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amphibious-thing · 7 months

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Pink is for Boys

"Pink or Blue? Which is intended for boys and which for girls? This question comes from one of our readers this month, and the discussion may be of interest to others. There has been a great diversity of opinion on this subject, but the generally accepted rule is pink for the boy and blue for the girl. The reason is that pink, being a more decided and stronger color, is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl." ~ The Infants' Department, June 1918

[Left: The Blue Boy, oil on canvas, c. 1770, by Thomas Gainsborough.

Right: The Pink Boy, oil on canvas, c. 1782, by Thomas Gainsborough.]

Pink is for girls and blue is for boys. But it hasn't always been this way. Colour coding infants as a way of denoting gender was popular in 20th century America. The problem? Pink and blue? Which is for boys and which is for girls?

In 1927 TIME Magazine asked ten of the "leading stores that sell baby equipment" which colour was for which gender. Four stores responded pink for girls and blue for boys; Macy's (Manhattan), Franklin Simon (Manhattan), Wanamaker's (Philadelphia) and Bullock's (Los Angeles). Five stores responded pink for boys and blue for girls; Best's (Manhattan), Marshall Field's (Chicago), Filene's (Boston), Maison Blanche (New Orleans) and The White House (San Francisco). Curiously Halle's (Cleveland) responded that pink was for both boys and girls.

This debate would continue and it wasn't until mid-20th century that pink for girls and blue for boys became firmly cemented in western culture.

However the idea of colour coding infants dates back to the 19th century. According to La cour de Hollande sous le règne de Louis Bonaparte in 1808 in Holland pink was used to announce the birth of a girl and blue a boy. In March 1856 Peterson's Magazine (Philadelphia, USA) advises that the ribbon on a christening cap should be blue for a boy and pink for a girl. On the 23rd of July 1893 the New York Times writes that for baby clothes it's "pink for a boy and blue for a girl!"

[The Oddie Children, oil on canvas, c. 1789, by William Beechey, via North Carolina Museum of Art.]

During the latter half of the 18th century one of the most popular outfits for young children, regardless of gender, was a white dress with a coloured sash tied around the waist. Pink and blue being the most popular colours, although other colours were worn as well. It would be tempting to assume that the colour of the sash indicated gender but there isn't clear evidence that this was the case. The Oddie Children (above) depicts Sarah, Henry, Catherine, and Jane Oddie. The three girls are all wearing white dresses; two with a blue sash one with a pink sash. We also see Henry Russell (bellow left) wearing a blue sash and Prince William (bellow right) wearing a pink sash.

[Left: Anne Barbara Russell née Whitworth with her son Sir Henry Russell, oil on canvas, c. 1786, by George Romney, via Woolley & Wallis.

Right: Prince William, oil on canvas, c. 1767, by Allan Ramsay, via the Royal Collection Trust.]

Pink was just one of the many colours popular in 18th century English womenswear and seems to have stayed popular throughout the century. On the 3rd of January 1712 The Spectator published an article in which a man recalls seeing "a little Cluster of Women sitting together in the prettiest coloured Hoods that I ever saw. One of them was Blew, another Yellow, and another Philomot; the fourth was of a Pink Colour, and the fifth of a pale Green". On the 1st of May 1736 the Read's Weekly Journal, or British Gazetteer reports that the ladies attending the royal wedding wore gowns of "Gold stuffs, or rich Silks with Gold or Silver Flowers, or Pink or White Silks, with either Gold or Silver Netts or Trimmings;" shoes either "Pink, White or Green Silk, with Gold or Silver Lace and braid all over." On the 24th of May 1785 Charles Storer writes to Abigail Adams advising that fashionable colours in English court dress are "pink, lilac, and blue" such "as is worn at Versailles".

[Left: Frances, Daughter of Evelyn Pierpont, 1st Duke of Kingston, oil on canvas, c. 1700-23, by Godfrey Kneller, via Art UK.

Middle: Mrs. Abington as Miss Prue in "Love for Love" by William Congreve, oil on canvas, c. 1771, by Sir Joshua Reynolds, via Yale Center for British Art.

Right: Mary Little, later Lady Carr, oil on canvas, c. 1765, by Thomas Gainsborough, via Yale Center for British Art.]

In particular pink was popular amongst young women as the colour was associated with youth. Older women who wore pink were mocked as vain for dressing in a way that was seen as improper for their age. On the 31st of January 1754 Lady Jane Coke writes to Mrs. Eyre criticising old women who wear pink:

As for fashions in dress, which you sometimes inquire after, they are too various to describe. One thing is new, which is, there is not such a thing as a decent old woman left, everybody curls their hair, shews their neck, and wears pink, but your humble servant. People who have covered their heads for forty years now leave off their caps and think it becomes them, in short we try to out-do our patterns, the French, in every ridiculous vanity.

[Folly Embellishing Old Age With the Adornments of Youth, oil on canvas, c. 1743, by Charles-Antoine Coypel, via Master Art.]

For Englishmen acceptable clothing way much more limited. In A Foreign View of England in the Reigns of George I & George II Monsieur César de Saussure writes that Englishmen "do not trouble themselves about dress, but leave that to their womenfolk". He explains:

Englishmen are usually very plainly dressed, they scarcely ever wear gold on their clothes; they wear little coats called "frocks," without facings and without pleats, with a short cape above. Almost all wear small, round wigs, plain hats, and carry canes in their hands, but no swords. Their cloth and linen are of the best and finest. You will see rich merchants and gentlemen thus dressed, and sometimes even noblemen of high rank, especially in the morning, walking through the filthy and muddy streets.

César de Saussure warns that "a well-dressed person in the streets, especially if he is wearing a braided coat, a plume in his hat, or his hair tied in a bow, he will, without doubt, be called "French dog" twenty times perhaps before he reaches his destination" and is not only at risk of "being jeered at" but also "being bespattered with mud, but as likely as not dead dogs and cats will be thrown at him."

[Reverend Charles Everard Booth, Captain Griffith Booth, and an Unidentified Man playing Billiards, oil on canvas, c. 1775-9, by John Hamilton Mortimer, via the Royal Collection Trust.]

For Englishmen dressing "plainly" mostly meant wearing blacks and browns. In his book on macaroni, Pretty Gentleman, Peter McNeil found that in contrast most English menswear that he describes as generally consisting of "monochrome broadcloth" macaroni wore a variety of colours including green, orange, yellow, violet, red, white, blue, gold, silver and of course pink.

But it's not just the macaroni of the 1770s & 1780s that wore pink. We see pink in descriptions of feminine men's dress (both real and fictional) throughout the 18th century.

On the 2nd of June 1722 Sarah Osborn writes to Robert Byng:

I believe the gentlemen will wear petticoats very soon, for many of their coats were like our mantuas. Lord Essex had a silver tissue coat, and pink color lutestring waistcoat, and several had pink color and pale blue paduasoy coats, which looked prodigiously effeminate.

On the 18th of October 1729 the Universal Spectator and Weekly Journal published a story where an "effeminate" man's clothes were described as follows:

He had a flower'd pink-colour Silk Coat, with a Green-Sattin Waistcoat lac'd with Silver. Velvet Breeches, Clock'd Stockings the Colour of his Coat, Red-heel'd Pumps, a Blue Ribbon at the Collar of his Shirt, and his Sword-Hilt he embrac'd under the Elbow of his Left Arm,

[Sir Miles Stapylton, 4th Bt of Myton, oil on canvas, c. 1730-35, via Art UK.]

