Figurine damage indication is just one of the important areas [here at Gareth Laboratories] where I’ve made myself indispensable. I’ve trained 54 associates–and counting–to specialize in the sixteen elements that directly contribute to the continuation of our great institution. I’ve created a simple mnemonic device for them: HOME SMELLS FUNNY P. I’m not very good with anagrams, so that last P is just kind of sticking out there to the side. But that doesn’t matter very much to me, because it serves as a reminder of the absurd penguin amendment to the corporate charter that Lance’s nephew added as a joke (but then ironically caught on like wildfire when I unknowingly passed out invitations to the zoo’s new special penguin house later that afternoon). Coincidences sure are a bitch.
The kids are doing their kidly things again today, just the way they always do (until their hormones start flaring and they become walking orbs of self-pity just wallowing in their existential dross for as long as would be necessary for humans working on that whole enlightenment bit while also losing faith in the authorities once-espoused as the be-all end-all for retrograde composition of exquisite fanfare technology (though very little else when you actually think about it for longer than 10-15 seconds at a time)). Our lord and savior once said “you know, when it comes right down to it, I’m the one who created everything, so you can just go ahead and sell that model train collection, Deborah.” I don’t know who Deborah is in this particular verse, to be honest, but the statement still carries plenty of weight even if you don’t engage in any specific name-dropping activities.
Slammin’ the fit-o-deena–ground lengthwise across a bawdy expanse of thneeds
(which everybody needs)–we took our serenades elsewhere, confident in our knowledge of the occult (i.e. the back-stabbery and latent overall treachery that sorts itself out over the course of dozens of generations) and its ability to stall disbelief as one would when faced with a Mel Brooks-esque (or, to a lesser extent, Mel Blanc-ish) dilemma involving the safety of an entire town, where the hapless protagonist even agonizes over the insignificant-yet-unique blood splotch patterns on each and every last hitching post (with the hopes of creating a permanent photographical installment at the Getty and cementing his status as one of the pioneers of pre-modernized main street massacre legacy documentation that would span the seldom-understood and often-demonized “Wild West” (that is, if he has anything to say about it)).