#not a transcript!

[lux-et-astra]

analysis of what each sink scene represents - session six

once again thank you tash for the reams of analysis material!!!! spoilers (obviously) under the cut

for reference, i'm calling fire/dry girl/narrator kate, and her victim/best friend birdie

finally the big one!! there aren't really "scenes" as such here so i'll just go in order of what happens

first of all: "Don’t worry! I’ll be here, the whole time." from the narrator. yes girlie you WILL be!! because you're kate!! we get the sinking realisation of that here in just a moment: "People don’t… they just don’t –" // "Properly understand." the narrator is finishing kate's sentences!! and then eventually they talk at the same time ("Three… two… one… go.") and we finally see that kate and the narrator are one and the same! now we get the running from birdie - although this time it's running out of fear, not because kate is coming to get her (she's not scared of kate yet), but because her dreams are catching up. the first dream snippet we see is sonic the hog! the relevance of the forest is finally underlined ("For the fun run, everyone was!") as we see that yes. she should be running. then we get another running/forest adjacent scene in balanced for eggs which gives us a little more context. we got the suggestion in balanced for eggs the first time that kate was the chick who got boiled, just a random chance of nature, but here we get some extra information ("When people are born all boiled up, all hot, or just different, you know, it’s not your fault, but if you don’t stay away, well –") and we can see textually how much this man is warning birdie to stay away from kate. the narrator's insistence that birdie move past this insistence ("Run!") is followed by the grudging defeat of the man ("If you don’t stay away, whatever happens, that's – that’s up to you!"). we can see that the narrator does not want what's best for birdie - it's clearly not a good decision to try and force this remembrance, and birdie's actions both now and at the time were against all advice but kate's. this early section provides us with context for some of the earlier dreams and crucially contextualises this flight through the forest as a fight against birdie's dreams - who are just trying to warn her. birdie is, right now, on kate's side, against her own subconscious, a betrayal as she abandons those figures who want what's best for her: who, right now, are just figments of her subconscious, but we'll see later that she also abandons real-life figures who wanted what was best for her like her parents.

next up we get the sand lady presenting a perspective after the camping trip incident, making this chronology absolutely wild ("Lovely stuff, no one needs to call the police. Not until it becomes clear that someone’s gone missing. Uh oh, where’s she gone? Uh oh! Where’d you last see her? Cause they’re gonna start asking lots of questions, aren’t they?") and we can see the beginnings of blame as a theme for birdie. evidently there would have been lots of questions after the incident and we can see more than anything how birdie blames herself ("They’re going to ask you – they’re going to ask you if you could have done anything to stop it.") - "could you have done anything to stop it" is more likely something birdie asked herself than anything an outsider would have asked, except perhaps kate's family. the fact that her subconscious is demanding this suggests that birdie still feels guilt over the incident, even though she can't yet remember it clearly