In The Adventures of Roderick Random (1748) the effeminate (and queer coded) Captain Whiffle is described as follows:

our new commander came on board in a ten-oared barge, overshadowed with a vast umbrella, and appeared in everything the reverse of Oakum, being a tall, thin young man, dressed in this manner: a white hat, garnished with a red feather, adorned his head, from whence his hair flowed upon his shoulders, in ringlets tied behind with a ribbon. His coat, consisting of pink-coloured silk, lined with white, by the elegance of the cut retired backward, as it were, to discover a white satin waistcoat embroidered with gold, unbuttoned at the upper part to display a brooch set with garnets, that glittered in the breast of his shirt, which was of the finest cambric, edged with right Mechlin: the knees of his crimson velvet breeches scarce descended so low as to meet his silk stockings, which rose without spot or wrinkle on his meagre legs, from shoes of blue Meroquin, studded with diamond buckles that flamed forth rivals to the sun! A steel-hilted sword, inlaid with gold, and decked with a knot of ribbon which fell down in a rich tassel, equipped his side; and an amber-headed cane hung dangling from his wrist. But the most remarkable parts of his furniture were, a mask on his face, and white gloves on his hands, which did not seem to be put on with an intention to be pulled off occasionally, but were fixed with a curious ring on the little finger of each hand.

[Henry Ingram, 7th Viscount Irwin and His Wife Anne, oil on canvas, c. 1745, by Philippe Mercier, via Art UK.]

On the 28th of July 1780 the London Courant reports:

A few days ago, a Macaroni made his appearance in the Assembly-room at Whitehaven, in the Following dress: a mixed silk coat, pink sattin waistcoat and breeches, covered with an elegant silver nett, white silk stockings with pink clocks, pink sattin shoes and large pearl buckles, a mushroom coloured stock, covered with a fine point lace; his hair dressed remarkably high, and stuck full of pearl pins.

On the 6th of August 1792 The Weekly Entertainer published Sketches and Portraits form the Life by Simon Tueopnrastus which included the following description:

Mercator was a youth of some genius and expectation, but by a strange perverseness of disposition, notwithstanding the extreme natural stiffness of his limbs, he had acquired an early attachment to the most finical and effeminate finery; so that, while yet a boy, he would exhaust every expedient of a fertile invention to procure a laced waistcoat, or the most foppish toy; would dangle a watch-string, with brass seals, from each fob, at a time when the frugal care of his parents would not permit him to wear a watch in either; and would strut in a fine pair of second-hand pink silk breeches, and a light blue coat, with all the formal dignity of—a soldier upon the parade.

[Left: Thomas King in "The Clandestine Marriage", oil on canvas, c. 1792, by Samuel De Wilde, via Yale Center for British Art.

Right: Edward Payne, oil on canvas, by Arthur Devis, via Art UK.]

While pink is mentioned in these descriptions of feminine men's dress it's not singled out as the girl colour the way pink would become in the 20th century. I would argue pink is seen as effeminate not because pink is a uniquely feminine colour but because it was used in fashionable dress. In 18th century England being interested in fashion was seen as an frivolous female trait. Men who showed too much interest in fashion were mocked and ridiculed for their gender nonconformity. "A Man must sink below the Dignity of his Nature, before he can suffer his Thoughts to be taken up on so trivial an Affair, as the Chosing, Suiting, and Adjusting the Adornments of his Person," complains a letter published on the 8th of May 1731 in Read's Weekly Journal, or British Gazetteer:

Decency of Garb ought inviolably to be preserved; nor can there be possibly an Excuse for Dressing like a Merry-Andrew: Rich and coloured Silks are in themselves effeminate, and unbecoming a Man; as are, in short, all Things that discover Dress to have been his Study 'Tis in vain for a Fop of Quality, to think his Title will protect him.

[Left: Madame de Pompadour (detail), oil on canvas, c. 1756, by François Boucher, via Alte Pinakothek.

Right: Elizabeth Wrottesley, later Duchess of Grafton, oil on canvas, c. 1764-5, by Thomas Gainsborough, via National Gallery of Victoria.]

English fashion was highly influenced by French fashion. A popular colour scheme in French fashion was green and pink. A famous example of this colour pairing can be seen in François Boucher's portrait of Madame de Pompadour (above left), she is depicted in a green gown with pink bows and flowers. You can see and example of how this style inspired English fashion in Thomas Gainsborough's portrait of Elizabeth Wrottesley (above right), who is depicted in a green gown with a floral pattern adorned with pink, white and green striped bows.

[Left: Sir Harry Fetherstonhaugh, oil on canvas, c. 1776, by Pompeo Batoni, via Wikimedia.

Right: Francis Lind, oil on canvas, c. 1775, by George Romney, via Mackinnon Fine Art.]

Fashionable Englishmen were also inspired by these French designs. Horace Walpole refers to the popularity of the colour combination writing to Lady Ossory on the 19th of February 1774 "If I went to Almack's and decked out my wrinkles in pink and green like Lord Harrington, I might still be in vogue". Almack's is referring to Almack's Assembly Rooms on Pall Mall which is believed to be the inspiration for the Macaroni Club. (see Pretty Gentleman by Petter McNeil p52-55) In a letter to Lord Harcourt on the 27th of July 1773 Walpole writes of "Macaronis lolling out of windows at Almack's like carpets to be dusted."

[Left: Detail of Stephen Fox from The Hervey Conversation Piece, oil on canvas, c. 1738-40, by William Hogarth, via Fairfax House.

Middle: Sir William Jones, oil on canvas, c. 1769, by Francis Cotes, via Art UK.

Right: Portrait of a Gentleman, oil on canvas, by George Romney.]

Men who wore green seem to have been just as much, if not more, at risk of being ridiculed, or even assaulted, for the colour of their clothes as those who wore pink. In Pierre Jean Grosley's A Tour to London (originally published 1772) he recalls traveling with a young English surgeon who was harassed by Londoners due to his green French frock coat:

At the first visit which he paid me in London, he informed me, that, a few days after his arrival, happening to take a walk thro' the fields on the Surry side of the Thames, dressed in a little green frock, which he had brought from Paris, he was attacked by three of those gentlemen of the mobility, who, taking him for a Frenchman, not only abused him with the foulest language, but gave him two or three slaps on the face: "Luckily, added he in French, I did not return their ill language; for, if I had, they would certainly have thrown me into the Thames, as they assured me they would, as soon as they perceived I was an Englishman, if I ever happened to come in their way again, in my Paris dress."

#fashion history #god I spent so long sifting through primary sources for mentions of pink

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comtessezouboff · 5 months

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Paintings from Buckingham Palace: part I

A retexture by La Comtesse Zouboff — Original Mesh by @thejim07

100 followers gift!

First of all, I would like to thank you all for this amazing year! It's been a pleasure meeting you all and I'm beyond thankful for your support.

Spread among 13 occupied and historic royal residences in the United Kingdom, the collection is owned by King Charles III and overseen by the Royal Collection Trust. The British monarch owns some of the collection in right of the Crown and some as a private individual. It is made up of over one million objects, including 7,000 paintings, over 150,000 works on paper, this including 30,000 watercolours and drawings, and about 450,000 photographs, as well as around 700,000 works of art, including tapestries, furniture, ceramics, textiles, carriages, weapons, armour, jewellery, clocks, musical instruments, tableware, plants, manuscripts, books, and sculptures.

Some of the buildings which house the collection, such as Hampton Court Palace, are open to the public and not lived in by the Royal Family, whilst others, such as Windsor Castle, Kensington Palace and the most remarkable of them, Buckingham Palace are both residences and open to the public.

About 3,000 objects are on loan to museums throughout the world, and many others are lent on a temporary basis to exhibitions.

