#Charles Fane

[blake-ritson-love]

Blake Ritson as Oscar Van Rhijn in season 2, episode 2 of The Gilded Age (Photos: HBO Max Nordic)

[kleinblue52]

I'm a simple Gilded Age gay, meaning that I marvel at the costumes, wish I was BFFs with Agnes and Bertha and want to get absolutely railed by Mr. Russell, Larry, John Adams, Jack and Mr. Fortune, possibly all at the same time.

But I also lowkey think that Mr. Fane is the hottest man in all of 1890s New York and I don't know what that makes me. The man is as stiff as a board but damn what a fine board. No wonder Aurora is so bad at matchmaking, she doesn't have time to properly judge other people, she's too busy admiring her golden boy. I bet Mr. Fane has a gay valet who's hopelessly in love with him. If he doesn't, I volunteer.

[servants-hall]

‘The Gilded Age’ Season 2 Behind the Scenes: How Fashion Defines Each Character (PHOTOS)

by Kelli Boyle

Julian Fellowes, the creator of Downton Abbey (2011-2016) [mod note: on PBS in the US], set that upstairs-downstairs series at a palatial British estate on the eve of World War I. He moved his newest costume drama Stateside to the streets of New York City. Set in the late 1800s, The Gilded Age, which has its second-season premiere on Sunday, October 29 on HBO (streaming on Max), pits the new money of railroad barons against the old money of New York society. The powerful fight for control of the city and use their wealth to measure social success. And dressing for success was its own full-time occupation.

When researching women’s fashion in 1800s New York, the show’s costume designer Kasia Walicka-Maimone saw one thing clearly: “Their life was a catwalk. There was this enormous excitement” when the ladies trekked the bustling, dusty streets of Manhattan. Her job was to recreate that excitement for contemporary viewers of The Gilded Age.

Fashion as a Sign of Status

Who’s doing all this promenading? Marian Brook (Louisa Jacobson) arrived in NYC with no money and was taken in by her aunts Ada (Cynthia Nixon) and Agnes (Christine Baranski), both living off an inheritance. Then the newly affluent Russells—headed by railroad baron George (Morgan Spector) and wife Bertha (Carrie Coon), who is determined to break into polite society—moved in across the street.

Ada Brook (Cynthia Nixon) and Agnes van Rhijn (Christine Baranski) head to church on Easter morning in ‘The Gilded Age’ Season 2 premiere. Niece Marian Brook (Louisa Jacobson) follows close behind (Credit: Barbara Nitke/HBO)

The frill thrills continue in Season 2, especially in a pivotal garden party scene (pictured below) that TV Insider observed being filmed in September 2022 at New York’s lavish Old Westbury Gardens estate. (Westbury House was previously home to an heir of the Phipps family, real-life Gilded Age figures whose patriarch made his fortune alongside Andrew Carnegie at his steel company.) On set was Fellowes, whose smart black suit and tie were the only dark hues around.

Gladys Russell (Taissa Farmiga), George Russell (Morgan Spector), and Bertha Russell (Carrie Coon) step out for Easter mass in ‘The Gilded Age’ Season 2 premiere (Credit: Barbara Nitke/HBO)

Historically Accurate Costumes

It’s a testament to the wardrobe department that the stunning colors of the sprawling grounds nearly pale in comparison to the vibrancy of the women’s period garb. Despite the sepia-toned images in history books, Walicka-Maimone says, those bright tints are decidedly historically accurate. She has a library of more than 35,000 reference images to prove it.

“It’s shocking to our modern eye to see the explosion of color from that period,” she said. Production designer Bob Shaw (who won an Emmy for his work on Gilded Age) was present to share his creative process, which, just as Walicka-Maimone described of her own work, is “deeply steeped in history.”

Nicole Brydon Bloom joins the cast for Season 2, pictured here at the garden party with Blake Ritson’s Oscar van Rhijn (Credit: Barbara Nitke/HBO)

He does note that, when deciding between “what is correct and what feels correct,” the latter always wins. Creative liberties are taken to “build [character] histories into the costumes,” Walicka-Maimone added.

