing in real estate.

Steven's early passion was theater, especailly muscial theater. In high school he took acting lessons at the Neighborhood Playhouse and auditioned for every play. He had chorus roles in My Fair Lady.

1974 marked the beginning of Steven's most formative years. A major part of these years was his first lover, Bruce Philip Cooper, who died of AIDS in 1987. They met when Steven was a freshman at NYU and Bruce was a freshman at Columbia. They were determined to prove society wrong by committing themselves to a permanent, long-lasting relationship, or "marriage" as Steven called it. They moved into their own apartment.

Working as a volunteer for the fledgling gay center in 1983, Steven guided the organization through a yearlong negotiation with the city to buy the former Food and Maritime Trades High School at 208 West 13th Street, which now houses the center.

Everything fell apart in 1983 when Bruce was diagnosed with AIDS. Doctors were judgmental and uncaring. Hospital workers left food outside Bruce's room, refusing to go inside. Their cleaning lady was told by another client that she would be fired if she continued to work for a person with AIDS. Steven would come home from work to find "AIDS" scrawled in large letters across his mailbox.

He took care of Bruce for four years until he died in 1987. During these four caregiving years, Steven became a very dedicated gay activist. His family offered no support around Bruce's ordeal and even scorned Steven when Bruce died because Steven included his name in Bruce's New York Times obituary.

After Bruce died Steven donated to Columbia University a large endowment, with which they established the Bruce Cooper Memorial Fellowship for graduate studies in Philosophy.

Steven met Ben Munisteri 1987 at the the Lesbian and Gay Community Services Center. Ben was 22 years old, just out of college, and a modern dancer. They were commited partners until Steven's death in 1995

A few months before Steven died he won the Center's Heart of the Center award, something he had always wanted. After he died, the Center created the Annual Steven J. Powsner Volunteer Recognition Award.

Besides his work for the center, a hub of lesbian and gay life in New York, Steven left a two-and-a-half-mile mark on the city in the form of the lavender line that is painted along the Fifth Avenue route of the annual Lesbian and Gay Pride March. He paid for much of the painting of the first line in 1985.

1962 – Gottfried von Bismarck-Schönhausen (d.2007) was a member of the German House of Bismarck best known for his flamboyance and parties.Born in Uccle, Belgium, Gottfried von Bismarck-Schönhausen was the second son of Ferdinand, Prince von Bismarck and grandson of Otto, Prince von Bismarck, a diplomat at Germany's embassy in London until a feud with Third Reich foreign minister Joachim von Ribbentrop. He was the great-great-grandson of German Chancellor Otto von Bismarck.

Bismarck's great uncle and namesake, Count Gottfried, was a Nazi official who allegedly became part of the famous plot to assassinate Adolf Hitler. His younger sister, Vanessa Gräfin von Bismarck-Schönhausen is a public relations agent in the United States. His elder brother Carl-Eduard Graf von Bismarck-Schönhausen was a member of the German Bundestag.

Gottfried had multi-faceted history as a pleasure-seeking heroin addict, hell-raising alcoholic, flamboyant waster and a reckless and extravagant host of homosexual orgies. When not clad in the lederhosen of his homeland, he cultivated an air of sophisticated complexity by appearing in women's clothes, set off by lipstick and fishnet stockings. Never concealing his homosexuality, von Bismarck continued to appear in public in various eccentric items of attire, including tall hats atop his bald Mekon-like head. At parties he would appear in exotic designer frock coats with matching trousers and emblazoned with enormous logos. Flitting from table to table at fashionable London nightclubs, he was said to be as comfortable among wealthy Eurotrash as he was on formal occasions calling for black tie.

The death of heiress Olivia Channon in Graf von Bismarck's room would disrupt his life. She was found dead from a heroin overdose in Bismarck's rooms at Christ Church College in 1986. Bismarck was charged with drug possession. He was fined £80. His father, Prince Ferdinand, recalled him to Germany for treatment at a private clinic, it was said he left Oxford so quickly that a family servant had to settle his bills with public houses, tailors and restaurants.

In August 2006, Anthony Casey, 41, fell 20 metres from Graf von Bismarck's Chelsea flat and died. Bismarck was not arrested and the police said there were no drugs found in his flat. This incident triggered speculation from the tabloid press. London's Daily Mail claimed the incident was triggered by a cocaine-fueled orgy. The coroner's report had found no alcohol in Casey's body, but did discover a significant amount of cocaine. The accusation of a 'gay orgy' was officially denied by Gottfried, though the coroner, Dr. Paul Knapman, told The Guardian that a great deal of sexual paraphernalia was discovered in the flat, including sex toys, lubricant, and a rubber tarpaulin. "In common parlance, in the early hours of the morning, there was a gay orgy going on", Dr. Knapman told the newspaper. "Nevertheless, this was conducted by consenting males in private."

On 2 July 2007 Bismarck was found dead in his almost empty £5 million flat, which was in the process of being sold. He was 44 years old at the time of his death. Sebastien Lucas, the pathologist who carried out the autopsy, said that Bismarck had been injecting cocaine on an hourly basis on the day before his death, and that Bismarck's body contained the highest level of cocaine that he had ever seen, as well as morphine; he also had liver damage, Hepatitis B, Hepatitis C, and HIV.

