Mañana es el cumpleaños de un hombre malo que le hace a su novia cosas tan feas como esta. Por eso, lo felicitamos así: ¡Muerte a Gonzaga!
The Chinese for ‘owl’ is ‘cat-headed falcon’ anyway.
Source: ugo.com
Via: facebook.com
Source: mceric.deviantart.com
¿Os acordáis de aquella locuela recopilación de gatos en mitad de escenas de porno amateur? Pues alguien en internet se ha encargado de llevar a cabo la ardua tarea de ver cientos de vídeos porno (amateur y profesional) y —aquí es cuando viene el verdadero zumbe— localizar e identificar cada mueble de Ikea que se ponga a tiro. Lo mejor es la forma de recopilar los hallazgos: haciendo pequeños gifs con el modelo y el precio, componiendo un catálogo Ikea que, si me preguntan a mí, ya deberían estar enviando a sus clientes.
What a difference a decade makes.
Inspired by this post.
Snob^^
Comedian Amy Schumer announced on Twitter yesterday that Comedy Central has renewed her new sketch show for a second season. Inside Amy Schumer premiered on the basic cable network in late April, and the renewal is coming early, after only four episodes of the 10-episode first season have aired. The renewal comes as no surprise after Inside Amy Schumer had the best launch of any Comedy Central show this year, beating The Jeselnik Offensive, Nathan for You, and Kroll Show numbers-wise. Comedy Central has long had a reputation for canceling new shows after only one season, but that's no longer the case as the network has given second season orders to its recent crop of new shows (the aforementioned Schumer, Jeselnik, Nathan, and Kroll). It's definitely a good thing to see Comedy Central growing more patient.
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See more posts by Bradford Evans
The adjectives "interesting" and "weird" mostly exist to be placeholders for how you actually felt about something you couldn't completely understand at first. Sometimes the real feelings will come to you as you heat up something in the microwave a few minutes later; other times it takes a day or two for you to start to be able to properly articulate what you had just seen, several microwaved meals later. Even if the delayed final review of the book, movie, or TV show was "oh, it sucked," it still gets credit for occupying your brain for an extended period of time: that interesting, weird thing took over your life.
Season Four of Arrested Development, two days after all eight hours, fifteen minutes, and fifty five seconds of it1 was released to the world all at once, still in some ways remains to be interesting, and weird. The warnings that were both readable online and between the lines were true, that due to the busy schedules of all of the principal actors, interaction between the Bluths would be at a bare minimum, and as a result the storytelling would be completely different to not just the show but possibly new to comedy. The warnings weren't enough for the initial viewings of the new Netflix episodes from being a jarring experience. After fifty-three episodes of all of the characters playing off of each other, with six, seven, nine stories being crammed into a traditional twenty-two minute installment that all somehow coalesced together to make a delicious comedy stew, there were fifteen short films presented to us all at once, each a crazily well-filmed and high-budget fan fiction project in which one of the characters' story of what they had been up to over the last seven years was told, where they met Hollywood stars both real and imagined, mystics, drug addicts, ostrich farmers, and everything else in between.
And sometimes it tasted like hot ham water. When interactions between two familiar characters took place without a two shot, it felt off and distracting. The obvious blue screened, CGI'd work was, obviously, even worse. Liza Minnelli and Ron Howard ended up playing prominent roles in the overall narrative of a hip, experimental show in 2013. That isn't necessarily good or bad on the surface (it's just another example of how interesting and weird the whole enterprise is), but it felt like there was way too much Ron Howard, especially if you watched in one marathon sitting. The man not only continued his voiceover narration for the show — which with all of the necessary exposition throughout the season made him reach for a water bottle more than ever — but played himself in a couple of episodes, providing the Macguffin for Michael to have to interact with each family member at some point in the series2. Presumably, Mitch Hurwitz and his writing staff decided to compensate for the stars' conflicting availabilities by interconnecting all of the stories with showing different points of view of one scene where a few of the characters were together and mining all of the innovative and comedic possibilities within, just to make sure that we didn't forget after a certain point that these people were all connected. But the more ambitious the gag, the louder the dud, and the more blatantly self-congratulatory it all seemed to be. The reveal the show seemed most proudest about occurred in Maeby's episode, when we discovered that the squeezable shaman Lindsay visited was in fact Maeby in heavy makeup. But we saw the scene again, and Ron Howard in voiceover went on and on about it, so why watch Lindsay's episode again for that? When Lindsay in "Indian Takers" violently moved her plane seat back and the identity of the passenger behind her wasn't revealed, it was pretty obvious it was going to be shown to be someone we recognize. So? Those kinds of moments could have been excised, and chopped down the 28-37 minute run times3.