A Garden Party to Remember

Take Brit newcomers Dashiell Montgomery (David Furr) and his daughter, Frances (Matilda Lawler), for example. Nephew by marriage to Baranski’s Agnes, Dashiell requires more “toned-down” attire suitable for social outings, which contrasts with Season 1’s primarily business and formal menswear.

Aurora Fane (Kelli O’Hara) and husband Charles Fane (Ward Horton) attend the garden party in ‘The Gilded Age’ Season 2 (Credit: Barbara Nitke/HBO)

Dashiell must escort Frances through society in his late wife’s absence. One consideration for Walicka-Maimone: “This is a girl who doesn’t have a mother, so there’s probably extra care from all the other family members in [dressing her],” she said.

Meanwhile, Marian, who Jacobson said is “shining this season and sees herself in [younger] Frances,” will be more open to a strategic marriage. Marian’s “not necessarily cynical” after being jilted by Tom Raikes (Thomas Cocquerel) in last season’s finale, the actress continued, but the heartbreak gives her a “spice and edge.”

Don’t count out the possibility of a romance with Larry Russell (Harry Richardson), son of the railroad titan, which was teased last year. Jacobson shared: “They will definitely continue to deepen their friendship.” Old money and new money unite!

[julyzaa]

that critic who confused John Adams with Charles Fane for two whole seasons in their reviews has no idea how much they helped me watch more tv and movies without caring if they're good or not.

anyways, just because they get paid (or doing it for free)to critique something doesn't actually mean they know what they are talking about.

someone calling a show boring while confusing two blond men who even shared a scene together on the gif below really made me realize that what truly matters is whether i personally liked what i was watching not what everyone else thinks about it

(Charles Fane is on the left, John Adams is on the right)

[mmfan1]

aurora fane is quite the matchmaker this season!

THE GILDED AGE (2022- ) 2x03 "Head to Head"

[history-of-fashion]

1761-1766 Sir Joshua Reynolds - The Honorable Henry Fane with Inigo Jones and Charles Blair

(Metropolitan Museum of Art)

[dreamauri]

♪ — 𝗥𝗘𝗠𝗘𝗗𝗜𝗘𝗦 charles leclerc x wife! reader (fluff) “. . . feeling the pressure from this season's finale, charles turns to you.”

( general master list | more of charles leclerc ) ( requests | taglist )

"I want to hear you play on the violin?" "You want to hear me play my violin?"

"Yes." "But I've been practicing on the piano. Don't you want to hear what artistry I have come fourth with." You giggled, a melody sent from the heavens during this frustrating time.

"Chérie, have mercy on my heart." [darling] To say that Charles was anxious was an understanding. The Abu Dhabi Grand Prix. Where Charles can either lose the race, or become world champion. Very stressful, since the race was in an hour and his wife wasn't there to hug him and brush his curls like he liked.

"Mon Dieu, relax." [my god] You chuckled as you sat the phone on speaker, getting situated at you and Charles' ( mostly charles' ) grand piano. Charles muttered a small prayer as you laughed at him, staring at the keys.

And as you hit the first note, Charles closed his eyes gulping. "Un, deux, trois, quatre. Cinq, six, sept, huit." [one, two, three, four. five, six, seven, eight.] "Neuf, dis-moi, où es-tu ce soir?" [nine, tell me, where are you tonight?] Your voice rang through his head as he relaxed, sinking into his chair, adjusting his headphones.

"Quatre, trois, deux, un. Zéro, puis toi. Tu ne viens jamais plus me voir." [four, three, two one. zero, then you. you never come to see me again.] No wonder you chose this song, the music coming from the piano was minimal ( which was good cause you didn't want to mess up and make Charles fuss over the mistakes, ditch the race to fly over and correct you ).

"Un, duex, trios, sept. Vois-je par la tête? Mes draps sont nus quand t'es pas là." [one, two, three, seven. can I see through my head? my sheets are bare when you're not around.] But he was grateful none the less. He found your voice to be his cure. The world outside his headphones blurring and fading out as he basked to your remedy.

"Quinze, vingt, puis cent. Sans le dire tout haut. T'as quand même retiré tes bras." [without saying it out loud. you still took your arms away.] And when it came time to race, and he had ended the call with you so you can watch the race and he get ready. Your voice was still there, singing for his soul.