1993 – Romania: Marius Aitai, Ovidiu Chetea, and Cosmin Hutanu are sentenced to up to two and a half years in prison for same-sex acts in private. Amnesty International calls for their immediate release and protests the imprisonment of 54 other people on similar charges, as well as the reportedly widespread torture and sexual abuse of persons arrested on suspicion of homosexuality.

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bb-bare-bones · 10 days

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How We Make Our Psychos: A Psycho Retrospective

By Rebecca Smith

Artwork by Dy Dawson @xgardensinspace

Psycho. For a great many people, that single word is enough to conjure up Bernard Herrmann’s iconic screech of violins and Janet Leigh’s screaming face as a knife arcs towards her in the shower. Whether or not a person has actually seen Alfred Hitchcock’s 1960 psychological thriller won’t spare them – in the more than six decades since its release, Psycho has become a cultural touchstone for America and the horror genre. The pivotal spoilers Hitchcock went to much effort to conceal – if you didn’t know, the conventions of cinemas having start times and no late admissions policies are thanks to Psycho – are now so well entrenched in our collective cultural psyche that I wouldn’t be surprised if newborns’ shrieks these days are actually baby speak for “IT WAS NORMAN!!”

It's perhaps unsurprising that Hitchcock’s Psycho, which was named the greatest movie ever made by Variety in December 2022, is not exactly unexplored territory when it comes to analyses. Whilst the legendary shower scene is one of the most famous movie scenes in history, virtually every shot of this suspenseful masterpiece is familiar to us and, as such, has had interpretation after interpretation, and symbolism after metaphor after allegory, applied to and teased out of it. Fortunately, I’ve still been allowed to write something about Psycho anyway, so do indulge me and read on.

At its twisted roots, Psycho poses the question of how well we truly know other people, and this unsettling thought is where its lasting horror derives from. Lila Crane, Sam Loomis, and Mr Lowrey are all shocked to discover Marion Crane has run off with $40,000 because this isn’t the Marion they thought they knew; likewise, the entirety of Fairvale are shocked to discover Norman Bates has been murdering people while dressed as his mother – who he also murdered – and for years has been looking after her preserved corpse as if she was still alive. This isn’t the Norman they thought they knew, either. As the audience, we’re positioned to be shocked by this reveal about Norman too, as we’ve been encouraged to feel sorry for him as the dutiful, unworldly son of a cruel and possessive mother. Instead, we discover the brutal violence in Psycho is a part of Norman and we were just taken in by Anthony Perkins’ innocent smile – which, of course, was one of the many reasons he was chosen for the role.

In the real world, the people of Plainfield, Wisconsin, probably felt a similar shock in 1957 when it was uncovered that one of their locals had killed and mutilated two women and was living in a house full of stolen human body parts, many of which he’d morbidly fashioned into pieces of furniture. It is widely known that this unassuming local, Ed Gein, was a source of inspiration for Robert Bloch’s original 1959 Psycho novel, of which Hitchcock’s film is an adaptation. After the initial horror of Gein’s crimes, there remained the uncomfortable realisation that something like that could happen right under a community’s nose. A story not a million miles away from Psycho can, and did, happen somewhere it would be least expected to.

In a bold move for its era, then, Psycho explores why its killer kills. Psychoanalysis – the legacy of Sigmund Freud – was popular in America around the time of Psycho’s creation, and both Bloch and Hitchcock incorporated it into their respective works, most obviously through the character of Norman. As well as being one of the most recognisable poster boys for the Oedipus complex, which Bloch actually highlights Norman’s self-awareness of early in the novel, a significant portion of Norman’s dialogue in the Hitchcock film functions as Freudian slips about the horrible truth his unconscious is repressing. The inclusion of psychoanalytic elements in Psycho is an important component in making Norman a complex horror villain rather than one who kills for the sheer evilness of it. We could spend an entire essay debating exactly which mental illnesses Norman is supposed to be suffering from, and it is clear in retrospect that their depiction does not quite hold up to the reality in any case, but the fact that Norman is not well and has been spiralling for some time – while no excuse for murder – means we understand why he is where he is mentally and why he stays in his “private trap” rather than facing reality.

Of course, it is all very good understanding the psychology behind our so-called proto slasher, but Psycho hints towards the external as well as the internal factors that go into making a deranged killer. I am referring here to the place where Norman was allowed to fester: the fictional town of Fairvale, California. In its depiction of the small town, Psycho is critiquing the type of society and community attitude that unwittingly enables someone like Norman. American society in the 1950s was repressed – look what happened when Elvis wiggled onstage – and it is this repression that has disastrous consequences in Psycho.

