The slacker is back in the spotlight looking exactly the same as he did in the ’90s.

'90s alt rock icon Beck won two Grammys for Best Rock Album and Album of the Year for Morning Phase. But we noticed something about the forty-four-year-old during the ceremony.

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Here he is in 1997 with his first two Grammy awards.

Getty Images for MOCA John Shearer

Here he is in 1999.

Getty Images Frank Micelotta

Here he is in 2004.

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¡Siéntate! And take some notes.

Juanes (born Juan Esteban Aristizábal Vásquez) began his career in the late '80s with Ekhymosis, a Medellín, Colombia based metal band. Spot him here with much longer locks.

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As a solo artist, he adopted a lighter sound, much closer to cumbia and radio rock than metal. One of his biggest international hits, "La Camisa Negra (The Black Shirt)," is used in elementary Spanish courses around the world.

Juanes has become a musical ambassador for the Spanish language: watch him teach furry friends Elmo and Rosita how to say "hands, head, and feet" en Español with a little ditty called "Muevete (Move Yourself)."

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SOUND THE ALARM.

Here's a TRULY IMPORTANT photo from tonight's Grammy Awards.

Getty Images for NARAS / Larry Busacca

What's so important about it, you ask?

Getty Images for NARAS / Larry Busacca

IT'S THE FIRST TIME KIM AND BEY HAVE BEEN PHOTOGRAPHED SINCE JULY OF 2012.

Kanye West once tweeted this photo from the 2012 BET Awards with the single word, "FAMILY."

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Enjoy this photo opp while you can, because it might be another 3 years until we get another one!

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Alice Mongkongllite for BuzzFeed; Joe Klamar / AFP / Getty Images; Warner Bros.

Andy and Lana Wachowski seem to have had an incredibly blessed Hollywood career. Their feature directorial debut, Bound, was a noir-y thriller about two lesbians which opened in 1996, pre-Ellen, to wide acclaim. The siblings' careers then exploded after their 1999 sci-fi adventure The Matrix broke visual effects boundaries and blew audiences' minds with a heady story that touched on issues of virtual reality and the nature of perception itself. The film grew to be such a cultural juggernaut that Warner Bros. agreed to let the Wachowskis shoot the subsequent two sequels back-to-back, and the first of those films, 2003's The Matrix Reloaded, still counts as one of the most successful R-rated movies ever made.

Rather than cashing in and pursuing comic book movies or Hasbro tie-ins, however, the pair have crafted a rarefied body of work, making narratively challenging, visually daring films with budgets normally reserved for sure-thing franchise blockbusters — even after some of those films proved to be significant box office failures. The filmmakers' great good fortune has extended up to their latest film, Jupiter Ascending, opening Friday, a sci-fi space opera made for a reported $175 million from an original screenplay by the Wachowskis. The only other filmmaker working today who can command that kind of budget for a movie not based on previous material is Christopher Nolan — and he has many more recent successes to his name.

"We have a lot of projects that have not gotten made. Some of them are some of the best writing we've ever done." —Andy Wachowski

One is left wondering how, in an industry that has grown chronically allergic to risk and originality, the Wachowskis have managed to keep confidently striding forward to the beat of their own distinctive (and expensive) drums. But the Wachowskis see the path they've charted through Hollywood as less of an unbroken stride and more of an arduous, continual struggle.

"We constantly run into walls," Andy Wachowski told BuzzFeed News, sitting next to his sister in a Los Angeles hotel suite. "Constantly. We have a lot of projects that have not gotten made. Some of them are some of the best writing we've ever done."

It’s not that they seek out those walls, exactly; it’s just that their sensibilities mean they can’t really avoid them, either. "When you unpack all of [our] experience," Lana added, "you can see that we have this kind of unique take on or an integrity to the piece of art that we're working on."

To better understand how and why they managed to remain steadfast to their artistic convictions, the siblings walked BuzzFeed News through the breadth of their career, and what challenges faced them along the way.

