#she's a child your honour

[afeastfortuna]

No one talks enough about the fact Annabeth first heard the Great Prophecy when she was twelve. It scared her so much she had nightmares about it.

She knew (or at least believed) from the moment Percy was claimed he wouldn't make it past his 16th birthday.

Imagine Annabeth telling herself he's a bit of an idiot anyway, and a son of Poseidon, you can't really like him?

Imagine Annabeth finally accepting he's a friend, only to have nightmares of Thalia's death... except when she looks down it's Percy on the ground.

Imagine Annabeth hating that spark of hope she felt when Thalia came back, older, but not old enough, because she's going to lose one of her best friends and she's just got Thalia back.

Imagine Annabeth finally accepting that if she's going to lose Percy she shouldn't waste time, and asking him to the cinema, only to see him with another girl and realising she was too late.

Imagine Annabeth speaking at his funeral, looking across the crowd and seeing him standing there, and realising that it means she'll have to do this all over again.

Imagine Annabeth, who wants to become an architect so she can build something permanent, knowing that whatever she has with Percy can only end all too soon.

[chloesimaginationthings]

FNAF Cassidy knows how to “help” Michael Afton

[featherika]

given what the future holds for them, just know that every time this trio appears on the screen, I’ll be eating it up

every. single. scene.

[chiquilines]

Public garden study date!!

[gingermintpepper]

For the longest time, the quintessential song describing Apollo's wrath and consequent murder of Coronis for me was Marah in the Mainsail's 'Your Work isn't Done'.

It's dark. It's seething. Its image of Fate pushing the scorned speaker to complete his foul, terrible work of killing the man who stole his lover away from him is particularly powerful and it's always evoked this gruesomely tragic evolution of a glassy eyed Apollo stumbling through the streets, weak-legged and trembling from the betrayal growning more and more wrathful 'til he can think of no other course than to aim his bow and shoot. The price of betraying his trust is death and Coronis betrayed so much more than just his trust by taking Ischys as her lover.

The song itself captures that sensation of building wrath so well too. From the lonely guitar and vocals at the beginning which evoke this lonely, stripped back but distant grief to the way the singer is practically screaming his refrain of "Your work here isn't done" by the end, accompanied by the full blasting of instruments and an omnious chorus at his side, everything about this song is centered around building stakes, building realisations, building tensions and it creates this feeling of the speaker growing closer and closer with each new verse and chorus that adds to his anger.

There's also the absolute treasure trove of lyrics that work so well for specifically this tale. A brief overview of some of my favourites include;

- There's a crow overhead singing "Oh, Death is my friend."

- And though you think your time has come, the wheels of Fate have spun. Death has declared your work here isn't done.

- There's a girl on my heart safe ashore in her lover's arms

There's just such a vivid image to be drawn here - of Apollo's emotions being swallowed by his rage, of his resolve to end everything the more he bears witness to Coronis' brazen affair. There's even a strong female voice in the first two verses which seem to egg the speaker on in his spiral - a perfect opening to include Artemis who wishes for her brother to hunt that which brought him such pain alongside her. An Artemis who reinforces just what Coronis has done, an Artemis who does not want her brother to repress his anger after such grave an insult just because love was once there.

To me, it was perfect. Apollo's killing of Coronis was a crime of passion, an execution he sometimes cannot even bring himself to commit according to who is telling the tale. It's a wretched situation, harrowing, suffocating and cruel but if not by Apollo's hands, Coronis would simply die by another's. She cannot live after what she has done. The gods simply would not allow it.

AND THEN MY BIAS WAS COMPLETELY WRECKED BY LORD HURON.

Now, let it be known, I am a huge Lord Huron fan. Strange Trails is perhaps the most Apollo-coded album I've ever heard and songs like Yawning Grave and The Balancer's Eye capture such a visceral, gorgeous portrait of cosmic grief and anger that they haven't really left my brain since I first listened to them. Still, 'Setting Sun' from their Lonesome Dream album completely flew under my radar. Maybe it's because the commercial version is so much snappier than the Alive from Whispering Pines recording, maybe it's because I just hadn't listened to Lord Huron's discography in a while but my god. My god.