we move on to birdie's mother giving us some more details about kate! ("Sweetheart, just… these little swimming trips, and camping trips, and little… obviously it’s lovely that you’ve – that you’ve got a friend.") this suggests that sherbet and it needs to dig/dip day are pretty close to the truth, and solidifies this current experience as a camping trip! ("I don’t want you to just be… doing things because… other girls have told you to do it.") birdie's mother expressed some of these feelings in the earlier scene ("all the girls wanna be smooth girls now…") but here we get it pretty clearly that she feels that birdie is being pushed into things by kate. the relationship between the two girls is evidently fairly toxic as we've already pretty much established but this outside perspective gives a less-biased view, showing how concerning kate's behaviour can be! ("It’s nice she gets out, obviously boring for her, just… just with her grandma and grandad, but… people say things, darling.") we get a little more evidence of kate's turbulent homelife - as much as grandparents can provide a loving and stable home, it does suggest perhaps some kind of upheaval in kate's living situation/problem with her parents, which could have led to some of her problems, especially if there were some kind of fire... ("What happened in the swimming pool, it’s just… it’s nice you like her, but she’s… she’s not quite right, is she love?") there's a suggestion here that birdie is a little naïve? at least that she's brushing past things kate has done or willfully ignoring them. which i think is very interesting as a measure of their relationship because it's very natural for birdie to try and defend her friend and that kind of cognitive dissonance is definitely not out of the question - i think it's possible that birdie is being a bit naïve but considering that these girls seem to have been friends since childhood, i don't think it's fair to criticise birdie for not seeing danger in her closest friend - while it's true that she probably should have listened to her mother with regards to kate's behaviour, i don't find any fault in birdie for just sticking with her friend. ("It’s best not to annoy her. Alright love? It’s best not to annoy her.") this final bit from birdie's mother evokes the end of children in there ("All things considered, best not to annoy him.") and pretty much solidifies the impression of kate as potentially dangerous, that there could be negative consequences for birdie if she doesn't go along with kate, which i think furthers the point that birdie's not to blame! the woods are a very isolated place, and the fact that the camping trip incident only hurt kate and birdie is in fact a lot better than it could have been - had birdie annoyed kate, had she rejected her earlier, kate could well have wanted to take revenge, and given that birdie lives with her mother, that could have had far more casualties than just kate and birdie. so i think as much as birdie should have probably got out earlier before kate became as hell-bent on her desire for self-immolation (and taking birdie with her), i do think she did everything right for the situation she was in.

after the mother's section we get a little bit which feels very police-y! "Excuse me. Very important you tell us the truth, okay? This is for her sake as much as anyone else." i suspect that birdie didn't end up telling people the truth - on one hand, i highly suspect she repressed a lot of her memories of the camping trip incident, and on the other, the fact that birdie believed kate to be dead somewhat suggests that kate "escaped" on her own terms, which would imply that police/paramedics either didn't look for her or didn't find her - presumably it should have been easy to find her if birdie had given police all the details of the camping trip. after this we get "Little games, her little stories." // "At this point, there is a fire." the framing of this as a game and a story as well as the reference to the earlier scene ("Peter sat back and said what he always said.") suggests an inescapable nature to this! also it feels like very childish language which is a little sad, actually. they're still so young! making up silly stories and playing games! although kate's silly stories she has decided to make real so... less fun.

we then get a direct follow up to that with all four "I've got a story"s which i find fantastic. it wasn't until transcribing that this moment really hit me and i frantically went back checking that all the monologues did really start with "I've got a story"! it made me crazy! it ties everything back in to the birdman game and to kate's way of looking at the world which shows how insidiously kate's worldview has crept into birdie's world... crazy stuff. all the other stories are clearly building up to the most important story which, as we're about to hear, is kate's. this scene hits hardest because it's very clear that it's not a dream, it's a memory. whereas every other scene has some kind of dreamlike logic (real laser gun action being the one that comes to mind) we finally get a shot of reality - although it feels very dreamlike because we're seeing through kate's lens! i find this beginning bit a little sad ("You just have to listen to the story. To the end, that’s all. Okay? And then it’s finished. And we go back.") because "go back" for KATE means go back to the tent where they will die in a fire together whereas i'm quite sure birdie is more likely to take it as go back home. but it's not the end is it. i haven't mentioned much of the sound effects in the sink but i think the really key thing in this scene is [SFX: FLICKING LIGHTER]. you can hear it throughout kate's story!! i didn't even notice until listening to it about a million times for transcription purposes but it's there - and it's so soft and in the background yet so present, which i think really speaks to kate's pyromania. it informs everything she does and yet it's subtle enough to go unnoticed by most people. i don't think that kate's speech needs a massive amount of analysis. i think it's a pretty logical culmination of everything we've seen. i think it's interesting that it juxtaposes language about building a house and a life together ("And they built a house, a dry house, and they built it out of straw.") which is very domestic and intimate with the suggestion of burning it all down ("And they knew all they needed to do to be dry, and warm, forever was just to huff, and puff, and burn the house down.") which is very very violent. i think kate really contrasts those ideas in her head, that houses have to burn, that the life you build together has to go up in flames. i think it probably speaks to a previous incident. another interesting thing about her speech is that she consistently includes birdie in her worldview as thinking the same as her ("Once, there were two people who… met each other in the world, and they knew that the world was all wet. They could see it was, it was dripping cold, all of it, and that all their clothes and bodies were heavy and their sleeves dragged along the road dripping off all the wetness everywhere they went and they were the only ones who could f– feel it.") she very much implies that she thinks birdie thinks the same as her. which i think we can gather is not necessarily true! but it possibly speaks to kate's actions being slightly less out of the blue - she genuinely thinks that birdie also wants this. which is very sweet but also deluded. kate also uses very deterministic language ("They wanted to, but that’s not what happens, in the story.") in fact the whole framing of this as a story really suggests that it's set in stone and immutable, which heads off any kind of possible argument really - of course they have to do it, it's Just What Happens. i think that frame of mind is what kate's using as a crutch, she's not thinking critically about what she's doing, it just has to happen this way, so it's fine and permissible. and then when birdie starts to rebel, kate references the time they first met ("Wait, it’s not – it’s not finished, wait. Just – let’s – let’s put some music on. You have your headphones? C’mon. One for you, one for me.") to get her back on side. they're sharing! they're together! the music is to remind birdie of how long they've been friends, of how much they've shared together.