"Et moi, je bois. Je dors, je fane. Comme les tulipes du jardin." [and me, I drink I sleep, I fade. like the tulips in the garden.] Your voice was still there when he went to his designated spot the starting line, p2. With Verstappen on pole, he would be stressed or frustrated. But he was odly calm. He already knew the outcome of the race.

"Je veux t'avoir. Tout contre moi. Comme une jolie robe de satin." [i want to have you. all against me. like a pretty satin dress.] A blessing you were. Because for the first time, Charles had won the Driver's Champion chip. And he wouldn't thank anyone else but you for that.

A night full of celebration for Ferrari.

A night for Charles, you, and his unborn son to remember.

"You could be a singer." He teased, greeting you at the door with a smile and a warm hug. No celebration or alcohol anyone offers him can beat the happiness he feels when dancing with you out in the balcony.

[adamsvanrhijn]

this really drives me insane.... Aurora Fane with her concerned realization face on .... Charles Fane perturbed and seemingly desperate to end whatever is happening here and make this look like a more heterosexual interaction .... john adams shamelessly flirting with oscar wilde in front of basically everybody he knows and then trying to look Oscar van rhijn his ex that HE dumped directly in the eye about it but Oscar quickly looks away..... this is what people mean when they say poetic cinema i think

[auroravanrhijn]

returning to my lesbian maude beaton crusade: did we all see how Maud was eyeing up gladys up after Charles fane introduced her to oscar wilde 👀

[baldwin2001]

El rubio abre los ojos, sintiendo la luz de la mañana en su cara. Mira a su alrededor y recuerda la noche anterior, sonríe.

Puede ver a una joven pelinegra desnuda a su lado, con el cabello resuelto y durmiendo tranquila.

— Incluso durmiendo te ves hermosa...— murmuró sin esperar una respuesta de la joven.

Observo el techo de la habitación, se encontraba pensativo. Pensaba en él, en Sophie, en su futuro. No lo pensó dos veces y se levantó. Buscando por toda la habitación sus pantalones y su demás ropa para cambiarse. Se puso los zapatos y sin despertar a Sophie salió del lugar para ir a su casa.

Al llegar, mira la fachada de la pequeña casa de madera. Siento quizá está la última vez que vuelta a estar ahí. Sin más, entra y se dirige a su habitación, se acerca a su cama y saca debajo de está un folder gris.

— ¿Walter? ¿Eres tú?— se escuchó la voz de Kitty por el pasillo.

Pensaba en ir a buscar a Kitty pero ella ya se encontraba en el marco de la puerta. Ella lo mira por un momento y luego a lo que tiene en las manos.

— ¿Qué es eso? — pregunto preocupada la castaña.

Ella se acercó a Walter y le arrebato el folder de las manos. "DIVORCIO" decía en letras grandes en la primera página, con la firma de Kitty, y a un lado su firma.

Él suspira frustrado por su comportamiento y la mira, logrando ver lágrimas caer por sus mejillas.

— Por fin te voy a dar lo que tanto querías.— explico Walter.

— Walter, por favor. ¿Por qué me haces esto?— pregunto la castaña dolida.

El suelta una risa por su comentario, parece que olvidó que lo engaño hace un tiempo.

— Lo hago porque amo a otra mujer.— confesó Walter.

— ¿Es por Sophie? ¿Es por ella, verdad?— pregunto con la voz quebrada.

- Obviamente.

— Esa hija de...

— ¡Hey! —alzo la voz, acercándose a ella de manera desafiante—. Ni se te ocurra insultarla eh

— ¿Cómo no quieres que lo haga, Walter? ¡Si me robo a mi marido!— exclamó exaltada la ex esposa Fane.

— ¿Ella te robo a tu marido?— el rubio suelta una risa de burla—. Ella lo único que hizo fue amarme. Tú arruinaste este matrimonio acostandote con Charles Townsend.

— ¡Fue un error!— explico tratando de controlar sus lágrimas.

— Eso ya no importa.— dijo sin darle importancia y se dirigió a la puerta.