This song has it all; a quiet menace in its music, a strong male singer who sounds only barely restrained, an absolute HOST of lyrics that are so wonderfully perfect for the scenario -- after getting over how wonderful the song itself is, I immediately dethroned Your Work isn't Done because ultimately, 'Setting Sun' has something in abundance that 'Your Work isn't Done' minimised in order to focus on the wrath driving the song forward.

And that's love.

Setting Sun is so powerful because it's not just a revenge ballad - it's a dirge, a breakup song, a lament, a regret manifesto. So many times during the song, the speaker wonders when his lover stopped loving him. He recounts intimate moments and wonders if his lover was thinking of the other man when she was enjoying herself, wonders if anything she'd said was even real. And I love that so, so much.

Ultimately, Apollo adored Coronis. As inevitable as her death was, he regretted every second of it. No matter how angry, no matter how betrayed, no matter how intensely he was shamed, he still loved her. He weeps for her when she dies, he screams and grieves and cries when he's faced with her corpse. In some tales, no matter the cocktail of emotion driving him, he simply cannot bring himself to kill her. He'd rather cry in Artemis' arms and take his anger out on his own servant than hurt her. His own father has to dispatch Ischys since Apollo can't even bring himself to hurt that which Coronis once loved. Of course, in this case, Apollo's going to kill someone but the point is, it's not a decision of pure anger so much as its this complicated, horrible mix of resolve and lost love.

And my god does Setting Sun capture this conflict, passion, grief and love so well. UGH, I'm vibrating just thinking about it -- there are so many points where I hear its lyrics and can vividly picture Apollo, jaw clenched looking Coronis in her eyes and quietly confronting her.

Coronis, returning home at twilight after spending the day with Ischys to Apollo stringing his bow, "Oh? Is he ready to die for you baby? No, but you know I would."

Coronis lying to him about who she's spent her time with and Apollo's soft, near pained, "Does it hurt when you lie to me? If you asked, I would set you free."

I even really love the image of a Coronis who runs away from Apollo upon realising what will soon happen, not to escape his arrows but to warn Ischys who does not know what will happen. Of Apollo getting into his stance, taking aim at them and gathering his strength as the final refrains rings out "I know I'll never reclaim your love and that's as hard as it gets, so I'll be taking a life when the sun sets."

Other favourite lines of mine include;

- Oh, is he ready to die for you baby, now that the deed is done?

- Tell me when did I lose your love? Was it him you were thinking of?

- And I could never betray your love, you had me heart and soul. You might never have known it girl, but I was all yours.

And ultimately, I just like this conflicted portrait of premeditated murder much more than the crime of passion 'Your Work isn't Done' paints. Crimes of passion - especially when Apollo is concerned - are tragic in their own right, but in Coronis' case, I think I prefer it so much more when there's no way for Apollo's action to be misconstrued for anything other than what it is, especially since he goes on to cut Asclepius from his mother's corpse then carry on with building her funeral pyre. I think there's something so much more impacting about Apollo being unable to hide away from Coronis' blood on his hands and him having to raise Asclepius with those selfsame hands.

Love of the mortal does not supercede the responsibility of the divine. If Coronis' sentence no matter what is death, who better to lead her gently to the knife than he who still loves her?

[pointlessjey]

BABY

⁽ᶜᵒⁿˢᶦᵈᵉʳ ʳᵉᵃᵈᶦⁿᵍ ᵍᵒᵒᵈᵇʸᵉ ˢᵖᵃᶜᵉᵍᵘʸ ᵒⁿ ʷᵉᵇᵗᵒᵒⁿˢ⁾

[philsdrivinglicence]

It's midnight! I officially see Dan and Phil. TODAY!

