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Probably even now spending some quality time with números dos, tres, cinco, siete, ocho, doce, trece, quince, dieciocho, veintiuno, veintidòs, veintitrès, veintiocho, y veintinueve. Then, after a suitable siesta, a caliente three-way with números cinco y dieciocho. And then a final magnifico with número cincuenta.

But I sure hope he is giving some Torrid Tongue Baths and Hot Open handed spankings to those delicious Habana boys ? Surely he is "overdosing" on the Lushness of it all. Cant wait to hear the reviews.....

MsAnn could have solved this "Cuban Crisis" a long time ago.

It Always Happens when Grandma has a Dick in her Mouth !

On ‘Downton Abbey,’ Beware the Fish Mousse By ROSLYN SULCAS NYT FEB. 26, 2015 “It’s not just about making the food look nice,” said Lisa Heathcote, who makes the dishes that appear on “Downton Abbey.” “You have to fit into the script requirements, choose the right kind of food that is historically accurate.” Credit Andrew Testa for The New York Times LONDON — Soufflés were on the menu at Downton Abbey, and Lisa Heathcote was standing in a tent in a windy parking lot, making one after another in two makeshift ovens. “Sometimes they would fall before the director was ready to shoot, sometimes they would fall in the middle of a take,” recounted Ms. Heathcote, who is Mrs. Patmore, Daisy and the rest of Downton Abbey’s kitchen staff rolled into one practical person responsible for all the food on the set. “The continuity people were freaking out. There were rows of collapsed soufflés, new ones continually coming out of the oven. It was a nightmare!” As any “Downton” fan feverishly anticipating the Season 5 finale on Sunday, knows, that’s a lot of food. From the early scene in the first episode, when the Crawley family hear of the sinking of the Titanic over breakfast — thus heralding a new heir for Downton and several seasons of romantic intrigue — to the endless dinners, teas, luncheons (not “lunch,” please!) and ceremonial banquets that mark the regular rhythms of aristocratic family life, few television series show more people eating more often. A scene from the kitchen with Lesley Nicol. Credit Nick Briggs/Carnival Film & Television Limited for Masterpiece Nor are they messing about. For breakfast, there might be eggs, sausages, bacon, kidneys, kedgeree (a rice and smoked-fish dish) and toast. Lunch would be at least two courses; tea would include cake and sandwiches; the evening meal would consist of at least three courses, finishing with a small savory (like prunes wrapped in bacon), or as many as seven courses if there were guests. Ms. Heathcote has been the food stylist on “Downton” since the first episode. “We had no idea what it was going to be,” she recounted in the kitchen of her house here, near the Wimbledon tennis courts. “A friend had emailed, saying, ‘Keep February open, I’ve got a nice little period drama coming up.’ ” That nice little period drama, about an English aristocratic household in the first decades of the 20th century, has now taken over the world, and like everything else that goes into the making of the series, the food, and how it is prepared and served, is precisely planned and monitored for historical veracity. In her early 50s, Ms. Heathcote is blond, energetic and what the English might call jolly. Drinking coffee and describing her job after a grueling week of shooting the coming sixth season (she is sworn to secrecy, although it did emerge that marmalade-making is involved), she said that her job was essentially to facilitate what Julian Fellowes, the creator of “Downton,” required. “He often writes food into the script, and it’s always accurate,” she said. “But there is a lot that isn’t written in that we have to work out in terms of seasonality, what is eaten upstairs and downstairs, and how it will look visually.” Ms. Heathcote acquired historical expertise about food while working on films and television series set in bygone eras (“The Duchess,” “Love in a Cold Climate,” “Outlander”). She grew up in Stratford-upon-Avon, and trained as a cook at the Prue Leith school in London. Her introduction to on-screen work came some 25 years ago, when a producer friend asked her to lend a hand on a commercial. An element of a period-appropriate menu. Credit Nick Briggs/Carnival Film & Television Limited for Masterpiece It has become more important to make film food more authentic over the years, she said. “If you look back at films of the ’50s and ’60s, the food is so fake, and people are so obviously not eating,” she said. “Now we all so much more food-aware and more attuned, through cooking programs on television, to how food looks and is presented.” The job, she said, isn’t nearly as straightforward, nor as glamorous, as it may sound. “You are essentially part of the art department,” she explained, “and you need to understand what the requirements are. It’s not just