What *did* work were the type of running gags that the old version of Arrested was known and revered for. G.O.B. hearing "The Sound of Silence" in his head in multiple episodes4, and once later from a mariachi band? Fantastic. And the subtle callbacks5 were a nice reward for those that know how to finish each others' sandwiches. As the season progressed, the installments got better, and funnier, but not because the jokes set up earlier were starting to pay off. For one thing, the writers had a better feel for their new language, and for another, the characters that starred in the latter episodes were far more likable. It cannot be a coincidence that the episodes that stood out in it's enjoyability and humorousness were "Colony Collapse," A New Attitude," and "Off the Hook," the G.O.B. and Buster affairs. It has become obvious that George Sr., Lucille 1, and Lindsay will never change from being terrible people6, and not ones we want to ever spend at least thirty minutes on. Tobias, even when paired with the tremendous Maria Bamford, proved to not be able to carry an episode on obliviousness and gay jokes alone. Buster is simply simple, confused and helpless, and has a hook for a hand, and when you have a hook for your hand and you are on your own, your storyline is going to be fucking strange and really damn funny, and end with Diedrich Baker supervising Army scientists to administer a Q-test. G.O.B. always wants and never gets any respect from his family, and because he is pure Id, the writers love him, so naturally in the spotlight he ends up an STD riddled member of a pop star's posse. His mind games with Tony Wonder, and his wedding to Ann were bombastic in the best way possible, a great way to take advantage of not having a fixed time limit.
The George Michael and Maeby features were enjoyable too, if not as funny. The two are the only characters that just might break the cycle and not suffer from actual arrested development. Hell, George Michael even grows a mustache and openly admits to his father that he doesn't want to go by his given name anymore. In "It Gets Better," we saw him mature through his college years while still being himself7. He also unknowingly impregnated a Spanish woman, a callback to Michael knocking up Maggie Lizer without his knowledge. Like father, like son. But thankfully, not quite – unlike the actual Lizer pregnancy8,there was some closure when the young adult who wants to be formerly known as George Michael punched his dad in the face. Michael went from annoying to just plain unlikable as season four progressed, disappointing us all by being as selfish as his parents and siblings after all, and kind of deserving a beating. And it was nice to have *some* closure, since this was all an imperfect set-up for the movie that hopefully will happen.
But Hurwitz and company insisted on not relying on what worked before: they weren't attempting to knock it out of the park in season four, so much as try to invent a completely different sport. The underlying reason for all of the P.O.V. and chronological trickery and overall attempt to unify the fifteen episodes was because they were all being released at once. It's funny, because Hurwitz told us to not watch them all at once a few days ago, but it dictated their approach anyway. Perhaps they knew that there is no Mayor Bloomberg that would even dare attempt to legislate against unhealthy overconsumption and viewers would binge watch no matter what, but by throwing in all of those grand tricks (illusions), it called attention to its purpose, and when most of them didn't work, it felt like the show trying too hard to make a binge watch worthwhile, when it already would have been with their old bag of tricks. It was admirable as hell, but there is a good chance that down the road, season four of Arrested Development's unique presentation will overshadow all of the fun stuff within, and that would be a shame. Some individual moments became worthy of comparison to some of the show's funniest moments as soon as they were witnessed from this experiment: George Michael joining his other new classmates in mocking him, Tobias' bed, Kirstin Wiig as young Lucille as the Grinch, Tobias yelling at Ron Howard, and on and on. Overall it was another attempt at comedy with a big concept that fell a bit short, but it was a step in the right direction. Because this project was by no means embarrassing – hell, it showed flashes of transcendency – it stands to reason that Netflix will attempt to produce and run a comedy series again, provided the numbers are there. And inspired writers will continue to try and crack the "successful and perfect comedy mystery" code, or come up with different innovative, interesting, and weird ways to tell their jokes and funny stories.