"And they knew that the wet ones would look for them, but they were together, and they knew that sometimes, it’s better when people don’t come back." - i think kate says this entirely for birdie's benefit. it doesn't really seem like kate has relations who would worry about her, but birdie's parents evidently still want the best for her, so this is very much to assure birdie that kate is all she needs. which is worryingly codependent and also how domestic abusers distance their partners from their support circles! kate goes on ("We can only finish the game if you listen to the end, so you have to stop.") to tell birdie that she has to listen to finish their game. i think birdie has realised by now what kate is doing and this is kate's last chance to get her on side, which i don't think she manages! the framing of "finishing the game" is what's most important to kate, because she sees life as a series of games and stories, and she sees her friendship with birdie as an extended game of birdman. but for birdie, the situation is dangerously real and the framing of "ending the game" means nothing to her. however the fact that birdie runs away means that she doesn't listen to the end, so they can't finish the game!!!! which has terrible consequences for birdie, because kate can't leave a game unfinished. i think kate's pleas for birdie to come back are really sad ("Wait, it doesn’t matter, it doesn’t matter. Just stay! Stay here! Stay here! No, wait – lie down, come back! It’ll be so much better if we don’t come back! Wait! Don’t leave me!") because they go from "it'll be so much better if we don't come back", i.e. look how much it'll benefit you, to "don't leave me", which shows what kate's really concerned about. she doesn't want to be alone. for someone with such an all-consuming friendship, it's probably terrifying for kate to suddenly have to consider existing without birdie, which leads her to taking bad decisions. like:

[SFX: SPLASH] - running in blind terror and falling into a lake. i think this causes kate to spiral and ultimately to make a very bad decision. her trigger (being wet) sets her off entirely and she loses all critical thinking.

we leave kate behind, just like birdie does, mad with grief and fear and pyromania, and return to birdie, who finds help in john and jim!! who are finally recontextualised as her "rescuers" in a sense. we get the line that the narrator has been putting off - "Oh – fire!" - and we get a key question from john: "Was there anyone else, love? Is there anyone else in there?" birdie does not reply, that we can tell. she's finally out. but the game's not finished.

