Top 50 Sex Toy Memes

The image features two distinct components presented in a single montage. In the upper portion of the image, we can see a stuffed shark toy that appears to be designed for use as a cozy, albeit quite unusual, sleeping bag or perhaps a plush toy. The shark is a vibrant blue color with lighter, comforting tones on its belly. Its prominent features include a wide-open mouth, which forms an entrance to the interior of the sleeping bag, and an array of soft white teeth that line this entrance. The shark also has embroidered eyes and spots, adding to its friendly, less-than-ferocious appearance.

Beneath the shark sleeping bag photo, the second part of the montage displays a still frame from a cartoon featuring a character known as Skeletor, who is from the animated television series "He-Man and the Masters of the Universe." Skeletor is depicted appearing rather dejected or resigned, with a comic book-style speech bubble that reads "*Sigh*" beside him, indicating a feeling of exasperation or resignation. In the subsequent frame, the speech bubble conveys an onomatopoeia "*Zip*," implying the sound of something being zipped up or opened.

The humor in this image arises from the juxtaposition of the shark sleeping bag and the two frames of Skeletor. The character's progression from sighing to the sound of zipping is humorously related to the shark's gaping mouth with its sleeping bag opening. It's as if Skeletor, known SHEIN Sigh Zip

SHEIN Sigh

This sentence is humorously ironic for several reasons. First, the speaker is portraying themselves as a well-meaning charity worker, an archetype typically associated with virtue, integrity, and selflessness. However, the purpose of this "collection" is not altruistic but rather to supply a tool for an abused vulgar phrase that encourages someone to engage in self-pleasure as a form of insult. The gap between the implied goodwill and the actual vulgar intent is where the irony lies.

Secondly, we have the charitable cause itself. Charitable donations are usually meant to assist those in need, often providing items necessary for survival or comfort, like food, clothes, or toys. In this context, it's funny — albeit in a dark, inflammatory way — to consider used sex toys as items of necessity. Adding another layer of humor, is the amusing innuendo in the phrase "Toys for Twats," a parody of various holiday toy drives like Toys for Tots.

Another element of humor stems from the absurdity of the concept. The idea of collecting used sex toys, let alone donating them, is in itself uncomfortable, bizarre, and not the kind of thing that happens in any usual circumstance. This absurdity is what makes the sentence humorous to some people.

The irony also comes from the tone of the sentence. The speaker starts off with a formal salutation, "Good afternoon," as if embarking on a serious, benevolent conversation. However, the politeness and formality quickly descend into vulgarity, creating an ironic contrast between conventional charity call and the actual crude proposition.

The hilarious nature of this sentence also lies in its blunt, no-nonsense way of addressing a common sentiment. While the obscenity of the phrase is clear, it satirically conveys a feeling that many people experience — the desire to tell aggressive, argumentative, or obnoxious individuals to "go away" in less polite terms.

Lastly, the sentence expresses an artful form of sarcasm bordering on slapstick humor. The visual of a door-to-door charity collector asking for not just money or goods, but used sex toys, and that too for an arguably offensive cause, portrays a picture so utterly ludicrous it can extract laughter even from those annoyed by its vulgarity.
GOOD AFTERNOON I M COLLECTING USED DILDOS AND VIBRATORS TO DONATE TO ALL THE BITCHES THAT NEED TO GO FUCK THEMSELVES Toys for Twats

GOOD AFTERNOON I M COLLECTING USED DILDOS AND VIBRATORS TO DONATE TO ALL THE BITCHES THAT NEED TO GO FUCK THEMSELVES Toys for Twats

The image presented is a humorously composed photograph that juxtaposes two different gaming experiences to convey a playful scenario. In the upper half of the image, we see the bottom half of a person's face with a game controller held in their mouth, suggesting that they are gaming without the use of their hands. The controller appears to be from a previous generation console, based on its design and color.

The lower half of the image shows someone sitting on a couch with a Nintendo Switch handheld console. The game on the screen seems to be a racing game, evidenced by the on-screen elements typical of the genre, such as a car dashboard view and what appears to be a racetrack environment. The person holding the Switch has their bare feet up on the couch, indicating a relaxed, casual gaming posture.

