#The Bloodsucker Proxy

[we-keep-odd-hours]

NEAR DARK MENTION!!!! #69 (let's be adults please)

Kathryn Bigelow had to cut a hard bargain to make her genre-smashing cowboy-biker-bloodsucker movie, a moody, brutal gorefest that never once mentions the word “vampire” or touches on tropes like coffins and bats. If the producers weren’t happy with the first day of dailies on her first-ever feature, she herself would get the ax, killing her career before it began. We know now she’d go on to win an Oscar, but “Near Dark” is infused with that sense of desperation and risk. These Oklahoma predators feed on society’s bottom rungs, and there’s a sense that even the humans who aren’t dinner are still just grist for the oil companies gobbling up their towns. Here, life is cheap, and death by Bill Paxton’s swaggering villain Severen at least gives you the glamour-by-proxy of the film’s fabulous Tangerine Dream score.

[spicebiter]

Watch List- Anime and Foreign Language Animation (Latest Update Nov. 6, 2024)

Non-English Animation watch list. I keep this one separate from general shows because I vary in whether i want to watch subs or dubs, not to mention the fact that some don't have a dub at all so I can't watch some of these as casually as I can a show in English.

Because of the sheer number of things I want to watch I’m separating my watch list posts into four categories. I keep them separate primarily for organization so I can decide what to watch based different variables (mood, time, language, etc)

I’m pretty much constantly adding things to all of my lists- hence why I’m amending when this was last updated to the title itself- and will update this post anytime I update the wheel I use to randomize my next choice, which usually happens after I’ve added or subtracted a significant number of options.

30,000 Miles From Chang’an

5 Centimeters Per Second

Afro Samurai

Akanuke Ichiban

All Purpose Cultural Cat Girl Nuku Nuku

All Saints' Street

Animal Arithmetic

Another

Asobi Asobase

Azumanga Daioh

Baccano!

Bakemonogatari

Belladonna of Sadness

Blackfox

Black Dynamite

Black Rock Shooter

Blood: The Last Vampire

Blue Submarine No. 6

Bocchi the Rock

Boku no Marie

Boogiepop Phantom

Boys Over Flowers

Brand New Animal

Bubblegum Crisis

Bungou Stray Dogs

Catnapped!

Cencoroll

Code Geass

Corpse Princess

Cowboy Bebop

Creamy Mami Long Goodbye

Cute High Earth Defense Club LOVE!

Cyborg Neko Chan

Darker Than Black

Darling in the Franxx

Dead Leaves

Death Parade

Dennou Coil

Devilman Crybaby

Diabolik Lovers

Dirty Pair

DRAMAtical Murder

Eccentric Family

Eden of the East

El Hazard

Elfen Lied

Ergo Proxy

Escaflowne

Eureka Seven

FLCL

Force of Will

Franken’s Gears

From Up On Poppy Hill

Ghost Hound

Ghost in the Shell

Golden Boy

Gravity Daze The Animation: Ouverture

Gunbuster

Gunsmith Cats

Gurren Lagann

Haibane Renmei

Hamatora The Animation

Hataage! Kemono Michi

Hataraku Maou-sama

Hell Girl

Housing Complex C

Hyouka

I Can Hear the Sea

Jin-roh the Wolf Brigade

Kabeneri of the Iron Fortress

Katekyo Hitman Reborn!

