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Why Greek Mythology Went Viral On NSFW TikTok

TikTok is one of the biggest social media apps in the world, boasting over 1 billion monthly active users. It’s an app where people can create short-form videos and share them with their friends. The app has exploded in popularity recently; it is the most downloaded free sex hookup app on both the iOS App Store and Android Google Play store.

Adult content on TikTok

Oh course, you’ll find fun and innocent videos on TikTok, but it’s also become popular for more NSFW content. If you haven’t seen these NSFW TikTok videos, check here:

The biggest trend now are girls who cosplay like greek godesses and show you everything you could wish for. In fact, they’re so good at it that many people believe these women are really gods come to Earth! These “goddess” tiktok videos have been viewed millions upon millions of times, which means there’s a demand for similar content elsewhere online.

What makes mythology so hot?

As such, people have started uploading their own versions of these videos to other sites like YouTube or Instagram. This includes stories like Zeus and Hera fucking around behind everyone’s back, Hermes being the god of sex, or Aphrodite getting all the guys she wants.

The reason why this is so popular with young men is because it shows them what they should be doing with their lives. If you want to get the hottest woman, then you need to know the secret ways of the Gods! And if you don’t know, then you better figure it out fast, because you may not live long enough to learn it!

How the trend started

Back in 2015, a girl named Kiki began making videos of herself dressed up as different Greek goddesses. She’d wear revealing clothing and act seductively while telling stories from Greek mythology. Her videos became very popular, especially with young men.

She was able to gain a large following, and soon other people were copying her style. They would dress up as different characters from Greek mythology and tell stories about them. Some of the most popular ones include:

Aphrodite – The Goddess of Love and Beauty.
Zeus – God of Thunder and Lightning.
Hera – Queen of the Gods and wife to Zeus.
Hermes – Messenger of the Gods.

These videos were all made by people who had never studied Greek mythology before. However, they still knew how to act sensual and sexy without actually saying anything. They were just acting out scenes from Greek mythos, and they did it extremely well.

This led to many people wanting to do the same thing. So, they began dressing up like Greek gods and goddesses. They would put on skimpy clothes and act seductively, often dancing or singing along to songs.

It didn’t take long for these videos to go viral. People loved watching these women dance and sing, and they wanted more! Soon, people were posting their own videos on Instagram and YouTube. And since the videos were so popular, other people started creating their own.

Our Final Thoughts

Greek mythology has always been popular among young men. Even today, it’s still one of the most searched topics on PornHub, with larger volumes than sex on craigslist. There’s something about Greek mythology that attracts horny men, even though they’ve probably never read a single book about it.

So, when someone starts sharing videos of women dressed up like Greek gods and goddesses, it becomes a huge hit. Men love seeing beautiful women pretending to be powerful beings, and they love learning new things about the world around them.

That’s why these videos went viral. Not only are they sexy, but they’re educational too! Young men learned about Greek mythology, and they got to see some amazing cosplay.


The Rage of Achilles (detail Achilles and Athena),
Giovanni Battista Tiepolo (1696-1770), Italian Rococo

In the legends about Achilles, as about all the heroes of the Trojan war, the Homeric traditions should be carefully kept apart from the various additions and embellishments with which the gaps of the ancient story have been filled up by later poets and mythographers, not indeed by fabrications of their own, but by adopting those supplementary details, by which oral tradition in the course of centuries had variously altered and developed the original kernel of the story, or those accounts which were peculiar only to certain localities.

Homeric story. Achilles was the son of Peleus, king of the Myrmidons in Phthiotis, in Thessaly, and of the Nereid Thetis. (Hom. Il. xx. 206, &c.)

From his father’s name he is often called Pêleidês, Pêlêïadês, or Pêleiôn (Hom. Il. xviii. 316; i. 1; i. 197; Virg. Aen. ii. 263), and from that of his grandfather Aeacus, he derived his name Aeacides (Aiakidês, Il. ii. 860; Virg. Aen. i. 99).

He was educated from his tender childhood by Phoenix, who taught him eloquence and the arts of war, and accompanied him to the Trojan war, and to whom the hero always shewed great attachment. (ix. 485, &c.; 438, &c.) In the healing art he was instructed by Cheiron, the centaur. (xi. 832.)