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This first part includes the paintings displayed in the White Drawing Room, the Green Drawing Room, the Silk Tapestry Room, the Guard Chamber, the Grand Staircase, the State Dining Room, the Queen's Audience Room and the Blue Drawing Room,

This set contains 37 paintings and tapestries with the original frame swatches, fully recolourable. They are:

White Drawing Room (WDR):

Portrait of François Salignan de la Mothe-Fénelon, Archbishop of Cambrai (Joseph Vivien)

Portrait of a Lady (Sir Peter Lely)

Portrait of a Man in Armour with a red scarf (Anthony van Dyck)

Portrait of Alexandra of Denmark, Queen Consort of the United Kingdom and Empress of India (François Flameng)

Green Drawing Room (GDR):

Portrait of Prince James Stuart, Duke of Cambridge (John Michael Wright)

Portrait of Frederick Henry, Charles Louis and Elizabeth: Children of Frederick V and Elizabeth of Bohemia (unknown)

Portrait of Infanta Isabel Clara Eugenia of Autria and her Sister, Infanta Catalina Micaela of Austria (Alonso Sanchez Coello)

Portrait of Princess Louisa and Princess Caroline of the United Kingdom (Francis Cotes)

Portrait of Queen Charlotte with her Two Eldest Sons, Frederick, Later Duke of York and Prince George of Wales (Allan Ramsay)

Portrait of Richard Colley Wellesley, Marquess of Wellesley (Martin Archer Shee)

Portrait of the Three Youngest Daughters of George III, Princesses Mary, Amelia and Sophia (John Singleton Copley)

Silk Tapestry Room (STR):

Portrait of Caroline of Brunswick, Princess of Wales, Playing the Harp with Princess Charlotte (Sir Thomas Lawrence)

Portrait of Augusta, Duchess of Brunswick With her Son, Charles George Augustus (Angelica Kauffmann)

Guard Chamber (GC):

Les Portières des Dieux: Bacchus (Manufacture Royale des Gobelins)

Les Portières des Dieux: Venus (Manufacture Royale des Gobelins)

Les Portières des Dieux (Manufacture Royale des Gobelins)

Grand Staircarse (GS):

Portrait of Adelaide of Saxe-Meiningen, Queen Consort of Great Britain (Martin Archer Shee)

Portrait of Augustus, Duke of Sussex (Sir David Wilkie)

Portrait of Edward, Duke of Kent (George Dawe)

Portrait of King George III of Great Britain (Sir William Beechey)

Portrait of King William IV of Great Britain when Duke of Clarence (Sir Thomas Lawrence)

Portrait of Leopold I, King of the Belgians (William Corden the Younger)

Portrait of Prince George of Cumberland, Later King George V of Hanover When a Boy (Sir Thomas Lawrence)

Portrait of Princess Charlotte Augusta of Wales (George Dawe)

Portrait of Queen Charlotte at Frogmore House (Sir William Beechey)

Portrait of Victoria of Saxe-Coburg-Saafeld, Duchess of Kent (Sir George Hayter)

State Dining Room (SDR):

Portrait of Charlotte of Mecklenburg-Strelitz, Queen Consort of the United Kingdom in Coronation Robes (Allan Ramsay)

Portrait of King George III of the United Kingdom in Coronation Robes (Allan Ramsay)

Portrait of Augusta of Saxe-Gotha, Princess of Wales (Jean-Baptiste Van Loo)

Portrait of Caroline of Ansbach when Princess of Wales (Sir Godfrey Kneller)

Portrait of Frederick, Princes of Wales (Jean-Baptiste Van Loo)

Portrait of King George II of Great Britain (John Shackleton)

Portrait of King George IV of the United Kingdom in Garther Robes (Sir Thomas Lawrence)

Queen's Audience Room (QAR):

Portrait of Anne, Duchess of Cumberland and Strathearn (née Anne Luttrel) in Peeress Robes (Sir Thomas Gainsborough)

Portrait of Prince Henry, Duke of Cumberland and Strathearn in Peer Robes (Sir Thomas Gainsborough)

London: The Thames from Somerset House Terrace towards the City (Giovanni Antonio Canal "Canaletto")

View of Piazza San Marco Looking East Towards the Basilica and the Campanile (Giovanni Antonio Canal "Canaletto")

Blue Drawing Room (BDR)

Portrait of King George V in Coronation Robes (Sir Samuel Luke Fildes)

Portrait of Queen Mary of Teck in Coronation Robes (Sir William Samuel Henry Llewellyn)

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Found under decor > paintings for:

500§ (WDR: 1,2 & 3)

1850§ (GDR: 1)

1960§ (GDR: 2 & 3 |QAR 3 & 4)

3040§ (STR, 1 |GC: 1 & 2|SDR: 1 & 2)

3050§ (GC:1 |GS: all 10|WDR: 4 |SDR: 3,4,5 & 6)

3560§ (QAR: 1 & 2|STR: 2)

3900§ (SDR: 7| BDR: 1 & 2|GDR: 4,5,6 & 7)

Retextured from:

"Saint Mary Magdalene" (WDR: 1,2 & 3) found here .

"The virgin of the Rosary" (GDR: 1) found here .

"The Four Cardinal Virtues" (GDR: 2&3|QAR 3 & 4) found here.

"Mariana of Austria in Prayer" (STR, 1, GC: 1 & 2|SDR: 1 & 2) found here.

"Portrait of Philip IV with a lion at his feet" (GC:1 |GS: all 10|WDR: 4 |SDR: 3,4,5 & 6) found here

"Length Portrait of Mrs.D" (QAR: 1 & 2|STR: 2) found here

"Portrait of Maria Theresa of Austria and her Son, le Grand Dauphin" (SDR: 7| BDR: 1 & 2|GDR: 4,5,6 & 7) found here

(you can just search for "Buckingham Palace" using the catalog search mod to find the entire set much easier!)

Drive

(Sims3pack | Package)

(Useful tags below)

@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds @gifappels-stuff

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#the sims 3 #ts3 #s3cc #sims 3 #sims 3 cc #sims 3 download #sims 3 decor #edwardian #rococo #baroque #renaissance #buckingham #buckingham palace #royal collection trust #wall decor

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catty-words · 2 years

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now that i’ve spent a year with it and any given song off the album can still replenish my joie de vivre at the drop of a beat,

a non-exhaustive list of things i love about ever after (2011):

- themes!!! and! motifs!!! and how it’s about yearning for a simpler time all while knowing that you can never truly return and how the more often you try to go back to that simple time, it corrupts a little bit about what was good in the first place but also about how letting go of the innocence and hope you feel the pull toward would be just as unpalatable.

- vitally important to my listening experience is how these themes and motifs are grounded in music that captures an essence of the popular music scene from my high school years i’m not musically knowledgeable enough to describe in any concrete terms but absolutely, absolutely pings nostalgic to my ear without really having to try

- how josh ramsay et. al. were absolutely, honest-to-god trying

+ disclaimer before we really dive in: i know there’s an official story for this universe, an established canon, but i long ago decided that i get a rich enough story simply listening to the music. so though my interpretation may be wildly inaccurate, no it isn’t. :*

“ever after”:

- one of the joie de vivre restorers, the og, my everything

- how about the way my being in love with the intro ah-ah-ahh-ing from day one unlocked my appreciation for porcelain the character? no more than two days ago, i realized the ahhs were her leitmotif and had to sit with the implications of how that ties the whole album together, how it makes porcelain’s sweetness accessible to us in a way it never was to me when i only had the unreliable narration’s take on her, when i didn’t realize she had a voice of her own in the piece

- directly related, how i’m finding new stuff to lose my complete and utter shit about over a listen-heavy year later

- the way the opening lyrics successfully and instantly sweep me off my feet (and how captivating prologues are a hallmark of the band’s work, both in the writing and the performances)

- i mean, once upon a time / i used to romanticize / used to be somebody, nevermind / i don’t miss it that much now. i get chills every single goddamn time.

