When I was in the hospital, they gave me a big bracelet that said ALLERGY, but like. I'm allergic to bees. Were they going to prescribe me bees in there.
So there's a medication called hyaluronidase. It's used to make other medications absorb better, because it makes the cell wall more permeable.
One common usage is to make local anesthetic more effective during surgery, for instance. It's used in a number of injected medications.
Bee stings contain an enzyme very similar to this medication, so sometimes, people with bee allergies have an allergic reaction to hyaluronidase.
This is called cross-reactivity, where your body mistakes something for the thing it's actually allergic to, and has an allergic reaction anyway. For instance, sometimes people with latex allergies also are allergic to bananas and other fruits. They don't actually contain latex, but there are some similar proteins.
Apparently, hyraluronidase used in humans is derived from one of four sources: sheep testicles, cow testicles, cow testicles again, and GMO hamster ovaries.
tl;dr: They won't inject you with bees, but they might inject you with purified cow testicle juice, and your body might say 'eh, cow balls are BASICALLY bees' and try to kill you anyway.
look i’m a finn bennett girlie 4ever but i just saw this pic of Bertie Carvel in rednote (chinese tiktok) and uhh.. i might want sum of that salt and peppa 👀🤤
When Jack Bannon received the script for BBC’s new drama, Babies, it was his newly born son that partly inspired him to take on the role. “I was already thinking about what it means to be a man, and a father and how your upbringing can quietly shape everything later on,” he tells British Esquire. Starring Paapa Essiedu and Siobhan Cullen, Babies is an unflinching, deeply moving portrait of a young couple navigating grief, loss and the disorienting early parenthood.
Written by Stefan Golaszewski, the six-part series lingers where most shows would cut away in silences, in awkward laughter, in the things left unsaid. Since its critically acclaimed debut, it has resonated with audiences for its sensitive, unsparing exploration of rarely depicted subject matter. In it, 35-year-old Bannon stars as Dave, a young father navigating what masculinity means to him beneath the bravado.
Beyond Babies, the actor – best known for his roles in DC’s Batman prequel, Pennyworth – is shifting gears. He is set to star alongside Sophie Turner in Phoebe Waller Bridge’s highly-anticipated adaptation of Lara Croft for Prime Video. He speaks with Esquire about the action-thriller, working with Essiedu and what he hopes audiences will take away from Babies.
How did Babies first come to you, and what made you say yes?
I was sent all six episodes for the audition, which is very rare, so I could read the full story. Stefan’s scripts are so beautifully observed, and I was already a fan of his work. The subject matter intrigued me, I really liked my character, and I felt I understood him straight away.
Where do we meet your character, Dave at the start, and what hooked you about him?
We meet him just as he’s started seeing someone new. He’s proud of her, wants to show her off. He’s at that slightly delusional stage where life’s been mostly plain sailing – bar a previous relationship breaking down, which he probably thinks wasn’t his fault.
He’s always been a bit of a joker, a charmer, but suddenly those charms aren’t quite landing anymore. That felt fun to play. And although his actions are questionable, you start to understand him more when you meet his father.
Also, I’d just had a baby boy myself, so I was already thinking about what it means to be a man, and a father and how your upbringing can quietly shape everything later on.
Masculinity sits right at the centre of the show. How did you get into that headspace?
Paapa and I actually struggled at first in rehearsals, because I think we’re both quite empathetic. We spend a lot of time, by nature of the job, thinking about people’s emotions and motives, so we’re quite different from these characters. That made it interesting.
There was a moment during rehearsals where I met a mate at the pub who’d had some bad news. I asked how he was and he just said, “I’m good. I’m always good.” It sounded exactly like something from the show.
With Dave, it was important there was something underneath it all – otherwise he’s just a two-dimensional villain. He’s grown up without much affection, no “I love you”, no “How are you?”, and that leaves him quite vulnerable. He’s sort of drowning, but covering it with this slightly ridiculous macho bravado.
You really see that in those painfully long, awkward laughing scenes with Paapa.
Yeah, they’re excruciating. They go on forever, and I remember thinking, “I genuinely don’t have another laugh in me.”
But that’s what’s great about Stefan, he leans into those moments. Most directors would cut away, especially now when everything’s about pace and keeping the plot moving. Here, you just sit in the discomfort.
The response has been strong, critically and with audiences. Has that landed with you?
It’s been really moving, actually. People feel quite grateful that the show goes there.
Watching scenes I wasn’t in, I was in awe, Paapa and Siobhan especially bring so much warmth and hope to it. And hearing how widely it resonates… it doesn’t surprise me, but it does stay with you. A lot of people go through these things quietly. So if the show opens that up, even for one person, it’s done what it set out to do.
You’re jumping from something this grounded into Lara Croft. How’s that gear shift been?
It’s been amazing. I grew up with the games and the films, so to be part of that world is pretty surreal. And with Phoebe Waller-Bridge involved, you can really hear her voice in it, it just works. I think people are going to love it.
What drew you to that project, and what can you say about working with Sophie Turner?
You can feel Phoebe’s tone all the way through – it suits it perfectly. And working with that cast was a big draw. Sophie’s fantastic in the role. Being part of a big British production like that, it’s exciting.
What are you itching to do next, role-wise?
I’m testing my comedy chops a bit at the moment, my character in Tomb Raider has some humour to him. But I’d love to play a villain. Something darker. A bit mysterious.
And finally, what do you hope people take away from Babies?
Life feels quite relentless at the moment. Everything’s fast, everyone’s juggling too much.
This show asks you to just sit with it for a while. It’s quite cathartic. It pulls you in different directions, and hopefully leaves you with a bit more faith in people – and in the idea that love does actually, get us through
modern endeavour au where all morse eats is a meal deal that jakes brings him every day because he can't stand looking at this malnourished sad wet cat anymore
The Beatles discography: I love you. People love each other and that's fun. Do you love me? Do I love you? There's love in the air. Love can change the world. Love is strange. Love can be dangerous. We need love. Do you love me? I love you.
The Who discography: Who am I? What is going on? Sometimes I feel so sure of myself. Other times I feel like I'm nobody. Can you tell me who I am? Do I know who you are? I think I know who I am, but it's not what the world is telling me. Who are you? Who am I?
The Kinks discography: The present is changing so fast but the past offers no shelter, we are losing the most precious parts of life and building a future of only paranoia and scarcity. The music industry and showbusiness are soul-sucking and yet I live to perform.
The Rolling Stones discography: WHOOOO SEX 🍆🍆 DRUGS 💉💉AND ROCK AND ROLL BABY🎸🎸🎸🎸😈😈😈😈
We’ve heard Yo-Yo Ma play the Bach C Prelude in ‘Nöel’ on The West Wing, here’s a very different version with Gounod’s ‘Ave Maria’ (not the Schubert, but still Noel-adjacent)
