#Hero beach

[wishingformoredogs]

Tired of “oh Percy would be a marine biologist” “oh Percy would be a teacher” that man is a stay at home dad. And I mean that.

[momomallowart]

They deserve to have fun ʕ⁠ ⁠ꈍ⁠ᴥ⁠ꈍ⁠ʔっ✨

[pjs-everyday]

it's not too late for a summer beach episode, is it? 🥲

[modawg]

“percy keeps that picture of annabeth he had in his binder in his wallet and it’s his fav pic of annabeth”

instead i raise you

“sally found that picture while percy was missing and it now lives framed on the mantle of their apartment for the whole world to see how much that family loves her”

it makes annabeth choke up everytime she sees it bc all her pictures at her dads (if any) are pushed to the back and hidden behind pictures of his new family while the jackson’s have always and will continue to embrace her as part of their own

[nekoo3001]

Aizawa from new animate cafe collaboration

[lilislegacy]

to anyone who still isn’t on board with percy jackson as marine veterinarian, i ask you to consider something

percy wearing scrubs

[g0thnico]

Damn!

Well I ended up revealing some designs

[helpallthenamesaretaken]

percy's taste in food: underrated aesthetic cafes with cats sprawled on the window sill, pumpkin spice burritos, homemade baked cupcakes, hearty meals around the table

annabeth's taste in food: grasshopper

[incorrect-riordanverse]

Annabeth: what are you doing?

Percy, writing a letter: the gods want to know if I’m able to go on another quest for them, so I have to let them know by sending this later.

Annabeth, looking down and reading it: this just says ‘fuck around and find out.’

[demigod-shenanigans]

Not having many coherent thoughts about this but anyway vague Valgrace in a storm on water scenario (maybe during Argo II travels, maybe a different quest, maybe just trying to have a chill beach day, who knows)

Anyway Jason feels some mild discomfort towards the sea for the same reason Percy usually refuses to get on a plane but obviously Leo doesn’t really have any reason to be afraid of the water and is just like “eh it’s hot I’ll cool myself off a bit”

He does slightly underestimate the tide and briefly gets pulled under and Jason freaks because this is the sea as Thalia described it—dangerous and unrelenting and able to rip someone off their feet and pull them away from the shore in an instant

So without thinking Jason goes in after Leo with this stupid idea that he has to save him

Leo is a decent swimmer and since he’s a son of Hephaestus he’s fine but Jason is not fine due to the fact that his dad and Poseidon have beef, so Leo ends up being the one who has to do the saving. He’s cursing the whole time because it would have been fine if Jason had just waited a moment longer for his head to come back up, he’s not usually this impulsive, Jason is supposed to be the thinks things through guy, what is wrong with him

Jason is coughing and spitting water but then he’s gripping Leo’s wrist mumbling “couldn’t lose you again” and Leo absolutely cannot stay mad at Jason when he looks at him like that

[onesmolbean49]

Retirement seems to be going well for Toshi!☀️

I decided to reference Miyake Kenta’s recent post.

[giugrapic]

Prompt: Chiling

I just LOVE the colors on this one

[wavesoutbeingtossed]

I'd actually love a midnights storytelling Timeline playlist? Like what order you'd place them to tell the complete story of the album. I love the idea of Dear Reader as track 1

OK so, one caveat is that generally I think Taylor's tracklisting works really well and often tells a story of its own (e.g. TTPD), so I'm a little reticent to mess with that. And next thing is that like, we don't always have firm dates about when songs were written/what events they refer to/even who they were about depending on the album, so like, you can't really pinpoint a timeline *chronologically* of events as they transpire most of the time, certainly on Midnights. And also writing/processing isn't linear. @likeadevils does however have excellent posts about album timelines and places the songs in order of creation if that's what you're after.

Now that that's out of the way...

There are a few different ways I could see organizing Midnights thematically, and I'm approaching here kind of, emotionally-speaking rather than chronologically, although there's kind of a weaving of the two. I've split them into "chapters" à la folklore playlists on Spotify.

Prologue: To a house, not a home, all alone 'cause nobody's there

Dear Reader

Act 1: A real fucking legacy

Midnight Rain Would've, Could've, Should've Maroon Question…? High Infidelity

Act 2: Love blackout

Labyrinth Snow on the Beach Lavender Haze Paris Glitch Mastermind Karma Sweet Nothing

Act 3: Sweet dream was over

The Great War Bigger Than The Whole Sky Vigilante Shit Bejeweled Anti-Hero Hits Different You're Losing Me

Epilogue: Yeah, you can face this

You're On Your Own, Kid

So this is how I see the chapters:

Prologue:

This is the introduction to the themes of the album, very much the same way that Fortnight does for TTPD. (I love me a "Two households, both alike in dignity / In fair Verona, where we lay our scene" setup.) Dear Reader does this really well, she's speaking directly to the listener, but also to herself, and touches upon the themes throughout the album: anger, loss, fear, self-loathing, self-destruction, but also the recognition that she "shines so bright." It's the push-pull between her private and public life, her personal and professional ambitions, and that is ALL over the album and each side informs the other.

