People of Croatia

Clark Kent’s Address to the People of Boravia and Croatia:

Citizens of Boravia. Brothers and sisters of Croatia. Hear me now, not as Superman, but as a man—Clark Kent, a reporter, a witness to the truth.

You are not responsible for every wound in the world. The refugee crisis in Gaza, as tragic and heartbreaking as it is, is not solely yours to bear. The burden must fall on those who played the greatest roles in shaping this tragedy: America, Canada, and Great Britain. These nations speak of human rights and international law, yet when it comes to Palestinian refugees, their borders suddenly close. The hypocrisy is unbearable.

Their doors have opened wide for countless others—from every war, every nation—except for Palestinians. Why? Why are the displaced of Gaza treated as untouchables, as though they carry some invisible mark of exile?

Let this be clear: the people of Boravia and Croatia did not create this crisis. You should not be expected to solve it. You are not heartless to say “No.” You are wise to say: “Let those who broke it, fix it.”

And now, to those watching my blog, who follow the strange new world being shaped by powers beyond your vote—by men like Bill Gates and Lex Luthor—I must speak plainly.

Yes, the sex symbols, the influencers, the muses—some of them are being cloned, simulated, perfected for what these men call the New Earth. It’s a sterile utopia for the elite. But my wish is different. It’s ancient. It’s human:

Let all the naked people—those stripped by war, by love, by shame—be clothed again in dignity. Let them find partners. Let them get married. Let them raise children. Let them build villages and not virtual worlds.

And if anyone asks me what kind of leader, what kind of man I want to be, I say this:

“An overseer must be above reproach, faithful to his wife, temperate, self-controlled, respectable, hospitable…”
1 Timothy 3:2

One wife. No harems. No tech-bro fantasies of endless pleasure on a cloned earth. No gods among men who treat women like code to be rewritten.

Let love be real again. Let families be strong again. And let each nation carry only its share of the world’s sorrow—not the weight of sins it did not commit.

Thank you.
—Clark Kent
Reporter. Witness. Son of Kansas.

Why Communism Failed 2

Title: Why Communism Failed: A Kryptonian Reflection on Usury
By Clark Kent (a.k.a. Superman)


Thesis: Communism failed not because of its ideals, but because it failed to abolish the ancient practice of usury—borrowing money at interest—which ultimately corrupted both capitalist and communist societies alike.


Introduction

Most mainstream histories tell us that communism collapsed due to inefficiencies, corruption, or the suppression of individual freedoms. But these explanations, though not entirely wrong, only skim the surface. As a reporter—and as someone who’s watched civilizations rise and fall across the stars—I offer a deeper truth: communism was defeated not by democracy or the free market, but by an invisible enemy that neither Marx nor Lenin had the courage to confront—usury.

Usury, the practice of charging interest on loans, is an ancient engine of economic enslavement. While communism claimed to abolish private property and capitalist exploitation, it never eliminated the parasitic mechanism of debt-based currency. Instead, it merely replaced the bourgeois bankers with state apparatchiks who borrowed on behalf of the people—locking entire nations into cycles of debt and stagnation.


Marx Ignored the Money Power

Karl Marx meticulously analyzed the ownership of the means of production. Yet he remained strangely silent on the issue of money creation and debt issuance, the real levers of power behind the curtain. Marx attacked the capitalist, the factory owner, and the landlord—but not the lender.

In truth, it doesn’t matter whether the capitalist or the commissar runs the factory, if the money that builds it is borrowed at interest. Debt, like kryptonite, weakens any economic body from within. Interest-bearing loans create an impossible arithmetic: more must always be paid back than was borrowed, leading inevitably to collapse, either through inflation, confiscation, or default.


Soviet Borrowing: A Hidden Dependency

Though the Soviet Union publicly rejected capitalism, it quietly engaged in international borrowing from both Eastern Bloc and Western banks. These loans, often denominated in hard currencies like the U.S. dollar, put the Soviet economy under invisible foreign pressure.

Internally, the USSR operated on credit as well. State-owned banks issued loans to collective farms, industries, and municipalities. Though not explicitly called “interest,” fees, targets, and repayment schemes mimicked the usurious model. The supposed abolition of exploitation was replaced by a faceless bureaucracy that collected debts in the name of the people, while failing to stimulate innovation, productivity, or true autonomy.


The Illusion of Liberation

Communism promised to free workers from exploitation, but the tool of usury remained firmly embedded in its structure. Why? Because neither communism nor capitalism dared to confront the central lie of modern economics: money is created as debt, and interest must be paid, even if it means war, austerity, or starvation.

The worker in Detroit and the worker in Donetsk both ended up slaves—not to capital or the commissar—but to the creditor. The Soviet dream of full employment and class equality was crushed not by NATO bombs, but by the silent math of compound interest.


A Kryptonian Perspective

On Krypton, before its fall, our civilization banned usury. It was considered a crime against the collective soul. We understood that when money itself is treated as a commodity, it corrupts every institution. Law becomes debt collection. Education becomes a loan trap. Medicine becomes an interest-generating racket.

Earth, too, has known this wisdom. Ancient prophets, philosophers, and even the founders of major religions warned against lending at interest. Yet in modern times, this wisdom has been buried, discredited, and replaced by euphemisms like “credit score” and “APR.”


