16 Photos That SEEM Scary At First, But Don't Worry — It's A Trick
2. And don't worry — this cat isn't actually missing a leg.
3. This is not a scene out of The Shining — it's a computer server that someone (poorly) chose to wire with all red cables.
4. This is actually not some kind of Lovecraftian horror hiding in the bathtub.
5. And this bed is not a crime scene — the sheets just have a rose print on them.
6. TEETH — no, peppers.
7. This poor beheaded dog!
8. Oh no, the giant insects are attacking!
9. Breaking News: Local Couple Finds Mummified Hand In Garden (jk, it's a sweet potato).
10. Oh no, the Grim Reaper is on my lawn!
Wait, no, that's a plant.
11. What is this alien creature lying in wait on the bed?!
Ah. Never mind.
12. My god, they've stolen mummified remains!
Oops, nvm.
13. Uhhh, this person should really get their infected heel checked out.
Never mind. Delicious!
14. Imagine seeing a gorilla on your living room camera...
...and then finding this.
15. This person thought a man was waiting to jump them on the construction site...
...But nope.
u/Low_Letter1739 / Via reddit.com
16. And finally, this one-eyed alien sphere...
u/Rorschach1944 / Via reddit.com
Is actually a lil' puppy!
u/Rorschach1944 / Via reddit.com
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Buzz Feed
13 hours ago
- Buzz Feed
Gen Z Is Being Weird About Answering The Phone, And Other Things The Internet Talked About This Week
What you're about to read is an issue of the Only Good Internet newsletter, which brings you the funniest, weirdest, and most interesting content from around the internet, no doomscrolling required. Subscribe here and you'll get the web's best stuff in your inbox every week! BuzzFeed Welcome to Only Good Internet, where I give you a little bit of good internet content, as a treat. I want to talk to my fellow millennials for a bit, here (Gen X, you too). Because I came across this tweet this week: …That Gen Z answers the phone and doesn't say anything. Apparently, this is a thing: Zoomers will answer the phone and, instead of saying 'hello,' they'll wait there silently for the person calling to speak first. Now, as a millennial, my first thought was, 'What the f***?' But after reading some replies from Gen Z, it started to make more sense…a lot of them are concerned about spam calls (which, let's be honest, are like 90% of the calls we get these days) and how the bot on the other end is waiting for you to say 'hello' so that it knows there's a real person at this phone number, and it can therefore keep spam-calling you. There were also some concerns from Zoomers about AI stealing your voice with these calls and using it to scam your relatives. Obviously, the only way to fight back is to use a voice changer — you know, like in Scream — to answer your calls. Throw off the bots, terrify your friends, win-win. This is the cutest dang thing I've seen in a while: 'Sir, there's a situation on platform 2!' 'Don't tell me…' u/liberty4now / Via 'Yes, sir, it's a Level 5.' I always like to finish every week by leaving you with a little something that I can't get out of my head. This week, it's all about this thought:
New York Post
4 days ago
- New York Post
It's not just Colbert — network late-night TV is dead
Everybody was shocked — shocked! — when Stephen Colbert announced this week that CBS canceled 'The Late Show.' The despondent media reacted like a meteor was about to smash into Earth. But how surprising was Colbert's kibosh really? Advertisement Did peoples' jaws also hit the floor when Blockbuster Video called it quits in 2014? Were they muffling their screams when blimps were phased out for air travel in 1937? 