The humorous caption, "When we both want to play but not the same game," hints at a playful compromise between two individuals who wish to engage in video games simultaneously but have different gaming preferences. This indicates that the person with the controller in their mouth is likely playing a separate game from the one being played on the Nintendo Switch, and they've devised a unique solution to allow both parties to play at the same time.

The humor in the image stems from the absurdity of the situation. It is comically impractical for someone to play a video game with a controller in their mouth, as this is clearly not the intended use for a gaming controller. This ludicrous setup plays on the lengths to which gamers might go to enjoy their hobby simultaneously, creating a humorous and exaggerated depiction of cohabitation compromise.

Moreover, the notion of two gamers determined to play different games concurrently in such an unconventional manner is amusing because it reflects the often intense passion gamers have for their pastime. It also comically comments on the sometimes necessary inventiveness people employ to make shared living spaces work for everyone's different entertainment desires.

Lastly, the scene overall might strike viewers as humorous as it captures a light-hearted moment that's relatable to those familiar with the gaming community and modern relationships. It's a playful nod to the quirks that develop between individuals sharing space and interests, using the universal language of gaming as a medium for comedy. When we both want to play but not the same game

When we both want to play but not the same game

The image depicts two individuals in what looks like a workout or perhaps a playful situation. A man is standing behind a woman, and he's holding a red plunger as if it's some kind of sports bat or club. The woman, who is in the foreground, is on all fours, and her mouth is open in a way that suggests she might be laughing or engaged in some fun activity, giving the scene a sense of motion and liveliness.

At the top of the image, there is a caption that reads, "When she says she wants to start using toys in the bedroom." This textual addition provides a humorous twist by playing on the double meaning of the word "toys," which typically refers to objects used for children's play but can also colloquially refer to adult novelties intended for sexual use.

The humor in the image largely comes from the unexpected juxtaposition of the woman's statement and the subsequent image. It subverts the viewers' expectations as the "toy" being used is actually a common household plunger, which is incongruous with both traditional children's toys and adult novelties. The man’s action of wielding the plunger as if it is a piece of sporting equipment adds to the comical dissonance.

The woman's pose and open-mouthed expression contribute to the comedic effect. Her positioning and reaction mimic the kind of exaggerated response one might see in a playful or absurd scenario. This adds a layer of slapstick humor to the visual pun established by the caption.

The setting itself, which seems very mundane and perhaps a communal space considering the noticeboard and other background details, amplifies the humor by contrasting the banality of the surroundings with the absurdity of the actions being taken by the two individuals.

Lastly, the image might be funny to people because it plays on adult themes with a light-hearted, tongue-in-cheek approach. It takes an intimate conversation—a couple talking about spicing up their relationship—and turns it into a visual gag that's accessible and amusing without being explicit. The meme's humor relies on the audience's ability to understand the innuendo and appreciate the playful, almost cartoonish depiction of the situation. When she says she wants to start using toys in the bedroom

When she says she wants to start using toys in the bedroom

The image presented appears to be a simple hand-drawn illustration on a background that resembles a piece of paper or a page in a notebook. At the top of the image, there is a drawing of a pink cactus with a main central stem and two arms, a typical representation of a desert cactus.

Below the cactus drawing, there is a textual correction made with a line striking through the words "MOM'S TOY," suggesting that what was initially implied to be a toy is not correct. Right below the crossed-out text, the word "cactus" is written, seemingly to provide the correct identification for the drawing above. The use of the strikethrough implies a mistake or a humorous reconsideration of the initial label.

Further down, there is a second drawing which depicts a stylized mushroom. The mushroom has a stalk and a cap which is adorned with several orange spots. The depiction of the mushroom is cartoonish and simplifies the features typically associated with fungi.

Underneath the mushroom drawing, the misspelled word "MUCHROOM" is written, suggesting an attempt to label the drawing. However, the misspelling draws attention and adds a lighthearted, whimsical element to the image. A correction or realization regarding the label of this second illustration is not made, unlike with the cactus above.