"And the last little bird to get scared is scared so much it isn’t a bird anymore. All its feathers get hot and dry and they’re not feathers anymore, they’re just straw. And its eyes are small little buttons. And it all begins again. I knew I’d find you in the end." kate's scare is finally complete, however many years later. birdie's not a bird anymore! we finally get the full-on reveal of kate & the narrator being the same person, with them speaking over each other ("I found you, in the end.", "Stretch them out, all the straw.") and the horrifying reveal that every time the narrator has been telling birdie to stretch her arms, she has meant it in a scarecrow sense. freaky! as an ending, this very much implies that birdie is going to start scaring people the same as kate ("There are new little birds to find. And when we catch them… We get to scare them.") which seems to imply that birdie is now somehow under kate's thrall? it's quite an open-ended ending, considering we don't hear specifically from birdie throughout this entire session! what actually happens to her is left up to us! personally, i think if kate had the latest in nano-mesh sleep technology, she could do anything she wanted to birdie's mind. maybe she's locked in an eternal dream - after all, the important ones come back.

thank you for reading!!! i really hope you've enjoyed all my silly little thoughts about the sink and that they've helped a little in understanding what the hell's going on!!! feel free to chat to me with thoughts or ideas, i'm always down to discuss!!!

[fuckyeahgoodomens]

David Tennant at the British LGBT Awards where he was presented with LGBT+ Celebrity Ally award ❤ :) (x)

David: With a slogan I attract the ire of the occasional online idiot, but I don't have social media, so even I have tobe told about that by my brilliant wife, Georgia, who is the real engine behind anything we do. She educates me about empathy and understanding and she has been a huge educator for me. But I think, I suppose if I'm honest, I'm a little depressed by the fact that acknowledging that everyone has the right to be who they want to be and live their life how they want to live it, as long as they're not hurting anyone else, should merit any kind of special award or special mention, because it's common sense, isn't it? It is human decency. We shouldn't live in a world where that is worth remarking on. However, until we wake up and Kemi Badenoch doesn't exist anymore... I don't wish ill of her I just wish her to shut up. Whilst we do live in this world, I am honoured to receive this. I'm thrilled to be here and to be a part of this night. Pride is very important in our house. It's a family affair. We have skin in the game. So this event tonight thrills me. It gives me hope, it gives me fire, it gives me energy and deep joy. And even if I feel I don't really deserve this, I'm very pleased and very proud to be receiving it. Thank you all so much.

[aq2003]

undefined

sam and brennan’s greatest weaknesses (respectively)

(transcript under the cut)

[transcript:

Clip 1:

Elaine: It’s possible this is my new favorite bird!

Sam: I agree. Before, my favorite birds were... [pauses]

Elaine: What?

Sam: Fuck me.

Elaine: [Laughs]

Sam: Um, bluejay. A robin. A cardinal. A flamingo... [pauses] Dinosaurs were technically birds. A pterodactyl—

Brennan: Sorry, dinosaurs were technically birds?!

Sam: I was just listening to an NPR story about this, Brennan.

Brennan: I believe that you mean birds were technically dinosaurs. Not all dinosaurs, were birds!

Elaine: He has a point.

Sam: Oh god in heaven, I don’t know if I know five more birds.

Clip 2:

Carolyn: Woody Harrelson has the vibe of someone who should have been cancelled years ago, but remains one of the rare celebrities loved by both sides of the political aisle, like Dolly Parton, The Rock, and... Kid Rock.

Brennan: That’s the opposite of these five celebrities that both the left and the right hate... Honestly, just like a list of five celebrities would be enough to really... [sigh] oh god, who’s famous? Um...

Sam: Who’s famous?

Carolyn: [Laughs]

Sam: This is like me with the birds.

Brennan: Oh, god, let’s switch. Let Sam name five famous people and I’ll name five birds. I’ll name a hundred birds!

Sam: Nobody wants your birds, Brennan!

Brennan: PLEASEEEEEEE

[/end transcript]

[billpottsismygf]

Doctor Who: The Impossible Planet & The Satan Pit / The Legend of Ruby Sunday

[determinate-negation]

this is him responding to a reporter asking how hed describe the past year

[lostjonscaves]

while listening to ep 9 i realized that my “listening to new tmagp ep” behavior is not how normal people experience podcasts

[geluckgk]

Tubbo stayed perfectly calm when Etho arrived 👍

Transcript :

Etho ? [BIG SCREAM ] OH MY GOD ETHOSLAB HAS LOGED IN

[While typing in chat] HEYY

Oh that came of too strong [laugh], Oh my god Ethoslab is here

[Reading Etho's response] "Hey" ooh he said hey back !

