Netflix
Netflix

12 Facts About Evil Genius, Netflix’s Addictive New True Crime Series

Netflix
Netflix

At approximately 2:20 p.m. on August 28, 2003, Brian Wells—a pizza deliveryman—walked into a PNC Bank in Erie, Pennsylvania and handed a note to a teller demanding $250,000 in cash. Wells had a bomb, which was strapped to his body via a metal neck collar, and a loaded shotgun that was fashioned to look like a walking cane. Approximately 12 minutes later, Wells strolled out of the bank with $8702 in cash, then made his way to the McDonald’s next door, where he retrieved a detailed note that told him where to go and what to do next. Within 15 minutes, Wells would be arrested. At 3:18 p.m.—less than an hour after he first entered the bank—the bomb locked around Wells’s neck would detonate, as police watched (and waited for the bomb squad), killing the 46-year-old in broad daylight.

The bizarre incident was just the beginning of a peculiar case that would eventually entangle a range of unusual suspects, including Marjorie Diehl-Armstrong, and has had armchair detectives—and the FBI—questioning whether Wells was in on the bank robbery, or a genuine victim, for more than a decade. Evil Genius: The True Story of America's Most Diabolical Bank Heist, Trey Borzillieri and Barbara Schroeder’s provocative new four-part Netflix docuseries, continues the streaming network’s dedication to shedding light on fascinating true crimes—a trend that largely began with Making a Murderer and has continued through last month's Wild Wild Country. If you haven’t yet watched what is sure to become Netflix’s next true crime obsession, bookmark this page and do that now. If you’ve already binged all four hours and are thirsting for further details about the series (which was 15 years in the making), read on. Just be aware that there are spoilers ahead.

1. IT’S PRODUCED BY THE DUPLASS BROTHERS.

Mark and Jay Duplass (L/R) pose on arrival for the Los Angeles Premiere of the film 'The Skeleton Twins' in Hollywood, California on September 10, 2014
FREDERIC J. BROWN, AFP/Getty Images

Mark and Jay Duplass have largely been known for their acting work and indie film co-creations, but the filmmaker brothers have been getting into the true crime scene in a big way as producers of late—first with Wild Wild Country (also for Netflix) and now with Evil Genius. When asked about their interest in the case, Mark Duplass told USA Today that, “We knew a little bit about the story. That image of that collar bomb and that cane gun always stuck with us. And then serendipitously, our really close friend, Josh Braun, who was instrumental in bringing Wild Wild Country to us, also brought us this series and put us together with the filmmakers. Ultimately, it is their show and that's I think what we're most proud of with both Wild Wild Country and Evil Genius."

2. IT WAS INSPIRED BY PARADISE LOST AND THE WEST MEMPHIS THREE.

It takes a certain kind of filmmaker to want to dedicate more than a decade of his or her life to telling one particular story, but Evil Genius co-director Trey Borzillieri had a feeling that the so-called “Pizza Bomber” or “Collar Bomb” case would be worth the effort. And he was inspired to pursue the project after seeing a landmark documentary that helped to bring justice to a trio of teenagers wrongfully accused (and convicted) of murder.

"After I watched the first West Memphis Three case documentary, Paradise Lost, that Joe Berlinger and Bruce Sinofsky did, I was blown away by that and looking for a story,” Borzillieri told Thrillist. “Ultimately, I started tracking this case the day it happened. Just by chance, I was in Buffalo, New York, which is close to Erie, in August of 2003. After seeing the reported coverage the day of—that a pizza deliveryman [Brian Wells] robbed a bank and blew up in the process—the mystery began right there. And then learning that there was evidence that indicated he had been put up to it? Holy cow!”

3. TREY BORZILLIERI HAS BEEN ON THE CASE FOR 15 YEARS.

Camera footage of Brian Wells at PNC Bank in Erie, Pennsylvania
Netflix

Anyone who has seen Evil Genius is aware that Borzillieri has invested a lot of time in learning more about the case, including having years of correspondence and profanity-filled conversations with convicted co-conspirator Marjorie Diehl-Armstrong. Borzillieri's involvement, in fact, began when police in Erie announced a seemingly unrelated crime that occurred in almost the exact same spot where Wells’s journey on that fateful day had begun, but did not believe there was a connection.

