Before Breakfast

I used to think my love life was a comedy of errors. Now I see it as a strange recurring motif: men who start ordinary and, over months or years, begin to believe they’re central to some grand design. They don’t arrive convinced they’ll “rule the world.” That conviction grows — an accretion of small choices, stories, attention, and the cultural static we all breathe. I’m not seeking out men with delusions of grandeur. I’ve never set out to become anyone’s crown or court. Still, the pattern keeps showing up, and I’ve learned to read it, name it, and write about it. Eventually they all think they are the devil and rule the world, i guess i just make men feel that wonderful.

Racial and ethnic identity shape how people experience, respond to, and recover from traumatic events. Race-based traumatic stress — the emotional injury caused by experiences of racism, discrimination, and race-related stressors — can produce symptoms similar to other forms of trauma, including intrusive memories, hypervigilance, and avoidance. These responses are layered on top of any other traumatic experiences a person has had, changing how they perceive threat, safety, and trust.

Beauty is often treated as a static trait — something you’re born with, sculpted by genetics and polished by grooming. But in truth, beauty is a dynamic interplay between perception, personality, and emotional health. It’s not just about symmetry or skin tone; it’s about the story your body tells, the energy you emit, and the emotional truth etched into your face over time.

Vampires have haunted folklore for centuries — seductive, immortal, and parasitic. But in the modern world, their closest analogs aren’t cloaked in capes or lurking in castles. They wear suits, send texts, and promise opportunity. They are scammers: emotional predators who drain time, trust, and financial lifeblood from their victims. This article reframes scammers through the lens of vampire mythology, offering a survivor-centered analysis of two archetypes — Jemel Moody as the street-level vampire and Michael Tanner as Count Dracula of debt collection.

David Icke frames the Anunnaki as reptilian, fourth-dimensional beings who occupy or “overshadow” human bodies, crossbreed with select bloodlines, drink human blood, and feed on fear and sexual energy. He maps these traits onto classical vampire motifs — eternal life, blood‑drinking, shape‑shifting, and secret societies — and locates the phenomenon inside networks of elite institutions and ritual practice.