Kazemakase Tsukikage Ran

Kill la Kill

King of Prism by Pretty Rhythm

Kiseijuu: Sei no Kakuritsu

Kite

Kite Liberator

Kizumonogatari part 1: Tekketsu

Koneko no Studio

Kono Sekai no Katasumi ni

Koutetsujou no kabaneri

Legacy of Al Caral

Little Witch Academia

Magnetic Rose

Megalo Box

Megami Paradise

Memories: Magnetic Rose

Metropolis

Mezzo Forte

Michiko to Hatchin

Millenium Actress

Mob Psycho 100

Mobile Police Patlabor

Monogatari

Mononoke

Moon, Laika, and the Bloodsucking Princess

Mousou Dairinin

My My Mai

Neo Rengo

Neo Tokyo

Neon Genesis Evangelion

Nichijou

Night On The Galactic Railroad

Obsolete

Ocean Waves

OddTaxi

Ojamajo Doremi

Only Yesterday

Ookiku Furikabutte

Osomatsu-san

Otaku no Video

Overlord

Panty and Stocking

Paprika

Paranoia Agent

Patlabor

Perfect Blue

Please Save My Earth

Pom Poko

Pretty Cure

Princess Tutu

Project Ako

Read or Die

Redline

Robot Carnival

Romeo no Aoi Sora

Rust Eater Bisco

Samurai Champloo

Serial Experiments Lain

Sherlock Hound

Shinrei Tantei Yakumo

Shirokuma Cafe

Shoujo Kakumei Utena

Sirius the Jaeger

Slayers

Speed Grapher

Steamboy

Summer Ghost

Superflat Monogram

Suzume no Tojimari

Sword of the Stranger

Taiho Shichauzo

Tales From Earthsea

Tenchi Muyo

Tenrou: Sirius the Jaeger

The Big O

The Boy and the Heron

The Deer King

The Disastrous Life of Saiki K.

The Gymnastics Samurai

The Idaten Deities Know Only Peace

The Melancholy of Haruhi Suzumiya

The Ocean Waves

The Place Promised In Our Early Days

The Secret World of Arrietty

The Tatami Galaxy

The Wind Rises

Tokyo Babylon

Touken Ranbu: Hanamaru

Trigun

Typhoon Noruda

Uchuu Patrol Luluco

Uta no Prince Sama

Vampire Hunter D

Vampire in the Garden

Violet Evergarden

Watashi ga Motete Dousunda

Weathering With You

Witch Hunter Robin

Wolf Children

Wolf's Rain

Yasuke

Yatterman

Yoru Wa Mikikashi Arukeyo Otome

Yuuki Yuuna wa Yuusha de Aru

Zankyou no Terror

[thistlewhistler]

Interviewing the Flock, featuring: The Bloodsucker Proxy

Zach: What would you like me to call you?

Proxy: Anything you like. Most people here call me Proxy, my real name is Kyran if you'd prefer that.

Zach: Okay! Have you played any good game recently? Anything you could suggest?

The Bloodsucker Proxy: afraid not; my xbox has been broken for about a year now and I haven't been able to afford repair/replace it.

Zach: Ooooooh.. Anything you could strongly disparage then?

The Bloodsucker Proxy: regarding video games? yea, fuck EA.

Zach: Their games, their company, their loot box concept, their advertisements, their corporate interests, or their lack of compelling footage at E3?

The Bloodsucker Proxy: Mostly it's the loot box thing,

especially in regards to Star Wars Battlefront 2.

Zach: So coming from a person who didn't play the first one, how did they screw this up?

The Bloodsucker Proxy: I did get the opportunity to play some of Battlefront at my cousin's house a couple months ago, and I was less than impressed with that one too. Too many characters and stages that were only available via DLC.

I feel like entirely too many game studios abuse the concept of DLC and release an incomplete game.

Like how Arkham City sold a separate Catwoman bundle, without which you miss huge chunks of the story, and there really wasn't enough content to justify releasing it separately.

Zach: eugh, that's low.

The Bloodsucker Proxy: compare that to Mortal Kombat X which has non-canon bonus characters as DLC: it's a complete game and the DLC are fun extras.

Zach: That's a perfect example of how DLC works beautifully- as a bonus, rather than a requirement.

The Bloodsucker Proxy: Exactly.

Zach: While I have this here soapbox handy, is there anything you'd like to share with the flock? Something funny from the internet or that you'd like them to know, a lifehack or important lesson?