His mother Thetis foretold him that his fate was either to gain glory and die early, or to live a long but inglorious life. (ix. 410,&c.)

The hero chose the latter, and took part in the Trojan war, from which he knew that he was not to return. In fifty ships, or according to later traditions, in sixty (Hygin. Fab. 97), he led his hosts of Myrmidones, Hellenes, and Achaeans against Troy. (ii. 681, &c., xvi. 168.)

Here the swift-footed Achilles was the great bulwark of the Greeks, and the worthy favourite of Athena and Hera. (i. 195, 208.) Previous to his dispute with Agamemnon, he ravaged the country around Troy, and destroyed twelve towns on the coast and eleven in the interior of the country. (ix. 328, &c.)

When Agamemnon was obliged to give up Chryseïs to her father, he threatened to take away Briseis from Achilles, who surrendered her on the persuasion of Athena, but at the same time refused to take any further part in the war, and shut himself up in his tent. 

Zeus, on the entreaty of Thetis, promised that victory should be on the side of the Trojans, until the Achaeans should have honoured her son. (i. 26, to the end.)

The affairs of the Greeks declined in consequence, and they were at last pressed so hard, that Agamemnon advised them to take to flight. (ix. 17, &c.) But other chiefs opposed this counsel, and an embassy was sent to Achilles, offering him rich presents and the restoration of Briseïs (ix. 119, &c.); but in vain.

At last, however, he was persuaded by Patroclus, his dearest friend, to allow him to make use of his men, his horses, and his armour. (xvi. 49, &c.) Patroclus was slain, and when this news reached Achilles, he was seized with unspeakable grief.

Thetis consoled him, and promised new arms, which were to be made by Hephaestus, and Iris appeared to rouse him from his lamentations, and exhorted him to rescue the body of Patroclus. (xviii. 166, &c.) Achilles now rose, and his thundering voice alone put the Trojans to flight.

When his new armour was brought to him, he reconciled himself to Agamemnon, and hurried to the field of battle, disdaining to take any drink or food until the death of his friend should be avenged. (xix. 155, &c.) He wounded and slew numbers of Trojans (xx. xxi.), and at length met Hector, whom he chased thrice around the walls of the city.

He then slew him, tied his body to his chariot, and dragged him to the ships of the Greeks. (xxii.)

After this, he burnt the body of Patroclus, together with twelve young captive Trojans, who were sacrificed to appease the spirit of his friend; and subsequently gave up the body of Hector to Priam, who came in person to beg for it. (xxiii. xxiv.) Achilles himself fell in the battle at the Scaean gate, before Troy was taken.

His death itself does not occur in the Iliad, but it is alluded to in a few passages. (xxii. 358, &c., xxi. 278, &c.) It is expressly mentioned in the Odyssey (xxiv. 36, &c.), where it is said that his fall — his conqueror is not mentioned — was lamented by gods and men, that his remains together with those of Patroclus were buried in a golden urn which Dionysus had given as a present to Thetis, and were deposited in a place on the coast of the Hellespont, where a mound was raised over them.

Achilles is the principal hero of the Iliad, and the poet dwells upon the delineation of his character with love and admiration, feelings in which his readers cannot but sympathise with him.

Achilles is the most handsome and bravest of all the Greeks; he is affectionate towards his mother and his friends, formidable in battles, which are his delight; open-hearted and without fear, and at the same time susceptible to the gentle and quiet joys of home.

His greatest passion is ambition, and when his sense of honor is hurt, he is unrelenting in his revenge and anger, but withal submits obediently to the will of the gods.

Later traditions. These chiefly consist in accounts which fill up the history of his youth and death. His mother wishing to make her son immortal, is said to have concealed him by night in fire, in order to destroy the mortal parts he had inherited from his father, and by day she anointed him with ambrosia. But Peleus one night discovered his child in the fire, and cried out in terror.