about making the food look nice. You have to fit into the script requirements, choose the right kind of food that is historically accurate and correct for the season. It’s got to be able to stand around while the scene is shot over and over again, and you have to be able to make vast quantities of it, because if someone carves a chicken leg off a whole chicken, they are going to do that over and over again, and you will have to have 60 chickens ready.” She added that because at Downton there was butler service — the food is on platters and in dishes carried by footmen to each diner, who then serves him- or herself — it also had to be user-friendly. “We’ve made sure that the dining room is the ballet that a dining room has always been in an aristocratic house,” said Alastair Bruce, the historical adviser on the series. “The servants must silently and effortlessly offer food; you have to teach each of those actors how to place the fork or spoon on the dish, and to serve. Each person at the table could decide whether they wanted a dish or not, and how much, but once you’ve put it on your plate, you had to eat it. That’s how these people were brought up.” An element of a period-appropriate menu. Credit Nick Briggs/Carnival Film & Television Limited for Masterpiece The food, Mr. Bruce said, couldn’t be overly fancy or ornate, or it would be too difficult to help oneself. “The rule is that if Violet can’t put a fork and spoon on the item on the plate and serve herself, it can’t be in the dining room,” he said, referring to Violet, Dowager Countess of Grantham, played with much verve by Maggie Smith. Repeated takes of a single scene mean that Ms. Heathcote must be constantly ready to refresh plates and replace food that is sitting around at room temperature. She said that “for health and safety reasons,” the food served was generally cold, although she cooks the breakfasts on set and remarked that Hugh Bonneville likes a hot sausage. Although there is always real food on the table, she said that improvisation is occasionally necessary. “Sometimes Julian will write something into the dialogue — ‘marvelous fish mousse’ — and you need to give them what’s in the script,” she said. “But fish can’t sit around on set, so I often cheat it with cream cheese and coloring. If another fish dish is required, I make chicken breasts and slightly mask them with a sauce. We call it chicken-fish.” Since some scenes show meals being prepared in the Downton kitchen, Ms. Heathcote said she had to be careful to get every detail right. “You have to get birds with feet and head on, calves with hooves, and veg that look a bit rugged, because everything would have come off the estate,” she explained. “The meat must be tied up with old string, not the blue one that butchers use now. It’s also very much about the visuals, so I have to cast the food; I’m always looking at stuff, and saying, ‘No, it’s the wrong shape.’ People must think I’m mad.” The series has traveled from 1912 to 1924 over its five seasons, and Ms. Heathcote said that the art directors were careful to take note of social changes and kitchen innovations, like food mixers, refrigerators and Pyrex. “Food was highly fetishized at the beginning, with those extraordinary ice creams and jellies and decorated food made with aspic,” she said. “As the series moves on, it gradually moves away from that, but it is still quite complicated, with mousselines and the edges of the plates decorated.” Lesley Nicol, who plays Mrs. Patmore, the cook, said that luckily, as head of the kitchen, she spends most of her time overseeing the junior kitchen staff. “She is always tasting and garnishing — and shouting, so I don’t have to do anything very technical,” Ms. Nicol said. She added that although she didn’t consider herself much of a cook (“It makes me laugh how many people think I am”), she had learned a few tricks. “Yesterday, I had to knead dough,” she said, “and Lisa taught me how to do it so that it looked right.” So there is dough in Season 6 as well as marmalade? Story-line theorizing can commence. http://www.nytimes.com/2015/03/01/arts/television/on-downton-abbey-beware-the-fish-mousse.html?hp&action=click&pgtype=Homepage&module=mini-moth&region=top-stories-below&WT.nav=top-stories-below&_r=0

MsAnn really likes this. :rofl:

A bit embarrassed to admit that, when I saw the thread title, I thought the cook was using his grandmother's liver. Big as a dinner plate when she passed, and enough to feed a small army . . .

Well I live in a Jewish neighborhood, and kitten livers are not readily available. I would have to venture to Little Chinatown for those, and its just so congested there, I would rather not.... I'll just settle for some good old goose liver pate' on matzoh squares..... "There's no fucking Kitten livers in MY hood" But I sure as hell can find me some Hot mancock ! Grandma Sucky dont Play !

If it Throws off your Schedule, you could Always READ.........