VamProxy: Hmmm. Well a piece of advice I've really taken to heart is from the Game Grumps: "don't let your default setting be asshole".

Zach: Solid life advice.

VamProxy: Yea they were talking about people being cynical, always assuming the worst.

Zach: Hm. What word would you remove from current use and circulation?

Vote Nosferatu by Proxy: I honestly can't think of any.

Zach: That's alright!

Zach: What are you working on improving?

Great-Fanged one: Well my creative writing, for one. related to that: following through on things

Zach: You've been writing a story, I recall!

Great-Fanged one: Yes.

I'm working on finishing the first chapter, but I've only recently figured out where I want to take the story. I've got quite a few other ideas on the back burner that I'd like to complete.

Zach: So, followup question: what are you proud of?

Kyran: A few things.

I'm proud of the creative work I've done so far,

I'm proud of my education, this year I got an AAS in Graphic Arts,

I've made a lot of other improvements just over the past two years that are very personal to me.

Zach: I'm glad for it.

What... what does AAS stand for, by the way?

Kyran: Associate of Applied Science. Basically the precursor to a Bachelor's Degree.

Zach: That's cool!

Zach: Do you have any scars or tattoos with stories behind them? Would you want to have a scar or tattoo with a story connected that you could tell?

Long-in-the-tooth: I've got a few scars, none of them have particularly interesting stories behind them.

Zach: Alright, so you have to make an omelet.

But you only have $15,000 to do it.

What do you do?

'anything you like': To make an omelet.

Zach: Correct.

'anything you like': Shoot I've got eggs bacon and herbs I could just make the omelet and and pocket the money.

-pay off my student loans

-buy a PS4

Zach: See, there's the most intelligent answer to that question!

Zach: Last question. What's your ideal thing to have on a calendar?

It could be a daily comic, twelve pictures of landscapes across US highways, National Parks, subterranean mole-people's socio-economic formats, cool looking rocks, et cetera...

Proxy: That's a surprisingly tough question.

Zach: It is, isn't it?

Proxy: I'm just gonna go with the mole people example since it sounds the most interesting.

Zach: Facetious extreme examples to stir the mind's imagination for the win!

Proxy: Woo!

[blackbird-brewster]

I just wanted to note that after a long night of passion, my partner and I were laying in the afterglow and she saw my TAH poster on my wall.

And long story short, we listened to an ep of Beyond Belief in between rounds. And she loved it and wants to listen to all of TAH now.

I think I just made a new compatibility test.

[thebluelemontree]

I know GRRM has previously stated that ADwD!Tyrion is at his lowest point, but I find it very hard to see how he will ever redeem himself given what he has done and what he has participated in. Do you believe readers gloss over the tragedies he faces i.e. slavery, the Tysha revelation, and do you see path for redemption?

I think with the fandom in general there does seem to be a proportional relationship to the amount of careful consideration people give their problematic favs versus how little they give to a character that is decidedly not their fav. Full disclosure: Tyrion is not one of my favs. There are moments I don’t like him and I don’t personally connect with him. He’s deliberately written to be someone most readers will wrestle with. Out of all the POVs, he’s probably the most psychologically complex and fraught with a minefield of trauma-induced hot buttons. As we know, profound trauma and horrific family dynamics rarely produce saintly victims who suffer beautifully, quietly, and always behave magnanimously. I am by no means an expert on Tyrion; however, I do know he definitely started out as a good person. Early AGOT Tyrion is a pretty decent fellow who validated Jon’s feelings of anger and resentment and designed a saddle to accommodate Bran’s disability for no other reason than he just empathized with them both. Even later on, he does stand up for Sansa against Joffrey’s cruelty, even though their marriage was a miserable farce and act of war against her family. Sansa seems to bear no personal ill-will toward him despite it. I think we should leave room for the possibility the impression he made with small kindnesses in the beginning could come back around to foster peace and mutual forgiveness between the Starks and Lannisters toward the end. 