It is Lila who summarises the issue with Fairvale in Bloch’s novel, in a disappointed observation about Sam: “He had that slow, cautious, conservative small-town outlook.” This outlook, exhibited by both Sam and Sheriff Chambers in their insistence on waiting and not bothering Norman, is perhaps best typified by Mrs Chambers in the Hitchcock film. When Lila and Sam learn Mrs Bates supposedly poisoned herself and her lover in a murder-suicide some ten years past, Mrs Chambers adds, “Norman found them dead together. In bed.” There is a disapproving emphasis on “in bed”, as if this is the most shameful aspect of the incident, which serves to highlight the still dominant conservative Christian outlook on sexuality and marriage prevalent at the time. This societal outlook on sexuality is shown throughout Psycho to be detrimental to its characters: at the beginning of the film, Marion is unhappy she and Sam are unmarried and must meet in hotel rooms for sex; and Norman, of course, has internalised disgust and guilt with his own sexuality to such an extent that, in a misogynistic twist, he projects that disgust and guilt on to any woman he finds attractive, allowing ‘Mother’ to surface and kill her.

In addition to this, Mrs Chambers has two other lines that provide insight into the community Norman grew up in. She mentions she helped Norman choose the dress his mother was buried in, remembering that it was “periwinkle blue”. Then, a few scenes later, she invites Lila and Sam for a meal to make reporting Marion’s disappearance and theft “nicer” for them. Both of these are kind acts, but are they inordinately helpful ones? Neither of these gestures would have illuminated what Norman had done; they were more like putting plasters over gaping wounds. This, it seems, is the Fairvale way: don’t ask, don’t know.

It is true that this effective silence around difficult or taboo subjects was a society-wide issue, but I think we can assume Fairvale, as a small town, was supposed to have its own distinct, concentrated flavour of it. If most people knew of the Bates family who lived like there was nobody else in the world, did no one ever think to query why that was? Did anyone know what Norma Bates was like? Didn’t anybody notice that Norman had lived in near isolation all his life, and wonder what effect that might have on a person? The answers are clearly no, because that was the Bates family’s business. The warning signs were therefore missed or ignored. At this time, and in this kind of place, the structural forces simply didn’t exist to avert crises of mental health, or abuse, or violence before they escalated. Psycho is pointing out the dark side of contemporary, as it then was, American society. The sort of situation that led to Gein. The story of Norman Bates is in part a warning about how pretending something isn’t happening and being unwilling to face reality – and that’s literal reality, in Norman’s case – only causes more harm in the long-term. And, once again, these external factors also do not excuse Norman’s murders. However, they do help explain how he was able to get away with them, unsuspected, for so long.

This is not to say there is one single set of circumstances which would enable the story of Psycho to play out in some way. The whole point of Psycho is that it could happen next door, to anyone, because we might not know someone as completely as we think we do. The story could only critique the world it found itself in at that moment, but the passage of time prompts the question: could Norman Bates exist today? After all, not only have taboos around sexuality and mental health weakened considerably in a general sense over the last six decades, but there have also been huge advancements in the technology used to catch criminals. Giving your bloody crime scene a quick wipe down with some water and a mop might not cut it now. The internet too is encroaching further and further on our lives. It is fast becoming impossible to exist without at least a small online presence – and once you have an online presence, there is something about you there for people to pry into.

Then again, while the internet can be a tool to help people in bad situations, we all know what a double-edged sword it is. Never mind the overtly dark corners of the web, someone as well-established in presenting a false state of affairs to the world as Norman is would surely excel in doing the same thing in the supposedly safer online places. In fact, doing it online would be child’s play in comparison to real life. And, inescapably, security cameras would be a modern-day Norman’s scopophilic dream, there is no denying that. There are also still parts of society that cling harder to the values and social etiquette of the past. Who is to say Fairvale would have kept to the average rate of progress?

Thus, the exact circumstances Psycho painted as aiding Norman’s murders in a small 1950s town might well have been altered in some way in the years since Hitchcock’s untouchable film first hit cinema screens, but the central fear in Psycho about how well we truly know other people remains. In Psycho, the two key characters of Norman and Marion, so often compared as two sides of the same coin, are being dishonest with those around them. Norman is even being dishonest with himself. Today, in our world of chronic oversharing, I’d wager there are still very few people who would – or even could – reveal every part of themselves to other people. Should that really be an aim for anyone? I would argue no, definitely not.

The inevitable consequence of personal privacy is that, in our imperfect world containing messed up people who sometimes do terrible things, there will be a few Normans. Likewise, not everyone can be the Lila who exposes and stops them. We can only exist inside our own heads; we can’t ever truly know the entirety of another person. In the end, the perversion of the familiar, of the people we tell ourselves we know – such as Norman – and the places we think are safe – such as our showers – is what continues to frighten and unnerve us in Psycho.

And Norman’s creepy smile at the end, of course; although that’s my favourite bit.