Approximately one month after Wells’s death, “[authorities] discovered this frozen body, in a garage right next to the dirt road where Brian Wells made his last delivery before showing up at the PNC Bank, and the FBI was saying that the two cases were not connected,” Borzillieri told Thrillist. “That just sent me off the couch, and I began the early attempts at making this documentary—I went to Erie, began knocking on doors. The case went cold for upward of two years, and [Marjorie Diehl-Armstrong] was one of the few people living who could provide insight. Having no objective, but just looking for the truth, was what led me to her.”

4. BORZILLIERI WAS INITIALLY RELUCTANT TO APPROACH MARJORIE DIEHL-ARMSTRONG.

Though it was ultimately determined that Diehl-Armstrong was the real mastermind behind the entire Collar Bomb plot, she wasn’t yet on the FBI’s radar when Borzillieri first got involved with the case. And he admitted to Metro that he was initially reluctant to try to engage her. “Basically, when I began knocking on doors about the case there wasn’t a lot of coverage of Marjorie at that time,” he said. “So when I reached out I was hesitant to say the least. Just from looking at her in the photos.

“But she turned out to be someone I couldn’t have even imagined,” Borzillieri continued. “She was scary. She was fascinating. Dark and dynamic. The more I got to know her the more forthcoming she was. So we were able to have a relationship.”

5. GETTING PARTICIPANTS TO AGREE TO ON-CAMERA INTERVIEWS WAS NO EASY TASK.

When asked about the challenges of assembling a range of talking heads to participate in the documentary series, Borzillieri said it was a bit of a challenge. “Obviously, these interviews began a long time ago, so it was great that I got in on the day-of, which enabled me to have a unique perspective in that we could carry [the story] all the way to the end,” he told Thrillist. “But it was super challenging, and I have to underline that.

“The case went cold for two years, and reaching out to Marjorie was just an attempt at getting any information,” he continued. "Law enforcement was under a federal gag order, in essence, so nobody would speak. All the interviews you see with law enforcement in the series come after they've retired and they finally felt comfortable enough to speak publicly about the case. Because of the event and the explosion with Brian Wells, it was such a sensitive topic. These guys really had waited until their retirement to speak about it.”

6. GETTING DIEHL-ARMSTRONG TO TALK WAS RELATIVELY EASY (UNLESS SHE DIDN’T LIKE WHAT BORZILLIERI WAS SAYING).

Much of Evil Genius’s shock value comes from Diehl-Armstrong’s on-camera interviews/rantings, and it apparently wasn’t too hard to get her to open up. “[O]bviously she was a sociopath. Which made her a great liar,” Borzillieri told Metro. “That along with her other mental issues. Like paranoia, mania, personality disorder. She was a tough woman who was constantly manipulating everyone in her path to get her own way … Because she was a narcissist it was easy to get her to talk. But difficult to correct her. When she had any opposition, even a difference in opinion, she would approach it with reptilian indifference.”

Borzillieri believes that part of the reason he was able to build such trust and rapport with Diehl-Armstrong was because he reached out to her “so early on, before she was labeled a suspect in public … I became like a sounding board to her. She felt comfortable and I let that happen. When the time was right, because I had prepared properly, I would spring on her opinions and ideas and try to get her to open up.”

7. BEING VERBALLY ASSAULTED BY DIEHL-ARMSTRONG WAS ALL IN A DAY’S WORK.

Marjorie Diehl-Armstrong in 'Evil Genius' (2018)
Netflix

In 2013, after 10 years of research-gathering, Borzillieri reached out to fellow documentarian Barbara Schroeder—writer/director of 2009’s award-winning Talhotblond—about working on the series with him, “and we teamed up and started getting deeper truths in the story,” he told Nylon. One of the things that became immediately clear to Schroeder was the fact that regular verbal assaults from Diehl-Armstrong were seemingly in Borzillieri’s job description.

“I mean, in one interview, you'll hear her say, ‘I'll sue your f***ing balls off if you say that, Trey,’” Schroeder recounted. “Then she turns around and in another conversation is very sweet and engaging and signs off with a ‘love you.’ It's interesting you get to see Marjorie try to play Trey, and then you see how Trey uses the confidence that he got with Marjorie to ultimately get to some deeper truths.”