But before that he was a sweet, loving kid until he was brutally disabused of the notion that anyone could possibly love him. I can’t imagine anything worse than your own father violently raping by proxy two innocent kids for the crime of his son being happy and believing for one single second that he was loved for himself. He’s experienced a lifetime of continuous physical, sexual, mental, and verbal abuse on top of ableist bigotry and repeated scapegoating that nearly cost him his life more than once. For all his dark gray, unlikable moments, it’s actually kind of a miracle that Tyrion still retains what goodness he does have when he could have been totally fucked up beyond repair, without any pity or compassion left in him, and hating all of humanity with every fiber of his being.   

GRRM does a good job of delivering blow after intensifying blow leading up to the moment he snaps and murders Tywin and Shae.There’s the overwhelming stress of the trial for the regicide he was framed for, one where his guilt and conviction is a foregone conclusion. The public humiliation and betrayal of Shae’s false testimony where his sexuality is served up for mockery. The people of KL are literally bloodthirsty and cheering for his death. There’s the momentary hope and crushing defeat of Oberyn Martell championing him in the trial by combat. Then finally Jaime drops the Tysha bomb. I mean, wow... it’s a lot. It’s totally understandable why he goes to the Hand’s tower to confront his father instead of escaping immediately. Personally, I don’t think he has to be sorry about killing Tywin at all. That pile of excrement had it coming and deserved a painful, ignoble death on the shitter at minimum. Shae is the only one there that has enough mitigating factors to say she definitely didn’t deserve to be strangled to death, though I get how it happened in the heat of the moment under intense mental duress. I think he needs to atone for that one, and I say that as someone who thinks Shae is a callous, conniving, greedy, low-level bloodsucker without any redeeming qualities. Yet, killing either of them, especially Tywin, didn’t bring Tyrion any peace or satisfaction whatsoever. Kinslaying is still up there with the most cursed of transgressions. It’s major part of his spiral into the tormented abyss we see in ADWD.  

It’s been a long time since I read ADWD as it’s not my favorite part of the series, so my memory of all the details is not the best. And like I said, I am not an expert on Tyrion. The general impression I get is that Tyrion thinks that he thinks he hates humanity and he’s finally become the monster everyone believed him to be. So he rages against practically everything and everyone. He certainly harbors a hatred for the people of KL and the sister sitting on the throne. There is a high probability he acts upon those feelings and helps usher in a catastrophic tragedy out of vengeance. Just as an example, he is aware of the wildfire cache sitting under KL and that knowledge can be used in a really bad way. Might be that crossing a point of no return, which may feel glorious in the moment, is ironically the thing that causes him to recoil in horror and regret after the dust settles. Consider Tyrion’s dream about the duality of himself: 

That night Tyrion Lannister dreamed of a battle that turned the hills of Westeros as red as blood. He was in the midst of it, dealing death with an axe as big as he was, fighting side by side with Barristan the Bold and Bittersteel as dragons wheeled across the sky above them. In the dream he had two heads, both noseless. His father led the enemy, so he slew him once again. Then he killed his brother, Jaime, hacking at his face until it was a red ruin, laughing every time he struck a blow. Only when the fight was finished did he realize that his second head was weeping.

If the two heads are both noseless, then they are both present day Tyrion. There are two sides of him right now that are equally capable of reveling in bloody vengeance and weeping for someone he still loves even though they wounded him deeply. 

Then what? Well, the thing about hitting your lowest point is that you can either dwell there until you fatally self-destruct or you can find your way back up. Granted, ADWD Tyrion is in a dark place, but there’s still space to get even darker for at least a little while in TWOW. It is possible Tyrion spends the rest of his life atoning for his worst actions during this period, using his intellectual gifts (even the parts that are Tywin writ small) to serve the needs of the people he has harmed. And it does make good story sense for someone who grew to hate humanity for very understandable reasons still found it in himself to care about it enough to save it. Even sacrifice himself for it if necessary since there’s a strong possibility he is a dragon rider. Since all signs seem to point to him ultimately playing a heroic role against the Others, we can rule out the idea that he just says good riddance to bad rubbish and laughs while the world ends. That has to mean something, right? 