'What do you mean 'no more silent films'?!' Advertisement The end of 'The Late Show' was every bit as writ-in-stone as any of those predictable downfalls. And it's not only Colbert. The Grim Reaper is coming for all of late-night TV. Those comedians in neckties are just ignoring Death's deafening knock. The retro programs, which began in the 1950s as an experiment to fill time, have far too tiny a viewership to justify their exorbitant cost anymore. The Post reported Friday that Colbert's talk show was losing $40 to $50 million per year. The Times watered down those figures to mere 'tens of millions.' Advertisement Awfully hard to blame Trump for that. 4 Colbert's show was reportedly losing $40-50 million a year. CBS via Getty Images True, 'The Late Show' was beating the competition with 2.42 million nightly viewers on average during the first quarter. But just 9% of those eyeballs were in the 18-49 demo that advertisers covet. That means no ad dollars because young people couldn't care less. Advertisement And why would they? They've got YouTube and TikTok to scroll through after dark. 4 'The Tonight Show Starring Jimmy Fallon' likely won't be too far behind. Todd Owyoung/NBC via Getty Images The funniest story of the week by a mile was Astronomer CEO Andy Byron getting caught on the jumbotron kiss cam canoodling with his head of HR at a Coldplay concert. I even chuckled as I typed it. Fifteen years ago, Americans would've turned to David Letterman and Conan O'Brien to mock the horny halfwits. Now, social media does it faster and funnier than Colbert, Jimmy Fallon, Jimmy Kimmel and Seth Meyers ever could. Shake up the format all you want, but a fixed 11:30 p.m. show with commercial breaks on a dusty, old, censored network can't compete with instant, razor-sharp reactions from billions. Advertisement Could chats with A-List stars keep the struggling shows afloat? Hah. The five-minute, skim-the-surface interview is a thing of the past, too. Celebrities are way overexposed, and promotional appearances present them at their fakest and least likable. That's why podcasts like 'Good Hang with Amy Poehler' and 'Las Culturistas' with Matt Rogers and Bowen Yang, which can be listened to for free at any time of day, are so popular. They give you a casual, revealing full hour with big names. Sensing the sea change, top talent keeps choosing headphones over TV sets. Advertisement 4 Escalating politics have been just one problem for late-night TV. CBS via Getty Images The escalating politics of late night are often called out as the chief offender. And they were a thorn, to be sure. But their slant is not the No. 1 problem anymore. Think about it. Gen Z and Millennials aren't steering clear of talk shows because the hosts are too left-leaning. The simple truth is these monologue-couch-desk affairs are behind-the-times museum exhibits that today's audience has a dwindling connection to. Advertisement 'The Late Late Show with James Corden' was the first major casualty. Now, the guillotine has dropped on CBS' former crown jewel. NBC's 'The Tonight Show Starring Jimmy Fallon,' 'Late Night with Seth Meyers' and 'Jimmy Kimmel Live!' won't be far behind. Yes, I know the politically driven cable shows like 'The Daily Show' and 'Gutfeld' are chugging along. They're different animals. Undeniably, the network workhorses that were once for everybody are now for nobody. 4 The biggest story from late-night TV this week was about a 16-year-old interview conducted by David Letterman. CBS via Getty Images Advertisement It's telling that, aside from Colbert's walking papers, just one big-ish story has come out of late-night TV all month. That was cuckoo Joaquin Phoenix apologizing for his uncomfortable stunt interview with David Letterman, the first 'Late Show' host, back in 2009. It's a reminder of how vital late-night TV used to be. A 16-year-old interaction with a totally different man is still a hotter topic than anything the new guys can drum up. I'd suggest Letterman return for a 'Top 10 Reasons Late-night Shows Are Disappearing' list. But he'd only need one. Nobody's watching them.