Sylvester Stallone and Antonio Banderas in Assassins

Warner Bros. / courtesy Everett Collection

Assassins (1995)

The Wachowskis first arrived in Hollywood as twentysomething comic book writers with grand ambitions to push their storytelling beyond established conventions. In 1995, they landed their first produced screenplay with the thriller Assassins, starring Sylvester Stallone and Antonio Banderas as rival professional hit men, and shepherded by Hollywood heavyweights Dino De Laurentiis (as an executive producer) and Joel Silver (as a producer). Getting the script to the screen, however, proved to be a trial that would shape the rest of their careers.

Andy Wachowski: [Assassins] was the second script that we had written. We wrote this other thing called Carnivore. It got a lot of interest, but it was too weird. It was about eating the rich, and so it wasn't popular for some reason.

The first cash payment that we got on Assassins was from Mel Gibson. He had read it, and he was like, "Where did this come from?" We were like, "Look, we have to make a decision," because we had an offer from DDLC, [producer] Dino De Laurentiis' company. Then our agent told Mel's company that, "You know, look, these guys are super poor. They're calling from a gas station phone right now." So Mel Gibson wrote us a check for, like, $1,000 each to wait 24 hours or something like that. We were like, "$1,000! Yes! We're rich! We're rich!" And then [Mel] was like, "No." The time period ended, and we optioned the script to Dino.

Lana Wachowski: He gave us an option payment, which was $10,000, and we were like, "Oh my god! We don't have to work for years!"

AW: Retirement plan!

The script bounced around Hollywood — at one point, Wesley Snipes was attached to star with Joe Johnston directing — until it ultimately landed at Warner Bros., with Richard Donner (Lethal Weapon, The Goonies) directing.

AW: Right off the bat, we did not click with Mr. Donner. He wanted to make something that wasn't as dark as our script. And eventually he took it away.

Warner Bros / Courtesy Everett Collection

LW: There was all this symbolism and subtext, and he wanted more of a straightforward action thriller. We were interested in the notion of pocket moral universes, and the way that … even people in an everyday world can have a separate morality inside their pocket universe. Richard Donner wasn't interested in that idea.

AW: I mean, it's called Assassins, and the very first scene of the film, [Stallone's character] goes out and he kills a guy. And in Donner's version, Stallone doesn't kill him. He has to shoot himself. He like... gives him the gun, and he says, "It's chambered," because Donner couldn't connect to the character if he was as assassin. So they did a page-one rewrite. And you know, we tried to take our names off the project.

LW: They wouldn't let us.

AW: [Producer] Joel [Silver] was like, "This is your first movie, and you're trying to take your name off of it?! That's crazy!" And we were like, "We don't care. We don't like it." But it gave us the perspective of, we'll never survive as writers in this town.

LW: We better become directors.

Jennifer Tilly and Gina Gershon in Bound

Gramercy Pictures / courtesy Everett Collection

Bound (1996)

The popular mythology is that Bound was an audition piece for the Wachowskis to secure the job of directing The Matrix — an idea that caused both Andy and Lana to roll their eyes. "Joel made that up," Lana said with a sigh.

Instead, after metaphorically washing their hands of Assassins, the Wachowskis said they decided simply to focus on making their own directorial debut. The film was a sleek — and relatively inexpensive — neo-noir thriller about Violet, a gangster's moll (Jennifer Tilly) who starts an affair with Corky, a butch ex-con (Gina Gershon). Together, they scheme to steal a fortune from the mob and pin it on Violet's boyfriend Caesar (Joe Pantoliano).

LW: Dino didn't want it to be lesbians. At first, he liked the idea, but then he read the script, and he was like, "Don't make it lesbians. Make it a guy. It'll be more commercial." We were like, "No. We want to do it. The reason to make it for us is because of the dynamic of the characters and what it says about our present culture."

The Matrix (1999), and The Matrix Reloaded and The Matrix Revolutions (2003)

Keanu Reeves and Hugo Weaving in The Matrix

Warner Bros. / courtesy Everett Collection

The Wachowskis actually wrote The Matrix before they wrote Bound. They initially conceived it as a comic book, but as they showed the script to their friends, they realized the material demanded more dynamic visuals.

AW: Because we were involved with Warner Bros. at the time, we had this writing commitment to them. We were doing work for hire. We wrote a few different scripts, like this sort of Hitchcock-y thing about this guy stuck in a building. And then we did this version of Plastic Man, before the superhero thing hit. Oh, and then we wrote a version of V for Vendetta, and that was our commitment. Then after that, Bound came out, and we were like, "We gotta make The Matrix."

