Age: 58
female
Molly Kathleen Ringwald (born February 18, 1968) is an American actress, singer, dancer, and author. She was cast in her first major role as Molly in the NBC sitcom The Facts of Life (1979–80) after a casting director saw her playing an orphan in a stage production of the musical Annie. She and several other members of the original Facts of Life cast were let go when the show was reworked by the network. She subsequently made her motion-picture debut as Miranda in the independent film Tempest (1982), which earned her a Golden Globe nomination for New Star of the Year. Ringwald is primarily known for her collaborations with filmmaker John Hughes. She established herself as a teen icon after appearing in the successful Hughes films Sixteen Candles (1984), The Breakfast Club (1985), and Pretty in Pink (1986). She later starred in The Pick-up Artist (1987), Fresh Horses (1988), and For Keeps (1988). She starred in many films in the 1990s, most notably Something to Live for: The Alison Gertz Story (1992), The Stand (1994), and Some Folks Call It a Sling Blade (1994 short film – precursor to Sling Blade). Ringwald had regular roles on the television series The Secret Life of the American Teenager (2008 - 2013) as Anne Juergens, Riverdale(2017 - 2023) as Mary Andrews, and Feud: Capote vs. The Swans (2024) as Joanne Carson. She is also recognized by younger audiences for her role as Sara Flynn in The Kissing Booth movies. Ringwald was part of the "Brat Pack", and she was ranked number one on VH1's 100 Greatest Teen Stars.
Molly Ringwald
Mary Alice Tuttle
for Mary Alice Tuttle in Killers of a Certain Age
Suggested by williammganas
Billie, Mary Alice, Helen, and Natalie have worked for the Museum, an elite network of assassins, for forty years. Now their talents are considered old-school and no one appreciates what they have to offer in an age that relies more on technology than people skills. When the foursome is sent on an all-expenses paid vacation to mark their retirement, they are targeted by one of their own. Only the Board, the top-level members of the Museum, can order the termination of field agents, and the women realize they’ve been marked for death. Now to get out alive they have to turn against their own organization, relying on experience and each other to get the job done, knowing that working together is the secret to their survival. They’re about to show the Board what it really means to be a woman—and a killer—of a certain age.