— ¿A dónde vas? Walter.... ¡Walter!

Kitty comenzó a seguirlo por toda la casa hasta que llegaron a la entrada de está. Y antes de irse Walter le dedico unas últimas palabras a su ex esposa.

— Adiós Katty, espero que seas feliz con alguien más, así como yo lo seré con Sophie.— dijo con sinceridad a Kitty, antes de dar la vuelta y seguir su camino.

— No... Walter, Por favor.... ¡Walter!

La castaña lo siguió eufórica, sin dejar de llorar. Pero Walter ni siquiera la volteaba a ver, hasta que Kitty cae al suelo y su llanto es aún peor.

Después de varios minutos caminando hacia la casa de Sophie, Walter suspira, sintiéndose liberado después de mucho tiempo.

Al llegar, puede ver a Sophie con una bata larga de color durazno, con las mejillas rosadas y el cabello aún desordenado, esperándola en la puerta. Para Walter ella se veía adorable.

— ¿Walter?— lo llamo con duda en su voz.

— Ahora soy solo tuyo mi querida Sophie.— extendió los brazos sin dejar de acercarse a ella.

El rubio le sonríe y los ojos de Sophie se llenan de lágrimas ante sus palabras. Una sonrisa ilumina su rostro.

— Oh Walter.

Ambos se abrazan, y él le da pequeños besos en todo el rostro, Sophie suelta una suave risa ante su gesto de cariño.

Completamente enamorados y con ganas de comenzar una nueva vida juntos.

[tanyaschampagne]

5 details from the funeral scene that I think about too much

dissecting the funeral scene in The Gilded Age and why it told us more about Anne and Patrick’s family life than any other moment in season 1

I’ve been rewatching the first four episodes like a maniac waiting for season 2 to come along, and recently I’ve noticed a few too many little details that normal (speak: sane) people may have not caught onto that I thought were worth pointing out.

1. The children.

The funeral scene is the only one where we see the Morris children in the entirety of the show. Anne mentions the kids towards the end of episode 3, saying that “Will is upstairs” and “Louise is on her way” moments before Patrick takes his life. Patrick then proceeds to praise them and their family life, and what good children Anne has managed to raise (all to her getting suspicious that something must be wrong - which in itself is a big enough implication to dissect in a different post). Up until the opening scene of episode 4 we don’t know how old the children are, only the blood-stained picture in Patrick’s room, right before the credits roll at the end of episode 3 gives us a hint that Louise is the older sibling, that’s all.

Then, we see them at the funeral. And I have so much respect for whatever those two extras (never found out their names, but shout-out to those two!!) did playing those kids for a few seconds. Will is clearly in shock, completely dissociating (considering he was the one who was upstairs to find Patrick dead on the floor before Anne could rush up the stairs… yeah…). Like, that child is going THROUGH IT.

I fully love the little attention to making them seem grown-up but clearly they aren’t. Will with the cane and hat, looking like he cosplayed as an adult (especially with all the other men around him wearing similar attire). Louise has the same hairstyle and stance as Anne and you can just see this little girl trying to be like her mother. It’s so headcanon but this moment truly proves that Anne was completely idolised as this unbreakable force in Louise’s life, that this child is even trying to keep it together after her father died, and it’s just so gut-wrenching because Anne clearly can’t keep it together.

2. White carnation.

It’s a short frame, barely recognisable. But the only flower laid at Patrick’s grave is the one Anne puts on top of the coffin. White carnation. While carnations are a pretty traditional flower for funerals, white carnations in particular convey deep sorrow. As they’re usually linked to innocence and purity, as well as loyal love, they were used to mourn children gone too soon; to mourn those gone under circumstances that were not in their hands. The fact that Anne chose white carnation, rather than red carnation (which is the traditional pick for a widow as it symbolises passionate and admirable love), shows just how much she was convinced that Patrick’s untimely death was not his fault nor an act tainting his name. And her silence paired with the white carnation is the perfect counterpart to the later rather loud comment by a family member on how he doesn’t even deserve a grave to begin with.

3. The Fanes and their relation to the family.

When the camera pans higher above the crowd, we see the other people that attended the funeral. Right next to Anne and the children are two other couples, the rest of the family is opposite them, with the grave separating the two sides.