#horror #horror movies #horror writing #spooky #bbqueue #bare bones articles #psycho

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like-rain-or-confetti · 1 year

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Toast and the Holy Ghost (Scarecrow x Abigail Nygma-Crane)

Abigail flopped onto Jonathan's bed with a huff. Jonathan, sitting in bed and looking over an academic report on his old grey laptop, looked at her questioningly. "What is it, darling?" He mumbled lowly. "Dad's not answering his phone." She frowned up at the ceiling. "Well, that was to be expected. You know he's working." Jonathan replied, his eyes moving back to the laptop. "Still though..." She grumbled before sitting up. "So you'd like me to do what?" Jonathan pressed. "Well I figured since I can't annoy one dad- I'll annoy the other." The corner of Jonathan's lip upturned slightly. "I'm quite busy myself, dearest." He looked at the time at the bottom of the screen. "Besides, it's nearly eleven, bedtime darling." Abigail groaned and shook her head, moving to sit by Jonathan's covered feet and crossing her legs. "Not tired." "You're not tired?" Jonathan repeated somewhat distracted. "Not tired." Abigail said again. "I'm hungry actually. Can I have pasta please, Chef?" Jonathan raised an eyebrow silently as Abigail continued. "I want pasta please, Chef!" She sang. "No." Jonathan said flatly. "Please! Oh dada!" She continued to sing. "You haven't called me that since you were two." Jonathan stated plainly. "Will I just call you that from now on?" Abigail grinned. "Abby, you are fifteen nearly sixteen years old. No, no you're not going to call me that." Jonathan smiled as he shook his head. Whilst he saw the humour in it, Abigail could still tell that he was being serious. "Pasta please." She pouted. "With cheese." "Abby you act like I don't feed you- should I be concerned?" Jonathan smiled as he spoke with slight disbelief. "I haven't had anything since dinner!" Abigail whined. "That's the idea of dinner." Jonathan chuckled. "To appease you until breakfast the next morning. How can you still be hungry, my girl?" "I don't know." She whined, crawling to his side before hugging his arm. "Now I know you're tired because you're clinging to me like you're five. Go to bed, Abigail. Get some rest." He murmured, attention moving back to the screen. "See if I spun a big sob story about how dad doesn't feed me, would you believe me?" Abigail asked. "Yes. It wouldn't be out of character." Jonathan replied. "If I do that now will it somehow convince you to give me food?" Abigail giggled as Jonathan sighed. "You're not even hungry, Abby. You're tired and you're bored. I know you well enough to know those two things make you want to eat. Besides...I fed you tonight." She squeezed his arm with a giggle making him chuckle quietly. "So feed me!" "No!" He shot back, the two of you laughing to each other. "Come on, bed. Give me peace." Jonathan smiled. Abigail caught a glance at TV that was blaring "No Input" across the screen. "Did you put the TV on?" Jonathan looked at the TV on the opposite side of the room. "No." He replied calmly. "Neither did I." Abigail's eyes widened as she stared at Jonathan. "In the name of Jesus!" Abigail cried out as she pointed to the ceiling. Jonathan chuckled to himself, hanging his head in shame. "That's the holy spirit, you know. Or it's the ghost." Abigail stated. "No ghosts and no Jesus. Not here anyway." Jonathan replied crisply with a smile. "It's granny." Abigail said blankly. "What?" Jonathan furrowed his brow, amusement on his features. "Granny brought Jesus and turned on the TV. She's sending us messages from the beyond. I think she wants you to feed me." Abigail explained before nudging his side. "Darling, my mother died when I was young. I don't think you nor I would be able to determine that." He replied. "No, granny! Your granny!" Abigail whined. "My grandmother? She's your great grandmother and you're sorely mistaken if you think she'd want me to feed you." He laughed at the thought. "Also not a chance that she's with Jesus. Just for the record." "What was her name?" Abigail asked. "Marion." He replied, something in the report catching his eye. "Oi, Marion, help me out and get your grandson to give me food!" Abigail cried out to nothing. Jonathan laughed. "Futile attempt for many reasons, darling. Still no ghosts." Jonathan said lightly. "What do you mean? Brenda is right- you can't talk about Brenda like that. She's going through a lot!" Abigail gestured to the corner beside him. Jonathan chuckled. "Ah yes, my mistake. Don't forget Richard beside you." Jonathan nodded to the empty space beside Abigail. She nodded. "What's good, Richard? Get off my dad's bed and quit trying it on with him." Jonathan rolled his eyes. "Really?" He deadpanned. "Don't like how he looks at you, dad." Abigail shook her head in disapproval to the empty space beside her. "They think you should feed me what other reason would the TV be on, hm?" She tried again. "Abigail..." Jonathan shook his head as he dug his hand under her foot and pulled free the remote. She stared at the remote, the cogs turning in her head. "Brenda, why did you put that there!?" Abigail asked loudly and Jonathan sighed. "Can I at least make myself toast?" She nudged him. "Fine! If you're going to expire within the next three minutes then by all means, go and do that. Just go to bed when you're done!" Jonathan groaned and Abigail fist bumped the air. "You got it boss! Say less champ! I see you, dada!" Abigail darted for the kitchen as Jonathan shook his head but a small smile grew on his lips.