My big 26 year old self is going alone to a city an hour away to honour little 11-16 year old me who lived too far away and couldn't afford any of the previous tours. I'm so fucking excited I could cry.

[reinedeslys-central]

more!! again!! for the nico after blood of olympus fic!! actually I thought of this while writing the last one but I just finished it.

His elbows buckle and he lets himself fall into Will, snorting at his theatrical groan under the weight. They lay there for a second until Will shoves him gently, and Nico lets him manoeuvre them into a more comfortable position.

"Hi," he whispers, moving a curl away from his cheek. The greenish tint of the loft window casts a weird shadow over Will's face.

"Hey yourself," Will murmurs back, winking.

Nico rolls his eyes. "You look like Apollo when you do that. Please stop." Will squawks in protest.

"I do not! Also, since when do you remember what Apollo looks like? Actually, no, don't answer that, you can't bring up my dad while we're in bed, Nico, why would you do this to me?"

Now it's Nico's turn to sputter and whack Will in the chest - getting another dramatic oof and a laugh in return - before turning around to face Hazel's bed. He's not sure when he'll ever be able to sleep facing the wall. Will can't do it either.

As Will's arms curl around his waist and draw him back against him, just like they did back in the infirmary that one day, he thinks maybe he'd be okay trying that with him sometime. One day, in a house with gates, no longer wary of monsters.

Will noses the back of his neck, causing him to twitch. "What is it?"

Will's answering smile presses through the rough cotton of his t-shirt. "Nothing, sunshine."

Nico frowns under the covers. "Hey, what do you think of houses with gates?" He whispers.

"Gates? Well, it'd be safer, I guess, but we'd lose the neighbours coming over -"

"As if you want to see random people at the door anyway. What if they're monsters?"

"Oh, come on, darlin', I'm from Austin. Of course I gotta keep space for the neighbours to come knocking."

"…Fences? Actually, hey, why'd you assume I was talking about us? Obviously - Obviously I was talking about random. Random houses. For architecture reasons."

Will muffles his laugh into the back of his neck, again. "Oh, my bad. And I'm only here because you ripped a stitch on the lava wall yesterday."

Nico feels his ears warm.

"Shut up."

"I didn't say anything."

"..Still."

Will reels him in closer until his back hits his chest and he can press a soft peck to Nico's still-red ears. "I think a fence is a great idea, by the way. We could ask Hazel for help with some ward stones too, like you have in the cabin. Gotta make sure we've got at least one window and standing space in every direction, though, or at least in the east, because you know my dad would sulk if he didn't get to scream me awake in the morning."

Nico's blush gets worse.

"Now who's talking about your dad in bed?" He gives up on pretending. Will sees him through every time, anyway. "Also, shrines, obviously, and we need a spot to stargaze."

"Yeah, shrines, obviously. Maybe just yours, mine, and Lady Hestia's though, or else everyone else is gonna get pissy."

Nico barks out a laugh like it's shocked out of him. "Pissy? Don't let them hear you say that."

Will holds him tighter and settles against the pillows. "Sure thing, sunshine. Now can we sleep?"

"Yeah, yeah."

It's not long after that that Will's breath evens out behind him, his muscles untensing. Nico knows he's got a few minutes yet, so he thinks.

Today was…. good.

Today was nice. Normal, even. Just a day of camp schedules, working in the infirmary, an admittedly short campfire, and this. No monsters, and no mistakes. No deaths, but..

Unbidden, the moments in the infirmary come to mind. He thinks of helping Will scrub in for his one surgery of the day, a kid that had gotten parts of an arrow stuck in their leg a week ago and hadn't noticed til yesterday. He thinks of yesterday during capture-the-flag, stepping in and desperately trying to copy what he'd watched Will do, because Lydia was hanging crooked from a tree and there was no one else around but him-

He thinks of Patroclus tying the straps of Achilles' armour, watching his lover sleep peacefully. He thinks of what Connor had told him about at the campfire weeks ago, of Silena Beauregard taking on a drakon when Clarisse declared the Ares Cabin wouldn't be fighting.