With the back and forth between the funeral scene and the scene at the town hall of George and the aldermen looking at the blueprints which takes place simultaneously, it adds meaning that Charles Fane, an alderman himself, skipped the meeting to attend his friend’s funeral. (We’re gonna overlook how quickly Charles threw Patrick’s legacy under the bus after finding himself in a similarly tough financial situation).

The more notable thing however, is the fact that Aurora and Charles are standing right next to Patrick’s immediate family - Anne and the children - implying their connection to the family was closer than simply friendship. They would be standing farther away… if they weren’t tied to Anne and the children, e.g. by being the kids’ godparents. This theory would explain not only why they’re standing where they’re standing but also why later, while everybody else quite literally turns their back on Anne and the children during the departure, Aurora and Charles take the carriage right behind theirs, walking with them. It also explains why Charles was willing to aid Patrick if his debt hadn’t been that big of a financial ruin, and (without the queercoding etc) why Aurora’s betrayal is such a devastating revelation to Anne.

4. Aurora being the only one to look at Anne, and the only one to follow her.

Just as I mentioned, Aurora and Charles are the only ones to walk behind the Morrises after the funeral. The small crowd dissolves in all directions but throughout the whole scene nobody looks at Anne or acknowledges her grief. Quite the contrary: from the distant side of the family, a ginger woman spends the only dialogue of the scene shittalking Patrick and how he didn’t deserve to be buried in consecrated ground (which earns her quite the deathglare from Aurora). (quick psa: I DO believe that the woman is supposed to be Anne’s “unbearable aunt Susan” from episode 2, which Patrick mentions as they walk up the stairs to the Russell House, right after Anne makes the Dido reference).

I'll let the GIFs speak for themselves - cause the cinematography is insanely heavy with implications of loyalty and support.

also, Aurora looking at Anne, then looking at Charles, then initiating them following Anne and the children?? (I am madly sobbing)

5. Anne losing her balance.

The entire scene, Anne spends in devastation, don’t get me wrong. But it’s quiet devastation. She doesn’t say a word, you don’t see her cry, you barely see her face as the veil covers all her features. She doesn’t turn to lean on anybody, she doesn’t sob or embrace her children. Even though she’s grieving, she’s very much still the poised woman of high society, and it shows. Until, right at the end of the scene, she walks over to the carriage with the children and finally let’s go. As she’s about to get into the carriage, she loses her balance, ever so slightly, and a gloved hand comes to her help, steadying her. Without a word, she tries to overplay it, gets in, and lowers her head. Her children sit across from her.

totally not gonna put the little not-so fun fact here that this was the final filming day of the entirety of the first season and that katie and kelli wrapped together - totally not gonna do that and add to the devastation that this was the last scene they filmed together before katie was written out of the show

[barbucomedie]

Officer's Uniform of the 5th/60th (Royal American) Regiment of Foot from the British Empire dated to 1808 on display at the Rifles Museum in Winchester, England

The first four battalions of the 60th were raised as regular line battalions and fought in the Peninsular War. However the 5th battalion was raised as a rifle regiment on Barbados.

The regiemnt was raised in America but saw many recruits from the German states and Switzerland. They were famous for targeting French officers and an officer of the 29th Foot, Charles Leslie commented:

“In this battle the 60th Riflemen, who were all Germans, showed great tact in taking advantage of the ground and dexterity in the use of their arms. General Fane, who commanded the light troops, observing one of these men successfully hit one or two French officers who were gallantly exposing themselves in front leading on their men, exclaimed in the excitement of the moment, ‘Well done, my fine fellow! I will give you half a doubloon for every other one you bring down.’ The man coolly loaded again, fired, and hit another, then looking at the General, he said gravely, ‘By Gott, I will make my fortune’.”