Ok, ok , ok. Stay calm, stay calm, everyone stay calm, everyone stay calm it's okay

Dude, look I've meet so many people in my time streaming, he's just another guy, that you know, entirely shaped the person I am today and like inevitably affected my childhood but other than that, he's just another guy

[v0idwraith]

[maxedes]

as mentioned sky germany has three kids reporter this weekend & they got to interview max.

a short rundown:

- he was very cute with the kids (always cute talking german & cute with kids. so we got cute squared)

- the kids were so nervous (especially about asking for a selfie) but he was so nice to them & they seemed very comfortable once they started talking

- they asked who would drive for him & what the team name would be if he had his own f1 team. he picked lando & oscar as drivers & mentioned his sim team verstappen.com as a name.

- next question was who would play him in a movie. he said he‘d rather not have the movie but maybe leonardo dicaprio

- answer to his all time favorite driver is michael schumacher

- he looked a little lost about the question what his job would be if he weren‘t in f1. he said maybe a motor go driver.

- then max vs 1 kid drew the zanvoort layout while blindfolded. max won by a mile. he couldn‘t let the kid win if he wanted to.

- he let the kids wear his helmet & told them they looked really cool

- they wanted to know what the best & worst thung was about being a driver. best is driving & worst ist media (but he said with the kids it‘s fun, he just doesn‘t like the adults hahaha)

- he privately mostly drives an audi. i didn‘t catch which one exactly but it just looked like a standard svu (?). nothing flashy just a normal road car.

- the kids debriefed the interview together & mentioned how nice he was & that they had a lot of fun.

edit: link to the drawing challenge

[lux-et-astra]

analysis of what each sink scene represents - session five

once again thank you tash for the reams of analysis material!!!! spoilers (obviously) under the cut

for reference, i'm calling fire/dry girl/narrator kate, and her victim/best friend birdie

all that jazz: a first reading of this scene would suggest that it's similar to scenes like beany hag and sonic the hog, where we're shown birdie's relationships degrading because of her lingering trauma over kate and the camping trip incident with amy representing birdie and simon representing her partner. however is this the only explanation? i argue no. amy seems utterly pre-occupied with the dangers of the shower (wet)!! this seems far more like something kate would say than birdie ("Until the shower runs – dry, and you’ve drunk it all, and, and you’re dead!") however later on we get a more classic kate phrase from simon ("I’m all dry.", "Dry. For the fire.") i'll be honest, as fun as this scene is, it's pretty impenetrable analysis wise! we get a little more to work with with some of amy's fears ("Some monster is not on the way to get me.", "No, it’s not about the birds…", "She’s a perfectly normal girl, alright? You just – have to just leave it. You have to just leave it. Some monster is not coming to get me.", "Oh, Simon… please, please don’t… take him away… Simon!") the emphasis on her being a perfectly normal girl feels more like a description of kate and a defence against relations who think kate is toxic - making simon birdie in this instance!! it's hard!! i don't know what's going on!! i' think maybe i'm putting a pin in this scene. ALL THAT JAZZ WILL RETURN.