The humor in this image might stem from the visual playfulness and the potential innuendo that arise from the initial mistaken label "MOM'S TOY" being crossed out and corrected to "cactus". The misunderstanding captured here could indicate an innocent mistake or a cheeky joke, depending on the context in which the image is viewed.

The final element of humor may come from the misspelling of "mushroom" as "MUCHROOM," which can evoke a childish or innocent mistake, contributing to the comedic effect. This simple error in spelling could remind the viewer of the common errors made while learning language, evoking a sense of amusement or relatability. MOM S TOY crossed out cactus written below it MUSHROOM written at the bottom

MOM S TOY crossed out cactus written

This image contains a text query and a photo of an object, with a suggestive emoji caption at the bottom. The text, in large, bold letters, poses the question, "Ever wondered how witches stayed on their brooms?" This question alludes to the old folklore of witches flying on broomsticks, which is a common trope in many cultures' stories and Halloween mythology.

Below the text is an image of a black, silicone-like object with a conical shape and a round, loop-like handle. The design of this object is quite simplistic and one might initially think it looks like a stylized representation of a miniature broom or some sort of kitchen tool due to its basic structure and dark color.

At the bottom of the image, there is a small yellow emoji, which has a facial expression suggesting a sly or knowing smile accompanied by a caption that reads "thank me later ..." The ellipsis and the emoji imply that the viewer is being let in on a joke or secret they will appreciate after some thought.

The humor in this image comes from the double entendre created by the combination of text and image. The object shown in the photo is not actually a broom, but rather resembles an adult novelty item. Therefore, the suggestion is that witches could have stayed affixed to their brooms by means of suction or attachment, similar to how the depicted adult toy functions.

The humor is also in the misdirection. The image prompts the viewer to think about an innocent question related to fantasy and folklore, only to subvert their expectations with a more risqué or off-color joke. Essentially, it plays on the viewers' initial perception and leading them to an entirely different conclusion.

The phrase "thank me later" hints at a cheeky revelation, implying that once the viewer has processed the visual pun, they will have an "aha" moment, adding to the comedic effect. It's an example of using cultural references and visual trickery to deliver a punchline that's unexpected, which is a common technique in humor.

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The image depicts a woman smiling and looking at a small 3D printer with an object being printed that is intentionally obscured by text. The woman is holding a pink mug, and the colors in the scene are quite harmonious, with blue and pink hues dominating the picture. The setup suggests a casual environment, perhaps a home or a hobby area.

The accompanying text plays a significant role in the humor of the image. It implies a scenario where the woman has purchased a 3D printer for a very specific and personal purpose -- to create objects based on unsolicited pictures she has received. The text on the image is censored, which adds to the cheeky nature of the joke and references a modern social phenomenon that is often deemed inappropriate or unpleasant.

The humor can be attributed to the image's subversion of expectations. It juxtaposes the modern marvel of 3D printing technology, which is often associated with innovative and practical applications, with a frivolous and somewhat taboo use case. The contrast between a wholesome looking scene and the suggestiveness of the text creates a comedic tension.

The woman's cheerful disposition adds to the lighthearted feel of the image. Her seemingly innocent enjoyment of the situation emphasizes a playful and joking response to an act that is generally considered to be a negative experience. This reaction turns the situation on its head, appearing as if she is having the last laugh.

The image might also be funny to some because it touches upon the zeitgeist of digital communication practices. Unsolicited explicit images are unfortunately common in online interactions, and humor is a way for people to cope with or respond to uncomfortable situations. By implying that the images have been put to a novel use through 3D printing, the joke suggests a form of empowerment or a creative way to reclaim agency in the face of unwelcome advances.

Lastly, memes like this one often rely on shared knowledge and societal context to be understood. The humor here depends on the viewer being aware of the online phenomena it references. This shared understanding creates a sense of community or in-group among those who find it funny, which is a common aspect of humor found on the internet. When she buys herself a 3D printer To try out all the pics she has received

When she buys herself a 3D printer To try out

Cleaning a Fleshlight, or any intimate device, can sometimes feel like embarking on a scientific expedition, where one is both the explorer and the specimen. Imagine standing there, armed with soap and water, as if you're about to perform a magic trick for an audience of none. The process involves a delicate balance of thoroughness and speed, as if you're defusing a bomb that could go off with the slightest mishap. Only, instead of saving the city, you're just ensuring your next rendezvous with your silicon friend isn't... crunchy.