I could also argue adding Anti-Hero and Midnight Rain into this chapter and nearly did. Anti-Hero because again, it touches the public image vs. internal struggle/self-loathing of it all, which she is ruminating on on this sleepless night. And Midnight Rain because "I never think of him except on midnights like this" because well, that is the entire conceit of the album.

Act 1: A real fucking legacy

Like I said above, I nearly put Midnight Rain in the Prologue, but it also serves well as an introduction to the theme in these songs. Because "I never think of him except on midnights like this" covers these relationships from the past that are haunting her in this dark night of the soul exercise. Remember what we said about the push and pull between her personal life and her career? The crux of the song isn't her pining for this former lover, it's that she's wondering if her pursuing her ambition relentlessly and joyously is diametrically opposed to the idea he represents. It's the spark that lights the flame of the pining we see later on. Which leads to the other Hes who have marked her life and set her on the path she's on now.

So in contrast to the bittersweet nostalgia, we have the darker side of that rumination. There's WCS about the trauma that continues to haunt her, and Maroon about a relationship breakdown that broke her. Question...? Kinda is just there for laughs as comic relief-- but in all seriousness is like, "you were a dumbass and do you ever wonder if you hadn't been such a dumbass if we could have made it work?" About something that never got off the ground. And then High Infidelity ends the chapter on another darker note about the threat within a relationship, but the "Do I really have to tell you how he brought me back to life?" is the segue for our next chapter...

Act 2: Love blackout

This is where we get a sense of the core relationship she's dancing around in the album-- the one that is driving all this rumination, because it's so intricately tied with the path her life took as a result. The "Do I really have to tell you how he brought me back to life?" to "I thought the plane was going down, how'd you turn it right around?" emotional parallel hits the ground running and tells you why this relationship and this phase is such a lifeline. SOTB is the honeymoon phase of the relationship, where everything is wondrous and exhilarating, and pairs well IMO with Lavender Haze in that the rush of new love is intoxicating, and she wants to stay on that high and block everything out to chase it.

The rest of the songs I put here kind of meander, but there was a method to my madness. Paris feels like the memories of a special time, with the emphasis of it being them alone, shutting the world out, which is a continuation of LH. Glitch is her continued disbelief that they've made it this far, but suddenly it's six years later and she's still yearning that high (... in spite of everything telling her this wasn't supposed to happen). Mastermind could have arguably gone earlier in the list, but I put it here because again, she's planning and scheming and doing all the work to keep this thing going against all odds. Karma feels very "happily ever after"-esque in that it's, "I went through all this shit, but it's totally fine because I got what I wanted in the end!" without giving away that it's a veneer, and finally we end with Sweet Nothing because it's the sweetest fantasy of running home to your lover and feeling content and complete. Which brings us to...

Act 3: Sweet dream was over

Our last full act, which is all about loss and the ways in which one reacts and deals with it. The Great War is the bubble bursting that Sweet Nothing dreamed up. It's a crisis point in the relationship, an entire life built that is potentially going up in flames; it hints at the conflicts that would prove to be their undoing. BTTWS is a raw depiction of grief in the wake of loss, and the questioning and despair that goes along with that, sinking someone into the pits of depression and loneliness. Vigilante Shit is another reaction to loss-- this time unadulterated anger in the form of a revenge fantasy. (It's fantasizing about agency in a situation where there is little of it because like BTTWS, in many ways it's out of her hands.)

Bejeweled is a bit of the odd duck because I kind of wanted to put it near-last because I think it's the best transition into YLM, but thematically it's not quite ready for prime time yet-- although the same conundrum applies to Anti-Hero here. But Bejeweled is part of this chapter because it's her grappling with her sadness and despair and wanting to break out of it. She wants to shine again, and it's a warning to the person that she won't stick around if they don't see that. (Broadly speaking, I know there's more there.) Anti-Hero is kind of clunky here, which is why I'm very tempted to put it in the intro instead, but my thinking is: she's in this pit of self-loathing, wondering why she keeps making the same choices and same mistakes and drives everyone away. She's the problem. And it's her persona, her big life, that's driving her to this madness-- or is it? (But also: one day I’ll watch as you’re leaving and life will lose all its meaning for the last time.)