8. WRITING THE SERIES REQUIRED A LOT OF FLOW CHARTS.

When Schroeder signed on as both writer and co-director of Evil Genius, her main goal was taking this extremely complicated case and large cast of co-conspirators and creating a narrative that would make sense to the viewer in four hour-long installments. How did she do it? With “a lot of charts,” she told Nylon. “A lot of flow charts. Yeah, it is super-complicated, and that was probably the biggest challenge—trying to tell this without overwhelming people. It’s easy to go down a rabbit hole when you have a story that's this complicated. But the drive to get the answers to these questions is what propelled and guided us as we laid it out and wrote. You know, [it’s like] keep it simple. The story kind of tells itself, and it’s what I like to call the ‘oh my god’ moments, like ‘wait, what?!’ moments, you know. So we spent a lot of time making sure that the ride was the best one to go on without confusing the audience.”

9. THEY WERE STRATEGIC IN HOW THEY INCORPORATED THE FOOTAGE OF BRIAN WELLS’S DEATH.

Brian Wells in 'Evil Genius' (2018)
Netflix

One of the most talked-about aspects of Evil Genius is that it incorporates footage of Brian Wells pleading with police to help him get the bomb off his neck, and ultimately the bomb’s detonation. The scene is shown a couple of different times throughout the series, but is manipulated in different ways, largely out of respect for Wells’s family.

When asked about why it was important to show that footage in the series, Schroeder told Thrillist: “I'm glad you asked that, because we didn't want to use it gratuitously. We're very aware that his family is probably going to watch this, but I hope you notice that we use it strategically. So at the beginning we don't show the whole event. At the end [of Episode 4], we do show it, but we blur it. The last scene [of his face] is also blurred. It was important to use that to reinforce how heinous it was that this is a victim who was publicly executed and nobody has been charged with this man's murder.”

10. THE CREATORS ARE SURE THAT MARJORIE DIEHL-ARMSTRONG WAS THE MASTERMIND.

Though Evil Genius leaves many questions unanswered (and the filmmakers admit that we’ll probably never know every detail of the case), one thing that both Borzillieri and Schroeder feel confident about is that Diehl-Armstrong was, in fact, the mastermind behind the Collar Bomb heist—though they don’t exonerate her many co-conspirators.

“I absolutely feel she was the leader, but there are layers to that,” Borzillieri told Thrillist. “What we were hoping to do here is create something where the audience felt like this was a participatory journey—to have conversations, to form their own opinions. What compels one to keep going on a cold case, in a mystery, sometimes is not really the ‘who did it,’ but the ‘why,’ like ‘why did this happen?’ That was a huge motivating factor for me. Especially at Marjorie's trial, we began to feel like we knew what was happening and who the players were, but we could never come to terms with the 'why.'"

Schroeder agreed, though she believes that there are still surprises that could be uncovered in the case. “By profession and by nature, I'm cynical,” she said, “so Bill Rothstein probably played a big part in this. But to me, the intrigue wasn't about answering the question—because some of these questions are impossible to answer … Some of these people took secrets to the grave. So there could be more surprises behind Door No. 3, or any of the doors that remain.”

11. THE CREATORS HOPE THE SERIES CAN DELIVER “SOME KIND OF JUSTICE.”

A scene from 'Evil Genius' (2018)
Netflix

Because many of the series’ key players have passed away—Rothstein died in 2004, before he was ever officially named a suspect, and Diehl-Armstrong died of breast cancer in 2017—Borzillieri and Schroeder know that many questions in the case will likely never be answered. But what they hope the series will do, according to Schroeder, is open people’s eyes to the reality of the bizarre story. “If the co-conspirators couldn't truly be held accountable, and if Brian Wells's story wasn't ever told completely, hopefully, we were able to deliver some kind of justice,” she said. “Not only to the victim, but also in making people aware of how devious these co-conspirators were. They wanted to show the world how smart they were, and in the long run, we're hoping we can show that maybe they weren't that smart after all.”

Added Borzillieri: “The series and its conclusion also bring us to a second chance at justice. We want to have conversations afterward, and perhaps come away with bigger questions that can be posed—one that comes to mind has to do with the man [Floyd Stockton] who locked the collar around Brian Wells's neck. He received immunity in this case. What was that based on? Was that based on truth?”