#batman #batman villains #scarecrow #Jonathan Crane #Abigail Nygma-Crane oc #oneshot #one shot

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visceravalentines · 11 months

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Ngl you're right about the black phone but like. Honestly about half the movies in the "slasher" fandom aren't slashers at all. Like you cannot tell me the boy is a slasher when literally two (2) characters are killed. I know some disney movies with more kills than that. (I've also seen some people calling beetlejuice a slasher and at this point? Fuckin go for it, there are no rules here, anyone is a slasher if we want them to be)

fuckin preach. i sometimes see pennywise in the mix?? like........that's a alien clown personification of the evil in men's hearts, not Guy With Knife. once i saw the Joker. like..........he do murder, yes. with pencils and bombs. it for sure doesn't matter, chase ur bliss, but sometimes people do just be saying things huh??

nobody asked for this but i'm gonna take this opportunity to plug (once again) My Heart is a Chainsaw by Stephen Graham Jones by laying out the slasher requirements according to the protagonist Jade who is all of us. gospel below the cut if u even care

1. THE PRANK: "Years ago there was some prank or crime that hurt someone and then the slasher comes back to dispense his violent brand of justice" 2. BLOOD SACRIFICE: "Think Judith Myers...Casey Becker...Marion Crane" 3. ADULTS: "Those parents and teachers and cops who dismiss all this tomfoolery of the kids just being kids." 4. OVERNIGHT: "The slasher needs for all this to happen pretty much Overnight. The reason you need that is because a slasher that happens over a single bad night in Haddonfield, it's believable that the adults who could put a stop to it are distracted or it's their night off" 4.5. PARTY: "Slashers love to crash parties." 5. SIGNATURE WEAPON: "Jason has his machete, Michael has his kitchen knife, etc." 6. SOMEONE TO WIELD THAT WEAPON: the slasher themselves obvi 7. THE FINAL GIRL: the slasher's opposite. "Final girls are the vessel we keep all our hope in. Bad guys don't just die by themselves, I mean. Sometimes they need help in the form of a furie running at them, her mouth open in scream, her eyes white hot, her heart forever pure."

anyway i love that book and slashers and horror analysis bye

#asks #anon asks #i <3 horror analysis

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aloneandforsakenbyfateandbyman · 2 years

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Ok so I became a real estate secretary and now Janet Leigh’s character Marion Crane in Psycho is SO relatable I’m laughing

Basically the story is: she’s a wagecuck office girl working for a realty company filled with rich oldcels, but she considers herself too sexi for it bc she wears pointy early 60s cone bras and silk negligees.

Also her bf is a broke Chad with a muscular frame who is in deep financial debt that won’t allow them to marry. Then Marion comes up with a criminal scheme to escape wageslaving.

Bc she’s too hot to be an office cuck, Marion steals $40k from her realty company and drives away to escape. Which is so Marxist-anarcho-syndicalist-anti-establishment-Unabomber imo.

But sadly Marion gets brutally murdered in the shower by a salty incel who lives with his mother and is forced to work 24/7 bc his mom is a lazy boomer.

I love the first part of Psycho bc it’s so girlboss and inspiring but when she gets killed that’s that lame 50s American morality kicking in punishing her for rebelling against traditional values and showing her titties on camera and having rawdog sex with John Gavin. God bless Marion Crane, the woman who had enough and was an alpha female !

#I’m posting this on my work wifi so like I’m ready to get fired or whatever #Psycho #Alfred Hitchcock #film #1960s

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another-corpo-rat · 1 year

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Don’t look at me. I know. But I am also a weak ass bitch who rereads Pride & Prejudice almost yearly.

And boy if I thought Smasher’s voice was hard to find before, it was near impossible considering this AU is so not him. Alas he’s but a toy to my whimsy so ¯\_(ツ)_/¯

Prompt: Free Day – AU {Regency} Adam Smasher/OC Summary: After breaking her heart years ago, Victoria doesn’t take Adam’s return well. At all.

All the years of careful steps and dutiful presentation as the perfect daughter, the perfect lady, the potentially perfect wife, walking with her chin held high and her temper pressed well underfoot, amount to nothing when she lays eyes on the man again.

That temper, a thing usually doused the moment she feels even an ember of it try to spark, rouses into a blistering inferno in her chest – its smoke chokes her lungs, tightens so cruelly within her that her heart has no other option but to thunder against the cage of her ribs in its desperation to escape the inevitable reopening of its wound. A wound she had carefully tended to in secret, cradling that broken organ as tenderly as her lover should have, holding it in her gentle grasp, letting it spill its naïve hopes and aches in ink across a page that she’d hide away in the pages of books she knows her mother would have no interest in reading.

“Fruitless things,” Marion Crane had said once when her daughter had offered her the book that had caught her rapture at the tender age of fifteen. “Don’t let it sully your thoughts with imaginations of whimsy, my dear. Love is a luxury we cannot afford.”

A lesson she should have taken to heart long ago. Once she had convinced herself she had – until that American came along, with his stern brow that only seemed to soften when he caught her eye across the room. That had softened her in turn, convinced the lone child of the notoriously sharp, impossibly wealthy Cranes to put her talons away. She should have known better, that a man of his standing would naturally seek a perch as high as her own to elevate his personal status, even to be seen with her arm entwined in his would bring interest he could never dream of currying on his own; the novelty of an American in London only lasts as long as a cup of tea on the day of their arrival. And seen they were, together in public, arm-in-arm in their walks around gardens, her dance-card conveniently full for every inquiring partner but him, yet it ended as suddenly as she felt it began. The scandal sheets had a particularly field day with that matter, the young Crane spurned by one far below her station.

