A Cat’s Guide to Taking Care of Your Human.
This site is genius: the background changes behind Drake depending on the weather.
Well, he was sorta asking for it, dressing in such flammable clothing.
if he didnt want to get set on fire, he should have stayed indoors
He must have been drinking alcohol. That stuff is flammable. Of course it was going to happen when booze was involved.
I need to point out that people have seen him at many a campfire in the past. It’s pretty obvious by this pattern of behavior that he was asking for it.
you know, if its a legitimate fire the human body and a way of putting the whole thing out
Bo Burnham: We Think We Know You
Bo is literally the voice of a generation.
i bet even adam levine doesnt know the names of the other members of maroon 5
So, Seth Rogen and James Franco recreated Kanye West’s video for Bound 2 shot-for-shot.
I can’t even.
u wake up on christmas morning and go downstairs, full of excitement. somebody is stealing all of your christmas presents. it is jesus. “its my birthday, not yours” he hisses menacingly, then runs away with all your gifts in his arms
By now, most Quentin Tarantino fans are aware of the connections interlaced throughout all of his films. John Travolta’s Vincent Vega in Pulp Fiction is the brother of Michael Madsen’s Vic Vega in Reservoir Dogs, Harvey Keitel’s Mr. White worked with Alabama from True Romance, the plot basis for Kill Bill is described as the synopsis for a TV series in Pulp Fiction, etc.
Now the epiphany that Eli Roth’s character of Donny Donowitz aka “The Bear Jew” in Inglourious Basterds is the father of the movie producer Lee Donowitz in True Romance has inspired a truly mind-blowing theory that the rest of the films (chronologically speaking) in Tarantino’s filmography take place in a world where [Inglorious Basterds spoiler] World War II came to an end when Adolf Hitler was brutally murdered in a movie theater by the Basterds.
As it turns out, Donny Donowitz, ‘The Bear Jew’, is the father of movie producer Lee Donowitz from True Romance – which means that, in Tarantino’s universe, everybody grew up learning about how a bunch of commando Jews machine gunned Hitler to death in a burning movie theater, as opposed to quietly killing himself in a bunker. Because World War 2 ended in a movie theater, everybody lends greater significance to pop culture, hence why seemingly everybody has Abed-level knowledge of movies and TV. Likewise, because America won World War 2 in one concentrated act of hyperviolent slaughter, Americans as a whole are more desensitized to that sort of thing. Hence why Butch is unfazed by killing two people, Mr. White and Mr. Pink take a pragmatic approach to killing in their line of work, Esmerelda the cab driver is obsessed with death, etc. You can extrapolate this further when you realize that Tarantino’s movies are technically two universes – he’s gone on record as saying that Kill Bill and From Dusk ‘Til Dawn take place in a ‘movie movie universe’; that is, they’re movies that characters from the Pulp Fiction, Reservoir Dogs, True Romance, and Death Proof universe would go to see in theaters. (Kill Bill, after all, is basically Fox Force Five, right on down to Mia Wallace playing the title role.) What immediately springs to mind about Kill Bill and From Dusk ‘Til Dawn? That they’re crazy violent, even by Tarantino standards. These are the movies produced in a world where America’s crowning victory was locking a bunch of people in a movie theater and blowing it to bits – and keep in mind, Lee Donowitz, son of one of the people on the suicide mission to kill Hitler, is a very successful movie producer. Basically, it turns every Tarantino movie into alternate reality sci fi. I love it so hard.
DeShawn the Black Ghost (by Jarrod Alonge).
Tears. I am actually crying.