Then, there's the drying phase, an exercise in patience and creativity. You find yourself crafting makeshift clotheslines in your bathroom, turning it into a display that might make a passing plumber question your plumbing and your life choices. It's like hanging tiny, embarrassing flags after a battle you're not sure you won. And as they hang there, you can't help but think about the importance of ventilation and airflow, terms you never thought would apply to your adult endeavors.

Lastly, let's talk about the storage. Tucking your Fleshlight away is akin to hiding a treasure map where X marks the spot of your guilty pleasure. You look for the perfect hiding place, somewhere between your winter clothes and that box of high school trophies, creating a time capsule of awkward discoveries for future generations. It becomes a game of hide and seek with yourself, where the only prize is the peace of mind that comes from knowing your secrets are safe, at least until the next cleaning expedition.

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The image displays a piece of merchandise named "E.T. Finger Light" which is contained in a primarily black, vertical rectangular packaging. The packaging is designed to be hung on racks in stores, as indicated by the hole at the top. At the forefront of the packaging is a clear plastic window that allows consumers to view the product inside, which in this case is the finger light designed to resemble E.T.'s finger.

The top section of the package header features a stylized logo with the letters "E.T." prominent in white text against the black background, indicating the product's link to the iconic science fiction film "E.T. the Extra-Terrestrial." Just below the logo, the words "Finger Light" are emblazoned in bold, presumably highlighting the main function of the product. A little illustration of E.T.'s finger is visible on the package, and it's accompanied by light radiating from the fingertip, reminiscent of a key scene from the 1982 film.

Directly below the header, the packaging states, "Finger Glows When Pressed!" in a vibrant yellow font, which delivers a straightforward description of the toy's interactive feature. This interactivity is reminiscent of a special effect seen in the film, making it an attractive feature for fans and collectors. Further down, the recommended age for users, "Ages 4 and Over," is indicated along with a note that says "BATTERY INCLUDED," ensuring the toy is ready-to-use right out of the package.

At the bottom of the packaging, copyright information can be found in a small white text, detailing the year 1982, and attributing the copyright to Universal City Studios. This serves to authenticate the product as an official piece of merchandise associated with the E.T. franchise. The authenticity is often important for collectors and fans who may seek out vintage items.

Furthermore, the right-hand side of the package displays a vividly colored and detailed illustration of E.T. himself, adding a recognizable visual from the film to establish the connection between the toy and the character. The image of E.T. is arguably characteristic of the movie's merchandise and would likely evoke a sense of nostalgia in fans familiar with the film.

The humorous aspect of this image might stem from the toy's design, which, to an adult audience or those with a less innocent mind, could be seen as unintentionally suggestive due to its resemblance to a human finger or perhaps something more ambiguous. People may find this amusing because the design of the toy juxtaposed with the context of its original function and intended innocent interpretation creates a double entendre or a visual pun, leading to a reaction based on the contrast between the expected and the perceived image. No 4111 E T Finger Light Finger Glows When Pressed Ages 4 and Over BATTERY INCLUDED Copyright 1982 Universal City Studios All Rights Reserved

No 4111 E T Finger Light Finger Glows When Pressed Ages 4 and Over BATTERY INCLUDED Copyright 1982 Universal City Studios All Rights Reserved

The image presented is divided into two sections. The top half shows a photograph of a sign that states, "Please do not hit each other with the dildos (Seriously)." This sign appears to be in a store, possibly where adult novelty items are sold. The sign's additional note, "(Seriously)," suggests that this could be an actual problem the store has encountered, and not just a hypothetical caution. It is unusual and humorous to see such a direct and specific warning in a retail setting, which likely adds a layer of absurdity for the viewer.