1 A total run time that was fourteen minutes longer than the first season of the show, which consisted of seven more episodes.
2While Arrested always had a bit of a streak of mocking Hollywood – especially in their third year when things got punchy and wackier – the whole Ron Howard/Imagine Entertainment storyline didn't provide enough laughs to warrant its meta nature.
3The comedic timing changed entirely in season four as a result of the extended episodes, and particularly in the first half of the season there seemed to always be one scene would take up an inordinate time and never get around to being funny, like Michael trying to conspire to rig the dorm voting, or Ed Helms the realtor convincing Lindsay and Tobias to add and add and add to their doomed house.
4I assume that the passive aggressive showdown between the Lucilles was taken word for word from the Paul Simon/Ron Howard music licensing negotiations, except they focused on each others' hats.
5We can just stick to the Steve Holt ones to save time: Steve Holt ending up with G.O.B.'s hairline just as he feared, only much worse; Maeby's initial high school yearbook quote was the same as Holt's ("I'm outta here!"); the fact that it's now more like Steve Holt :-(
6George Sr.'s transformation to a grounded, non-materialistic way of life was apparently due to increased estrogen levels, which...
7Which would have been even more pleasing if it was a part of a story told in chronological order, so his maturity would be juxtaposed with everybody else continuing their stupid or hurtful behavior.
8During the "On the next..."segment in "Hand to God," Maggie tests positive for pregnancy, and we never see her again. The show can simply claim it was non-canonical if Julia Louis-Dreyfus asks for too much money for the movie, but that would be a bit of a cop out.
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See more posts by Roger Cormier
Mind blown .
This blog post, originally published two years ago, just went viral on Twitter.
Via: edinphoto.org.uk
Via: Tumblr.com
Via: criticalmiss.com
Duh! With its eyes closed, of course! Take a look at these cute photos of baby giraffes sleeping, using their own bodies as pillows for their heads, courtesy of their loooong necks (except the last one, whose head I think plopped to the ground in the sleep).
Next question: Do they wake up with a giant crick in their necks? (Images: Imgur - via Lost at E Minor)
The best thing about pigs is that they're made of pork. The chef behind the blog Golosolandia has improved upon this design. These little pig-shaped loaves of bread are filled with pancetta, bacon and chorizo--all products of that wonderful, magical animal.
Link (Translation) -via Tasteologie
The Del Moroccos are a powerful new 8 piece rock 'n' roll band (guitar, bass, drums, piano, saxes, and 3 sexy frontwomen) who put out an awesome full-length show of dirty R'N'R, R&B material with girl group vocals. Knock the Ray-ettes and Link Wray together, with a blast of garage, a hit of late '50s black rock 'n' roll, dress 'em up like Johnny Cash, and you get a raucous, mean mix of '50s garage. The members are veteran Chicago musicians from the rockabilly, surf, ska, jazz and R & B scenes, from bands including: Mighty Blue Kings, Jimmy Sutton's Four Charms, Deals Gone Bad, Cave Catt Sammy, The Stranger, Kevin O'Donnell's Quality 6, Reluctant Aquanauts and The Stacks. The Del Moroccos lead guitar player Jimmy Sutton, hand picked the line up for this relentless new sound. The Del Moroccos set list features choice selections of obscure, rockin' early independent record label songs and wild originals, capturing a sound that teeters somewhere between the 50's and 60's, and is performed with the emotion of early punk and mod revival. New on the scene, the Del Moroccos have shared the stage with SUN rocording artist Hayden Thompson, and the Queen of rockabilly, the legendary Wanda Jackson. (Black Cat Rockabilly)
The Del Moroccos:
The Flamin' Groovies' debut album went almost directly into the cut-out bins within a year or so of its 1969 release. Fortunately, the band survived the neglect heaped on that record, and has survived in one form or another into the 21st century. And in the ensuing years, Supersnazz has achieved an exalted reputation among not just Groovies fans, but lovers of rock & roll in general, having held up extraordinarily well across the decades and still able to make its own case for greatness as an astonishing document of straight-ahead rock & roll circa 1969 -- fully contemporary to its time (and, by extension, almost timeless), with none of the artificial period nostalgia (and parodying) that was already creeping into the "oldies" scene. But it's also a lot of fun; in fact, based on the evidence, Supersnazz may