Girl with Pushchair 1

Frustrated and slightly defensive, but not deeply invested in the outcome. She’s more concerned with the youths’ behavior and the broader dynamics of the crowd than with Liam’s immediate crisis, though her interventions suggest a moral compass.

Frustrated but determined. She’s angry at the youths’ cruelty but doesn’t let it consume her—she’s too busy being a mother to indulge in their nonsense. Her empathy for Liam is practical, not emotional; she doesn’t want to see him hurt, but she’s not going to make a scene about it. She’s the voice of reason in a sea of chaos.

Frustrated empathy. She is genuinely concerned for Liam and disgusted by the youths’ behavior, but her ability to intervene is limited. There is a sense of resignation in her actions, as if she has seen this dynamic play out before and knows how it will end.

Annoyed and disapproving—she is a voice of reason in the crowd, her maternal instincts clashing with the youths’ cruelty, but her interventions are brief and pragmatic.

Annoyed but engaged, as if she’s seen enough of this kind of behavior to know it’s not worth her time—but she’s not going to let it slide, either. There’s a weariness to her, but also a determination to stand up for what’s right.

Annoyed by the youths’ heckling but engaged in the moment. Her assertiveness stems from a desire to maintain order and correct inappropriate behavior, her pushchair symbolizing her role as a young mother in a chaotic environment.

Annoyed and engaged—she is frustrated by the youths’ cruelty and refuses to let it go unchallenged, even if it means drawing attention to herself.

Observant and slightly unsettled by the environment, but fully aligned with Catherine’s approach. His emotional state is one of quiet professionalism, with an undercurrent of discomfort at the couple’s state and the flat’s degradation. He is not as emotionally invested as Catherine, but his presence reinforces the institutional weight of their visit.