He thinks he might understand.

Lydia wasn't the same (thank the gods), but if there was something to be done that only Will could do right, yet couldn't, and the only way Nico could take up his mantle would be to die trying - then, yeah. He'd do whatever it would take for these kids. To do what Will would do. He's gone to Tartarus already, hasn't he? At worst, he'd try his best and greet his father early if he failed to survive. Nico could even give Charon a tip on the way in for the hell of it, why not?

If there is a luxury that comes from being a child of Hades, after all, it is that dying is not the thing that scares him.

There's a brazier still lit outside the window. Its glow falls in slits across their bed.

Will grumbles, pushing his feet forward until their ankles are wound together. The sheets shift.

Nico smiles into the dark, into the chirping of crickets and the soft glow of the fireflies out the window, and falls asleep.

more for this fic:

scene 0 - prologue-ish scene 1 - the library of social awkwardness or here (or in my heart, 'kidney function is not a right, it's a privilege' lol)

general writing directory

also lmk if you want more lore. I am so down to talk about this fic + the worldbuilding ideas I have for it in the notes it is unreal

[queer-crusader]

Scully: do we have an explanation of how this might've happened?

Mulder: *most batshit theory based on smt he read in a cryptid magazine 5 years ago*

Scully: ...a REASONABLE explanation??

[strawborzoi]

ponyo!

[expectiations]

"River Song isn't a Time Lord."

True. She's so much more than that. She's way better than that.

River Song is the Child of the Tardis.

[the-unlucky-foster]

I'm 12 episodes in to pirating Moominvalley and Ninny is already my favourite character. WHERE ARE THE FANARTS OF HER?!

[kyonkyon69]

Found my all time fav Alicent Hightower MV

[c0untry-mouse]

UGH

Derick Sheppard.

Once again I am forced to say out loud to my TV...

WHAT A DICK!

[rainysofsunshineao3]

Don't care what you say, my girl was definitely conflicted about this vvv

I mean come on, the look she gives Vi at the end? Like I get it, you hate me and your girlfriend wants to kill me but please don't hurt an innocent child.

It's obvious she has already started to see Powder in Isha, whether she realises it or not.

If she didn't care this frame wouldn't exist, she was protecting this kid the second she realized Sevika was going to blow the vents

They're everything to me, your honour.

[silentmess]

The fact that Eddie and Maddie aren't best friends in the show is fucking criminal, because those two? Literal twins, their lives are so similar it's kinda sickening.

Eddie, oldest child, has two younger siblings. Maddie, oldest child, has two younger siblings.

Eddie, forced to step up and be "the man of the house" because his father is always working, and his mother is emotionally neglectful, typical "you had food, clothes, and roof over your head, so you should be thankful" parent type. Maddie, forced to step up and raise her own little brother because their parents were emotionally absent and only paid attention to Buck when he got hurt.

Okay, now it's getting creepy. Maddie was 19 when she married her abuser. Eddie was 19 when Shannon got pregnant and they had no choice but to get married.

Maddie became ER nurse. Eddie became army medic.

Maddie moved to LA because she was running from her husband. Eddie moved to LA because he was running from his parents.

Maddie was traumatised by abuse Doug put her through and had a hard time processing his death . Eddie spent years in toxic relationship with Shannon and had a hard time processing her death.

Both fucking adore Buck.

Eddie left for another tour because he was terrified of being a parent and when he was honourably discharged he spent every walking moment trying to be the best parent for Chris, but he was still haunted by doubts and afraid of failing. Maddie left after Jee got accidentally hurt on her watch and when she came back after getting the help she needed to fight her postpartum depression she spent every walking moment trying to be the best parent for Jee, but she was still haunted by doubts and afraid of failing.

The level of understanding and trauma bonding those two can reach is frankly ridiculous.