#ian field

[myxomycota]

Stemonitis sp. by Ian Field

[giddyaunt425]

[primacatcher]

peanut butter & tears | dpr ian

[nkp1981]

The Doctor and companions

[vmpirevnom]

Here’s some pictures of TURN actors behind the scenes cuz why not

I found all of these on Pinterest— they’re so wholesome

[random-jot]

i didn't even watch that many of their episodes but goddamn if them meeting the Doctor again didn't hit like a truck

[chiffonbows]

“aRiA wAs ThE aGE oF CoNseNt”

mf that is a 16 year old and a 22 year old messing around

SIX-FUCKING-TEEN and TWENTY-MF-TWO

like omg i’m so sorry that some of your brains aren’t developed enough to know that 16 and 22 isn’t okay it’s truly crazy how you’ve been failed

[aceofwhump]

Outlander 7x04 - William Ransom whump part 2

[orangesartblog]

*dusts off art blog*

I'm really proud of it!!

I used the wet acrilic brush for the shading and stuff to give it more of a painting look, dunno if it worked but I like what it did do anyway.

--------

Gonna be honest, no idea what book this is from, or who drew it. I think it's from Christophers books but idk?

I found it on the drivers wiki page lol

[nerds-yearbook]

The Doctor (Doctor 11) and Amy are called back to 1941 to discover Winston Churchill has employed the Daleks to battle on behalf of Brittan. As usual, all is not as it seems. (Victory of the Daleks “Doctor Who” vlm 3 TV

[digitalartsgallery]

Ian Field-Richards

[myxomycota]

Lamproderma scintillans by Ian Field

[swiftfootedachilles]

How about you talk more about volunteer firefighter Ian since I totally ignored your ask about it

gonna kill you

ok so essentially i am super interested in court proceedings and i have many thoughts abt the (horribly inaccurate) legal shit in shameless. ian was sentenced to 2 years, for arson i assume?? and seeing as hes mentally ill and was unmedicated at the time of the crime, he has a pretty good case to get his record sealed! no i dont think he cant get it expunged, and yes it would still show up on a background check by employers. and doing more research since i sent you that ask, theres like a .00001% chance that ian could be a volunteer firefighter even with a sealed record. fuck you ian for committing a felony youre lucky the shamey writers were too lazy to research that you shouldve been charged and found guilty of a class X felony with a minimum of 6 years in prison

BUT I DONT CAREEEE I WANT IAN TO FIND A WAY TO HELP OTHERS AND GIVE BACK TO HIS COMMUNITY!!!! HE JUST LOVES HELPING PEOPLE SOOOOO MUCH!!!

i want him to go to schools and show kids how the oxygen mask works and complain about how much the firehose weighs and race kids in the outdoor obstacle course in his full gear for fire safety day at the local elementary school. i dont CARE how unrealistic it is i NEED IT. he tasks himself with collecting the students' thank you cards and pinning them to the huge bulletin board back at the station

no im not thinking about his strong muscles as he carries people out of fire or him coming home to mickey covered and sweat and soot. thats gay i would NEVER imagine that 🤨🤨

BUT trying to stay as realistic as possible he could volunteer to lifeguard at the pool ("wdym this apartment complex lets unaccompanied minors in the pool without supervision!! i dont care that living here means signing a waver that makes the complex legally not responsible for accidents in the pool SOMEBODY COULD DIE!!!!") and give swimming lessons to the kids. i love lifeguard!ian too 🥺🥺🥺 him and his silly baywatch red shorts and absurd amount of mineral sunscreen and sunglasses he stole from mickey. hes my dad!!!

truly, i just get immense joy from putting s11 ian in situations

[winnie-the-monster]

[cleowho]

“Drop the weapon, Doctor.”

Arc of Infinity - season 20 - 1983

[dustedmagazine]

Jonathan Cott — Let Me Take You Down: Penny Lane and Strawberry Fields Forever (University of Minnesota Press)

Whether you adore, loathe, or are indifferent to the Beatles, it seems fair to ask in 2024 what exactly could be left to say about them. Surely at this point the most written about, discussed, mythologized, demythologized, simply covered band (although to be fair, have they blown up on TikTok yet?), it’s understandable both that people would feel compelled to express themselves about the Beatles and that the rest of us might have our eyes glaze over in response. Jonathan Cott has more bona fides in this area than most, having written about and interviewed the band from the 1960s on (including an interview with John Lennon a few days before his murder), and he’s made two smart choices in putting together this particular book: narrowing the focus, and going in a more idiosyncratic, personal direction.

That focus is apparent from the title on down, and it’s a relief to see the scope reduced to two songs. Who needs another general overview of this particular band? (Yes, it’s good those exist in general, there will always be new, curious people as time passes, but it feels like that category is pretty densely populated at this point.) The Beatles are also one of the few acts that could conceivably sustain (in a financial sense) a whole book on one of their singles, even a double A side; even if one wished various other artists would get that kind of analysis, it’s hard to begrudge writers taking their chance to go so deep on one of their few chances to do so. But Let Me Take You Down is only partly a history of the two songs. The first section here covers, in 50 pages, the circumstances of the two songs’ creation, looking at the first period where the four members tried taking a break from the Beatles (and, in some cases, had existential crises about what not being a Beatle might mean), Lennon and McCartney’s artistic partnership/slight rivalry, the personal history that fed into both songs, and so on. It’s well done and moves briskly; someone who knew nothing about the Beatles would probably come away wanting to know more, and those already deeply steeped in the lore won’t feel their time has been wasted.

The second and final section here is nearly twice as long as the first; Cott, clearly a seasoned interviewer (with an impressive ability to either quote other myriad other works and authors out of thin air, or an impressive dedication to keeping potentially relevant quotations on hand to refer to), sits down with “five remarkable people” to discuss the single. Only two of them, Laurie Anderson and Bill Frisell, are primarily known as musicians. The three are the urban planner and Gramavision Records founder Jonathan F. P. Rose, Jungian analyst Margaret Klenck, and actor (and, more significantly for his section, noted Buddhist) Richard Gere. These conversations feel like they make up the heart of the book, and are where it will succeed or fail for most readers.

The tone throughout all five conversations is loose and friendly, with everyone involved engaging with the songs (lyrics, sound, historical context, personal context) deeply but informally. It’s worth noting that the median age of all six interlocutors is in the early 70s, and all come at “Strawberry Fields Forever”/“Penny Lane” from the perspective of people who were there at the time and who’ve been playing and thinking about these two particular songs ever since. Although Cott does have a bit of a thesis (based on James Hillman’s The Dream and the Underworld, with Paul as Zeus taking you “back” and John as Hades taking you “down”), he doesn’t impose it on any of the conversations and they all go in their own directions. Are these songs about depression? memory? love? the illusion of the self? all of the above? Let Me Take You Down’s most signal virtue is the way it might remind you of your own deep conversations with friends about music (Beatles or not), digging deeply into shared passions and volleying insights and theories back and forth.

The result is a book both small and scope but that goes to surprising places. If there are quibbles to be had, they’re along the lines of wishing “Penny Lane” got as much space from any of the people involved as “Strawberry Fields Forever” (but then again, isn’t the underworld something most of us find more fascinating, and easier to talk about, than our pasts?), and that the dense repetition of “said,” “explained,” “commented,” etc. might make one wish these interviews were presented in a more transcript-like style. Those small issues aside, the only big issue Let Me Take You Down really has is the obvious one, that most can answer for themselves instantly: in 2024, do you want to read another book about the Beatles?

Ian Mathers