LW: This is the script that every single person rejected in this town. Everybody kept trying to change it. And everybody wanted us to blow The Matrix up.

AW: "Where is it? Where is the Matrix? Why don't you just blow it up?"

LW: "Like the Death Star?"

Warner Bros. / courtesy Everett Collection

Instead, the movie blew up — modestly so at the box office, and becoming a true cultural force once it came out on DVD. Warner Bros. green-lit two sequels, which the Wachowskis shot back-to-back.

LW: Everyone was like, "Make the second [film] in the trilogy the exact same as the first. Why can't it just be the same? Why can't you just do it?" And we're like, "No, the point is that the opposite is true in the second one, and yes, it's gonna rub you the wrong way. But that's what we're interested in as artists." The second and third [movies] were the story for us. We explained to Warner Bros. what we wanted to do with the trilogy, and the first biggest thing was like, "Don't kill Neo! Just don't! You can't kill Neo! You can't kill Trinity! What are you doing?" It was never like somebody said, "Do what you want. Go forth, Wachowskis, and make whatever you want!"

Warner Bros. / courtesy Everett Collection

AW: If we had been given that, the films would've been released a lot differently. We wanted [Reloaded] to come out, and then [Revolutions] to come out just as the box office was just starting to taper off, like, two months later. We don't want people to have to wait. And Warner Bros. was adamant that they wait a year. We got them to meet halfway, and it was released six months later.

LW: We were interested in resisting also the sort of financial structure that's around sequel-ization, which is essentially, you turn your story into a product that you just keep repeating. The whole concept of The Matrix was that we wanted to make the audience aware of what movies do to you, do to your consciousness, and to be somewhat compelled to follow Neo in the same way that he has to go through this struggle [over] his own relationship to his world. We wanted audience members to feel that struggle too. It wasn't ever meant to feel like a repeating "sequel-ized" thing. By splitting it apart, I think it raised that expectation.

Hugo Weaving in V for Vendetta

Warner Bros. / courtesy Everett Collection

V for Vendetta (2005) and Speed Racer (2008)

The Matrix Reloaded was a commercial sensation, grossing $742 million worldwide. But the film was seen as something of a disappointment, and by the time The Matrix Revolutions opened six months later, a lot of the wind had gone from the franchise’s sails — it grossed just over $300 million less globally.

Licking their wounds, the Wachowskis wouldn't direct a film for another five years. Instead, they resurrected and repolished their screenplay for V for Vendetta, ceding the director's chair to their longtime first assistant director James McTeigue. The film is based on Alan Moore's graphic novel about the violent struggle against a moralistic totalitarian regime in a futuristic England and contains some not-so-subtle echoes of the culture in post-9/11 America.

LW: We got letters saying, "This is un-American. You can't make this movie. Don't make this movie." We went into meetings and [executives] were like, "Really? You're gonna make this movie at this time?" You know, this was just a few years after 9/11. This is of course the time you have to make this movie.

Emile Hirsch in Speed Racer

Warner Bros. / courtesy Everett Collection

After Vendetta, the Wachowskis decide to take on a long-in-development adaptation of the popular cartoon TV series Speed Racer — just about the least political movie imaginable. But the results proved to be just as polarizing, for a completely different reason. The movie ended up earning a very limp $93 million worldwide.

LW: Warner Bros. was at first gleeful that we were, like, doing a known entity that seemed like a family movie for kids. And then we started showing stuff, and they were like, "Oh my god. Oh my god." We were interested in cubism and Lichtenstein and pop art, and we wanted to bring all of that stuff into the cinema aesthetic. ... They were like, "Oh my god. Are you insane? What are you doing? This is the weirdest thing I've ever seen." And we're like, "Yes, that's the reason we're making it."

