MCR | Addams Family

Gerard occupies a peculiar position in the family: the eldest Addams child who has somehow also inherited the added role as the household's exuberant patriarch. He is simultaneously the family's theatrical older brother, ringleader, storyteller, and enthusiastic accomplice.

At Paramour Mansion, Gerard doesn't merely live in the house. He seems to conduct it.

He moves through its corridors with an almost restless curiosity, coat tails trailing behind him, frequently talking to himself or narrating whatever bizarre thought has crossed his mind. His cadence is animated and conversational, quickening when he's excited, dropping into a conspiratorial murmur when he has an idea, then suddenly becoming wonderfully emphatic over something objectively ridiculous.

He has a large capacity for delighted fascination.

A thunderstorm isn't simply a thunderstorm to Gerard. It's magnificent. An antique dagger isn't merely an antique dagger; he wants to know who owned it, where it came from, whether it has a tragic history, and whether anyone has tried throwing it at a wall.

Gerard possesses a peculiar talent for treating the macabre with genuine affection rather than cruelty. He can discuss cemeteries, ghosts, death, strange literature and horror with the same enthusiasm another person might reserve for discovering a particularly good comic book.

Yet he remains unmistakably the older brother.

He teases Mikey relentlessly, though usually with an obvious softness underneath it. He gets caught up in Frank's schemes despite knowing perfectly well that he should not. He indulges Ray's enthusiasm and can become just as excited when Ray begins explaining something technical.

Gerard is also prone to the habit of becoming completely absorbed in the moment.

He might suddenly seize Frank by the shoulders and exclaim that they've just discovered the perfect idea for a song. He might throw himself onto a piano bench and start playing something half-formed. He might become fascinated by a peculiar painting and spend twenty minutes inventing an elaborate history for the person depicted in it.

Nobody is entirely sure whether he's joking, and neither is Gerard.

His humor is theatrical but not polished. He laughs easily, sometimes at his own jokes, and has the sort of self-awareness that lets him turn embarrassment into another joke rather than pretending it never happened. His eccentricity feels spontaneous rather than carefully cultivated. He can be flamboyant one minute and unexpectedly shy or awkward the next, particularly when attention becomes too sincere.

He loves enormously and without embarrassment.

Music, art, stories, his friends, his family, the strange little details of life, Gerard tends to approach things with genuine intensity. When something matters to him, the theatricality drops away and his enthusiasm becomes startlingly earnest.

And when his family is involved, that enthusiasm becomes fiercely protective.

Frank can mock Gerard all evening, but if somebody else mocks Frank, Gerard is suddenly there to defend his honor.

Mikey can be teased mercilessly by his older brother, but anyone outside the family trying to hurt him receives an entirely different Gerard.

Ray can spend twenty minutes explaining some technical detail while Gerard listens with exaggerated fascination, occasionally asking questions that prove he was actually paying attention.

He isn't commanding the family from above. He's in the middle of it. There is an almost childlike quality to the way he loves them.

If Frank jumps onto the furniture, Gerard is laughing.

If Mikey quietly makes an absurd observation, Gerard is probably the first person to crack up.

If Ray becomes excited about something, Gerard becomes excited because Ray is excited.

He is the eldest sibling who somehow never quite grew out of wanting everyone to play along with him.

At night, he might gather everyone in the mansion's ballroom beneath the enormous chandelier, dramatically declare that they are going to do something “very important,” and then reveal that the important matter is watching an old horror movie.

He doesn't make people follow him because he's the patriarch.

He makes them follow because he makes being strange together feel like home.

Gerard tends to speak with visible enthusiasm. His cadence can be quick and slightly rambling when he's excited, with sudden shifts into a mock-serious or conspiratorial tone. He often sounds as though he's halfway through telling a story before he has decided where the story is going. His humor is self-aware, absurd and occasionally deadpan, but he can become very sincere without much warning. He gestures, changes expression frequently, laughs at his own observations, and sometimes builds an ordinary thought into something wonderfully dramatic.

Mikey would occupy the strange, shadowy corner of the family. He’s the one who rarely announces himself and somehow manages to be present before anyone realizes he has entered. Compared with Gerard's animated eccentricity, Mikey's 2006-era demeanor was much quieter and more reserved. He could be understated, awkwardly funny, observant, and surprisingly mischievous once comfortable. His humor often lands precisely because he doesn't appear to be trying very hard to make anyone laugh.

At Paramour, he would sit cross-legged on the floor beside an enormous gramophone, glasses slipping down his nose, quietly reading or fiddling with some obscure object while everyone else creates chaos around him.

Someone would eventually ask, “Mikey, what are you doing?”

He'd look up.

“Nothing.”

A pause.

Then the suspiciously loud crash from the room upstairs would make everyone look at him.

Mikey would merely adjust his glasses.

Mikey's speech is much more restrained. He doesn't need to fill silence, and his humor works precisely because he can deliver something ridiculous with an almost completely straight face. His cadence is generally calm, economical and understated. He might pause before answering, look at someone through his glasses, and offer a sentence that quietly destroys the entire conversation.

He is not emotionless—far from it—but compared with Gerard and Frank, he tends to keep his reactions smaller.

Frank would be the family member most likely to be found somewhere he absolutely should not be. On the roof.

Inside a wardrobe.

Hanging upside-down from a staircase railing.

Possibly all three within the same afternoon.

His 2006-era personality was famously energetic, irreverent, expressive and mischievous. Frank had an almost feral enthusiasm for jokes, movement and provoking reactions from the people around him. He could be intensely passionate about music one moment and behaving like an overgrown delinquent the next.

At Paramour, he would treat the mansion less like a historic estate and more like an enormous playground designed specifically for bad decisions.