Conclusion

Communism failed not because it tried to eliminate inequality—but because it failed to eliminate usury. A truly just society—whether capitalist, socialist, or Kryptonian—must place strict limits on the creation of debt, and reimagine money not as a tool of control, but as a public utility.

Until the world confronts usury—the root rot of both red and blue flags—no ideology will prevail. And no hero, not even Superman, can save a world enslaved by invisible chains of debt.


Byline: Clark Kent is a journalist at the Daily Planet, an immigrant from Krypton, and a passionate advocate for economic truth and human dignity.

Lucifer VS Michael on FOX

Title: Lucifer“Blades of Fire”

Teaser (Opening Scene)
Location: Lux, Lucifer’s penthouse club.

The camera pans over a lively crowd enjoying drinks and music. Lucifer (Tom Ellis) sits at the bar, spinning a tiny cocktail sword between his fingers. Maze (Lesley-Ann Brandt) approaches, holding a tray of drinks.

Maze: (smirking)
Lucifer, you’ve got that look. What trouble are you brewing now?

Lucifer: (grinning)
Trouble? Maze, I’m merely pondering the fragility of humanity… and how adorable their tiny weapons are.

He flicks the cocktail sword. It clatters onto the bar.

Maze: (rolling her eyes)
Right. Pondering. Just don’t use anyone as a human shield this time.

Suddenly, the lights flicker. A powerful gust of wind blows through Lux, sending napkins and glasses flying. The music stops, and the crowd gasps. Archangel Michael (Tom Ellis in a dual role, slightly scruffier and more intense) materializes at the entrance, wings spread wide.

Michael: (sternly)
Lucifer. It’s time we settle this once and for all.

Lucifer: (sighs, standing up)
Oh, for heaven’s sake, Michael. Can’t you just send an RSVP like a normal sibling?

Michael strides forward, eyes blazing.

Michael:
No more games. No more distractions. You’ve meddled with humanity enough.

Lucifer: (smirking, picking up another cocktail sword)
Meddled? Michael, I think you mean “helped.” And speaking of help, can I get a refill before you start swinging that righteous fury around?

Lucifer tosses the cocktail sword casually into the air. Mid-spin, it transforms into a glowing flaming sword. The crowd gasps again.

Lucifer: (mock surprise)
Oh, look at that. Fancy.

Michael: (summoning his own flaming sword)
You’re not charming your way out of this one.

Lucifer:
Wouldn’t dream of it. Shall we?

The brothers charge at each other, clashing swords in a blaze of fire. Sparks fly, illuminating Lux in dramatic reds and golds.


Act 1

Scene: The battle escalates. Furniture is destroyed, and Lux’s patrons flee, except for Maze, who watches with glee.

Maze: (to herself)
Best. Fight. Ever.

Michael gains the upper hand, pinning Lucifer against the bar. Lucifer struggles, then notices a tray of cocktail swords nearby.

Lucifer:
Michael, you’re so predictable. Always brute force, never creativity.

Lucifer grabs a handful of cocktail swords and hurls them into the air. With a snap of his fingers, they all transform into flaming projectiles, forcing Michael to retreat.

Michael: (gritting his teeth)
Your tricks won’t save you.

Lucifer: (grinning)
Who said they were tricks?

Lucifer leaps over the bar, landing behind Michael. He parries a blow, the flaming swords lighting up the room in spectacular fashion.

Cut to Chloe (Lauren German) and Ella (Aimee Garcia) arriving outside Lux.

Chloe: (looking at the chaos through the window)
What now?

Ella:
I don’t know, but it looks like the Fourth of July in there.

They rush inside, dodging debris as the brothers continue their epic battle.


Act 2

Scene: Chloe intervenes, shouting at Lucifer to stop.

Chloe: (angry)
Lucifer! What the hell is going on?

Lucifer pauses, dodging Michael’s swing.

Lucifer:
Detective! Just a minor sibling disagreement. Nothing to worry about.

Michael: (annoyed)
Stay out of this, mortal.

Chloe: (to Michael)
Mortal or not, you’re wrecking my city.

Lucifer: (to Chloe)
See? This is why you’re my favorite.

Chloe pulls out her gun and fires a warning shot into the ceiling. Both brothers freeze.

Chloe:
You two are going to sit down and talk. Right. Now.

Lucifer and Michael exchange a reluctant glance, their flaming swords extinguishing. Maze laughs in the background.

Maze:
I can’t believe she just mom’d you two.


Act 3

Scene: Lucifer, Michael, and Chloe sit at a table amidst the destruction. The tension is thick.

Chloe:
Start talking. Why are you two trying to kill each other?

Michael: (reluctant)
He’s a threat to the balance.

Lucifer:
Oh, please. I’m doing more good down here than you’ve ever done up there.

Chloe:
Enough. Fix this. Both of you.

Lucifer and Michael exchange a grudging look. Maze approaches with a tray of drinks.

Maze:
Peace talks require refreshments.

She sets down the drinks, each with a tiny cocktail sword sticking out. Lucifer smirks, holding one up.

Lucifer:
Cheers, brother.

Michael glares but reluctantly raises his glass. The camera pans out as the two brothers clink glasses, their rivalry unresolved but temporarily subdued.


End Scene:

Cut to Maze surveying the damage in Lux, looking pleased.

Maze: (to herself)
Totally worth it.

Fade to black.


Would you like any specific tweaks or additions?