Halle Berry and Tom Hanks in Cloud Atlas

Jay Maidment / Warner Bros. / courtesy Everett Collection

Cloud Atlas (2012)

After their first outright flop, the Wachowskis partnered with filmmaker Tom Tykwer (Run Lola Run) to co-write and -direct a wildly ambitious adaptation of David Mitchell's centuries-spanning novel. It featured actors like Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, and Hugh Grant in multiple, occasionally race-bent roles, and a twisting chronology that leaped from 1849 through the 23rd century. Though Tykwer and the Wachowskis cobbled together their budget independently, they still found themselves turning to the same major studio that had smiled upon practically their entire career to get their film done.

AW: Because it was independently financed, we had the leeway to bring it to different studios, and nobody wanted to do it. And so Warner Bros. [said], "Hey guys, what do you think of us?" They stepped up, and it couldn't have gotten made without them.

LW: Cloud Atlas will probably be the film that we're remembered for because of, I think, the unique way it touches people. I mean, people, they like The Matrix — "Oh, it was cool" — but it doesn't necessarily change their lives. We get letters from people who have gone through life-changing decisions because of that film. And that was probably the hardest film to get made. It was just agony to get that film finally green-lit and to get the cash. I mean, in the end, we didn't even get all the cash. Basically, we put in our own money to finally get over the last budget hurdle.

Gugu Mbatha-Raw, Douglas Booth, and Mila Kunis in Jupiter Ascending

Warner Bros.

Jupiter Ascending (2015)

After spending a decade adapting other people's material, the Wachowskis returned to an original story for their latest feature film, an effort to make something more straightforward and lighthearted than the complex and difficult Cloud Atlas. It's about a young cleaning woman named Jupiter (Mila Kunis) who falls in love with a genetic hybrid space warrior named Caine (Channing Tatum) after learning she is the exact genetic double of the former queen of the galaxy.

LW: We went to Warner Bros. and we said, "Look, we want to make something lighter." And we showed them the script, and they were super enthused. We hadn't done a romance in years, and we had never made a fairy tale. So we were like, "Can you make a modern-day fairy tale in the way you can make a modern-day science fiction story?" The tone of Star Wars has kind of gone away a little bit from our movie experience, and we were wondering, "Can you capture that sort of playfulness again?"

The Wachowskis’ sense of playfulness collided most directly with their sense of artistic ambition in a scene in which Jupiter and Caine are chased through the skyscrapers of Chicago by a rampaging alien horde.

LW: [On] Willis Tower, there [is] this one moment in the summer when the sun bounces off the sky, hits the lake, and reflects up before it breaks the horizon. The sky is this incredible indigo, violet blue. And the city is still very orange from the “L” tracks and all this light. It's extremely beautiful, and it has a romantic quality.

Warner Bros.

Unexpected collabos are the name of the game. These were the best.

Getty Images for NARAS Larry Busacca

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This time it was all in good fun. Maybe?

Beck won album of the year at the Grammys, and Kanye — being Kanye and doing Kanye things —went up on stage to ALMOST protest.

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Then he thought about it and decided maybe once was enough.

But for a moment, for one fleeting moment, the whole world stopped.

And Jay Z damn near pooped his pants.

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“Heyyyyy Macarena!”

When BuzzFeed ran into Katy Perry on the 2015 Grammy's red carpet, we knew we had to ask her one important question... What's the best song to have sex to.

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Perry was quick to answer...

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But why, you ask?

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But then she had a last second game-changer!

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The Marvel cinematic universe contains more than its fair share of hidden gems. (Aside from the Soul Gems, of course.)

1. Different versions of theme song from the '60s Iron Man cartoon can be heard throughout Iron Man. Once in the casino scene, once when Tony Stark and Christine Everhart get together, and again as Tony Stark's ringtone on Rhodey's phone.

2. The piano piece played by Obadiah Stane in one scene from Iron Man was composed by Antonio Salieri, who was infamously jealous of Wolfgang Amadeus Mozart's success, and may have even plotted his death.

3. The name of Iron Man's AI assistant, J.A.R.V.I.S., is an acronym for "Just A Rather Very Intelligent System."

4. A partially disassembled prototype of Captain America's shield can be seen in Tony Stark's workshop in Iron Man.

Marvel Studios / Via youtube.com

5. A clip of actor Bill Bixby, who played David Banner in The Incredible Hulk TV show from the '70s, can briefly be seen in 2008's The Incredible Hulk.