- the way our main character, the jaded mr. used to romanticize, is in conversation with a younger and idealistic version of himself in a way that makes me feel like porcelain is the younger version of carolina. the music ebbs and flows from the idealistic strings to the jaded, gritty guitar as the narrator once again gets pulled into his own yearning for the ever after he can never completely capture or hold onto.

- the way the second verse

functions as a call to action. sonically, too, i am rising to my feet, bloodied and ready to fight again. we are going back into the fantastical world of ever after, it was only a matter of time.

- don’t you move / can’t you stay where you are, just for now functioning as the tagline for the narrator’s self-destructive urge to cling to the simplicity of the past to the detriment of his present while also going so fucking hard should be illegal

- WHEN THE TOY SOLDIERS HIT (nobody told ya this was gonna fold ya!!!!)

- to have and hold ya, oversold ya being the first critical lyric in the case i’m building that the toy soldiers are the embodiment of our narrator’s aforementioned tendency toward self-destruction and self-loathing

- just. the build of the whole song. it’s gorgeous and it slaps, what more is there to say?

- the outro/transition into “haven’t had enough” can get it

“haven’t had enough”:

- the 8-bit sound of it and how the music somehow extremely effectively evokes playing an arcade game

- the criminally catchy hook and how this is another song that makes me at least thirty percent brighter no matter what emotional state i’m in when it starts playing. BOP O’CLOCK.

- the full circle of the song (testing, testing, i’m just suggesting / you and i might not be the best thing to testing, testing i’m just suggesting / you and i might just be the best thing) lending itself to the song’s place in the broader narrative. they’ve done this before, the narrator and ever after. in fact, they’ve been stuck now, so long / just got the start wrong. and it’s the hope that maybe things will work out this time that keeps mr. used to romanticize reliving his time in ever after over and over again (one more, last try / imma get the ending right). the arcade game is eating you alive but you’re actually pretty okay with the brightness consuming you. are you not?

- (i would inject this song directly in my veins, so yeah. you’ve got me, mr. romanticize, go on and insist / that [i] haven’t had enough.)

- that guitar (?) lick that comes in halfway through the chorus to revitalize it?? has me so completely by the throat i am a sleeper agent and that lick is my fucking trigger i am not responsible for what i do when it sets me off

- the don’t you need it?s and don’t you want it?s feeling like as much of a question for himself as for ever after/carolina/porcelain. is the cycle worth it? should we really be putting ourselves through this one more time?

- you know the moment in the chorus following the bridge, where it’s like one more, last try / imma get the ending - / YOUUUUUU? yeah, i like that a normal amount.

“by now”:

- i tend to think of this song as the official start to the story we’re meant to retread and retread and retread forever and ever amen. in order to get the ending right, we’ve gotta take a look at where everything went wrong. i feel vindicated in this read by the acoustic guitar. the jadedness stripped down

- it's time that i come clean, but / but for now can we just both pretend to sleep? building on the narrator’s defining flaw as his fear of change and how he tricks himself into believing that not moving in any particular direction means he gets to avoid the change entirely.

- how cheeky the line our talk is small, i'm seven inches tall reads to me because it captures a very real emotion about being formal with someone you know intimately, intimately but also because ever after is a fantastical toy land - let the album art influence your listening experience - and thus invites a more literal interpretation

- the menace of the drums in the outro; toy soldier motif anyone?

“truth or dare”

- you know, i didn’t love this one at first, nor “toy soldiers”, but now i’m deep in it for the villain songs

- nobody will know how you come and you go for it aka the toy soldiers being like “you’re so gagged for ever after, like, it’s kind of embarrassing for you”. wig fully snatched, i absolutely am horny for this album.

- just. the whole of verse two

and how it’s the seductiveness of the narrator’s worst impulses. give into this place, give into the comfort of it. it’s safe, we promise.

- the way the outro feels like clouds parting to the streaming sun, mr. heartthrob arriving on the scene with a near angelic leitmotif to stand up for himself against his own shit

“desperate measures”:

- and like, what i mean by that is, the whole song is about the narrator recognizing his shortcomings as a romantic hero, but pushing for action anyway. this song is the anti-stay where you are, just for now

- when the “desperate measures” guitar hits 👌

- the scathing humor infusing the lyrics gonna make a heartthrob out of me / just a bit of minor surgery / these desperate times call for desperate measures drives me fully insane. girlies when it’s gonna take minor surgery to make a heartthrob outta them but desperate times call for desperate measures

- hearing have a piece of american dream / open up and swallow, on your knees / and say, “thank you, i’d like some desperate measures, please” for the first time was just like, are we allowed to do this are we allowed to just record stuff like that and casually slide it in front of my ears my impressionable mind may experience lust 🥵

- fellas, is it personal growth to acknowledge you’ll never get over the pull of ever after? fellas, is it problematic to hinge your ability to get the ending right on a kiss for luck from your beloved when they’re already falling out of love with you?

asking for a friend.

“porcelain”:

- the vital, vital importance to the album’s fairytale aesthetics that the sweeping ballad is the exploration of the narrator’s best and worst quality: the depth of his love for porcelain, for their ever after life together. as his beacon of hope, it’s where he draws inspiration for moments of great heroism. but he also lets it run so deep that it overshadows his own personhood. and i love the way the music speaks to this dynamic with a pervasive and ominous and tense whooshing noise underlying the simple, beautiful melody.

- you can’t erase the way it pulls when seasons change because, like, yeah! time marching ever onward does pull at you, i feel this line in my bones. but also the way the line reflects back on the narrator’s relationship with living in the past vs. being in the present… woof

- the instrumental break slaps, it’s the best part of the song let’s be real. and the fact that the ahh-ah-ahhhhing returns! the narrator just told porcelain she has the space to tell him what she needs whenever she’s ready for that, and then the song itself gives her the break in which she can use her voice. fuckin masterful!!

“fallout”:

- SONG OF ALL TIME when the intro hits i lose all semblance of composure it makes me need to punch windows!!! i am gargling the glass!!! i am launching myself into the stratosphere and i’ll never feel the pull of gravity again!!!! FUCK

- okay but. the way this song is the narrator at his worst, his most cloying, his most pitiful. it is THE pathetic meow, meow anthem and the fact that it goes as fucking hard as it does... i cannot articulate the implications without wanting to pull out my hair but. it’s alluring!! being your worst self has a great pull on you! there’s a certain kind of dark triumph to it! WHERE’S THAT BROKEN GLASS

- the way the ‘boom-boom-tcha’ of the beat starts to speed up so there are no rests as we approach the chorus. we’re losing control: of ourselves of the narrative of the song itself!! take me away, ian casselman.

- the way you’re sleeping like a babe beside him makes me think of ‘babes in toyland’ every time i hear it. i’ve never actually seen the movie, i don’t know if it’s thematically resonant, but kind of like the seven inches tall lyric from “by now”, it simply tickles my brain that the words can evoke the universe we’re in with only sparse accompanying visuals

- how the performance of i know you’re fine but what if i / fallout crescendos. filed under: lyrics to belt along with in your car with all the windows down

- mm, shoutout to live at the rave milwaukee (2022) for giving me undying appreciation of the backing fallouts. can these boys harmonize or what?