The bottom half of the image presents a cartoonish drawing with two male figures, their faces depicted in a side profile resembling a stoic and determined expression. Next to each figure is an image of a phallic object, one blue and the other red, implicitly resembling the items mentioned in the sign above. The blue object is positioned next to the figure with the caption "I will do what I must," and the red object is next to the figure with the caption "You will try." This dialogue and the illustration have a comical incongruity when paired with the context of adult toys.

The humor in the image emerges from the juxtaposition of a serious and cautionary notice with a lighthearted, almost childlike portrayal of play-fighting or pretend conflict using adult novelty items as if they were weapons in a dramatic saga. This whimsical approach to a mature subject matter defuses the usual seriousness associated with adult products, instead opting for a playful and entertaining angle that can elicit laughter.

The dialogue between the two caricatures "I will do what I must" and "You will try" are drawn from tropes often found in action movies or fantasy stories, where two adversaries face off in a pivotal showdown. Transposing such solemn and epic language onto a pair of seemingly incongruous objects meant for adult entertainment creates a humorous clash of themes and elevates the everyday to the level of the extraordinary, in a tongue-in-cheek manner.

This image might be funny to people because it offers a humorous take on how rules and serious notices can be interpreted in different social contexts. Specifically, it pokes fun at the idea that certain adult-oriented items could be used in a playful or unintended manner, contrasting the general expectation of discretion and privacy usually associated with personal items. The notion that a sign has to ask adults to behave responsibly in this context also adds to the comedy by implying a breakdown in usual social decorum.

Finally, the image can also be seen as making light of the concept of masculinity. The inclusion of the term "Boys:" followed by figures with exaggerated masculine features and a reference to a light-hearted, albeit misguided, show of bravado can speak to the way humor is derived from playing with gender stereotypes and expectations. It might resonate with an audience familiar with the humor of bending the rules of propriety for comedic effect, as well as those who enjoy the absurdity found in mixing mature themes with child-like imagination and play.

Overall, the image plays with incongruity, contextual humor, and subverted expectations to create a humorous effect that can appeal to an adult audience with a taste for the absurd. Please do not hit each other with the dildos Seriously Boys I will do what I must You will try

Please do not hit each other with the dildos Seriously Boys I will do what I must You will try

This image depicts a rather unusual scene that appears to be taking place at a customs checkpoint, based on the text above it, which reads, "When bae has trouble clearing Customs every time you go on vacation." The humor in the image stems from the unexpected twist revealed below the text.

In the photograph, a cardboard box is shown in the foreground, and inside it lies a person in a fetal position, seemingly naked. The absurdity of a human being packaged in a box as if they were cargo is glaringly funny due to its stark deviation from normal customs procedures or travel methods.

Around the box with the person are what appear to be customs officers, with one of them wearing a pair of gloves inspecting the contents. Their demeanor suggests a mix of concentration and disbelief at finding an actual person inside a box, as this is not a typical day-to-day discovery even for customs officials.

Standing slightly further away is another person, arms folded, who might be a superior officer or someone overseeing the operation. This individual's body language exudes a different vibe—perhaps perplexity or patience—as they watch the scene unfold.

Several clear packages are visible on the ground next to the box, implying that they may have been removed from the box for inspection. The presence of these packages adds to the absurdity, as they resemble items that a person would not traditionally pack for a vacation, suggesting an attempt at clandestine transportation.

The humor arises from the juxtaposition of an ordinary travel-related scenario—going through customs—with an extraordinary and bizarre method of 'traveling,' which is the person being shipped in a box. It's also playing on the idea of the significant other, "bae," being the source of comedic complications during what is typically a routine procedure. The extremity of the scenario, its unexpectedness, and the play on the colloquial term "bae" all contribute to the comedic effect. When bae has trouble clearing Customs every time you go on vacation

When bae has trouble clearing Customs every time you go on

What s the difference between being Hungry and horny Where you put the cucumber Until we meet again

What s the difference between being Hungry and horny

The image shows a meme with the text "WAP back in my day" at the top, followed by an expansion of the acronym WAP as "Warm Apple Pie" at the bottom. It depicts two people who appear to be in a domestic kitchen or dining area, both looking at a pie on the table.