Thetis left her son and fled, and Peleus entrusted him to Cheiron, who educated and instructed him in the arts of riding, hunting, and playing the phorminx, and also changed his original name, Ligyron, i. e. the “whining,” into Achilles. (Pind. Nem. iii. 51, &c.; Orph. Argon. 395; Apollon. Rhod. iv. 813; Stat. Achil. i. 269, &c.; Apollod. iii. 13. § 6, &c.)

Cheiron fed his pupil with the hearts of lions and the marrow of bears. According to other accounts, Thetis endeavored to make Achilles immortal by dipping him in the River Styx, and succeeded with the exception of the ankles, by which she held him (Fulgent. Mythol. iii. 7; Stat. Achill. i. 269), while others again state that she put him in boiling water to test his immortality and that he was found immortal except at the ankles.

From his sixth year, he fought with lions and bears and caught stags without dogs or nets. The muse Calliope gave him the power of singing to cheer his friends at banquets. (Philostr. Her. xix. 2.)

When he had reached the age of nine, Calchas declared that Troy could not be taken without his aid, and Thetis knowing that this war would be fatal to him, disguised him as a maiden, and introduced him among the daughters of Lycomedes of Scyros, where he was called by the name of Pyrrha on account of his golden locks.

But his real character did not remain concealed long, for one of his companions, Deïdameia, became the mother of a son, Pyrrhus or Neoptolemus, by him. The Greeks, at last, discovered his place of concealment, and an embassy was sent to Lycomedes, who, though he denied the presence of Achilles, yet allowed the messengers to search his palace. 

Odysseus discovered the young hero by a stratagem, and Achilles immediately promised his assistance to the Greeks. (Apollod. l. c.; Hygin. Fab. 96; Stat. Achil. ii. 200.) A different account of his stay in Scyros is given by Plutarch (Thes. 35) and Philostratus. (Her. xix. 3.)

During the war against Troy, Achilles slew Penthesileia, an Amazon, but was deeply moved when he discovered her beauty; and when Thersites ridiculed him for his tenderness of heart, Achilles killed the scoffer by a blow with the fist. (Q. Smyrn. i. 669, &c.; Paus. v. 11. § 2; comp. Soph. Philoct. 445; Lycoph. Cas. 999; Tzetzes, Posthom. 199.) He also fought with Memnon and Troilus. (Q. Smyrn. ii. 480, &c.; Hygin. Fab. 112; Virg. Aen. i. 474, &c.)

The accounts of his death differ very much, though all agree in stating that he did not fall by human hands, or at least not without the interference of the god Apollo.

According to some traditions, he was killed by Apollo himself (Soph. Philoct. 334; Q. Smyrn. iii. 62; Hor. Carm. iv. 6. 3, &c.), as he had been foretold. (Hom. Il. xxi. 278.)

According to Hyginus (Fab. 107), Apollo assumed the appearance of Paris in killing him, while others say that Apollo merely directed the weapon of Paris against Achilles, and thus caused his death, as had been suggested by the dying Hector. (Virg. Aen. vi. 57 ; Ov. Met. xii. 601, &c.; Hom. Il. xxii. 358, &c.) Dictys Cretensis (iii. 29) relates his death thus: Achilles loved Polyxena, a daughter of Priam, and tempted by the promise that he should receive her as his wife if he would join the Trojans, he went without arms into the temple of Apollo at Thymbra and was assassinated there by Paris. (Comp. Philostr. Her. xix. 11; Hygin. Fab. 107 and 110; Dares Phryg. 34; Q. Smyrn. iii. 50; Tzetz. ad Lycophr. 307.)

His body was rescued by Odysseus and Ajax the Telamonian; his armour was promised by Thetis to the bravest among the Greeks, which gave rise to a contest between the two heroes who had rescued his body. [AJAX.]

After his death, Achilles became one of the judges in the lower world, and dwelled in the islands of the blessed, where he was united with Medeia or Iphigeneia.

The fabulous island of Leuce in the Euxine was especially sacred to him, and was called Achillea, because, according to some reports, it contained his body. (Mela, ii. 7; Schol. ad Pind. Nem. iv. 49; Paus. iii. 19. § 11.) Achilles was worshipped as one of the national heroes of Greece. The Thessalians, at the command of the oracle of Dodona, offered annual sacrifices to him in Troas. (Philostr. Her. xix. 14.)