- the way and nevertheless / it’s never you let tastes

- one of the very first things that captivated me about this song, and indeed the whole album, was the delivery of don’t tell me to fight / to fight for you / after this long, i shouldn’t have to. the pain of it?? the kinda understated wail? i turn this part all the way up in my headphones and ache ache ache

- god, just. i’m back to how pitiful it is to ask the person who’s broken up with you to be with someone else to take care of you because you don’t know how to get over this on your own. why do i love this song? why do i need to be screaming along to this song at all times?? i actually hate the narrator here, but god does the music move me in a way that kindles empathy

- porcelain’s leitmotif coming in to like, soothe us through the end of the song. the way that’s her doing what our narrator’s asked??? girl, couldn’t be me

“stutter”:

- i’d gone through a bit of a cool phase with this song, a period of ‘mm, this is cringe, actually’ but i’m just coming out the other end to be in love again. too fun for it’s own good.

- in terms of the narrative of the album (and this is the one thing i do know about the canon story), this is the narrator meeting a new character, one who has let themselves be consumed by ever after (i won’t ever be anywhere but here), now forever stuck in the cycle. it’s bright and fun - like the arcade game consuming you - but there is a brokenness to it, too. it’s too late to go / already taken me forever just to try…

- the backing ooh nah nahs tbh (thank you, matt webb)

- like, try not to bop along, i dare you

“toy soldiers”:

- now that our narrator’s been galvanized to want to move on, to leave ever after behind, we gotta get the villain in here to remind us you can’t actually escape.

- the lyrics who’ll be my montague now / to this broken capulet / how, how, how if not for you and the way the how-how evokes the word ‘house’ before moving on to the rest of the line.

- the refrain of don’t you want love? shining a light on the narrator’s insecurity that he’ll never have something as special and formative as his relationship with porcelain and how the toy soldiers are exploiting that to convince him to stay in ever after. you need to get this back, you can’t just walk away. don’t you think i [ever after/the narrator himself] deserve better after all that we’ve been through?

- and then of course the threat of i’ll follow you like toy soldiers, a reminder that ever after is with you whether you choose it or not.

- fuck man, the second verse

is fucking lit, the inherent threat. *touches a hot stove* the poetry of it.

- this song is one of those that never caught my attention when i was first falling in love with the album, but now i can’t believe there was ever a time i was kinda indifferent to it. it makes me feel like the embodiment of this emoji 😈, an emotion i apparently quite like to feel

“b team”:

- the way the intro of this one feels like a distorted version of “desperate measures”. the toy soldiers have baited the narrator into bitterness, and perhaps this is the part of the story where mr. used to romanticize is born, the seeds of him planted

- the way the second verse

illustrates the particular shape of said bitterness, and how it’s directed at porcelain for breaking the illusion of ever after again and again. the way this is clearly the least gracious read of their relationship - we see the narrator’s hand in the destruction even if he can’t - and really drives home the way mr. used to romanticize getting seduced again and again by the toy soldiers makes them the voice of his self-destruction

- the way porcelain’s out here like, “boy, i would pay you to stop.”

(this bridge bops, though, make no mistake)

- the way the ominous church music outro manages to communicate that there’s about to be a mother-effing reckoning

“so soon”:

- and in that reckoning, finally, the narrator lets go: of his bitterness, of porcelain, of ever after. it’s an achingly sad and slow affair, but there’s heart-wrenching beauty in the journey, as well

- the way the narrator’s love for porcelain shines brightest right here, in these quiet and unassuming verses

- the way the outro is, like, porcelain and our narrator being released to float peacefully away from us as the ominous organ takes over and - call me crazy - but it feels like the organ is ever after becoming more than just a presence in the narrative but a voice, as well. (i know rosh ramsay et. al. did the transition music at the very last second, so it’s honestly incredible how cohesive and Correct it all manages to be, happy to be out here stanning legends)

“no place like home”:

- GOD but the hundred-voices-as-one production of the opening lines and how it’s every version of our narrator who climbed into the hole of ever after one last time speaking at once

- the way that lends so much weight to familiar sins come crashing in / and sever forever and after / my old friend, it’s time i leave you here / for once, for all in frozen alabaster, his goodbye to ever after and to porcelain. maybe he really means it this time.

- (okay, but ever after, porcelain being home, though 😭😭)

- the lyrics my old friend, it’s time to say goodbye again / no need to tell me where you’ve been, i feel it for reasons only @nottheleastbrave knows and needs to know

- when our gritty guitar comes back now, it’s full of triumph, and we revisit some of the album’s key lyrics and this is it!! the narrator is taking what he needs from ever after to weave something new!! he’s breaking out but not leaving it behind!!

- WHEN THE TOY SOLDIERS HIT reprise

- the way the toy soldier chant builds to i face the music when it’s dire, finally a statement of responsibility and selfhood, a long way away from the i never face the music when it’s dire and the command of face the music when it’s dire in “ever after”. and in direct response to the toy soldier’s onslaught! i say that’s my baby and i’m proud!!

- and so does porcelain herself!! her gorgeous leitmotif coming in once more to bear witness to and approve of our narrator’s moment of self-actualization

- once upon a time / this place was beautiful and mine / but now it’s just a bottom line and he’s officially let go, freeing himself from the cycle

- and in closing off his path back into ever after, he’s finally worthy of the love he’d mythologized to the point of destruction ([there’s no] yellow bricks and happily - / ever after we lived / the end)

- the music box tinkle of an ending inviting you to start over from the beginning, find comfort in the fairy tale all over again. do you dare complete the circle one more time?

in summation: it’s a silly lil pop album, it’s high arté, everyone could get something worthwhile out of listening to it, no one will understand this album like i understand this album. thank you for reading.

#a manifesto no one asked for #got a lot out of writing it though #and it's going to make me putting this album on when i commute to work tomorrow most gratifying #marianas trench #ever after (2011)

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fantasywritten · 1 year

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ALL RIGHT SO — I have updated my muse list and removed 30 muses, which is actually crazy, but I think it’ll really help me become less overwhelmed. The muses I have removed are listed below the cut.

NOTE: just because I may not have a “filter” on my muse list for a certain fandom anymore DOES NOT MEAN I have no muses for that fandom! There could still be muses for that fandom under the “other” filter! Also, if I have contacted you to tell you that I am making one of these muses a private muse for you, that still stands! They’re just removed from my “public” muse list, if you will!

Moscow — la casa de papel

Ramsay — game of thrones

Samwell — game of thrones

Narcisse — reign

Claude — reign

David — schitt’s creek

Johnny — schitt’s creek

Aelswith — the last kingdom

Aneesa — never have i ever

Fabiola — never have i ever

Charlie — lost

Connor — how to get away with murder

Oliver — how to get away with murder

Frank — how to get away with murder

Allie — the society

Victor — despicable me

Edith — despicable me

Junghoon — memories of the alhambra

Jack — meet the parents

Alexa — alexa and katie

Lizzie — the underland chronicles

Javert — les mis

Ellie — you

Beth — good girls

Annie — good girls

Audrey — bendy and the dark revival

E. Gadd — luigi’s mansion

Abigail — bendy and the ink machine

Ben — dead to me

Ali — squid game

#✽ (out of character) — allison speaks #✽ (psa) — and that's all i gotta say about that.#update

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henghost · 9 months

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in the same vein as my drug-tinker post, do you think there's such a thing as a "food tinker"? or maybe food thinker :O ? like a sort of gordon ramsay type but he's mad at people for not having his power. this steak is probably only a 3.5 on the gorbinsky salinity scale, you bitch!!!!!! [the gorbinski salinity was invented to taxonomize the preternaturally perfect salt-infused sear invented by food thinker le chiffonade.]

#wormblr #worm web serial #tinkers

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scotianostra · 1 year

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Happy 65th Birthday comedian and actor Gordon Kennedy.

Gordon was born of February 22nd 1958 in Glasgow but grew up in Tranent, East Lothian, he was educated at George Watson’s College in Edinburgh before studying physical education at Jordanhill College, now part of the University of Strathclyde.