Photographs taken by myself 2023

[corallapis]

Henry ‘Chips’ Channon: The Diaries (Vol. 1), 1918-38, entry for 29th June 1923

— Friday 29th June Lunched at Lady Cunard’s. The usual potpourri and brilliant chat. She told Lord Balfour he was like God and ‘yet so Christ-like’! Dined with Michael Horby¹ at Shelley House² and we went to Stop Flirting, the popular revue in which two charming little people, Americans, called Fred and Adele Astaire, are the stars.³ Later a most lovely ball at Someries House⁴ ... Lady Zia Wernher’s.⁵ It was successful indeed and starts a new era in entertaining .... I was presented to a tallish gentleman, the Crown Prince of Sweden⁶ ... he is to marry the Lady Louise Mountbatten.⁷ It will be announced next week. What luck for her as she has only about £300 a year and is living in obscurity at Kensington Palace. The Mountbattens after being degraded during the war⁸ to the rank of mere marquises and earls are now much on the ascendant ... they are ever a lucky family, poverty-stricken, they specialise in brilliant marriages. I sat in the garden with Lady Desborough⁹ and found her witty and wily as ever ... does everyone realise, as I do, that she is the character of the age?

—

1. Michael Charles St John Hornby (1899-1987), son of St John Hornby, was the founding partner of WH Smith.

2. The Hornby family’s house in Chelsea.

3. Frederick Austerlitz (1899-1987), who took the name Fred Astaire, was an American actor, dancer and singer who achieved worldwide fame in the 1930s in a series of Hollywood musicals renowned for their dance routines; and his sister Adele Marie (1896-1981), with whom he began a vaudeville act as children as 1905, when they changed their name to Astaire. By 1923 they had a Broadway act, which they were touring in London.

4. A Crown State property rented by the Wernhers in Regent’s Park, designed by John Nash and damaged by bombing during the Second World War. It was demolished in 1958.

5. Countess Anastasia Mikhailovna of Torby (1892-1977), elder daughter of the Grand Duke Michael Mikhailovich of Russia, and therefore a great-granddaughter of Tsar Nicholas I. She married, in 1917, Harold Wernher (1893-1973), later 3rd Bt. She was granted the rank and precedence of an earl’s daughter after her marriage and stopped using her Russian title, being known as Lady Zia Wernher thereafter.

6. Oscar Fredrik Wilhelm Olaf Gustaf Adolf (1882-1973), from 1950 King Gustaf VI Adolf of Sweden. He was the widower of Princess Margaret of Connaught (1882-1920), whom he had married in 1905; she was the cousin of King George V, and had died suddenly while eight months pregnant with her sixth child. 7. Louise Alexandra Marie Irene Mountbatten (1889-1965), previously Princess Louise of Battenberg, married the Crown Prince of Sweden (vide supra) in 1923, and was Queen Consort of Sweden from 1950. She was daughter of Prince Louis of Battenberg, who became 1st Marquess of Milford Haven when renouncing the German titles in 1917. She had earlier turned down proposals from King Manuel II of Portugal and had been secretly engaged to Prince Christopher of Greece, who was unable to marry her because he had no money; a second engagement was to Stuart Hill, an artist, whom she met while nursing in the Great War and who turned out to be homosexual. 8. There was a protracted debate between Lloyd George, King George V and Lord Stamfordham, the King’s private secretary, in 1917 about the titles to be bestowed on German members of the King’s family who had pledged allegiance to him and had been prepared to forfeit their German ranks. The King was cautioned against granting too many titles and to avoid bestowing any dukedoms. The Mountbatten marquessate was a compromise and their rise would indeed be unstoppable, with the surname of members of the House of Windsor becoming Mountbatten-Windsor in 1960, thirteen years after the marriage of the future Queen Elizabeth II to Philip Mountbatten. 9. Ethel ‘Ettie’ Fane (1867-1952), married in 1887 William Henry Grenfell (1855-1945), 1st Baron Desborough, a former Liberal MP who had joined the Conservatives in 1893 over his disagreement with the second Home Rule Bill for Ireland. Their three sons (qqv) predeceased them, two killed in the Great War and a third in a car crash.

[seph7]

J.T. Walsh as Col. Charles Fane in The New Adventures of Superman Season 2 Episode 6 - Operation Blackout (1994) - Part 2

[skippingdown16]

this george russell charles fane conversation is insane

[thomerama]

The Honorable Henry Fane with Inigo Jones and Charles Blair