And now here he is once more, perfectly at home in her aunt’s parlour. The aunt whose daughter is getting married to an American of ‘interesting character.’ The coiling in her stomach feels like fire, and it must be for how her throat dries and how hot the water that builds at the corners of her eyes is. Clenching her jaw as she was taught, grinding her teeth together until all become dust is not enough to keep her still, driven forward by the vitriol in her chest, the venom building on her tongue.

“You uncouth, barbaric, hateful-” Her litany of insults is muted even to her own ear with the ring of a slap that fills the deepest corners of the room, the sharp sting of flesh to flesh biting into her palm and, for but a moment, calming the torrent that was her thoughts as his head snapped with the motion, cheeks already reddened by the bite of outside’s cold unbalanced by the richer pink that now blossoms across his left. It is a sight to watch that square jaw, strongly defined, work with what she imagined to be bitten back insults, or perhaps his own rage being caught in his teeth, his hand rising to rub where she had struck. And yet the words he gives don’t insult her character, simple and more proper than her own venomous greetings. It works merely to rile her ire more.

“Hello, Ms Crane.”

“Is it not enough that you unsettled my standing within society, that you have to now lay those same designs upon my cousin?”

“You’re talking trite; I have no such ‘designs.’” There is the scorn she knows he carries, curled deep in his gut and baring its teeth in the smallest of gestures, the simplest of words – it matches her own beast, that quelled temper that only he manages to provoke. She wishes it was mirrored, that if she alone could not have his love then maybe his anger could be hers, but it wasn’t the case and she is loath at the thought he may own a part of her, no matter how unpleasant that part may be.

“You have lied to me enough that I have no reason to place merit in your word to contraries, Mr Smasher, not when all I know stands against you.” His brow, that strict thing that sits atop characteristically narrowed eyes, draws to meet in the middle, a conference of thoughts she both wishes to be privy to and desires to interrupt in tandem. “I am merely curious in what lies you have fed her, and if they were perhaps from the same trough as the slop I ate from your hand.”

“I don’t recall an instance of ever lying to you.”

“A shame then, that I was such a fool to not notice how thoughtless your promises were that you can’t even remember the dishonesty of them yourself. Because I doubt that slap was hard enough to wipe them from your memory.” And despite her anger stepping aside, letting the hurt she had managed to hide for the better part of a decade seep through in the rough edge of her voice, he has the audacity to smile – to laugh! A rumbling sound, rolling through his chest to shake those broad shoulders in minute quakes. And ever bold enough to take liberties he has no right to, his fingers rise to crook under her chin, the hardened skin of a working man rough against her own unmarred and soft, tilting her head upwards so she has no option but to meet his stern eyes – to bear witness to their softening, to the crinkling at their edges in amusement. It’s a mockery how her heart still skips at the view, that her thoughts veer to the beauty of it even now when she knows it to be the grin of a rake. A greater mockery still is that she knows how those lips will feel against her own, against her skin, the texture of the small scar that mars his bottom lip, the warmth of his breath that should be foul with poitín instead sweetened by anise comfits. The worst of it all, an offense she inflicts upon her own pride, is the longing to feel them against her again.

“Oh, I have missed you.” He croons, as soft and sweet as the nothings he had whispered when they lay together in his bed, nothing between them with even the cotton sheets kicked aside against the summer’s heat, dipping his head so that her longing may be cut short. It would be a simple matter, an easy motion of rocking onto the tip of her toes to close the scant distance propriety would already deign scandalous enough to question her virtues over, a mere press of her lips to his and their dance could begin anew. He would lead, as he always did despite her efforts to the contrary, wrangling against his demand as she did even when she fancied they might have something of a future together, his tongue would glide gently across her bottom lip and dip into her mouth at the vaguest of invitations.

It would all be so easy, so painfully familiar. A well tread mistake; one she had promised herself she wouldn’t make again for she had trailed the path so readily that there was no need to pave it, not when he was engaged to her blood and not when she had designs that extended beyond England and yet – and yet, she presses forward and up, locking her lips to his at not the detriment of her heart but the encouragement of it; that wounded organ she thought trying to escape the inevitability of pain was as foolish as the rest of her, its efforts not to flee but to bury itself in his chest, nestling close to the drum of his own.

Damn it all, she had missed him too.

#cyberhanami23 #cyberpunk 2077 #regency AU #Victoria Crane #fic tag #my writing #i would say this is a one-off but i #i like regency era stuff too much so ill prob be writing more of this #Ship: Gilded Chrome

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vntagetee · 4 months

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repost and fill in the words you most associate with your character !!

marion crane.

ANIMAL : cheetah.

COLOR : red.

MONTH : june.

SONG : paint the town red by doja cat.

NUMBER : 7.

