THANK YOU FOR THE QUESTION, I LIKE GETTING TO GO INTO IT. In short Harvey's intense Madonna-Whore Complex is the central pillar of how he perceives and interacts with all women. He divides the female sex into two rigid, irreconcilable categories: the pure, respectable Madonna and the degraded, disposable Whore, as the complex dictates. There is almost no gray area for him.

Loretta, initially, is the the embodiment of the Madonna in Harvey’s life. She represents the ideal of the quiet, mousy, grieving widow who became a devoted suburban wife and mother. In his mind, she is meant to be modest, dutiful, and sexually restrained; outwardly symbolizing proper middle-class WASP femininity. He needs her to remain pure and submissive to preserve his fragile self-image as a respectable family man. Sex with her is rare, mechanical, and often leaves him feeling resentful or impotent afterward, because domestic intimacy feels like obligation rather than conquest. At the same time, he secretly resents her for "trapping" him in this respectable life and fantasizes about her betraying him, which would finally give him justification to punish her as the whore he suspects all women truly are.

In contrast, the prostitutes and sex workers he frequents in the city are pure Whores to him. These women—often wearing fishnets, cheap perfume, and revealing clothing—embody unthinkable open sexuality and moral corruption in his eyes. Their existence offends his sense of dated 1950s decency, yet that very offensiveness is what arouses him. He views them as disposable outlets for his rage, violence, and sexual frustration. They are beneath contempt, objects to be used and discarded. Once he penetrates them, they become his permanent property. Any assertion of independence is seen as betrayal, which justifies his brutal violence.

The deepest tension and excitement for Harvey lies in the space between these two poles. He is most aroused by the fantasy of corrupting a Madonna i.e. slowly eroding the boundaries of a prim housewife, secretary, or respectable mother, turning her "trashy," and then punishing her for the fall. This is why he spies on neighboring housewives, makes obscene phone calls, and engineers situations where women of the street belittle him: it gives him the moral excuse to unleash his rage. Homemakers are outwardly to be respected and protected, but secretly lusted after as future victims. Sex workers, while useful, ultimately feel less satisfying because they lack the delicious drama of a fall from grace, which warrants their immediate disposal.

Through Harvey's eyes, all women are ultimately whores: the Madonna is simply one who hasn't been properly exposed yet. His violence is, at its core, punishment for this perceived universal female deceit and betrayal of the idealized feminine nuclear family role he both worships and desperately wants to conquer.

THANK YOU FOR THE QUESTION. Like the fetishes one I'm just gonna answer for my top / most important OC's but if you have anybody in mind I missed you can totally ask again :^)

Shawn: Baseline scent is a cloying, acrid-sweet body odor caused by his hormonal imbalance [excess estrogen from PAIS], mixed with weeks old unwashed sweat, greasy hair + scalp oils, and blood from constant scab-picking and nosebleeds. Now add in the smell of rarely-washed clothes, cheap energy drinks, and expired food. When he hasn't showered [which is often], it becomes eye-wateringly pungent, like a locker room mixed with sour milk and copper. Even after Vadim forces him to "clean up", the smell lingers in his pores.

Harvey: A stale, sour cocktail of cheap bourbon and whiskey on his breath, laundrey detergent, cigarette smoke clinging to tweed, woody / oak-y colognes, and a faint undertone of Brylcreem. There's a lingering note of leather from his car seats mixed with the metallic tang of fear-sweat and cheap aftershave that's been applied too thickly. When he's been drinking heavily, the smell turns sharper.

Abe: Death and old lady. The overwhelming chemical bite of formaldehyde and embalming fluid is permanent on his skin, hair, and clothes; sharp, acrid, and slightly sweet. Mixed with Virginia Slims cigarettes soaked in embalming fluid [creating a weird floral-chemical smoke], dust from the attic, and the faint smell of decaying flesh that never quite leaves him. Underneath it all is this powdery, camphor-and-lavender scent, plus a hint of old-lady perfume and mothballs. He smells like a funeral home that's been lived in for decades.

Randy: Raw, aggressive, and filthy. Heavy masculine musk and unwashed ball sweat, engine grease and motor oil from the junkyard, dried blood [fresh or old], dirt, and the overwhelming sour tang of cheap beer. When he’s been active in the woodshed or on a hunt, he reeks of fear sweat, semen, shit, and pine / earth from the forest. It's an overwhelming, animalistic, coppery smell.

Wilfried: Stale apartment hoarder mixed with taxidermy shop. Strong chemical preservatives and taxidermy fluids [arsenic, formaldehyde, borax], mothballs, dust, and old newspapers. There's a constant sour note of lager sweat, nosebleed iron from anemia, and poorly washed skin. His mother's heavy, cloying old-lady perfume [powdery rose and talc] often clings to him from her constant hovering and clothing checks. Overall musty, medicinal, and mildly alcoholic.

Kenny: Cheap but loud & exotic colognes, an undogly amount of hair products, cigarette smoke, sweat, and semen; the faint metallic tang of blood occasionally cuts through. There's also the artificial sweetness of whatever cheap booze or drugs he's on, mixed with polished leather from his car seats and the general greasy, over-perfumed stench of low-budget porn sets that tends to linger after hard days. "Belial" adds something subtly tangible yet wrong underneath—a sulfuric, smoky, almost ozone-like edge that's barely detectable but makes people instinctively uneasy yet agreeable even if they can’t place it.

HII RIPPER THANK YOU BROTHER ;^)

As for your answer: Randy holds deep contempt for feminine or otherwise non-conforming men. To him, they represent weakness, failure, and everything he despises about his own fractured identity and upbringing. He sees effeminate men as pathetic, repulsive, and emasculating, direct triggers for his internalized homophobia.

You pretty much clocked it that living with Abe has only deepened this disgust. Randy tolerates Abe & his smothering weirdness out of a sense of familial ownership [i.e. "this is my fucked-up father figure"], but he not so secretly loathes the effeminacy. It's a constant low-level humiliation that Randy endures while asserting dominance in other ways [ignoring boundaries, using the house for his crimes, etc.]

Due to Randy's taste, feminine or flamboyant men don’t register as sexually viable to him; they're more likely to provoke irritation, mockery, or violent dismissal. He might even see them as "worse than women" because they had the chance to be real men and failed. In rare cases where a more non-conforming man crosses his path, Randy would probably enjoy breaking them even more sadistically as punishment for embodying the weakness and vulnerability he hates in himself and in Abe.

In short: Randy's ideal man is a strong, stoic, masculine figure he can temporarily submit to physically before violently dominating and eradicating. Anything softer, campier, or visibly queer-coded reads as weakness and betrayal in his eyes. Abe is simply the uncomfortable exception he's forced to live with.