I was a big fan of “alternative comedy” when it started to get going in the early 80’s Kennedy first got together with some friends in 1980 making his debut at the Edinburgh festival in 1980 under the name The Bodgers this led on to the channel 4 show Absolutely, with the same prominently Scottish team, he cut his teeth as an extra in several shows like Russ Abbot, Kenny Everett and Les Dennis beforehand.

Since then, his production company, Absolutely Productions, have made Welcome To Strathmuir, the BBC Scotland comedy starring John Gordon Sinclair, and Radio 4 comedy series Baggage with fellow Scots Peter Capaldi and Phyllis Logan. He went on to become more mainstream and was the original co-host of the National Lottery Lottery show on Saturday nights with Anthea Turner.I suppose those that didn’t follow the comedy scene will know Gordon from his time starring a Little John in noughties incarnation of Robin Hood on BBC 1.

If you’re a bit older you might recall him in the fab Glasgow Kiss with Iain Glenn and Sharon Small at the turn of the millennium or a few years later as Sgt. Bruce Hornsby in Red Cap. He was also the narrator in the first series of Ramsay’s Kitchen Nightmares, as well as Mac in oor ain soap River City for 18 months.

Kennedy sent an audition tape for a part Outlander, but missed out, I can’t find out what, if any part he was considered for, he bounced back though appearing in the mini series The Spanish Princess, which just like Outlander is shown on the Starz network in the States, he also appeared in 4 episodes of the British-American period drama Harlots.

More recently Gordon has appeared in the ITV drama series Grantchester, the Scottish show Crime and the second series of forensic crime drama Traces, alongside Martin Compston Giordon also turned up in an episode of the Amazon Prime series Mammals last year.

#Scotland #scottish #actor #tv presenter #narrator #happy birhtday #Glasgow.#glaswegian

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weirdlookindog · 10 months

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The Mummy's Ghost (1944) - Belgian Poster

#the mummy's ghost #universal monsters #lon chaney jr.#john carradine #ramsay ames #george zucco #1944 #1940s movies #reginald le borg #universal horror #horror movie poster

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gurumog · 2 years

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The Black Sleep (1956) aka Dr. Cadman's Secret United Artists Dir. Reginald Le Borg

Lon Chaney Jr. as Dr. Munroe (aka Mungo) Basil Rathbone as Sir Joel Cadman Patricia Blake as Laurie Munroe Herbert Rudley as Dr. Gordon Angus Ramsay

#the black sleep #lon chaney jr #basil rathbone #herbert rudley #patricia blake #1950s horror

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portaltothevoid · 10 months

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For Whom the Bell Tolls - Chapter 29 - Separate Ways (Worlds Apart)

Pairing: Eddie Munson x OFC (Kat Ramsay), sequel to Foolin’

Summary: They finalize their plan of attack. We go inside everyone’s pre-battle anxieties.

Warnings: anxious thoughts

Word count: 2.5k

Chapter song: Separate Ways (Worlds Apart) (Stranger Things remix) by Journey

Tag list: @munchabunch @madaboutmunson @earl-greater

When the wick of the last homemade bomb was stuffed in its bottle, Steve looked up to see Nancy standing in front of him. “Nice improvement on the shotgun,” he commented with a smirk.

“Nothing like a felony to ensure I won’t miss and avoid the end of the world,” she laughed.

“I doubt you’d miss even if you didn’t,” he smiled at her.

Her cheeks burned scarlet at the compliment. “Yeah, so, um, think we should round everyone up to figure this out?” she spluttered.

“Hey, guys!” Steve bellowed, getting the rest of the party’s attention. He motioned for them to join with a wave of his hand.

“Alright, so Lucas and Erica should go with Max to the Creel House,” Nancy said. “Dustin and Eddie will take care of the bats. Me, Steve, Robin, and Kat will go to the Creel house in the Upside Down.”

“No,” Kat refused. “I’m staying with Eddie and Dustin.”

“Kat, you’re our best shot at winning this thing,” Steve said.

“Right, which is why it won’t do any good if I go with you guys. Look, I can help them distract the bats and then from inside Eddie’s trailer, I can find Max and hide her. She already told me all about where she’ll be, so once I get there, we’ll be good. If he finds us, I’ll hold him off,” Kat said.

“Okay, but… don’t you need a sensory deprivation tank to do this?” questioned Dustin.

“I can do it if I have enough white noise. I’ve done it before. I had to go in someone’s mind to retrieve a code word for some spy op and they told me I had to do it without the tank. It was a test that I wasn’t supposed to pass, but I did,” she shrugged. “Then they brought in the demodog and that’s when they knew…”

“If you use your powers to immobilize him before–” Nancy started.

“He will immediately know I’m there and change course. If he killed me instead, can you even imagine how much more power he’d have, what that would do to the rift between worlds? This gives not just Max a fighting chance, but all of us,” Kat stressed.

“Are you sure you’re up to this though?” Lucas asked. “I mean, wouldn’t it be better just in case something happened to have the bomb squad watching over you while you do whatever you do?”

“It doesn’t matter who I have around me,” Kat rejected. “One tilt of his head can break your neck and you’re dead on the floor before your brain can even think of wanting to say ‘No, stop!’ If that asshole wants me dead, I will be.”

“Her nose didn’t even bleed when she talked to El,” Eddie remarked, very quickly trying to get off the subject of his love dying.

“Exactly. And I transferred memories to her from the Void too. Look, we don’t have time anymore. This is as ready as I’ll ever be – as any of us will ever be. And I’m not changing my mind. This is what we’re doing.”

“Yeah, she’s got a solid point, so… I guess it’s settled then,” Dustin said. “So, what do we do about the bats?”

“We have to get them away from the Creel house, but we need to get there before you guys do that,” Nancy said.

“What if… I mean, I dunno how it’ll work there, but, uh, what if I play my guitar?” Eddie suggested. “Set up my amp and shit. Could probably hear that shit for miles.”

“That… is brilliant!” Dustin exclaimed.

“I can set it up on the roof of the trailer and it should be enough,” he added.

“I have a set of drums in your closet. We set those up, we play, and as soon as we’re done I’ll go back through the gate and begin.”

“How the hell are you gonna have time to play drums and then go mind-diving?” Erica countered.

“Because I am so not missing out on the performance that’ll help save the world,” Kat said.

“And those bats hear us, they’ll be on us like flies on shit in less than five minutes. She’ll have time,” Eddie said.

“Okay so… we drop Team Max off at the Creel house. While they set up, we head to Eddie’s and through the gate we all board up the trailer. Lucas can signal to Erica, who can use a flashlight to signal to us in the Upside Down when Vecna has Max. As soon as that’s done, we’ll make our way to Vecna and wait until Eddie’s done playing. Eddie will start to play when Max is secure in the Creel house and Vecna’s found her. Kat will tell us she’s about to go find Max and that’s when we go into the house and blow that asshole to bits,” Nancy said, laying out their game plan.

“That sounds too easy,” Erica said nervously.

“Because it is,” Kat agreed.

“The one variable we can’t account for is Vecna. Sure, this most likely will catch him off guard, but we have no idea for how long. And it’s not like we have any back up plans. Our back up plan is to abort if shit goes south, so, yeah. We’ll either save the damn world or… or…” Robin rambled.

“We go out swinging,” Kat shrugged.

“Um, Kat, you’re awfully calm about this. How are you so calm?” Robin asked.

“I– I don’t know. I guess since the demodog attacks and knowing El is back and rediscovering some of my memories, I just… I remembered how much power I have. And I’ll stop at nothing to protect each and every one of you. I am so sick of this asshole getting his way and what he wants, because he went on a ‘boohoo life sucks and no one likes me so let me destroy everything’ kick. I’m done,” she said firmly, crossing her arms.

