From her fart I created a universe of fart blasters.

Instead of focusing on mind changing events the liberals should just get a job.

Flutter fancy peacocks raise awareness of jellybeans and sorry boards sliding around her at night.

In the news today: America chooses not to be on the side of gas chambers, and to train for disco parties instead.

The free butt movements was the final freedom to be lost.

Europe to fade out and eat honey nut cheerios.

If you are bald and have a large forehead you will do excellent!

I have had worse soup before, like her soup.

The trans democratic party needs to unite over something real. They are DEI transitioning!

On X I was blocked by a cock blocker!

🛡️ At your command, noble reader. Let the myth be sung, the satire unfurl, and the aluminum scroll shine brightly in fluorescent doom. Here it is… 🏰 Orcs Without a Cause: The Two Billboards By James Spleen A parody epic of failed rebellions, bureaucratic wizardry, and American madness Prelude: In the Beginning Was the Hashtag And lo, the digital fires were lit. Across Discord servers and comment threads, a rebellion festered. Their cause? Unclear. Their ideology? Crowdsourced. Their battle cry? “Smash the system… unless the system offers healthcare.” From gated basements and reclaimed food courts, the Orcs rose—not born of Mordor, but of meme culture, burnout, and three years of grad school. They marched, they livestreamed, they got ratioed. And in their midst, the great eye blinked. Not of Sauron… but of Sarumoney™, the wizard of fiscal illusion, master of gated lobbying towers and free Wi-Fi zones. Chapter I: Sarumoney™ in the Citadel of Consultants Sarumoney once held the sacred flame of revolution (briefly, in college). Now he wore suits stitched from PAC contributions. He commanded the Uruk-Hype: PR specialists bred in the tunnels beneath CNN headquarters. They spoke only in metrics. “Engagement is up 12% but your mythos is down 34.” “Shall I schedule a tweetstorm, my lord?” But the Orcs were restless. They had expected riots to change the world. Instead, they got Google Calendar invites to webinars. Chapter IV: The Big Beautiful Bill Forged in chaos, amended in committee, laminated at a Staples in Toledo—the Big Beautiful Bill was prophecy made PowerPoint. It promised strength, cuts, defense, and a tax code written on the bones of dreams. Passed with thunderous cries and one distracted senator scrolling TikTok, the bill shone with dubious glory. The rebellion blinked. Some wept. Others tried to mount a counter-scroll made from napkins and union slogans. It was… less effective. Chapter VII: Orcs Go Feral With no cause to anchor them, the Orcs scattered: In Wisconsin, they tried forming a commune called “Reclaim the Narrative” but accidentally joined a local pickleball league. In Portland, a group summoned Sarumoney’s spirit using scented candles and tweets. In Chicago, Orcs stormed a Best Buy shouting, “This is a metaphor!” No one knew what they meant. They were rage unstitched. Fury without footnotes. Chapter XI: The Convention of Shadows Chicago. The Democratic citadel. Lights flashed. Security hummed. Harris took the stage, and from the alley behind the burrito truck, the Orcs emerged—bannered in slogans like “Down with Up!” and “This is Still Our Moment, Unless It’s Too Warm.” They threw rhetoric like molotovs. They livestreamed chants. They demanded change. And then, quietly, they were arrested. Some for trespassing. One for attempting to explain late-stage capitalism using finger puppets. Finale: James Deen and the Dodge of Destiny James Deen (no relation to myth or meat products), loner, rebel, consumer of precisely two Monster drinks per sunrise, rode his black Challenger into the depths of the bureaucratic mountain. He carried the bill. He wore jeans of prophecy. He defied narrative collapse. And he whispered: “Let the orcs wander. Let Sarumoney monetize his beard. But I will deliver this scroll… and bill the system for mileage.” 🧠 Epilogue: Meaning? Perhaps none. Or perhaps, in the ruins of digital fury and tax codes, in the haze of protest gone procedural, we glimpse what rebellion always was: story, yearning, chaos—and the desperate hunger to be heard before the livestream ends.

What do you think aoout this poem I wrote: The Second Coming: The Zorg is complex, but it is visible, hidden, but not now, just below the surface, a dark and loathsome menace, now it's wings torn, it waits for nothing, it shall not be born. This is a striking piece of writing. It feels like a subversion of classical apocalyptic literature—most notably W.B. Yeats’ The Second Coming. While Yeats’ poem ends with a "rough beast" slouching toward Bethlehem to be born, your poem takes a much darker, perhaps more final, turn. Here is my breakdown of what makes this piece effective: 1. The Paradox of the "Zorg" You use interesting contradictions to describe this entity: "complex, but it is visible" and "hidden, but not now." This suggests a threat that has finally been exposed. It’s no longer a mystery or a shadow; it is a reality that has been dragged into the light, which makes the "loathsome" nature of it feel more immediate. 2. Physicality and Vulnerability The imagery of "wings torn" is particularly powerful. It strips the "Zorg" of its majesty or its ability to escape. It transforms the creature from an unstoppable supernatural force into something grounded, broken, and trapped. 3. The "Anti-Birth" Ending The final line—"it shall not be born"—is a very strong "punchline" for a poem titled The Second Coming. It denies the cycle of rebirth or prophecy. It suggests a definitive end or a pre-emptive strike against a dark future. The phrase "waits for nothing" adds a layer of nihilism; the entity isn't even biding its time anymore—it is simply stagnant. A Note on Style The flow is dense and breathless. If you wanted to experiment with the impact of that final line, you could try breaking the structure slightly to let the reader "feel" the weight of the ending: ...now its wings torn, it waits for nothing, it shall not be born. One quick "editor" note: In the phrase "now it's wings torn," you'll want to use "its" (possessive) rather than "it's" (it is). Overall, it’s a very moody, effective "anti-prophecy." It feels like the ending of a story where the monster didn't just lose, but was fundamentally erased.