snakes and ladders: finally, a scene that makes sense. this is pretty neat cause it feels very close to what actually happened!! as we get closer to the culmination of everything in session six i think we're getting closer to the truth. anyway this scene is very much kate&birdie being genuine friends and then a little bit of outside perspective! we can see how much they're in sync and how they seem slightly strange to an external observer ("Sorry, I’m – I’m still quite confused about all the snakes?" "Same!", "W– we love climbing. We love how high we’re going." "We love being up high!" "Yay!", "Fucking hell.") i think this is really valuable to show that kate and birdie were very much on the same wavelength! they seem so young here ("But fly, sort of.") and we can very much see that they're humans! we get no mention of dry/wet/fire in this scene, it's focusing less on kate's problems and more on how their friendship actually seems a little sweet. their closeness does seem to have some exclusionary effects - they're not listening at all to their other friend, in fact he tries to share something personal which gets completely overlooked ("Whenever I was, upset, or like, sad, my grandad would help me – [...] Won’t tell you that then.") so we can see that as in-tune with each other as they are, this leads to cutting off the rest of the world - it may seem to them that all they need is each other, a sentiment which they definitely seem to be embodying here, but we the audience know what that leads to. there's a little bit of dramatic irony here - if birdie had spread her social net a little wider, spent more time listening to other people, the camping trip incident might not have happened. but we can see that their refusal to play snakes and ladders in favour of birdman ("So you – you – you start outside. Right?", "We’re all birds though, right?") echoes kate especially's refusal to "play along" with society as it stands and to play her own game. in addition i think this is the first time we see birdman as a game!! it gives an explanation not only to all the birdman scenes but also the scarecrow scenes! the explanation kate gives ("When the scarecrow finds you, it scares you. And the last bird is scared so much, his bird eyes turn hot, and into little buttons, and then the last bird becomes the scarecrow. And then you start again.") is representative of the entire point of the podcast! birdie is about to be scared so much that kate wants to turn her into the scarecrow - and start again. in a sense the emphasis on "and then you start again" represents kate's desire for her relationship with birdie to be neverending - she wants them to keep finding each other and starting again, a cycle with very sisyphean feelings. the other interesting thing about this scene i think is kate and birdie's attempt to seem much more mature than they are ("Okay. Is it like, is it a commentary?") which actually shows how young they actually are. obviously it's neither a commentary on snakes nor ladders, but we can see how much they want to present themselves as adult and mature - old enough to run away from home. i think that image of themselves as adults ties into the feeling of not needing anyone other than each other, but we can very much see the folly in both those ideas. this is a little bit of a bittersweet scene! the girls feel about the right age for the camping trip, so it feels chronologically like it's very close to everything going wrong. this is one of the last moments we have of kate and birdie before the camping trip - and we can still see a little of that youthful innocence! and their other friend! it's sad to see what could have been, knowing what comes after.

birdman 4: the extra bit we get here is "One by one, it never stopped.", "It’s coming now! There’s nothing we can do, it’s a monster, Jim! It’s a monster, it’s coming to get us!". this feels very reminiscent of all that jazz (painfully for me) given lines like "Some monster is not coming to get me." which... i don't know what that means because as i have mentioned, all that jazz is impenetrable to me. rip. anyway this bit is very interesting! the use of "it" instead of "he" distinguishes the thing coming for them from the birdman, which had come to "warn" them. despite the fact that kate is playing the part of the birdman/scarecrow, i think there's an important distinction to be made between the birdman for john & jim, which is the birdman of birdie's dreams, a reminder that she needs to be watchful, and the birdman kate is playing, a real-life figure who is genuinely coming for birdie. obviously not using "she" delays the realisation until session six but also using "it" very much dehumanises kate - implying she has lost her humanity and become nothing more than the scarecrow she was pretending to be. the key thing from this scene is "it never stopped", i think - kate never stopped! she's still out there! birdie's dreams are doing a great job trying to warn her - the game of birdman isn't finished. it's still going. kate's still playing. ooh and i've just noticed!! "Jim, did a Birdman come to your school?" - this has been clearly juxtaposing the birdman with school this whole time! it's very much a schoolyard game and they've been suggesting that this whole time! wow i'm a silly billy for not noticing that immediately. the birdman is in the realm of children, not adults. i'll even call back a bit from birdman 1 - "Yeah, at the time, even the teachers –" here, they're suggesting it was odd that no one noticed that the birdman wasn't a man at all. i have a two-fold realisation here! on one hand - no one noticed that kate was going off the deep end. boring analysis. on the other - the birdman wasn't a man. he was a BIRD!! he wasn't a scarecrow!!!! he really hadn't come to scare you - the birdman isn't the scary thing! he's a reminder of the scary thing! ugh natasha hodgson your mind. you can't be scared of dreams, can you. the birdman is poor birdie trying to warn herself but she's just not remembering.