“So… that’s it. That’s our plan,” Steve said quietly. A hush fell over the group as they realized it was time. They had their battle strategy, so now the only thing to do was start it. “Alright, well, let’s, uh– Let’s pack up and get on the road.”

They did as Steve said, having nothing to actually pack, Kat pulled Max aside. “Listen, Max, I just want you to know how incredibly strong you are, okay? You’re one of the few who got away from him and lived to tell the tale. Hold on to that. Hold on to the fact that you have people who love you. Who will do whatever it takes to protect you. Vecna never had that. He doesn’t know what it’s like. Please, just promise me, you’re gonna fight like hell, okay?”

Max nodded as she shifted her weight, not sure what to do with the compliment from Kat. “Yeah. I will. I don’t… I don’t want to–”

“Don’t even say it. Because it’s not going to happen,” she said sternly as she pulled the girl in for a hug. Kat knew she kept to herself, but she couldn’t help it. This was unlike anything that they had ever faced before. Kat smiled as she felt a squeeze from Max.

“Thank you. Thank you for everything. I– I’m sorry you have to…” she trailed off as her eyes welled with tears.

Kat shook her head. “You don’t have to be sorry for anything. Vecna is a power hungry monster. It’s his fault all of us are going through any of this. Or actually, maybe it’s that stupid lab for not– Doesn’t matter whose fault it is. You shouldn’t feel guilty for any of this. You’re so fucking strong, Max. You keep fighting. You haven’t stopped. And what you’re about to do? It’s brave as hell.”

“Alright,” she said, quickly wiping at the few tears that managed to escape. “You’re a little too good at this… pep talk thing you’re doing,” she laughed.

“Yeah, but it’s true. I didn’t want you going through this not knowing that. And knowing that I believe in you one thousand percent,” Kat gave Max’s shoulder a squeeze as they turned to get on the RV.

“Same goes for you, you know. You’re a total badass,” she said, turning and smiling up at Kat.

“Takes one to know one,” she winked.

“You guys ready?” Steve asked then as he held the door open for them.

“Nope,” Max said.

“I don’t think there’s any way to be ready, so… on that note, full steam ahead,” Kat said sarcastically. Steve let out a small laugh through his nose. He followed them and sat in the driver’s seat, bringing the Winnebago to life.

Once the wheels were rolling, a tense quiet suffocated the ride. Steve and Nancy sat up front, watching the road ahead of them pensively. He would steal looks at Nancy. He still loved her. He could finally admit to himself. After the conversation he had with Eddie in the woods… He knew she still cared about him in some way. He could tell she wasn’t happy. Any chance he had to confess to her… something interrupted. It was gnawing at him like a starved dog on a bone. If by some miracle they made it all out of here alive, he would find the time, the perfect opportunity to tell her how he felt.

Nancy’s stare, on the other hand, never wavered from the window beside her. She kept thinking about the vision Kat had shared with her. She had seen everything Vecna showed her as if she had been the one in the vision. Could they really alter that fate?

Guilt gnawed at her underneath all her apprehension. She thought of her boyfriend. While she missed him, she rejoiced getting to spend time with Steve. Though they had separated, she knew somewhere deep down, she still had feelings for him. She could see how much he had grown over the last couple of years. Regardless of her current situation, her long distance relationship had made her terribly unhappy. Being close to Steve again, fighting side by side with him again… It was almost enough to relight a spark she thought had died long ago.

Behind Steve, sat Erica. Her eyes kept flitting over to her brother. She vowed to herself to spend more time with him after this was all over.

Lucas sat across from Max. Both of them anxiously staring out the window. Max drowned out everything with Kate Bush blasting into her ears while Lucas kept sneaking glances at her. Anyone could see how much he cared for her and how this whole ordeal was breaking his heart seeing her go through this. She was trying to psyche herself up as much as possible. Kat’s words helped, but still feeling him in the back of her mind, always lurking, always waiting… She was fighting her own inner battle to keep her confidence from waning.

Robin sat on the floor, her arms crossed. She was trying to keep her anxiety down. Her expression, solemn as she kept her gaze forward. Kat was sitting on the bench in the very back. She fixed her stare out the window. Terrified was an understatement. She could feel Vecna hiding beneath the shadows, just as Max could. She had a bad habit of never taking her own advice. This time, she knew she had to make an exception. Her memory became a rolodex of all her greatest achievements. The only goal was to remind herself that yes, she was powerful. Yes, she did have what it took to win. She had already done it once. What made this time any different? The fact that her loved one and friends were on the front lines with her? If anything that caused her to only want to fight harder.

Even still, she had this sinking feeling, deep down, that no matter how hard she tried, she couldn’t shake. It was the feeling that… not everyone would make it out alive. Could she avoid Vecna’s visions of the future from becoming true? The only thing she could do… The only thing any of them could do was try.

Next to her, Eddie kept nervously ringing his hands around his makeshift spear. No matter what, he was not going to run this time. He was through with running. Whatever it takes to keep Kat safe, he was going to do it. The duration of this ride was the time he would spend worrying about what was to come. He would worry about the fate of his girlfriend. As much as he believed in her, if anything… anything at all was to happen to her… That was something he didn’t think he could come back from. The same went for the boy sitting next to him. That boy had grown to be the little brother he never had and never knew he wanted. All of these kids were so bright, with so much ahead of them. There’s no way this could be the end of the road, right? He had to go to experience life outside with his partner by his side, fighting to make either his own name or his band’s name one that could be seen in every household. This was finally his year, afterall.

Dustin looked as if he was going to throw up at any second. Him and his friends had fought this before and won. They had Kat on their side now. El had her powers back. They had to stand a fighting chance. He kept wracking his brain for any other possible plans, scenarios, or ideas. But he came up empty every time. This was it. They were doing this. They were en route to fight the biggest battle of their lives. Despite his fears, his worries, he knew somehow, some way, they were going to make it out of this alive. Just as they always had. And he swore he would do whatever it took to clear Eddie and Kat’s names. Them of all people, did not deserve any of the slander the ignorant town of Hawkins kept throwing at them. Eddie had proved to him that being yourself was more important than anything else. Kat had shown him perseverance and what the power of friendship could do for someone. Every single person in that RV was a tried and true warrior in his eyes. Part of him felt foolish for being such an optimist, but he had to believe they would make it out of there. Alive. He just had to.

Too soon, the Winnebago slowed to a stop. “Alright,” Max said, inhaling sharply. “Let’s do this.” Erica got off first, followed by her brother. Max closed the door behind her. Together they stopped and stared at the foreboding Creel house where their fates and the fate of the world lied. They looked at each other and with a nod, they marched forward.

Kat couldn’t help herself, she pushed aside the curtain that hung in the rear window and watched as they stared up at the expansive house. Knock ‘em dead, kid, Kat thought to herself as the ruins of a monster’s childhood home faded from view.

previous chapter | next chapter

#eddie munson #eddie munson fix it fic #eddie munson x ofc #eddie munson x oc #eddie munson fanfic #stranger things #stranger things fanfic #stranger things 4 #eddie munson angst #eddie munson au #nancy wheeler #dustin henderson #robin buckley #steve harrington #lucas sinclair #erica sinclair #max mayfield

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bestpotsandpansforgasstove · 10 months

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What Pans Do Gordon Ramsay Use

When it comes to cooking, the right equipment is essential, and no one knows this better than celebrity chef Gordon Ramsay. Known for his high standards in the kitchen, Ramsay's choice of cookware is a reflection of his commitment to quality and efficiency. In this article, we will explore the pans that Ramsay uses and why he favors them over other options.

Who is Gordon Ramsay?