On the left, there is a man wearing glasses, a tie, and a short-sleeved collared shirt. He's seated at the table, his chin resting on his hand, and he seems to be in a thoughtful or contemplative pose. His expression could be interpreted as nostalgic or reflective.

On the right, a younger male figure, possibly a teenager, is also at the table. He is dressed in a short-sleeved patterned shirt and is looking down at the apple pie with a neutral expression, somewhat disconnected or indifferent to the context.

The humor in the image arises from the play on the acronym "WAP," which has a notably different popular culture reference, especially following the release of a certain provocative song in 2020. The meme creates a generational joke by juxtaposing a contemporary reference with one that could be considered more innocent and traditional from "back in the day."

The older man's reflective pose and the domestic setting evoke a stereotype of older generations reminiscing about the past, which contrasts sharply with the current, more risqué connotation of "WAP." It plays on the expectations of the viewer who, after seeing the initial acronym, is led to believe it will refer to the modern, well-known use, only to be humorously misdirected to a much more wholesome meaning.

Finally, the image may be funny to people because it captures the ongoing dialogue between generations and the ways in which language and acronyms can dramatically change in meaning over time. It also subtly highlights the misunderstandings that can arise when people from different generations attempt to communicate, with each interpreting the same acronym in very different ways. WAP back in my day Warm Apple Pie

WAP back in my day Warm Apple Pie

The image presented is a humorous and edited parody of a poster for an imaginary "Toy Story 5" movie. It features a collection of well-known characters from the previous "Toy Story" films, such as Woody, Buzz Lightyear, Jessie, Mr. Potato Head, and others. They are all gathered in a familiar room that resembles Andy's from the franchise, depicted with vibrant and colorful animation. The usual warm and playful atmosphere of the "Toy Story" series is captured in the image's background.

In the center of the frame stands a figure that is designed to mimic the appearance of a "toy," but contrastingly, the body is that of a mannequin with visible human-like anatomy, including the back, buttocks, and the suggestion of legs. This figure strikes a pose that follows the form of the original characters, seemingly introducing itself to the group. There is also a playful addition of a familiar character's head, specifically the iconic hairstyle and hat of Jessie, placed atop the mannequin's neck, adding to the surreal and comical juxtaposition.

At the bottom of the image, bold text announces "Toy Story 5," presented in the recognizable font and style associated with the movie franchise, signaling this as a next installment in the series. Additionally, a cheeky caption "Hi, I'm Andy's new toy" implies that this unusual character is joining the beloved roster of animated toys, which adds to the humor because it breaks the expectations set by the familiar Toy Story 5 Hi I m Andy s new toy

Toy Story 5 Hi I m Andy s new toy

The image presented is a humorous pastiche that plays on the popular Marvel Cinematic Universe's concept of the Infinity Stones. On the left is a close-up photo of a hand wearing multiple rings with large, shiny embellishments that bear some resemblance to the fabled Infinity Stones. On the right, there is another hand with rings that more accurately represent the colors and arrangement of the Infinity Stones as seen in the Marvel movies.

The text above the images reads, "Found these Infinity Stones in my Sister’s drawer," which immediately sets a playful tone. The humor initially stems from the notion that something as powerful and significant in the Marvel universe as the Infinity Stones might be nonchalantly tucked away in someone's drawer at home, demystifying their grandeur.

Underneath the images is a comment from a person named Joey, who jokes, "ThAnus used these 😂," a play on words merging "Thanos"—the name of the main antagonist in the Avengers movie series who sought the stones—with a colloquial term for the human rear end. The comment underscores the comical presentation by inferring that these ordinary-looking rings might somehow be connected to the might and terror of the intergalactic supervillain, though in a much less intimidating way.

The humor here operates on several levels. It involves recognizing the parody of the Infinity Stones, taken from a high-stakes, fictional context into the everyday, mundane life. This blending of the epic with the commonplace creates a contrast that is often a source of comedy.

