The concept of a female witch with black widow abilities is a fascinating and complex one. It combines two distinct archetypes - the witch, traditionally associated with magical powers and mystery, and the black widow, a deadly and cunning predator. This fusion creates a character that is both alluring and dangerous, capable of using her magical abilities to manipulate and deceive. The idea of a witch with black widow abilities immediately brings to mind imagery of a powerful and cunning woman who uses her magical powers to enchant and ensnare her victims. She is a master of manipulation, able to effortlessly weave spells and enchantments to bend others to her will. However, unlike traditional witches who often employ their magic for the greater good or in service of a greater power, the witch with black widow abilities uses her powers solely for her personal gain.
However, unlike traditional witches who often employ their magic for the greater good or in service of a greater power, the witch with black widow abilities uses her powers solely for her personal gain. The black widow aspect of this character adds an element of danger and lethality to her already formidable powers. Just as the black widow spider lures unsuspecting prey into her web before delivering a fatal bite, the witch with black widow abilities uses her magical talents to ensnare and exploit those around her.
Representation and Reality in ‘The Mummy’ (1999)
Following on from my own thoughts on the most recent installment in the ‘Mummy’ genre, I’m pleased to welcome a guest blog from armchair Egyptologist and film fanatic Matt Szafran – hopefully the first in a series!
It’s easy to be annoyed when a subject you’re knowledgeable in is depicted inaccurately on screen. I know medical workers who get annoyed when a procedure is performed in a fatally incorrect manner, IT people who balk at the incessant use of the word ‘firewall’ and locksmiths who laugh at the way a highly trained secret agent uses lock picks the wrong way round. It sounds obvious but sometimes we forget the fact that films are simply entertainment for the masses and in our haste to condemn the inaccuracies we often overlook the more accurate details.
To that end let us consider the Stephen Sommers directed The Mummy (1999) film, and observe what the filmmakers actually got right instead of debunking its inaccuracies. The film certainly has some egregious historical inaccuracies, however the team at Industrial Light and Magic, with the help of Egyptologist Dr Stuart Tyson Smith, included some surprisingly accurate details even though they know that the proverbial man on the street wouldn’t know a cartouche from a cartonnage. For the sake of brevity I’m going to cherry-pick a few examples of these, rather than consider every point in the film.
The end of the first act sees Arnold Vosloo’s Imhotep character being cursed with the ‘Hom Dai’ and being mummified alive alongside his priests. Due to ancient Egyptian decorum and secrecy we don’t know exactly how mummification was actually performed, however through mummy research and experimental archaeology we do have a good idea of the majority of the processes involved. In the film we see what appears to be excerebration and wrapping being performed on Imhotep’s priests, with some of the embalmers are wearing jackal headed masks. There are depictions in ancient Egyptian visual culture of masks being used whilst performing rituals like the ‘opening of the mouth’ ceremony, and there are also extant examples such as the Late Period clay mask in the Roemer-Pelizaeus Museum in Hildesheim or the Late Period cartonnage mask in The Royal Pump Room Museum in Harrogate. The wrappings applied to Imhotep look to be very accurate, with a herringbone weave pattern on the torso and strips of outer wrapping encircling the body and legs in the traditional figure-eight style. It’s not shown in this scene but when Imhotep’s coffin is later discovered it’s said that ‘the sacred spells have been chiselled off’ and that the occupant was ‘condemned not only in this life but in the next’. The spells removed from Imhotep’s coffin are likely to reference the Book of the Dead, which acts as a guide for the challenges faced in the afterlife and was painted on the inside and out of coffins, without which the deceased may find themselves lost in the underworld of Duat.
We’re introduced to Rachel Weisz’s Evelyn ‘Evy’ Carnahan character in the library of the ‘Cairo Museum of Antiquities’, which has shelves stacked with case bound books and binders. Those binders are actually imitation field reports by the Egypt Exploration Society (EES), with each binder being for different topics such as ‘art’ or ‘tools’. Interestingly the EES logo used is actually the original logo of the Egypt Exploration Fund (EEF) with the word ‘fund’ changed to ‘society’. As the film is primarily set in 1926 having an EEF logo would anachronistic, as the EEF became the EES in 1919. This is an excellent example of a tiny accurate detail that you ultimately can’t even see on screen, but the art department spent time creating it anyway. There is an interesting parallel here with the way much the ancient Egyptian visual culture would never be seen by human eyes other than its creator, and was purely for the consumption of the gods rather than man.