12. THE ENDING COULD LEAD TO NEW CHARGES BEING FILED.

In the series' last few minutes, something unexpected happens: Jessica Hoopsick—a prostitute who Wells regularly saw, and developed a deep friendship with—stood in front of the camera and admitted that she had set Wells up to become an unwitting participant in the crime in exchange for drugs and money. Initially, Hoopsick was reluctant to sit down with the filmmakers, and it’s understandable why: By admitting she was in on the heist, Hoopsick has opened herself up to being named yet another co-conspirator.

“We always believed that Jessica knew more,” retired ATF special agent Jason Wick told TIME. “Getting her to tell us at the time was a whole other issue. We just couldn’t get enough from her. We were in a tough spot. She just wouldn’t cooperate.”

Though both Wick and his partner at the time, Jerry Clark, believe Hoopsick’s admission “should certainly be passed along” to both state and federal law enforcement agencies for review, they question her credibility and motives. “There is evidence that directly conflicts with what she’s saying,” Clark said. “There’s always some underlying reason for her cooperation. The fact that she’s saying it, you got to wonder why.”

For their part, Borzillieri and Schroeder told TIME that Hoopsick—who was given nothing in return for her interview—came clean because, according to Borzillieri, “This was eating her up inside.” While charges could be filed against her, both law enforcement and the filmmakers agree that it’s unlikely that will happen.

“Before we talked with Jessica, she was worried, like could anything happen to her? So we talked with all the different law enforcement agencies, and technically she could still be charged, but every one of them said they don't have any plans to do that,” Schroeder told Thrillist. “So when we talked with her, we couldn't guarantee that she wouldn't be charged. But even in the face of that, she was willing to come forward. That's a pretty compelling interview, for someone to do that in the face of possible charges.”

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Marvel Entertainment
10 Facts About Robert E. Howard’s Conan the Barbarian
Marvel Entertainment
Marvel Entertainment

Nearly every sword-wielding fantasy hero from the 20th century owes a tip of their horned helmet to Robert E. Howard’s Conan the Barbarian. Set in the fictional Hyborian Age, after the destruction of Atlantis but before our general recorded history, Conan's stories have depicted him as everything from a cunning thief to a noble king and all types of scoundrel in between. But beneath that blood-soaked sword and shield is a character that struck a nerve with generations of fantasy fans, spawning adaptations in comics, video games, movies, TV shows, and cartoons in the eight decades since he first appeared in the December 1932 issue of Weird Tales. So thank Crom, because here are 10 facts about Conan the Barbarian.

1. THE FIRST OFFICIAL CONAN STORY WAS A KULL REWRITE.

Conan wasn’t the only barbarian on Robert E. Howard’s resume. In 1929, the writer created Kull the Conqueror, a more “introspective” brand of savage that gained enough interest to eventually find his way onto the big screen in 1997. The two characters share more than just a common creator and a general disdain for shirts, though: the first Conan story to get published, “The Phoenix on the Sword,” was actually a rewrite of an earlier rejected Kull tale titled “By This Axe I Rule!” For this new take on the plot, Howard introduced supernatural elements and more action. The end result was more suited to what Weird Tales wanted, and it became the foundation for future Conan tales.

2. BUT A “PROTO-CONAN” STORY PRECEDED IT.

A few months before Conan made his debut in Weird Tales, Howard wrote a story called "People of the Dark" for Strange Tales of Mystery and Terror about a man named John O’Brien who seemed to relive his past life as a brutish, black-haired warrior named … Conan of the reavers. Reave is a word from Old English meaning to raid or plunder, which is obviously in the same ballpark as barbarian. And in the story, there is also a reference to Crom, the fictional god of the Hyborian age that later became a staple of the Conan mythology. This isn't the barbarian as we know him, and it's certainly not an official Conan tale, but the early ideas were there.

3. ROBERT E. HOWARD NEVER INTENDED TO WRITE THESE STORIES IN ORDER.

Howard was meticulous in his world-building for Conan, which was highlighted by his 8600-word history on the Hyborian Age the character lived in. But the one area the creator had no interest in was linearity. Conan’s first story depicted him already as a king; subsequent stories, though, would shift back and forth, chronicling his early days as both a thief and a youthful adventurer.