sherbet: the story of how kate and birdie met <33 honestly aside from the real laser gun action i have no trouble believing that this is entirely accurate to how kate and birdie met. it makes sense that birdie is getting closer to remembering the truth and this is a formative moment quite literally ("And right now, with – with her looking right at you, is the last moment you’ll, sort of, be alive. Because it – it was all a different life, after that. You were a different person now.") there's so much in this but i feel like for the most part it speaks for itself? like ("She was in the back, and she had to lean over the middle bit, and open the other side of the car. Just for you. Just for you. And so, when you see her, for the first time, she’s leaning over to open the door, and you look at each other, and you just think… oh no.") you get it you get the themes. if i were writing an essay on any of the scenes from the sink it would probably be this one if it couldn't be like. the whole of session six. like kate is crossing the gap to be closer to birdie literally closing the distance. which is what she's doing right now. closing the distance. ("You were a different person now.") she's not birdie anymore she's half of kate&birdie. that's genuinely how it feels in relationships like that, that you're not whole without the other person. even after you're separate again not a day goes by without you thinking of them. so yeah tash pulled it out of the bag with this one. ("You walk over with your see-through dolphin bag with three dolphins on, bumping on your leg. And she’s got a chewy stick from a sherbet fountain in her mouth, so her mouth is all foamy, like a beach.") i like how realistic this is. like we get all the details!! really hammers home how much birdie was her own person before she became kate's friend and before she was haunted by the memory of kate. also something something violent destruction - chewy stick in her mouth means gnawing down on it & we see immediately that act of violence in the innocuous facade of a child. anyway. ("And this is the last moment you’ll be… alive. Because, the rest of your life is, is just – playing it back. And back. Over and over, watching the yellow sherbet foam, and her leaning over the middle, and hearing the seatbelt click.") hits home when you think about how much birdie has forgotten, has tried to forget - and yet she's still playing it back over and over. every dream she has is playing it back. ("And most of the time, you’re you. When you’re doing it, over and over, in your head. And sometimes you’re her. Just to wonder – what she was thinking. Always. Always, you’re wondering that, and sometimes you’re the sherbet, being in her mouth. Lovely, wet, yellow. With her chin like sand.") this is most key as context for the whole of the sink. most of the time you're you and sometimes you're her and sometimes you're the sherbet. most of the time the scenes are birdie and sometimes they're kate and sometimes they're the birdman. INTERESTING that the sherbet in her mouth is WET. suggests that she's so so early on!! this is before she's all dry!! she's still a baby!! and then after the imagery of birdie imagining being in kate's mouth we get the somewhat violent penetrative image ("With her hand, like, just… just putting it in your body.") which is slightly creepy and represents the intrusion of kate firmly into birdie's life. this is imagery that gets picked up on later in session six and like. right now because they're children it's a little creepy but it's harmless enough. but when they're older it's more... like. putting something in your body. the ultimate intimacy.

hope you enjoyed - sorry about all that jazz but i do not have the brainpower to parse what's going on there!!! let me know if you have any thoughts (especially if you can shed some light on all that jazz lol) or if you just want to chat about the sink!!!

[fuckyeahgoodomens]

David Tennant interview at the British LGBT Awards, June 2024 (x)

Int: You being an ally to the community isn't something new. You've been doing it, but recently you've obviously really stepped up for trans and non-binary people in a time that's so, so needed. What made you do that?

David: I don't know that I feel like I've done anything that I wouldn't just sort of be normally doing. I mean, it's for me it's just common sense that there's there should be any suggestion that people aren't allowed to live the life they want to live and and to be who they want to be with and to express themselves wholeheartedly. I mean, as long as you aren't hurting anybody else, everybody else just needs to fucking butt out. I don't really understand why...

Int: ...it's controversial.

David: Yeah, there is and the thing... the thing, if there's something that's particularly sobering and depressing, it's that certain debates are being weaponized by certain elements of the political class, often for no... it seems it's not ideological so much as opportunistic. And I just think that's pretty disgusting, really.