There is always a path for redemption for anyone who sees the wrong of what they’ve done, has heartfelt remorse, and commits themselves to meaningful and lasting change. It’s not really about forgiveness at all, although that sometimes happens alongside redemption and it’s certainly easier for people to forgive once they see change. Redemption is work the character must do themselves for the right reasons. It’s not a status granted to them by other people. In fact, it’s probably more sincere when someone decides to do right anyway even if no one ever thinks better of them. If Tyrion (or any other character) is unforgivable to you, then the best worst thing that could happen is that they have to live a long life and spend all of it repaying their karmic debt. Even if he’s not my fav or your fav, a lot of people out there still do relate to him and the things he’s been through. A lot of people are not okay and not good victims from the trauma they’ve suffered. Fiction with redemption that is possible for anyone gives people hope that they could be better too, and there’s no other instance in the books that makes me think GRRM is cynical about redemption. The only way redemption isn’t happening for Tyrion is if he choses not pursue it. 

[warholiana]

Lovely review of my Warhol bio by Michael Millner in the US edition of The Spectator:

“An extraordinary and revealing biography — surely the definitive life of a definitive artist….There is something interesting, revealing or humorous on just about every page. Gopnik deftly excavates his data mine. His prose is precise and pointed, and his year-by-year narrative clips along. He is also a master of pithy and informative character and historical sketches.”

Magus of mass production

Warhol by Blake Gopnik

Ecco, pp.976, $45.00

reviewed by Michael Millner

This article is in The Spectator’s April 9, 2020 US edition.

‘If you want to know all about Andy Warhol,’ the artist said in the East Village Other in 1966, ‘just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.’ This quotation re-appeared in 2002 on the US Post Office’s commemorative Warhol stamp. It’s fabulously fitting for a stamp that reproduced a self-portrait, but when scholars recently compared the audiotapes of the interview with the printed version, the passage wasn’t on the tapes. Warhol sometimes invented interviews from whole cloth. He answered questions with a gnomic ‘yes’ or ‘no’ or, refusing to speak at all, allowed proxies like his ‘superstar’ Edie Sedgwick to answer for him. After all, he was just surface — leather jacket, shades, wig. The magus of mass production was there and everywhere forever, but nowhere in particular. This negation of personality seems a publicity ploy, or the evasiveness of a shy man, or possibly the self-protection of a gay man in pre-Stonewall America. It was all of this, but also much more. The self-as-surface routine was perfect for a new kind of celebrity, one founded less on accomplishment and talent and more on presenting a surface for the projected desires of a mass audience. Authenticity and the sense of a deep self were obstacles to the creation of this new celebrity persona. Warhol made millions by autographing screen prints that were mass-produced by anonymous assistants. Warhol somehow understood how this all worked. Born in 1928 in Pittsburgh to working-class Catholics from eastern Europe who barely spoke English, he realized the power and danger of being known to the world. The flipside of ‘15 minutes of fame’, Warhol suggests again and again, is death. The paintings of Marilyn Monroe memorialized her suicide; those of Jackie Kennedy, her suffering following her husband’s assassination. After Warhol survived his own assassination attempt in 1968, he allowed Richard Avedon to photograph the surgeon’s scars that crisscrossed the surface of his torso. There is no narrative development or personal bildungsroman in Warhol’s art, and his affectless manner resists psychologizing, the biographer’s stock-in-trade. His images are impressions, flashes whose immediacy, flatness and repetition carry little sense of progression. The Brillo box contains no story, and the subject of a film like Empire, with its eight hours of static footage of the Empire State Building, remains inanimate. Despite Warhol’s resistance, Blake Gopnik has written an extraordinary and revealing biography — surely the definitive life of a definitive artist. He accomplishes this through broad and deep, even obsessive, research into what he calls Warhol’s ‘social network’. Gopnik reports that he consulted 100,000 period documents and interviewed 260 of Warhol’s lovers, friends, colleagues and acquaintances. Warhol kept everything — he was a hoarder, collector and archivist all his life — and Gopnik has left no archival folder unopened or box unperused. Across 976 pages and more than 7,000 footnotes on a separate website, he recreates the swirl of ideas, culture and especially people that orbited Warhol. Warhol famously thought of his studio as a factory, producing work after work off an assembly line. The catalogue raisonné of his paintings, drawings, films, prints, published texts and conceptual works would, if it were ever completed, rival that of the other master of 20th-century self-replication, Picasso. Gopnik has surveyed it all.