There’s good reason for that, as Howard himself once explained: “In writing these yarns I've always felt less as creating them than as if I were simply chronicling his adventures as he told them to me. That's why they skip about so much, without following a regular order. The average adventurer, telling tales of a wild life at random, seldom follows any ordered plan, but narrates episodes widely separated by space and years, as they occur to him.”

4. THERE ARE NUMEROUS CONNECTIONS TO THE H.P. LOVECRAFT MYTHOS.

For fans of the pulp magazines of the early 20th century, one of the only names bigger than Robert E. Howard was H.P. Lovecraft. The two weren’t competitors, though—rather, they were close friends and correspondents. They’d often mail each other drafts of their stories, discuss the themes of their work, and generally talk shop. And as Lovecraft’s own mythology was growing, it seems like their work began to bleed together.

In “The Phoenix on the Sword,” Howard made reference to “vast shadowy outlines of the Nameless Old Ones,” which could be seen as a reference to the ancient, godlike “Old Ones” from the Lovecraft mythos. In the book The Coming of Conan the Cimmerian, editor Patrice Louinet even wrote that Howard’s earlier draft for the story name-dropped Lovecraft’s actual Old Ones, most notably Cthulhu.

In Lovecraft’s “The Shadow of Time,” he describes a character named Crom-Ya as a “Cimmerian chieftain,” which is a reference to Conan's homeland and god. These examples just scratch the surface of names, places, and concepts that the duo’s work share. Whether you want to read it all as a fun homage or an early attempt at a shared universe is up to you.

5. SEVERAL OF HOWARD’S STORIES WERE REWRITTEN AS CONAN STORIES POSTHUMOUSLY.

Howard was only 30 when he died, so there aren’t as many completed Conan stories out in the world as you’d imagine—and there are even less that were finished and officially printed. Despite that, the character’s popularity has only grown since the 1930s, and publishers looked for a way to print more of Howard’s Conan decades after his death. Over the years, writers and editors have gone back into Howard’s manuscripts for unfinished tales to doctor up and rewrite for publication, like "The Snout in the Dark," which was a fragment that was reworked by writers Lin Carter and L. Sprague de Camp. There were also times when Howard’s non-Conan drafts were repurposed as Conan stories by publishers, including all of the stories in 1955's Tales of Conan collection from Gnome Press.

6. FRANK FRAZETTA’S CONAN PAINTINGS REGULARLY SELL FOR SEVEN FIGURES.

Chances are, the image of Conan you have in your head right now owes a lot to artist Frank Frazetta: His version of the famous barbarian—complete with rippling muscles, pulsating veins, and copious amounts of sword swinging—would come to define the character for generations. But the look that people most associate with Conan didn’t come about until the character’s stories were reprinted decades after Robert E. Howard’s death.

“In 1966, Lancer Books published new paperbacks of Robert E. Howard's Conan series and hired my grandfather to do the cover art,” Sara Frazetta, Frazetta's granddaughter owner and operator of Frazetta Girls, tells Mental Floss. You could argue that Frazetta’s powerful covers were what drew most people to Conan during the '60s and '70s, and in recent years the collector’s market seems to validate that opinion. In 2012, the original painting for his Lancer version of Conan the Conqueror sold at auction for $1,000,000. Later, his Conan the Destroyer went for $1.5 million.

Still, despite all of Frazetta’s accomplishments, his granddaughter said there was one thing he always wanted: “His only regret was that he wished Robert E. Howard was alive so he could have seen what he did with his character.”

7. CONAN’S FIRST MARVEL COMIC WAS ALMOST CANCELED AFTER SEVEN ISSUES.

The cover to Marvel's Conan the Barbarian #21
Marvel Entertainment

Conan’s origins as a pulp magazine hero made him a natural fit for the medium’s logical evolution: the comic book. And in 1970, the character got his first high-profile comic launch when Marvel’s Conan The Barbarian hit shelves, courtesy of writer Roy Thomas and artist Barry Windsor-Smith.

Though now it’s hailed as one of the company’s highlights from the ‘70s, the book was nearly canceled after a mere seven issues. The problem is that while the debut issue sold well, each of the next six dropped in sales, leading Marvel’s then editor-in-chief, Stan Lee, to pull the book from production after the seventh issue hit stands.

