#December2016
‘War For The Planet Of The Apes’ Trailer: I Did Not Start This War
Here’s the trailer for War For The Planet Of The Apes. Like, how do these movies work? ‘Cause I really enjoy them. They’re fucking preposterous, and overwrought, and that’s what makes them so great.
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LIGHTBULBS THAT EMIT WI-FI EXIST. Future++
Chinese scientists are looking to kill two birds with one stone. Or is it one bulb?! LOL! Shit word play. Is it even word play? Uh — anyways. Yeah. So Shanghai’s Fudan University’s has created a light bulb that also emits a wireless signal. Pretty radical.
Wut: Researcher CONTROLS HIS COLLEAGUE’S MOTIONS with Noninvasive BRAIN-TO-BRAIN INTERFACE.
Well, this is unreal. Researchers believe that they have performed the first noninvasive human brain-to-brain interface. This is the sort of future-porn nausea that has me simultaneously clapping. And puking. Just roll with it, Caff. There ain’t anything else you can do.
GEORGES ST-PIERRE cast as BATROC in ‘CAPTAIN AMERICA: THE WINTER SOLDIER.’ This is so good.
Odd as fuck. My favorite MMA fighter of all time is getting all up in the Marvel movie universe. Georges St-Pierre has been cast to play none other than Batroc the fucking Leaper in Cap 2: Plz I Love You Bucky. What the fuck is going on in this world? I can’t believe that the flick is going to feature Batroc, let alone that GSP is going to be playing him. Yus. I need to stop complaining, and thank the OMNI Dimensional creator for this delicious aberration.
This console is FRANKENSTEIN’S MONSTER, plays NES, SNES, Genesis. With HDMI.
As someone who has been itching to play through his old ass gaming collection lately, this console is fucking perfect. Sure, I could use an emulator, but I want to use the original controllers. On a television. So fuck yes, give me this ghastly blight on gaming creation. I need it.
Strange Moments in Solid Movies: Boomer the Dog FTW in Independence Day
With an insatiable desire to depict worlds in disarray, Roland Emmerich has spent the better part of three decades pumping out grandiose blockbusters bedecked in social destruction with a flair for the skeptical. That isn’t to say there is a whole lot of method behind the madness; Emmerich’s love for blowing stuff up–be it a sturdy building or established fact–is just too primary, too outrageous. And he’s willing to draw on dicey pasts (The Patriot, Anonymous) and controversial presents (The Day After Tomorrow, 2012) to lay waste to the good earth of cinema, scorching anything that resembles sensible storytelling or true scientific inquiry in his movies’ cataclysmic march to commercial success. And leader of this bombastic parade is Independence Day, Emmerich’s most entertaining film to date.