There is something interesting, revealing or humorous on just about every page. Gopnik deftly excavates his data mine. His prose is precise and pointed, and his year-by-year narrative clips along. He is also a master of pithy and informative character and historical sketches: ‘Warhol’s Pop wasn’t about borrowing a detail or two from commercial work, as many of his closest colleagues [like Robert Rauschenberg] did; it was about pulling all its most dubious qualities into the realm of fine art and reveling in the confusion they caused there. ‘He wants to make something that we could take from the Guggenheim Museum and put it in the window of the A&P over here and have an advertisement instead of a painting,’ complained one early critic of Warhol’s, getting it right, but backward: Pop pictures started in the windows and then migrated to the museums.’ Warhol is about the Age of Warhol as much as Warhol himself. We learn about the new possibilities of gay life in 1950s New York, the city’s underground film scene, the history of silk-screening (so important to Warhol’s art), the fluctuations of the art market, the history of department-store window design. We learn about fascinating things we may not even want to learn about, such as the size and color of Warhol’s penis. (Large and gray, like the Empire State Building.) Warhol arrived in New York City in 1949 and quickly made a name for himself as a commercial illustrator, especially of women’s shoes. He lived for two decades with his mother, Julia, one of his most influential muses, and sought out an emerging coterie of gay artists including Truman Capote, with whom he had a stalkerish infatuation. The great Pop paintings of the early 1960s transformed American art. No less important was Warhol’s mid-Sixties salon and studio, the Silver Factory (silver because wallpapered in aluminum foil). This perverse and fecund anti-commune of ‘superstars’ and hangers-on spawned Lou Reed and the Velvet Underground, as well as Warhol’s wannabe assassin, Valerie Solanas. On June 3, 1968, Solanas shot Warhol in the name of feminist revolution. His heart ceased beating on the emergency room table before a determined surgeon saved him. In the 1970s, he turned to what he called ‘business art’, mainly portraits of other famous people. He died in 1987, aged 58, after gallbladder surgery. Gopnik unpicks many of the conventions of Warhol’s non-biography. Warhol wasn’t an aesthetic rube when he arrived in New York. He had received an extraordinary avant- garde education from four years at the Carnegie Tech art school and at the Outlines gallery, which had brought Jackson Pollock, Alexander Calder, Joseph Cornell, Francis Bacon, Merce Cunningham and many other transformative artists to Pittsburgh in the 1940s. Warhol did not suddenly reinvent himself as a Pop artist in the early 1960s. As he built a successful career illustrating advertisements in the Fifties, he regularly tried to cross the line between commercial and fine art — a crossover he finally achieved in late 1961 with ‘Campbell’s Soup Cans’. Warhol was baptized ‘Drella’ by acquaintances — part bloodsucking Dracula and part innocent yet social-climbing Cinderella. But Gopnik also argues that one of Andy’s greatest desires was for compassionate companionship. This was never achieved. The ‘routine’ gallbladder surgery which led to his death was anything but routine. He had been very ill for weeks but avoided treatment out of a lifelong fear of surgery and a misplaced faith in the healing powers of crystals. Emphasizing Warhol’s radical ambiguity in art and life, Gopnik makes it impossible to say anything easy about him. His Warhol is a complex artist practicing what Gopnik, in a marvelous turn of phrase, calls ‘superficial superficiality’. The Warhol brand, the images of branded goods, famous faces and dollar bills, celebrates consumerism but also leaves us a little nauseated from our commodity fetishism. Warhol’s endless ‘boring’ films are hard to ignore because they give us so much space and time to think. They are studies in modern emptiness, and thus deep meditation. Warhol the critic of modern celebrity was also one of its greatest adulators. This double image of Warhol seems just right. ‘His true art form,’ Gopnik writes, ‘first perfected in the first days of Pop, was the state of uncertainty he imposed on both his art and his life: you could never say what was true or false, serious or mocking, critique or celebration... Examining Warhol’s life leaves you in precisely the same state of indecision as his Campbell’s Soup paintings do.’ Gopnik’s analysis of Warhol’s ambivalence evokes another great observer of midcentury American culture. Lionel Trilling, the gray-suited lion of Columbia’s literary studies, would have hated Warhol, had he deemed the Silver Factory worthy of a visit. Still, Trilling’s America is Warhol’s: ‘A culture is not a flow, nor even a confluence; the form of its existence is struggle, or at least debate — it is nothing if not a dialectic. And in any culture there are likely to be certain artists who contain a large part of the dialectic within themselves, their meaning and power lying in their contradictions.’ To Trilling, the great American authors contained ‘both the yes and the no of their culture, and by that token they were prophetic of the future’. Warhol absorbed and reflected the affirmations and negations of his America — but was he prophetic of ours? Yes and no. For a long time now we have lived in the Age of Warhol. If he were alive today, he would film us staring blankly at the social networks on our smartphones, hour after hour, while nothing and everything go on and on. By retaining ambivalence, Warhol allowed us to recognize and experience the deepest ethical dilemmas of American life — and he paid a price for being our screen and mirror.