When the protagonists leave Giza aboard a riverboat heading for Hamunaptra, we see Evy reading a book during the journey. This is actually The Dwellers on The Nile by E. A. Wallis Budge published in 1885. Even though his works are not well regarded today, it would be wholly appropriate for Egyptology scholars of the 1920s to be reading Budge. The art department could have used any book but chose to use something historically accurate which the character would likely have been reading, even though only a tiny handful of people would ever realise the significance.
There is exceptional symbolism when we see the camera pan down a carved obelisk depicting Seth, the god of chaos and disorder, and on to Imhotep leading a mob of boil ridden ‘slaves’. As Campbell mentioned in his review of The Mummy (2017) (see post below); even though Seth is the preeminent choice for an ‘evil’ god he’s surprisingly rarely depicted on screen. Given how much research has gone into the other aspects of the film this feels a deliberate and appropriate backdrop to the antagonist as he’s about to commit another act of violence.
There are plenty more examples of accurate and otherwise interesting Egyptological details in both The Mummy (1999) and also in its sequel The Mummy Returns (2001). It can be enjoyable to watch the films and only look at the background, endeavouring to work out what references were used. Some of the origins of those props and sets, especially the ones used for hieroglyphic texts, can be equally surprising and obscure!
To that end let us consider the Stephen Sommers directed The Mummy (1999) film, and observe what the filmmakers actually got right instead of debunking its inaccuracies. The film certainly has some egregious historical inaccuracies, however the team at Industrial Light and Magic, with the help of Egyptologist Dr Stuart Tyson Smith, included some surprisingly accurate details even though they know that the proverbial man on the street wouldn’t know a cartouche from a cartonnage. For the sake of brevity I’m going to cherry-pick a few examples of these, rather than consider every point in the film.
She is a master of deception, able to cloak her true intentions and manipulate others to do her bidding. However, it is important to note that this character is not simply a one-dimensional villain. While she may be driven by personal gain and a thirst for power, she also possesses a complexity and vulnerability that makes her more engaging and relatable. She may have faced hardships or betrayals in her past, which have shaped her into the formidable and calculating individual she has become. This depth adds layers to her character and makes her more than just a stereotypical "evil witch." In conclusion, the concept of a female witch with black widow abilities is a captivating one that combines the mystique and power of witches with the dangerous allure of a black widow predator. This character is a master of manipulation and deception, using her magical abilities to enchant and ensnare her victims. However, she is not simply a one-dimensional villain, possessing complexity and vulnerability that makes her more relatable..
Reviews for "Tangled Webs and Deadly Charms: Tales of Female Witches with Black Widow Abilities"
1. Sarah - 2/5 stars - I was really disappointed with "Female witch with black widow abilities". The concept sounded interesting, but the execution fell short for me. The main character didn't feel fully developed and her abilities were not well explained or explored. The plot also seemed to drag, and I found myself losing interest halfway through the book. Overall, it was a letdown and I wouldn't recommend it.
2. Jason - 1/5 stars - I couldn't get into "Female witch with black widow abilities" at all. The writing felt amateurish and the dialogue was cheesy. The characters lacked depth and I couldn't bring myself to care about their struggles. The plot was also predictable and lacked originality. I ended up skimming through most of the book because I simply couldn't connect with it. It was a waste of my time and I wouldn't recommend it to anyone.
3. Emily - 2/5 stars - I had high hopes for "Female witch with black widow abilities", but unfortunately, it fell flat for me. The pacing was off, with long stretches of nothing happening followed by sudden bursts of action. The world-building was also lackluster, with little explanation of the rules and limitations of the black widow abilities. Additionally, the romantic subplot felt forced and unnecessary. Overall, it was a mediocre read that failed to live up to its potential.