San Francisco Chronicle
10-07-2025
- San Francisco Chronicle
Dark series 'The Institute' adaptation gets author Stephen King's thumbs up
NEW YORK (AP) — Stephen King has a rule for anyone wanting to adapt one of his books for the big or small screen. It's basically the Hippocratic oath for intellectual property — first, do no harm. 'When you deviate from the story that I wrote, you do so at your own risk,' he says in a recent interview from his home in Maine. 'I know what I'm doing and I'm not sure that screenwriters always do or that producers and directors always do.' Not everyone has listened to King, who has enjoyed hit adaptations — 'The Shawshank Redemption,' 'Stand By Me,' 'Misery,' 'It' and 'The Shining' — as well as flops — 'Salem's Lot,' 'Graveyard Shift' and 'The Lawnmower Man.' The industrious novelist has lately watched as a wave of adaptations are crafted for theaters or streaming platforms, a list that includes 'The Life of Chuck' and the upcoming 'The Long Walk,' 'The Running Man' and 'It: Welcome to Derry.' It also includes the eight-episode series 'The Institute,' which debuts on MGM+ on Sunday. It's about a secret government facility where kids with special talents — telekinesis and telepathy — are imprisoned and put to dark geopolitical uses. Their bedrooms are faithfully re-created and creepy posters — 'Your Gift Is Important' and 'I Choose to be Happy' — line the halls. Does this small-screen adaptation of his 2019 book get King's approval? 'I'm talking to you which is a pretty good sign,' he says, laughing. He even signed on as executive producer. 'When I write a book, it's a single-person sport and when these people do a TV show or a movie it becomes a team sport. So you expect some changes and, sometimes, man, they're really good.' What's 'The Institute' about'? 'The Institute' stars Mary-Louise Parker as a sinister scientist and Ben Barnes as a small-town cop on opposite sides as the group of children are kidnapped and exploited. The series is faithful to the book, but includes some changes, like setting it entirely in Maine and aging the hero up so as not to appear too sadistic. That hero — 14-year-old Luke Ellis, played winningly by Joe Freeman — is the latest youngster with special powers that King has manifested, a line that stretches back to the heroine of 'Carrie,' Danny Torrance in 'The Shining' and Charlie McGee in 'Firestarter.' 'I thought to myself, what would happen if a bunch of kids that had psychic powers could see enough of the future to tell when certain moments were going to come along,' he says. 'But the kids would be wrecked by this process and they would be kept in a place where they could serve the greater good. It was a moral problem that I really liked.' King has a special respect for young adults, who he says can be brave and behave nobly under pressure but who can also be mean and petty. He says he was inspired by William Golding, who wrote the iconic 'Lord of the Flies,' a dystopian novel about a group of schoolboys who while trying to survive on a remote island unlock their own barbarism. 'He was talking to his wife before he wrote the book and he said, 'What would it be like if I wrote a story about boys and the way that boys really acted?' And so I tried to write a book about kids the way that kids really act,' says King. Executive producer and co-writer Benjamin Cavell says King resists the impulse to be overly involved in the process, instead identifying people he trusts to do right by the material. 'So much of the pleasure of King's writing is the access he gives his reader to the deepest, darkest, most private thoughts and dreams and desires of his characters; the adaptor's task is to make all that external and cinematic,' says Cavell. 'Monsters inside of us' Jack Bender has become something of a King whisperer, helping adapt both King's 'Mr. Mercedes' and 'The Outsider' to the screen. This time, he helped direct and executive produce 'The Institute.' 'I count my blessings to be in the position of someone he creatively trusts,' says Bender. 'He is a genius at tapping into the fears we all share of what's hiding under our beds. For me, both 'Mr. Mercedes' and 'The Institute' deal with those fears by focusing on the monsters inside of us human beings, not just outside in the world around us.' The first thing Bender and Cavell had to figure out was what form 'The Institute' would take — a standalone film or a series. 'In the case of 'The Institute,' which was a 576-page novel packed with rich, fascinating characters that would need time to connect and be with each other, I didn't want to shrink it into a 110 minute movie that would've become the 'X-Kids,'' says Bender. King says that while Hollywood has a seemingly insatiable appetite for his books, he hasn't gotten more cinematic as a writer — he always has been. 'I am one of the first writers that was actually influenced by television as well as movies. 'I grew up with the idea that things should be cinematic and that you should look at things in a visual way, a very sensory way.' "I named him Tim because I read somewhere that no great thing was ever done by a man named Tim. And so I thought to myself, 'Yeah, well, OK, I'll call him Tim and he can do great things.''