6. The voice of Bruce Banner from the '60s Hulk cartoon, Paul Soles, plays the owner of the pizza shop in The Incredible Hulk.

7. The pizza shop, Stanley's Pizza Parlor, is a reference to comic book icon Stan Lee.

8. Lou Ferrigno, who played Hulk in the The Incredible Hulk TV show from the '70s, makes a cameo as a security guard.

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She was joined on stage by survivor advocate Brooke Axtell.

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CBS

The emotional ballad, written in the wake of her divorce, showed a side of the superstar that wasn't on display at last week's Super Bowl halftime show.

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We really, really miss her.

Joan Rivers won a posthumous Grammy Award for Best Spoken Word Album for her memoir, Diary of a Mad Diva. The award was accepted by her daughter Melissa, who took the stage with a joke that shows how well she knows her late mother.

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Watch the whole acceptance speech here and remember the comedy legend.

Getty Images for Tribeca Film Fe Larry Busacca

The former SNL comedienne put her dancing skills to the test during Sia’s Grammy performance.

Getty Images Kevork Djansezian

Getty Images Kevork Djansezian

Kristen Wiig began the performance with some rather interesting choreography. Spot the camera shy Sia to Wiig's right, taking her usual performance stance of her back to the crowd.

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People have been turning down, actually.

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Such honorable services to facial hair.

There was this facial hair offering from Jack O'Connell which increased his attractiveness by about 1500%.

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And David Beckham, who I swear to God has never looked better and that is without question down to the beard.

PA Wire/Press Association Images Dominic Lipinski

Just look at his goddamn perfect face. It's enough to make you campaign for a change in the law in order to prevent him from ever shaving again.

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We watched the live audience feed so that you didn’t have to!

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IMMA LET YOU FINISH, BUT —

Columbia

Columbia

Columbia

Columbia

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Just your everyday Beyngel.

There was a moment during the Grammys when the heavens opened up and shined a light on a very special person.

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The earthly angel, Beyoncé.

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The beautiful Beyngel.

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She was glowing like an immortal orb from above.

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This is why the internet exists.

Wildlife photographer Megan Lorenz used a GoPro camera to capture these two hilarious owls. Add a sick beat behind it, and you've got one adorable dance party!

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As soon as the human leaves...

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Trouble shows up.

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Sh*t's about to go down!

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Reasons accompanied by hot guys with pizza. Need I say more?

Pizza is always there for you when you are having a bad day.

He'll be there for you.

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Pizza loves staying in with you on a Friday night.

As long as you have pizza, why do you even need to go out???

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Pizza smells great.

All that hot, hot cheese.

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Pizza loves watching Netflix marathons with you.

He's not afraid to show his intellectual side.

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Some of these photos are artistic, others are terrifying.

Colin Salter's new book, Science is Beautiful (Batsford, 2015), shows us some amazing images of the human body under a microscope. When the photos are colorized they look like masterpieces of art. Check them out below:

This is what bone marrow making blood looks like.

Stem cells in bone marrow divide and transform into blood cells. This process is constantly happening because blood cells don't live for a very long time: "Red ones about 120 days, some white ones as little as three," writes science writer Colin Salter in his book Science is Beautiful.

Science Photo Library / Via Batsford

And these are our lung cells.

"Nuclei, which contain the cell’s genetic information, appear blue. Mitochondria, which generate energy for the cell, are yellow," writes Salter.

Science Photo Library / Via Batsford

These are adrenaline crystals.

"[Glands that produce adrenaline] are controlled by the hypothalamus, the part of the brain responsible for instinct and emotion," writes Salter. We always have small amounts of adrenaline in our blood, but when we're stressed we get more.

"It widens the airways of the lungs and constricts small blood vessels. This makes the muscles work harder and produces a ‘fight or flight’ response," he wrote.

Science Photo Library / Via Batsford

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Cute and furry animals coming your way.

Look into my eyes and read my mind: that's right, I'm hungry. I want a treat.

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Discussing the latest Scandal episode with a fellow Gladiator over some wine.

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Chris Pratt and Chris Evans? The best bromance? No. We're the bromance to end all bromances.

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You caught me! I'm reading about myself on the internet!

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