[isiyasy]

Dear Friends, This is Fatima Yaqoub with Agnomen "Goggon Kaura", senior sister of Sheikh Zakzaky(H), she was set ablaze in the kitchen by bloodthirsty Nigerian Army when crying for water to survive in the resident of Sheikh Zakzaky(H). Even in an external war, killing of children, aged and women is vehemently prohibited Martyr Fatima Yaqoub was 70+ years old before her martyrdom, despite that, the Wahhabi barbarians, bloodsuckers, coward soldiers Nigerian Army set her ablaze during 2015 Saudi sponsored Zaria Massacre ordered by Western proxy server in Nigeria, tyrant President Buhari via his puppets innocent killers Nigerian Army -Abdullahi Junaidu #4YearsFreeZakzaky #4YearsZariaMassacre

http://www.5five-stars.com.ng/2019/12/zaria-massacre_13.html

[keeperofkats]

D: The losers die - both the proxies and the losing vampires. S: Well then I shan't lose. F: Are you sure you don't want me to be the proxy, dear? S: Are you selflessly offering yourself up in my stead because you think there's a possibility I may lose? F: Of course not. Carry on, dear.

- Frank and Sadie Doyle The Bloodsucker Proxy an episode of the Thrilling Adventure Hour

[blackbird-brewster]

Hey 😻

5 Things I Associate With You:1. Donna Henderson and that time we listened to Bloodsucker Proxy simultaneously 2. Good music from my youth (Brand New, SoCo, Motion City Soundtrack, DCFC)3. The most amazing selfie game4. Slytherin 5. Girl Meets WorldSend me "Hey"

[blackbird-brewster]

A truel. It’s a three person duel, read a book.

Frank Doyle, linguistic genius

[keeperofkats]

"Sure if it was a physical fight I could take them in four bites flat: me biting you, me biting him, the two of you biting the dust."

- Donna Henderson (vampire) The Bloodsucker Proxy an episode of The Thrilling Adventure Hour