frank: let me get this straight. thalia and jason’s domain is the sky, percy’s domain is water, and hazel and nico’s domain is basically the underground?
annabeth: yes
frank: but… can’t percy also create storms? that have clouds and lightning and thunder?
annabeth: yes
frank: and… and can’t percy also create earthquakes and make volcanoes erupt?
annabeth: yes
frank: so… in a way, doesn’t that mean everywhere is percy’s domain?
annabeth: yes.
annabeth: but don’t tell him. he hasn’t had that realization yet
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Logged in to see you all in love with my furry O'Brien, you made my day and it is 11:21, THANK YOU 🥹, you are amazing
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I have funny but first a quick history lesson
In Ancient Athens they had things called ostracons. Basically every year everyone would carve a name of someone they didn't like into a small stone tablet and then submit it. Then they would look at all of the ostracons and if there were too many of one person then they told that person to get tf out. They had ten days to flee Athens and couldn't come back for ten years.
So now I would like you to imagine Dionysus doing a pseudo version of this at Camp Half-blood every month because we all know he LIVES for the drama. (He's stuck there for a hundred years he might as well have some fun)
He would hand out stone tablets (it was very important to him that the names were carved don't ask why) and every person at camp would write a name.
Whoever had their name written down the most would be sent to live in a cabin in the woods for two weeks. If they survived they would be allowed to return to camp.
Mr. D always makes sure there's a crowd around to witness their walk of shame and he takes a picture of said person every month. He keeps them hung up on a wall in the big house.
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f!reader | thinkin abt this hc, but katsuki is roommates with denki. katsuki is pretty sure he’s heard denki’s girl cum more and harder than any girl he’s ever been with in his life. he’d never want to say it, but he’s questioning his sexual abilities with every passing orgasm, and he audibly witnesses a lot of them. sure, you always cum when he’s intimate with you - at least twice every time, he makes sure of it. but he’s never turned you into a complete mess like denki’s girl is every time they fuck or whatever it is they do.
so one day, katsuki finally bucks up the courage to say something to his best friend and admits he might want to do better with you in bed. denki is a little surprised and embarrassed; he never expected katsuki to be the one asking him for sex advice. he’d just taken the time to figure out what works for him and assumed that if anything, the roles might be reversed.
they talk, denki shares a little bit of what he does and eventually asks katsuki, “dude, when was the last time you slowed down and took your time?”
denki realizes the answer is probably never when katsuki spits back a defensive, “whadda ya mean?”
so he explains in more detail. katsuki takes mental notes.
・˳ . ⋆ .˳⁺⁎˚ ⋆・˳ . ⋆ .˳⁺⁎˚ ⋆・˳ . ⋆ .˳⁺⁎˚ ⋆
the next time katsuki’s got you in his bed, something is different. he’s a little too soft and a little too slow for your preference as he goes in for a kiss, so you pull him deeper. but he’s still got a measured pace, the way his hands are firm and trace your body like he means it. with him, sex is overwhelming and all consuming. it’s hard and fast and raw. but not today.
there’s a hint of impatience in his movements, but he stops himself; he spends extra time caressing your face, in the crook of your neck, mapping out every little spot that makes your breath catch just a hair or your fingers curl a little tighter and committing it better to memory. then his tongue is in your mouth, and he’s groping you over your clothes. a small whimper leaves your lips as you try to shift and get your legs around his waist, but he doesn’t let you.
realization hits when katsuki stops to look you in the eye. your cheeks are flushed hard, and it’s almost difficult to look back with how much heat is radiating between your legs. usually by now he’s got you half naked and grinding, or his hand is deep in your cunt. a twinkle lights his eyes, a boyish grin on his face. you pull him into you, pushing your face into his neck with a shyness you hadn’t felt with him in a long time.
“what?”
you shake your head and kiss his neck, taking in the warmth of his skin and the way he sighs into your touch.
“need somethin?” he teases. his hand runs down your torso to grip your hip. the same hand slides under the fabric of your shirt to caress your side.
“no,” you reply quietly. “you’re usually a bit more… fast paced. that’s all.”
his lips are grazing your neck, his tone low and playful. “yeah. i’m tryin somethin new. got a problem with it?”
he’s kissing you neck again before you can respond, sucking and licking faint marks into a tender spot on your skin.
your breath catches. “n-no, not at all.”
“good.” katsuki puts his muscular thigh between your own and presses it to the damp heat of your cotton shorts.
a small whimper escapes your throat.
“now be a good girl n' grind on me, princess.”
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I meant to post about this back when TTPD was released and never got around to it, but it's so touching to me that Taylor has peppered so many British-isms into the album, and not just in a jokey kind of way like in "London Boy" back in the Lover days.
It's such a beautiful, subtle nod to how much that was her life for years, and to the marks the city and the muse(s) left on her. Because isn't that true of any of us when we've been around a person for so long, or live in a place we've made into our home? You start picking up their speech patterns until they become second nature. (For instance, one of my best friends moved abroad for university, and before long she started dropping in words like "fortnight," "lorry,""shops" (vs. stores) into conversation when we'd speak, which only got stronger along with her accent shifting as the years went by and she stayed there.) Kind of a love language code switching.
It’s sprinkled throughout the album. “For a fortnight” in “Fortnight,” “blokes” on “The Alchemy,” “the shops,”* in “How Did It End?” I think my favourite use of it is in “The Bolter,” because it’s such a classic twangy yeehaw Taylor song, but she’s got these tiny turns of phrase that point to where she spent a large portion of her adult life. (E.g. “best mates,” “out the drive,”* “wish he wouldn’t be sore,”*)(*yes I know these aren’t like, specifically not-American, but as someone who has grown up with North American English in the same generation as Taylor, these definitely feel anachronistic/foreign. Like if I hear someone say “the shops” instead of “the store,” “drive” instead of driveway or “sore” meaning upset, I’m thinking they either watch a lot of 1950s movies or they’re from the UK. And yes I know it’s to make everything rhyme BUT THAT’S THE POINT SHE IS MAKING THEM RHYME ON PURPOSE ok I’m stopping now before the linguistics nerd in me jumps out) It’s such a cool merging of influences, much like the album as a whole fuses together experiences and muses and sounds.
And that gets back to the “I love this place for so long,”of it all. The place is the city, the place is her home, the place is the person, and they are all part of her. To me, these are part of the subtext of the album, of the big love she once felt for all of it, and how it changed her. And, why it hurt so much to leave it all behind. So she’s starting over back home in America, but she’s taking a little bit of London with her for its curtain call on TTPD.
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