Underlying all the clamour about Kids Company, we can also see four linked general processes in operation in varied attempts to frame and make sense of the issues. Firstly there is ‘animation’, where heightened interest in an organisation or social issue raises the stakes and draws people in. The issues faced by Kids Company become matters of wider public concern. Secondly we find ‘translation’, where protagonists and commentators pitch in with more or less persuasive hobby-horses narratives of a situation. If you think, as some claim, that charities tend to be poorly governed, then you might see the Kids Company story as a failure of the Board of Trustees, or if you think there is a gathering crisis in the statutory child protection system, of which Kids Company’s travails are a by-product, you might say that the charity was undermined politically for speaking out about the issue. Kids Company thus becomes a case study, and translation involves piecing together elements of fact, hearsay and argument to create a more coherent story of what it is a case of. Thirdly, there is ‘escalation’, where the demise of Kids Company is taken beyond its immediate context and generalised to a broader set of issues. We see this in the government’s proposal to create a central grants register of voluntary organisations it funds in response to criticism of its funding of Kids Company. Finally, in a public policy equivalent of ‘unfriending’, you can see processes of ‘distinction’, where others disassociate themselves from Kids Company. One charity commentator, for example, highlighted that Kids Company was atypical, tweeting that ‘imagining all charities were like Kids Co would be like thinking all British men were like James Bond.’