Int: I couldn't agree more. What message would you like to send out to trans youth?

David: Please don't feel like you're not loved and that you're not accepted and that you're not... you know, most people in the world are good and kind and just want you to be able to be who you are. Most people in the world don't really care. I mean... you know what I mean?

Int: We're all narcissistic.

David: Exactly. Everyone's so self obsessed that really, the sort of noise that comes from a certain area of the press and of the political class is... it's a minority. It really is. And please don't let that make you feel diminished or dissuaded or discouraged, because, you know, you just... you have to be allowed to be yourself, and you are, and you are yourself and you must thrive and flourish, and we're all here for it.

Int: Amazing. I think, yeah, it's so important .I think sometimes it feels like there's so many people, but it is a minority. It's such a minority.

David: It's a tiny bunch of little whinging fuckers that are on the wrong side of history and they'll all go away soon.

Int: Like what happened with gay people 20 years ago.

David: When I was a kid, when I was a kid, exactly. You know, I was at school when Clause 28 came in and it all felt like being gay was something to be terrified of. And gay men in particular were demonised as paedophiles and now that just feels historic and ludicrous and, I mean, I don't see all those... all those battles aren't won, but we're in a very, very different place. And I feel like.I feel like history is on a progressive trajectory and it might get knocked sideways now and again by people for all sorts of reasons, which are often quite selfish and quite, as I say, not coming from a place of any sort of genuine belief system, but other than a place of opportunism. And that's something that we... I hope that in 20 years time, we're talking about, you know, these culture wars as something of the past.

Int: I believe we will. I'm a huge Doctor Who fan, so.

David: Oh, good, me too!

Int: You are my Doctor.

David: Oh, thank you very much.

Int: But recently, obviously, you came back for the 60th anniversary and you got to work with Yasmin Finney.

David: Oh, yeah, yeah, yeah, yeah.

Int: What was it like working with her?

David: Oh, she's brilliant. She's fantastic. Yeah. And she's in the show again now, she's back in it, so that's fantastic to see. She's lovely, talented, cool as a cucumber, articulate, brilliant. I learned a lot from her as an actor and also as someone who, you know, who's become a sort of de facto activist just because of who she is and where she is, and she becomes a sort of symbol of hope, and she's wonderful.

[aces-and-angels]

highlighting @amalashuor video from her insta. added subtitles for more accessibility. amal has been vetted/verified by el-shab-hussein/nabulsi; #175 on their spreadsheet even if you cannot donate money, please donate your time- read through amal's campaign. follow her here on tumblr and on instagram if you have one (amal_sufian97_). share her message

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[video transcript below cut]:

amal: hello my friends all over the world. i am amal ashour from gaza, 27 years old. i am married and have one baby, maryam. for 225 days we have been suffering from the war in gaza. no one can imagine what is happening to us. the situation in gaza is very difficult. we live in very hot weather and there is no water.

i hope everyone will stand with me and help me. we want to leave gaza to a safe place. donate to us and share the video and donation link with your friends. donation link in bio. thank you, my friends.

[human-for-tonight]

has anyone warned gorgug that telemaine is in elmville. or is he just going to be out trying to find a quokki pet and he turns down an aisle in the elmville target to see telemaine at the other end

[f-identity]

[Image description: A series of posts from Jason Lefkowitz @jalefkowit@octodon.social dated Dec 08, 2022, 04:33, reading:

It's good that our finest minds have focused on automating writing and making art, two things human beings do simply because it brings them joy. Meanwhile tens of thousands of people risk their lives every day breaking down ships, a task that nobody is in a particular hurry to automate because those lives are considered cheap https://www.dw.com/en/shipbreaking-recycling-a-ship-is-always-dangerous/a-18155491 (Headline: 'Recycling a ship is always dangerous.' on Deutsche Welle) A world where computers write and make art while human beings break their backs cleaning up toxic messes is the exact opposite of the world I thought I was signing up for when I got into programming

/end image description]