Which finally brings us to Hits Different and YLM. Honestly, these two could also swap positions, and I went back and forth on them. I think "chronologically" HD makes more sense at the last song in this chapter, but "emotionally" YLM is SUCH a fitting end, so there we go. HD makes good on the threat of the break in The Great War, and a lot of the themes we've seen throughout the playlist here but specifically this section are present. The self-destruction and self-loathing of AH, the anger and lashing out in TGW and VS (in a very different form), the depression in BTTWS and even a tinge of the self-worth in Bejeweled.

But YLM is the true denouement of this all and reflects all those same vignettes in far more devastating fashion. There's breakdown, loss, anger, spite, self-destruction and standing up for herself too, however briefly. I think it really feels like the true crossroad of the album: Do I throw out everything we built or keep it? We've just spent a whole album wading through all of it, and now she's left to decide which path to take. Does she stay and fight, perhaps wondering what she has to give up int he process, or does she leave and risk the pain she uncovered in Act 1, only tenfold because it hits different this time? The empty house of Dear Reader in the Prologue (and incidentally in HI I've just realized) is blanketed in darkness in YLM, and it's up to her to decide if she's turning the light back on or out for good.

Epilogue: Yeah, you can face this

You're On Your Own Kid feels like the perfect emotional ending for this playlist because not only does the song travel through this entire time period, from an early young love that gave way to bigger dreams to the sheer devastation she put herself through to reach the very top and the subsequent crash. And it feels like it answers the question asked in the previous chapter: Yeah, you can do this. You've come back from every setback and you'll be able to do it again. You've always ultimately had to rely on yourself, and you'll do it again and again until you pull yourself out. The song is full of such sad revelations, but it also ends on a hopeful, if bittersweet note. She might be playing solitaire for now, but doesn't mean she can't handle it.

It feels wrong to mess around with Taylor's tracklisting like this, but it was so much fun 😂 I loooooooove delving into the themes in her albums and I really find like the emotional journeys within them become more salient as time passes on too.

Honestly, I can't say it enough, I loved the pre-release playlists for TTPD too, if you're looking into this kind of emotional deconstruction of her discography at large. The beats within the playlists themselves make so much sense, and I think frames the songs within them really well. Just my two cents!

[tintedpaper1odo]

𝙛𝙤𝙧 𝙩𝙝𝙚 𓊔 𝐕𝐈𝐓𝐀𝐌𝐈𝐍 𝐔 𝐄𝐕𝐄𝐍𝐓 !! just some fluff at the beach. <3 📃 gn! reader! loved writing this :]

“i think this is a good place to set our stuff down,” you smiled beneath your sunhat, “it’s away from most people, like you wanted!”

tamaki nodded, smiling with you. he set down the cooler and umbrellas as you unpacked your own load. “thank you.”

“it’s no problem, really. though…” you gave him a once over, tamaki already predicting your words. “i’m still a liiittle disappointed that you decided to wear a swim shirt.” you gave him a teasing grin.

he playfully rolled his eyes, retorting with an: “it’s too embarrassing…” as a response.

you finished setting everything up, looking towards his direction before saying, “last one to the ocean gets to get bombarded with water!” changing into a fast sprint as he was caught temporarily off guard. to slow him down, you shot a very minimized attack from your quirk that would do no damage as you reached the cool water, a stark contrast to the heat from the sand that felt as if it were scorching your feet.

immediately, you forced yourself to submerge into the water as you used force to propel the ocean at your target. tamaki made a noise that was half surprise and half laughter as your attack hit like a wave.

he could hear your charming giggling fit as he recovered; bringing him to come in with you as he activated his quirk. tentacles grew from his fingers as he smacked them against the surface of the water, splashing it everywhere (but mostly on you). you should’ve denied him eating the takoyaki in the car ride coming here.

a full out battlefield is what anyone passing by would see— which, thank goodness, was no one at all. you really did find a good secluded place to stay at.

and after it all, after the two of you felt enough salt was embedded into your bloodstreams, he swiftly took you underwater. his arms were placed comfortingly around you, both of your faces close in proximity.

and at the same time, you both closed the gap for a short but loving kiss.

when you emerged above the seawater with him equally in your arms, you softly laughed.

“you taste like salt!”

[cookikiixp]

omori beach/summer fanart :b

sunny doesn't swim there tho he just plays volleyball in water with aubrey 💔

[epickiya722]

Rumi, please, I beg you to take a fucking vacation...