Before diving into his favorite pans, let's take a moment to introduce the man behind the cooking. Gordon Ramsay is a Scottish-born British chef, restaurateur, and television personality who has gained worldwide recognition for his culinary expertise. He has been awarded multiple Michelin stars for his restaurants and has hosted several popular TV shows, including "Hell's Kitchen" and "MasterChef."

What Pans Does Gordon Ramsay Use?

So, what pans does Ramsay use in his kitchen? Here are some of his top picks:

1. All-Clad Stainless Steel Fry Pan

According to Ramsay, the All-Clad Stainless Steel Fry Pan is his go-to pan for cooking everything from scrambled eggs to seared steaks. The pan is made of tri-ply stainless steel with an aluminum core, which ensures even heat distribution and prevents hot spots. It also has a durable non-stick coating, making it easy to clean.

2. Scanpan Nonstick Fry Pan

Another favorite of Ramsay's is the Scanpan Nonstick Fry Pan. This pan features a ceramic titanium non-stick coating that is free from PFOA and PFOS, making it a healthier option. It also has excellent heat retention and is oven safe up to 500 degrees Fahrenheit.

3. T-fal E93808 Professional Total Nonstick Fry Pan

For those on a budget, Ramsay recommends the T-fal E93808 Professional Total Nonstick Fry Pan. This pan has a Thermo-Spot indicator that lets you know when the pan is preheated and ready to use, ensuring that your food cooks evenly. It also has a durable non-stick coating and is dishwasher safe.

4. Le Creuset Cast Iron Skillet

When it comes to searing meat, Ramsay swears by the Le Creuset Cast Iron Skillet. This heavy-duty cast iron skillet heats evenly and retains heat well, making it perfect for browning meat. It also has a durable enamel coating that resists chipping and cracking.

5. Mauviel Copper Fry Pan

Finally, Ramsay's most luxurious pick is the Mauviel Copper Fry Pan. Made of 90% copper and 10% stainless steel, this pan provides excellent heat conductivity and control, allowing you to cook your food precisely. It also has a beautiful polished finish that will impress any dinner guest.

View more: What Cookware Do Chefs Use

When Does Gordon Ramsay Use These Pans?

Ramsay uses these pans in his various restaurants and TV shows, as well as in his personal kitchen at home. He believes that using high-quality cookware is essential to achieving the best results in the kitchen.

How to Choose the Right Pan for You

Now that we've seen some of Ramsay's favorite pans, how can you choose the right one for yourself? Here are some factors to consider:

1. Material

Different materials have different properties that affect how they conduct and retain heat. For example, stainless steel is durable and easy to clean but is not the best conductor of heat. Cast iron is an excellent heat conductor and retainer but is heavy and requires seasoning to maintain its non-stick surface.

2. Size

Consider the size of the pan relative to the amount of food you will be cooking. A smaller pan may work for single servings or small meals, while a larger pan is necessary for cooking for a family or entertaining guests.

3. Non-Stick Coating

Non-stick coatings make it easier to cook without food sticking to the pan, making cleanup a breeze. However, some non-stick coatings may contain harmful chemicals, so choose a pan with a safe and durable coating.

4. Price

Quality pans can be expensive, but they are often worth the investment. Consider your budget and how much you will use the pan before deciding on a purchase.

Pros and Cons of Gordon Ramsay's Favorite Pans

Let's break down the pros and cons of using the pans that Gordon Ramsay favors:

Pros

High-quality materials ensure even heat distribution and retention

Durable non-stick coatings make cleanup easy

Recommendations from a world-renowned chef give confidence in their effectiveness

Cons

Expensive compared to other options on the market

May not be suitable for all budgets and skill levels

Not everyone may prefer the same type of pan for their cooking needs

Alternatives to Gordon Ramsay's Favorite Pans

While Ramsay's favorite pans are undoubtedly top-of-the-line, they may not be the right fit for everyone. Here are some alternatives to consider:

1. Lodge Cast Iron Skillet

The Lodge Cast Iron Skillet is a budget-friendly alternative to the Le Creuset Cast Iron Skillet. It is made in the USA and comes pre-seasoned, so you can start cooking right away. It also has excellent heat retention and is suitable for use on all cooktops, including induction.

2. GreenPan Ceramic Non-Stick Fry Pan

For those who prefer ceramic non-stick coatings, the GreenPan Ceramic Non-Stick Fry Pan is an excellent option. It is made with a diamond-infused coating that is extremely durable and scratch-resistant. It also heats up quickly and evenly, making it perfect for searing and sautéing.

3. Calphalon Stainless Steel Fry Pan

If you prefer stainless steel pans but don't want to splurge on All-Clad, the Calphalon Stainless Steel Fry Pan is a great alternative. It has an aluminum core for even heating and a brushed stainless steel exterior that resists fingerprints. It also has a stay-cool handle for added comfort and safety.

Step-by-Step Guide to Using Gordon Ramsay's Favorite Pans

Now that you've chosen your pan, here's a step-by-step guide to using it like a pro:

1. Preheat the Pan

Make sure your pan is adequately preheated before adding any food. This will ensure that your food cooks evenly and prevents sticking. For non-stick pans, wait until the Thermo-Spot indicator turns solid red before adding your ingredients.

2. Add Oil or Butter

Once the pan is hot, add a small amount of oil or butter to coat the bottom of the pan. This will prevent the food from sticking and also add flavor.

3. Add Your Food

Carefully add your food to the pan, taking care not to overcrowd it. Overcrowding the pan can cause the temperature to drop, resulting in uneven cooking.

4. Monitor the Heat

Adjust the heat as needed to ensure that your food cooks evenly without burning. If you're unsure, use a meat thermometer to check the internal temperature of your food.

5. Clean the Pan

Once you're finished cooking, allow the pan to cool before cleaning. For non-stick pans, avoid using abrasive sponges or cleaners, which can damage the coating. Instead, use a soft sponge with mild soap and warm water.

Tips for Using Gordon Ramsay's Favorite Pans

Here are some additional tips to help you get the most out of your new pan:

Don't be afraid to experiment with different types of food to see what works best in your pan.

Avoid using metal utensils on non-stick surfaces, as this can scratch and damage the coating.

Always use oven mitts or a potholder when handling hot pans.

Store your pans properly to prevent scratching and damage.

The Best Gordon Ramsay Pan for You

Ultimately, the best pan for you depends on your personal cooking style and preferences. Consider the factors outlined above, such as material, size, and price, and choose a pan that suits your needs. Whether you opt for one of Ramsay's top picks or an alternative, investing in high-quality cookware is sure to elevate your cooking game.

Conclusion

Gordon Ramsay's favorite pans are a testament to his commitment to quality and efficiency in the kitchen. From the All-Clad Stainless Steel Fry Pan to the Mauviel Copper Fry Pan, each has its unique properties that make it suitable for different cooking needs. By choosing the right pan and following some straightforward tips, you can elevate your cooking game and impress your dinner guests with restaurant-quality meals.

FAQs

Can I use Gordon Ramsay's favorite pans on an induction cooktop? Yes, most of the pans mentioned in this article are compatible with induction cooktops.

Are non-stick coatings safe to use? Many non-stick coatings contain harmful chemicals such as PFOA and PFOS, so it is essential to choose a pan with a safe and durable coating.

How do I know when my pan is preheated? For non-stick pans, look for a Thermo-Spot indicator that turns solid red when the pan is preheated.

Can I use metal utensils on stainless steel pans? Yes, stainless steel pans are durable and can withstand the use of metal utensils.

Do I need to season my cast iron skillet? Yes, cast iron skillets require seasoning to maintain their non-stick surface. To season your skillet, coat it with oil and bake it in the oven at a high temperature for an hour. Repeat this process periodically to maintain the seasoning.

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