well have been the most fun record of 1969. Roy Loney, Cyril Jordan, Tim Lynch, George Alexander, and Danny Mihm run through a quirky mix of Loney and Loney/Jordan originals and standards, encompassing styles from proto-'70s punk (want to bet the Ramones wore out copies of this album?) to '50s New Orleans R&B, country music, and even ragtime, and while a small bit of it is compromised by the presence of some too-prominent clarinet and saxophone, the whole record is a rollicking good time, made even better by the sequencing, which offers a full range of surprises, even on the fourth or fifth listen -- one can never settle in with this record before something weirdly wonderful comes along to draw the listener in yet another direction. From the fiery, Brian Jones-era Stones-style, fuzztone-driven opener "Love Have Mercy," the band shows what it can do in everything from straight-ahead boogie to slow ballads ("A Part from That") and '50s rockers ("The Girl Can't Help It," "Rockin' Pneumonia and the Boogie Woogie Flu"), country ("Brushfire"), and R&B, all done with a unique array of stylistic flourishes that made this one of the most original long-players of 1969. By the ninth track, the pounding, punk-driven "Somethin' Else/Pistol Packin' Mama," the whole album achieves a kind of otherworldly continuum, like something out of a strange and wonderful corner of the universe that -- though none knew it at the time -- pointed the way to a coming decade of achievement by the likes of the Ramones, Jonathan Richman, et al, not to mention the Groovies themselves. (Allmusic)
While the Flamin' Groovies' first album, Supersnazz, loaded their high-octane retro-rock down with a loving but overly intrusive production, their next long-player, Flamingo, went in exactly the opposite direction; for their second time at bat (and their second major label), the Groovies cranked up their amps and kicked up the tempos, while producer Richard Robinson stripped the band's sound to the bone. If Flamingo has a flaw, it's that the album is just a bit too basic; the recording sounds a bit flat and muddy, and it isn't very flattering to either Tim Lynch's guitar or Danny Mihm's drums (and who fell in love with the panning control while they were mixing?). But if Flamingo sometimes sounds more like a demo than a finished album, it's a demo of a great band firing on all cylinders; with "Gonna Rock Tonite," the album starts out in fifth gear and never stops, with even the less manic tunes (such as the bluesy "Childhood's End") sounding sharp and full of fire, and the many rave-ups raving mighty fine indeed (notable exception: the trippy "She's Falling Apart," which proves these guys didn't understand psychedelia and had no business playing it, which was a considerable virtue in the Bay Area during the late '60s and early '70s). If the engineering sometimes lets them down, Flamingo does a far, far better job of capturing what made the Groovies a great band than their debut and ranks alongside their very finest work. (Allmusic)
Miriam Linna once opined that the Roy Loney-era lineup of the Flamin' Groovies suggested what the Rolling Stones would have sounded like if they'd sworn their allegiance to the sound and style of Sun Records instead of Chess Records. If one wants to buy this theory (and it sounds reasonable to me), then Teenage Head was the Groovies' alternate-universe version of Sticky Fingers, an album that delivered their toughest rock & roll beside their most introspective blues workouts. (In his liner notes to Buddha's 1999 CD reissue of Teenage Head, Andy Kotowicz writes that Mick Jagger noticed the similarities between the two albums and thought the Groovies did the better job.) While the Flamin' Groovies didn't dip into the blues often, they always did right by 'em, and "City Lights" and "Yesterday's Numbers" find them embracing the mournful soul of the blues to superb effect, while their covers of "Doctor Boogie" and "32-20" honor the originals while adding a energy and attitude that was all their own. And the rockers are among the best stuff this band ever put to tape, especially "High Flying Baby," "Have You Seen My Baby?," and the brilliant title track. And unlike Flamingo, Teenage Head sounds just as good as it deserves to; Richard Robinson's production is clean, sharp, and gets the details onto tape with a clarity that never gets in the way of the band's sweaty raunch. While Flamingo rocks a bit harder, Teenage Head is ultimately the best album the Flamin' Groovies would ever make, and after Roy Loney left the band within a few months of its release, they'd never sound like this again. [Buddha reissued the album in 1999, adding quite a few bonus tracks in the process.] (Allmusic)
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