Thomas pled his case, and Lee agreed to give Conan one last shot. But this time instead of the book coming out every month, it would be every two months. The plan worked, and soon sales were again on the rise and the book would stay in publication until 1993, again as a monthly. This success gave way to the Savage Sword of Conan, an oversized black-and-white spinoff magazine from Marvel that was aimed at adult audiences. It, too, was met with immense success, lasting from 1974 to 1995.

8. OLIVER STONE WROTE A FOUR-HOUR, POST-APOCALYPTIC CONAN MOVIE.

John Milius’s 1982 Conan movie is a classic of the sword and sorcery genre, but its original script from Oliver Stone didn’t resemble the final product at all. In fact, it barely resembled anything related to Conan. Stone’s Conan would have been set on a post-apocalyptic Earth, where the barbarian would do battle against a host of mutant pigs, insects, and hyenas. Not only that, but it would have also been just one part of a 12-film saga that would be modeled on the release schedule of the James Bond series.

The original producers were set to move ahead with Stone’s script with Stone co-directing alongside an up-and-coming special effects expert named Ridley Scott, but they were turned down by all of their prospects. With no co-director and a movie that would likely be too ambitious to ever actually get finished, they sold the rights to producer Dino De Laurentiis, who helped bring in Milius.

9. BARACK OBAMA IS A FAN (AND WAS TURNED INTO A BARBARIAN HIMSELF).

When President Barack Obama sent out a mass email in 2015 to the members of Organizing for Action, he was looking to get people to offer up stories about how they got involved within their community—their origin stories, if you will. In this mass email, the former Commander-in-Chief detailed his own origin, with a shout out to a certain barbarian:

“I grew up loving comic books. Back in the day, I was pretty into Conan the Barbarian and Spiderman.

Anyone who reads comics can tell you, every main character has an origin story—the fateful and usually unexpected sequence of events that made them who they are.”

This bit of trivia was first made public in 2008 in a Daily Telegraph article on 50 facts about the president. That led to Devil’s Due Publishing immortalizing the POTUS in the 2009 comic series Barack the Barbarian, which had him decked out in his signature loincloth doing battle against everyone from Sarah Palin to Dick Cheney.

10. J.R.R. TOLKIEN WAS ALSO A CONAN DEVOTEE.

The father of 20th century fantasy may always be J.R.R. Tolkien, but Howard is a close second in many fans' eyes. Though Tolkien’s work has found its way into more scholarly literary circles, Howard’s can sometimes get categorized as low-brow. Quality recognizes quality, however, and during a conversation with Tolkien, writer L. Sprague de Camp—who himself edited and touched-up numerous Conan stories—said The Lord of the Rings author admitted that he “rather liked” Howard’s Conan stories during a conversation with him. He didn’t expand upon it, nor was de Camp sure which Conan tale he actually read (though it was likely “Shadows in the Moonlight”), but the seal of approval from Tolkien himself goes a long way toward validation.

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iStock
The Annual Festivals That Draw the Most People in Every State
iStock
iStock

Every state has that one big event each year that draws residents from across the region or even across the nation. Louisiana has Mardi Gras. Kentucky has the Kentucky Derby. South Dakota has Sturgis. Genfare, a company that provides fare collection technology for transit companies, recently tracked down the biggest event in each state, creating a rundown of the can't-miss events across the country.

As the graphic below explores, some states' biggest public events are national music and entertainment festivals, like Bonnaroo in Tennessee, SXSW in Texas, and Summerfest in Wisconsin—which holds the world record for largest music festival.

Others are standard public festival fare. Minnesota hosts 2 million people a year at the Minnesota State Fair (pictured above), the largest of its kind in the U.S. by attendance. Mardi Gras celebrations dominate the events calendar in Missouri, Alabama, and, of course, Louisiana. Oktoberfest and other beer festivals serve as the biggest gatherings in Ohio (home to the nation's largest Oktoberfest event), Oregon, Colorado, and Utah.

In some states, though, the largest annual gatherings are a bit more unique. Some 50,000 people each year head to Brattleboro, Vermont for the Strolling of the Heifers, a more docile spin on the Spanish Running of the Bulls. Montana's biggest event is Evel Knievel Days, an extreme sports festival in honor of the famous daredevil. And Washington's biggest event is Hoopfest, Spokane's annual three-on-three basketball tournament.

Mark your calendar. Next year could be the year you attend them all.

A graphic list with the 50 states pictured next to information about their biggest events
Genfare

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