Trying to name our new foster kittens...
🧑🏻: let's name this one Bobby
👩🏻: what about the other one? how about Bibi?
🧑🏻: nah...let's name her Millie
👩🏻: ....should we rescue another one and call it Brown? (/s)
🧑🏻: oh, that's a good idea
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All right. I'm here because… I thought about it, and… you've been my person since we were, like, 30 running around like idiots. You know, we do things together. We do fun shit, boring shit, hard shit. I tried doing my own thing, but it just wasn't the same.
The point is, we're getting old together. You know, we're getting old, and if you die… I wanna be the last person you see.
Don't die. But if you do, I'll be right there with you.
Diana & Bonnie in NYAD (2023)
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“A világ tele van szörnyekkel akiknek barátságos arca van, és az angyalok tele vannak hegekkel.”
-Isaac Foster
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dick has foster kid?????
Mhmm. Olivia Desmond. AKA Blockbuster's daughter. She's super strong and cheerful and uhhh we don't know much else about her. I mean, other than the fact that Blockbuster sold her soul to the king of hell.
Nightwing #101
Nightwing #103
Nightwing #103
Dick: She has me.
Neron: What is this?
Dick: A temporary foster form. Issued by social services of Bludhaven. I am Olivia's legal guardian, and I have not signed your contract.
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Mino and I would like to say thank you for the well wishes. Her fever has gone down and she's now as mischievous as ever, yet we'll be heading back to the vet in the morning to have her checked for the rashes that are appearing on her ears and the blisters on her lips which may have come from her high fever yesterday. Please send her some positive vibes <33
PS. That's her brother, Bobby, cuddling right next to her lol he's feeling a bit warm too so he's coming with us to the vet tomorrow :(
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Can't stop thinking about Night Country. That feminine rage is cold and hard; old, older than everything else, and buried deep. That a woman alone is a dead woman; a woman alone is the most dangerous thing. That a man's ego is more important than a woman's life. That a woman who speaks up isn't silenced, she's destroyed. That women are strongest when they're together, when they speak, when they sing. When they're seen.
That what men want for themselves is reason enough to lay waste to everything else. That when it's weighed on the scales, their chance to live a little longer is worth more than a baby's first breath. That they'll do whatever it takes, even when it poisons all of our water.
How a mother dies and her daughter dies too, but a son can't live until he's killed his own father. How women only have power when they lie, assume the role of men, align themselves to men, or die.
And when they will no longer clean up after them.
When they honor who came before, paint the protest on their face, and learn their real name. When they emerge from the ice, leave the night behind and walk toward the sun instead of into the sea. When they shape their own stories. When their tongue is returned to them.
What a fucking masterpiece.
I guess she wanted to take them. I guess she ate their fuckin' dreams from the inside out and spit their frozen bones.
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a while ago i saw a post by @sideblogdotjpeg about how the cycles in c3 seem a lot more personal/familial. and i kind of went insane in the tags at the time and i’ve been thinking about it a lot since because like…
you have the heroic cycles that the band of boobs parallel/break on this large scale. the idea of these broken trios of adventurers is there throughout the campaign, but they really start to engage with it towards the end— with the divine hearts, and thiala, and the wheel of suffering/wheel of joy idea. the thing hardwon says as he takes the divine heart, that no matter what anybody chooses from then on it’s with love in their hearts, i feel is very relevant to how they break the cycle. they love each other, and they choose over and over to hold each other tighter rather than be driven apart.
and on the other hand, you have duck team’s refusal of fate vs their family’s resignation to it. look at swag working with mothership, oliana’s contrition, and the stuff that is currently ongoing with gowan. you know— sol is a version of swag who fully rejected mothership and found his friends instead. callie refused to be a part of her family’s business, and her love for the wild and the serpents is giving the world a chance. calder, when he makes the deal with ultrus, telling callie and sol that he trusts them to save him. and now calder is refusing to sit back and let gowan handle things in the ice knife.
it's not that duck team aren't trying to save the world. they are. and it's not that the boobs didn't have a personal connection to the cycles they were breaking. they did. but it's like... well... how do i put this into words. right--
the song melora's boon plays when the boobs arrive at the heart of the world and speak to melora. when she talks to beverly about duty, shows him the places he faltered and how at the last second, he gets back up. (later, when they face thiala, bev doesn't go unconscious once. at one point, he's the only one standing.)
for sol, this is the song that plays when he expresses his fear of going down again. when he admits to callie that he's scared of the day that she and calder are down and he's the one that needs to stand up alone. when callie says she's not afraid of that day, and sol finds himself empowered by the mushroom in his chest. the moment that sets up sol's long death monk ability, where he's able to refuse to go down and keep on fighting.
melora’s boon is also the song that plays for moonshine’s boon at the heart of the world. there are actually two songs in this scene, hardwon’s is different, and the transition back happens when melora says there’s a part of herself that moonshine hasn’t embraced. when she speaks to moonshine leading her people to a better future like an alpha wolf leading her pack.
for callie, it plays when she tells hardwon and sol that she’s a liability and she needs to change— to embrace winter— in order to get calder back, even as they reassure her that she doesn’t. it also plays when callie asks the others to help her protect honeysuckle while he’s weakened. when they promise to lead honeysuckle home and free him from his connections to gromdal.
the writing on the wall plays when the boobs reach the court of gods. there's the wall of prayers there, and they hear the prayers of the people of bahumia, reaching out to them. prayers of protection-- for and by them. prayers that put the future of bahumia in their hands.
for callie, this is the song that plays when she sees aryox's carving of her reaching the cave. when she realizes her mother acted the way she did because she could see what was coming in the future. when she realizes her mother was leaving the world in her hands.
the songs that the boobs first encounter at the end— when they’re basically demigods stepping up to face thiala— return for duck team in these personal moments. when sol finds the strength to refuse death. when callie talks about embracing winter, her mother’s season, something she eventually finds strength in, to save her friend. when callie asks the others to help honeysuckle, one of the serpents that she’s promised to protect partially due to the harm her family caused to the wild. and when callie realizes her mother saw the future and acted as she did because of it, pushing callie to walk the path she’s walking now.
anyway. this was a post about naddpod music.
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