DAY OR NIGHT : night.

PLANT : cactus.

SMELL : chanel no 5.

SEASON : summer.

FOOD : chocolate covered strawberries.

DRINK : dry martini.

ELEMENT : fire.

tagged by: @lavenderrpages tagging: whoever wants to do it !!

#✦ ・ marion crane 𓂅 ﹙ musing. ﹚

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chansaw · 1 year

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top 5 deaths in horror

1. casey in scream

i mean what a legendary scene!!! and the way the studio tricked people into thinking drew barrymore would be a main character just to kill her off in the first few minutes is such an iconic pull of the rug.

2. marion crane in psycho

say what you will about hitchcock (god knows my feelings on him are complicated) but there’s a reason this scene is one of the most famous in the horror canon. fun fact the blood in this scene is actually chocolate syrup!

3. the entire le dumas family in ready or not

like. OH MY GOD. it’s so unexpected, so cartoonish, and so BLOODY that i’m just obsessed with it. and alex exploding the second grace threw her wedding ring at him? iconic. show stopping. legendary. will never be the same.

4. paul allen in american psycho

you like huey lewis and the news? their early work was a little too new wave for my taste. but when sports came out in ‘83, i think they really came into their own, both commercially and artistically. the whole album has a crisp, clear sound and a new sheen of consummate professionalism that really gives the songs a big boost.

5. jackie taylor in yellowjackets

a little self-indulgent but i just don’t think i’ll ever get over the way jackie died - because up until ep10, people had all sorts of theories. was she pit girl? did shauna butcher her with her knife? people were expecting a grisly, gory exit and lyle and nickerson subverted our expectations by making jackie’s death an accident. if they were still in the civilized world, nobody would have had to die. but jackie refuses to play by the rules of the wilderness and refuses to overcome her stubborn pride. also her final dream/vision/hallucination still makes me cry every time i rewatch it. you’re the best friend i ever had. you know that right?

ask me my top 5 of anything

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lonleydweller · 1 month

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🌹Horror Writing Roster🌹

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Pyscho (1960, Pyscho 2, Pyscho 3): Norman Bates, Marion Crane, Mary Loomis, Maureen Coyle

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The Texas Chainsaw Massacre (1974, Tcm2, tcm game): Bubba Sawyer, Drayton Sawyer, Nubbins Sawyer, Chop Top Sawyer, Franklin Hardesty, Strecth, L.G, Lefty

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Scream (first one only): Stu Macher, Billy Loomis, Sidney Prescott, Randy

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Silence of the Lambs (Hannibal, Red Dragon, Hannibal Rising are included): Hannibal lecter, Clarice Starling, Will Graham, Lady Murasaki

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Repo! The Genetic Opera: Rotti Largo, Amber Sweet, Pavi Largo, Luigi Largo, Grave Robber, Blind Mag, Nathan/Repo Man, Shilo (platonic only!)

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The Shining: Wendy Torrance, Jack Torrance

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13 Ghosts: Dennis Rafkin

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Black Christmas (1974, 2006): Billy Lenz (testing the waters with writing his character)

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The Devil's Carnival: The Magician, The doll, John, Lucifer, The Scorpion

#Dweller's Writing Roster

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ashfordlabs · 11 months

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TAG GAME / character inspo.

rules: list your OCs and the characters that inspired them!

i was tagged by @thewardenofwinter ages ago, but i am finally getting around to it.

THEO / neil perry (dead poets society) wayne mccullough (wayne) isa/saix (kingdom hearts) ELI / jason todd (dc comics) jesper fahey (six of crows) axel (kingdom hearts) MAYUMI / marion crane (psycho) ben hargreeves (umbrella academy) inej ghafa (six of crows) DOROTHEA / satine (moulin rouge) nina zenik (six of crows) fatin (the wilds) HENRY / steve harrington (stranger things) penelope garcia (criminal minds) kevin flynn (tron) NATHANIEL / the fall by lovejoy (listen, i know this is a song, but this man would not exist without it) the darkling (shadow and bone) jason dean (heathers)

tagging (no pressure!): @oh-no-another-idea @thistlebloomed @imbrisvastatio @daisywords + anyone else who wants to take part!

#( cb ) inspo.#( cb / character ) theodore ashford.#( cb / character ) eli clarke.#( cb / character ) mayumi sakamoto.#( cb / character ) dorothea bohen.#( cb / character ) henry bohen.#( cb / character ) nathaniel ashford.

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wackywriterwhowriteswhenever · 2 years

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Seven Favorite Movies — Spooky Edition!

@poweredbycreativityandcake tagged me to list my seven favorite movies. As it’s October, I’m gonna list seven of my horror movies/film series!

1. Scream

Scream is my all-time favorite horror franchise. I absolutely love all of the films and there’s not one I don’t like. I’m not a fan of the TV series since I haven’t watched it much, but I don’t think I will since it doesn’t involve Ghostface (not season three of course) and more importantly, the legacy characters. I’ve loved every movie in this series and it’s the only horror series where every year, I watch all the entries. I have mixed feelings about Scream 6 since Neve Campbell won’t be in it, but I am willing to give it a chance.