In the ancient gymnasium at Olympia there was a cenotaph, at which certain solemnities were performed before the Olympic games commenced. (Paus. vi. 23. § 2.)

Sanctuaries of Achilles existed on the road from Arcadia to Sparta (Paus. iii. 20. § 8), on cape Sigeum in Troas (Strab. xi. p. 494), and other places. The events of his life were frequently represented in ancient works of art. (Museum Clement. i. 52, ? 17; Villa Borg. i. 9; Mus. Nap. ii. 59.)

Roman Mythology Names Index


The wife of King Latinus and mother of Lavinia, who, when Aeneas sued for the hand of the latter, opposed him, because she had already promised Lavinia to Turnus.

At the same time she was instigated by Alecto, who acted according to the request of Juno, to stir up the war with Turnus. This story fills the greater part of the seventh book of Virgil’s Aeneid.

When Amata was informed that Turnus had fallen in battle, she hung herself. (Virg. Aen. xii. 600; Dionys. i. 64.)


The fourth king of Rome, is said to have reigned twenty-three or twenty-four years, from about b. c. 638 to 614.

According to tradition he was the son of Numa’s daughter, and sought to tread in the footsteps of his grand­father by reestablishing the religious ceremonies which had fallen into neglect. But a war with the Latins called him from the pursuits of peace.

He conquered the Latins, took many Latin towns, transported the inhabitants to Rome, and gave them the Aventine to dwell on. These conquered Latins, according to Niebuhr’s views, formed the original Plebs. (Dict. of Ant. s.v. Plebs.)

It ia related further of Ancus, that he founded a colony at Ostia, at the mouth of the Tiber; built a fortress on the Janiculum as a protection against Etruria. and united it with the city by a bridge across the Tiber ; dug the ditch of the Quirites, as it was called, which was a defence for the open ground between the Caelian and the Palatine; and built a prison to restrain offenders, who were increasing (Liv. i. 32, 33 ; Dionys. iii. 36 – 45 ; Cic. de Rep ii. 18 ; Plut. Num. 21 ; Niebuhr, Hist, of Rome, i p. 352, &c.; Arnold, Hist, of Rome, i. p. 19.)


Or Angeronia, a Roman divinity, of whom it is difficult to form a distinct idea, on account of the contradictory statements about her.

According to one class of passages, she is the goddess of anguish and fear, that is, the goddess who not only produces this state of mind but also relieves men from it. (Verrius Flace. ap. Macrob. Sat. i. 10.)

Her statue stood in the temple of Volupia, near the porta Romanula, close by the Forum, and she was represented with her mouth bound and sealed up (os obligatum et signatum, Macrob. l. c.; Plin. H. N. iii. 9), which according to Massurius Sabinus (ap. Macrob. l.c.) indicated that those who concealed their anxiety in patience would by this means attain the greatest happiness.

Hartung (Die Relig. d. Röm. ii p.247) interprets this as a symbolical suppression of cries of anguish, because such cries were always unlucky omens.

He also thinks that the statue of the goddess of anguish was placed in the temple of the goddess of delight, to indicate that the latter should exercise her influence upon the former, and change sorrow into joy.

Julius Modestus (ap. Macrob. l. c.) and Festus (s. v. Angeronae deae) give an historical origin to the worship of this divinity, for they say, that at one time men and beasts were visited by a disease called angina, which disappeared as soon as sacrifices were vowed to Angerona. (Comp. Orelli, Inscript. p. 87. No. 116.)

Other accounts state that Angerona was the goddess of silence, and that her worship was introduced at Rome to prevent the secret and sacred name of Rome being made known, or that Angerona was herself the protecting divinity of Rome, who by laying her finger on her mouth enjoined men not to divulge the secret name of Rome.

(Plin. l. c.; Macrob. Sat. iii. 9.) A festival, Angeronalia, was celebrated at Rome in honour of Angerona, every year on the 12th of December, on which day the pontiffs offered sacrifices to her in the temple of Volupia, and in the curia Acculeia. (Varro, de Ling. Lat. vi. 23; Plin. and Macrob. ll. cc.)