Cracks in the Ceiling Dust in the Goldsack

28, Socialism, Film and Photography

[smalltownghosts]

Low side of the road

[egillbjarki]

Sai Kung, Hong Kong 2021

[flimflix]

‘’Prince Phillip’s up there with good ol Maggie now!’‘

[archae-heart-deactivated2021012]

nocturnes

[rabbitinthemeadow]

And for you, my love, I would gather the nectar of autumn // Part 7

[churchrummagesale]

A storm is coming… October 2016

[lindagoesmushrooming]

[dearly]

Spontaneous (2020)

[lindamarieansonsnaps]

Woods and Meadows.

[michonnegrimes]

I’m not afraid of him. I don’t suppose there’s anyone you’re afraid of.          THE QUEEN’S GAMBIT (2020) dir. Scott Frank

[annafridacharlotte]

[probablyasocialecologist]

Britain is a country profoundly uncomfortable with disability and difference. This appears rarely more strongly than in the workplace and the unemployment system, in which disabled people are caught between two entirely contradictory stereotypes. On the one hand, we are pitiable and infirm, incapable of holding positions of influence or of making a capitalist contribution. On the other, we are lazy and wilful scroungers, leaching off the hard-working non-disabled public. This heightened noticeably as austerity measures began to roll out with a particular focus on out-of-work sickness and unemployment benefits. It was as if disabled people were simultaneously pitied for their infirmity and vilified as a useless burden; judged as incapable of basic tasks by non-disabled people and criticized for not being in employment.

Frances Ryan, Crippled: Austerity and the Demonization of Disabled People (via probablyasocialecologist)

[jiji-de-jiji]

Snowy day

©juri

[somersetlevels]

Remembering Aberfan, 21st October 1966. More than 150,000 tonnes of thick black coal, shale and water engulfed the village, burying alive 116 children and 28 adults.

[geopsych]

Turkeytail fungus.

[doramilaje]

Julie’s Horror Movie Recommendations

I think she was scared. She called me a few weeks ago. She thought someone was coming into the house. Doors were left open, lights were left on, the armchair had shifted. She forgets things.

RELIC (2020) dir. Natalie Erika James

[riverwindphotography]

Subtle Hues of Fall: © riverwindphotography