2. Halloween

I love most of the movies in the Halloween series. My two favorite timelines are the David Gordon Green Thrillogy: Halloween (original film), Halloween 2018, Halloween Kills and Halloween Ends; Sister Trilogy: Halloween (original film), Halloween II (1981) and Halloween H20: 20 Years Later (Resurrection does NOT exist in my book). I love the brilliance of David Gordon Green’s films and the effects trauma can have on an individual person as well as a community. And of course you can’t beat the Scream Queen, Jamie Lee Curtis.

3. Wes Craven’s New Nightmare

This film is highly underrated. I love how absolutely meta it is and it’s the perfect film to lead up to Scream. Heather Langenkamp gives her finest performance in this film and Wes Craven shows his brilliance throughout the entire movie. I would argue that this movie is the exception of a sequel being better than the original. I adore this movie so much!

4. Psycho

This gem set off the slasher craze. Janet Leigh gives an incredible performance as Marion Crane and she’s arguably the OG Scream Queen. Psycho paved the way for future slasher films and it’s such a classic. I love its subtlety and how it doesn’t give everything away, not even Norman Bates’ motive.

5. The Lost Boys

I often say The Lost Boys is the only valid vampire movie. Vampires DO NOT sparkle, nor are they aggressively good looking. They are violent killers who should be feared. The Lost Boys perfectly captures this. It’s a classic vampire movie and the stakes are high during it. Definitely a movie to watch in October!

6. Ghostbusters (2016)

The sexists and racists of the internet won’t like this, but I fucking love the 2016 Ghostbusters. It’s funny as hell and it’s a beautifully shot film. And an all-women ghostbusters team will forever be more iconic than the original team. I said what I said

7. The Monster Squad

This is probably one of the most underrated films ever. It’s essentially Spooky Goonies with a group of kids starting a club for monster hunting. The movie even stars The Goonies mom. It’s a fun movie featuring Dracula, Frankenstein’s monster, The Creature from the Black Lagoon, Werewolf Man and The Mummy. It’s such a fun film and perfect for those who don’t wanna be scared.

Tagging some folks. Absolutely not pressure to participate! @willthecleric @william-byers @jesper-faheyss @byliever @estelinhabb @w1llb7ers

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franki-lew-yo · 2 years

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Drawtober Challenge: Literary editionsss!

Illustrate a different horror short and/or draw a classic gothic lit character for each day of October.

Annotated, in case the fonts are too hard to read

Shorttober

The Phantom Coach by Amelia Edwards

The Screaming Skull by Francis Marion Crawford

The Canterville Ghost by Oscar Wilde

The New Mother by Lucy Clifford

The Devil and Tom Walker by Washington Irving

The Monkey’s Paw by W.W. Jacobs

Silent Snow, Secret Snow by Conrad Aiken

The Signal Man by Charles Dickens

Dracula’s Guest by Bram Stoker

Oh Whistle and I’ll come to you My Lad by M.R. James

An Occurrence at Owl Creek by Ambroise Bierce

The Vampyre by John William Pilodori

The Romance of Certain Old Clothes by Henry James

La Venus d’ille by Prosper Merimee

The Body Snatcher by Robert Louis Stevenson

The Company of Wolves by Angela Carter

Pigeons from Hell by Robert E. Howard

The Rime of the Ancient Mariner by Samuel Taylor Coleridge

Lot No. 249 by Arthur Conan Doyle

It’s a Good Life by Jerome Bixby

The Lawnmower Man by Stephen King

The Shadow by Hans Christian Anderson

There will Come Soft Rains by Ray Bradbury

August Heat by W.F.Harvey

The Red Room by H.G. Wells

The Landlady by Roald Dahl

The Yellow Wallpaper by Charlotte Perkins Gilman

The Lottery by Shirley Jackson

The Cats of Ulthar by H.P. Lovecraft

A Rose for Emily by William Faulkner

The Masque of the Red Death by Edgar Allan Poe

Lit-tober

Victor Frankenstein

Sir Simon (The Canterville Ghost)

Grendel (Beowulf)

Jack Griffon (The Invisible Man)

Okiku (The Disk Mansion at Bansho)

Oiwa (The Story of Oiwa and Tamiya Iemon)

Dorian Gray

Ichabod Crane

Bill Sykes (Oliver Twist)

Henry Jekyll and Edward Hyde

Camilla

Otsuyu (The Peony Lantern)

Count Dracula

Baba Yaga

Erik (Phantom of the Opera)

Moby Dick

Cheshire Cat

Professor Moriarty (Sherlock Holmes)

Professor Faustuss

Von Rothbart (Swan Lake)

The Wretch (Frankenstein; or, the Modern Prometheus)

Cthulhu

Fortunato (A Cask of Amontillado)

Varney the Vampire

Hop Frog

Long Legged Tailor (Der Strewwelpeter)

Sweeney Todd

Feathertop

Dr. Moreau

Prince Prospero (The Masque of the Red Death)

Moundshroud (The Halloween Tree)

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