#henry party

[bladexjester]

I know I’m late but I still want to celebrate! 💚💚💚

@saidsedsayd

[mcnuggetclub]

the way henry looks at alex

[mrprettywhenhecries]

JOE KEERY in HENRY GAMBLE'S BIRTHDAY PARTY (2015)

[cantinabandmp3]

[erikiara80]

Happy Stranger Things Day! One of the worst days of Will Byers' life. But at least he played dnd with Mike and his friends for 10 hours

[stevenrogered]

RED, WHITE & ROYAL BLUE ↳book > screen

He crosses to the freezer and extracts the box of ice cream cones, showing Alex the name Cornetto across the front. “I was out. Knew they’d stock you up.” “Do you raid the kitchens of all your guests?” Alex asks. “Only when I can’t sleep,” Henry says. 

“Have you practiced what you’ll say tomorrow?” “Yes,” Alex says, bristling immediately. This is why nothing about Henry has ever intrigued him before. “You’re not the only professional here.”

Alex hops down off the counter, swiping his phone unlocked. “Watch this.” He lines up a shot: the box of Cornettos on the counter, Henry’s hand braced on the marble next to it, his heavy signet ring visible along with a swath of pajamas. He opens up Instagram, slaps a filter on it. 

“Nothing cures jet lag,” Alex narrates in a monotone as he taps out a caption, “like midnight ice cream with @PrinceHenry.’ Geotag Kensington Palace, and posted.” He holds the phone for Henry to see as the likes and comments immediately pour in. 

[kineticallyanywhere]

Time & Space pages 1-2 ( This is the start || ao3 (not yet!) || next ) Starts less than 24 hours after the death of Willy Stampler. With the job done, there's finally time to sort some things out. They just need the right amount of space.

[justarandomgirly]

Red white & royal blue (2023)

[orkazh-arts]

"Not the moustache as well !!" "I know you love it."

Happy Halloween from these two goofballs ! 🎃✨🫶

Also, have the no-text and the polaroid versions !~

[rockingtheorange]

“At any party, where can you be found?”

“Towards the exit...😁”

@/GGWHOO

[notbecauseofvictories]

My best friend and I had a call recently---she’s back with her family for a bit helping out with some hometown stuff. As part of the stuff, she’s been going through a (deceased) relative’s scrapbook, compiled in the American Midwest circa 1870-1900 and featuring mostly cut-out figures from the ads of the day.

She talked about how painstaking this relative’s work was. (Apparently the relative was careful to cut out every finger, every cowlick; this was by no means carelessly or hastily assembled.) But she also she talked about how---the baby on the baking soda ad is ugly, it is so ugly, why anyone would clip this heinously ugly illustrated baby and paste it into a scrapbook? Why would you save the (terribly told, boring) ghost story that came with your box of soap?

(Why include these things in the first place? we asked each other. ”There’s a kind of anti-capitalism to it,” she mused.)

And we discussed that for a bit---how most of the images, stories, artists, and ads were local, not national; they’re pulled from [Midwestern state] companies’ advertisements in [Midwestern state] papers, magazines, and products. As a consequence, you’re not looking at Leyendecker or Norman Rockwell illustrations, but Johann Spatz-Smith from down the road, who took a drawing class at college.

(College is the state college, and he came home on weekends and in the summer to help with the farm or earn some money at the plant.)

But it also inspired a really interesting conversation about how---we have access to so much more art, better and more professional art, than any time in history. As my bff said, all you have to do to find a great, technically proficient and lovely representational image of a baby, is to google the right keywords. But for a girl living in rural [Midwestern state] of the late 1800s, it was the baking soda ad, or literal actual babies. There was no in-between, no heading out to the nearby art museum to study oil paintings of mother and child, no studying photographs and film---such new technologies hadn’t diffused to local newspapers and circulars yet, and were far beyond the average person’s means. But cheap, semi-amateur artists? Those were definitely around, scattered between towns and nearby smallish cities.

It was a good conversation, and made me think about a couple things---the weird entitlement that “professional” and expensive art instills in viewers, how it artificially depresses the appetite for messy unprofessional art, including your own; the way that this makes your tastes narrower, less interesting, less open.

By that I mean---maybe the baby isn’t ugly! Maybe you’ve just seen too many photorealistic babies. Maybe you haven’t really stopped to contemplate that your drawing of a baby (however crude, ugly, or limited) is the best drawing of a baby you can make, and the act of drawing that lumpen, ugly baby is more sacred and profoundly human than even looking at a Mary Cassatt painting.

And even if that isn’t the case....there was this girl in [American Midwestern state] for whom it was very, very important that she capture every finger, curl, and bit of shading for that ugly soap ad baby. And some one hundred years later, her great-something-or-other took pains to preserve her work---because how terribly human it is, to seek out all the art we can find that resonates with us, preserve it, adore it.

It might be the most human impulse we have.

[emblazons]

"I know what it's like to be different. To be alone in this world."

STRANGER THINGS SANS VISAGES S04E07 - The Massacre at Hawkins Lab

[mcnuggetclub]

♫ Oh... Oh... ♫

[mrprettywhenhecries]

JOE KEERY in HENRY GAMBLE'S BIRTHDAY PARTY (2015)

[hachama]

I have zero intention of being solemn or respectful about this

[dropoutdottv]

This week on Dropout: on Tuesday, a new Dirty Laundry with Kendahl Landreth, Michael Henry, Sarah Schauer, and Dylan Adler; on Wednesday, episode 4 of Dimension 20: Fantasy High Junior Year; on Thursday, the Adventuring Party talkback for Fantasy High Junior Year ep 4; and on Friday, Very Important People Last Looks for last week's episode!