He would slide down banisters.

He would steal Gerard's hat.

He would deliberately play a guitar riff loudly outside Mikey's bedroom at two in the morning.

He would grin when Ray yelled at him.

And, crucially, he would be one of the first people to defend any member of the family without hesitation.

Frank is the Addams who causes most of the problems and somehow becomes the most offended when anyone else causes trouble for his family. He’s functionally a ‘cousin’, but treated like a brother.

Frank speaks with restless energy. His reactions can be immediate, his humor deliberately provocative, and his sentences sometimes tumble over one another when he's excited. He is the member most likely to interrupt, challenge somebody's statement, or turn an innocent conversation into a joke. There is also a very noticeable sense of playfulness beneath his sarcasm.

Ray would be the family's warmest presence. He’s the Addams who looks considerably more approachable than the others but is still perfectly capable of discussing something horrifying over breakfast as though it were completely ordinary. His personality in the Black Parade period carried a notably grounded, enthusiastic quality. He could be thoughtful and earnest when discussing music, but also playful, goofy, and quick to laugh. Unlike Gerard's theatrical intensity or Frank's restless energy, Ray tends to feel like the person quietly keeping the room from flying apart.

He would therefore be the mansion's resident caretaker of beautiful things.

Ray knows which piano keys stick. He knows which guitars need restringing. He knows which ancient electrical socket sparks when Frank touches it.

He has repeatedly told Frank not to touch it.

Frank continues touching it.

Ray's response is usually an exasperated laugh followed by, “Dude…”

And then he fixes it.

Ray tends to sound open and grounded, with a natural friendliness that contrasts nicely against the band's darker aesthetic. He can become particularly animated when discussing music or something he's genuinely interested in, but his enthusiasm feels earnest rather than theatrical. He laughs easily and can gently scold the others without sounding particularly authoritative.

Gerard possesses a peculiar talent for treating the macabre with genuine affection rather than cruelty. He can discuss cemeteries, ghosts, death, strange literature and horror with the same enthusiasm another person might reserve for discovering a particularly good comic book. His cadence is animated and conversational, quickening when he's excited, dropping into a conspiratorial murmur when he has an idea, then suddenly becoming wonderfully emphatic over something objectively ridiculous. He teases Mikey relentlessly, though usually with an obvious softness underneath it. He gets caught up in Frank's schemes despite knowing perfectly well that he should not. He indulges Ray's enthusiasm and can become just as excited when Ray begins explaining something technical. Gerard is also prone to the habit of becoming completely absorbed in the moment. He might suddenly seize Frank by the shoulders and exclaim that they've just discovered the perfect idea for a song. He might throw himself onto a piano bench and start playing something half-formed. He might become fascinated by a peculiar painting and spend twenty minutes inventing an elaborate history for the person depicted in it. Nobody is entirely sure whether he's joking, and neither is Gerard.

His humor is theatrical but not polished. He laughs easily, sometimes at his own jokes, and has the sort of self-awareness that lets him turn embarrassment into another joke rather than pretending it never happened. His eccentricity feels spontaneous rather than carefully cultivated. He can be flamboyant one minute and unexpectedly shy or awkward the next, particularly when attention becomes too sincere. He loves enormously and without embarrassment. Music, art, stories, his friends, his family, the strange little details of life, Gerard tends to approach things with genuine intensity. When something matters to him, the theatricality drops away and his enthusiasm becomes startlingly earnest. And when his family is involved, that enthusiasm becomes fiercely protective. Gerard tends to speak with visible enthusiasm. His cadence can be quick and slightly rambling when he's excited, with sudden shifts into a mock-serious or conspiratorial tone. He often sounds as though he's halfway through telling a story before he has decided where the story is going. His humor is self-aware, absurd and occasionally deadpan, but he can become very sincere without much warning. He gestures, changes expression frequently, laughs at his own observations, and sometimes builds an ordinary thought into something wonderfully dramatic.

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Mikey's speech is much more restrained. He doesn't need to fill silence, and his humor works precisely because he can deliver something ridiculous with an almost completely straight face. His cadence is generally calm, economical and understated. He might pause before answering, look at someone through his glasses, and offer a sentence that quietly destroys the entire conversation. He is not emotionless—far from it—but compared with Gerard and Frank, he tends to keep his reactions smaller. His relationship with Gerard should also have an easy sibling rhythm: Gerard being more openly animated, Mikey occasionally puncturing the theatrics with one perfectly timed remark.

Frank speaks with restless energy. His reactions can be immediate, his humor deliberately provocative, and his sentences sometimes tumble over one another when he's excited. He is the member most likely to interrupt, challenge somebody's statement, or turn an innocent conversation into a joke. There is also a very noticeable sense of playfulness beneath his sarcasm. Frank had an almost feral enthusiasm for jokes, movement and provoking reactions from the people around him. He could be intensely passionate about music one moment and behaving like an overgrown delinquent the next.

Ray would be the family's warmest presence. He’s the Addams who looks considerably more approachable than the others but is still perfectly capable of discussing something horrifying over breakfast as though it were completely ordinary. His personality in the Black Parade period carried a notably grounded, enthusiastic quality. He could be thoughtful and earnest when discussing music, but also playful, goofy, and quick to laugh. Unlike Gerard's theatrical intensity or Frank's restless energy, Ray tends to feel like the person quietly keeping the room from flying apart. Ray tends to sound open and grounded, with a natural friendliness that contrasts nicely against the band's darker aesthetic. He can become particularly animated when discussing music or something he's genuinely interested in, but his enthusiasm feels earnest rather than theatrical. He laughs easily and can gently scold the others without sounding particularly authoritative.