The image might also be funny to audiences due to the commenter's use of a humorous pseudonym that suggests a rather trivialized and nonsensical use of the "Infinity Stones," which in the context of the Marvel franchise are symbols of immense power and consequence. This trivialization serves to poke fun at the sometimes over-serious nature of comic book lore.

Finally, the image taps into the internet culture of memeing and reimagining popular media content in unexpected ways. The mockery of a serious, thrilling narrative with a playful real-world twist is likely to resonate with fans of the series, as well as with anyone who enjoys seeing high culture remixed with a bit of harmless, everyday silliness. Found these Infinity Stones in my Sister s drawer Joey ThAnus used these

Found these Infinity Stones in my Sister s drawer Joey ThAnus used these

The image shows a large, life-sized chocolate figurine resembling a muscled male torso and abs, broken in certain areas and partially unwrapped, lying discarded in a cardboard box. The box is placed on a paved surface, suggesting it might be set outside, possibly near a rubbish collection area. The chocolate figure looks as if it's been partially eaten or broken, primarily around the head and upper chest area.

The accompanying text above the photo reads: "Found this in the trash. Someone rode the meat clear off this mf and is living amongst us!” followed by a face with tears of joy emoji. This text adds a humorous commentary, implying a comical absurdity to the situation as if someone might have enthusiastically consumed the chocolate figure as if it were actual meat.

The humor in this image can be derived in several ways. Firstly, the concept of a chocolate sculpture so large and realistic being casually thrown away is inherently amusing. The effort and craftsmanship that go into making such a detailed and substantial representation out of chocolate are significant, and its unceremonious disposal is humorously at odds with this.

Secondly, the text caption anthropomorphizes the chocolate sculpture by using the phrase "rode the meat clear off this mf," infusing the situation with comedic hyperbole. It suggests a scene where someone literally ate the chocolate so vigorously that it's as if they've devoured a living entity, creating a ludicrous mental image that is humorous to picture.

Thirdly, the destroyed state of the chocolate torso, with its head and part of the chest missing, adds to the comedic effect by presenting a visual story of indulgence taken to an extreme level. It's as if the chocolate figure has been through a comical ordeal, adding a layer of slapstick humor to the image.

Lastly, the phrase "and is living amongst us" plays on the trope of a clandestine character hiding in plain sight, further highlighting the silliness in the concept of someone going around eating giant chocolate sculptures. It tickles the imagination with the humorous notion that somewhere out there is a person with a monumental appetite for chocolate, who might be anyone we know.

In summary, this image's humor springs from the surprise and incongruity of finding such an unusual item discarded, the personification of the chocolate figurine through the text, and the exaggerated depiction of someone's possible chocolate-eating spree. All these elements come together to create a situation ripe for laughter and amusement. Found this in the trash Someone rode the meat clear off this mf and is living amongst us thehustleisfemale

Found this in the trash Someone rode the meat clear off this mf and is living amongst us thehustleisfemale

The image presents a humorous scenario with a text caption that reads, "When you forgot to pay your power bill and they turn it off." What adds to the humor is the visual pun depicted in the photo: a person seemingly caught off guard by the loss of electricity and using a flashlight to illuminate her face in a dark room.

In the image, the person is shown with a salient expression, hand on forehead, as if she is scanning the horizon or searching for something just out of reach. The flashlight is held in her other hand, casting a dramatic light across her face, which is often a familiar scene when the power goes out unexpectedly and individuals must find alternative sources of light.

The comical reaction on the person's face exaggerates the inconvenience typically associated with an unexpected power outage. It suggests a melodramatic quest to find light in the sudden darkness, almost reminiscent of an explorer or a person lost at sea using a distress signal, which is humorous due to the contrast between the commonplace event of a power outage and the dramatic, adventurous connotations of her pose and expression.

People might find this image funny because it taps into a shared experience. Forgetting to pay a bill and subsequently dealing with the consequences is a relatable mishap. The image pokes fun at the situation by using an over-the-top reaction to represent a common annoyance.

The image also employs irony to humorous effect. While the caption straightforwardly states the mundane fact of forgetting to pay a utility bill, the visual presentation is anything but mundane. Instead of simply showing a person in the dark or looking at an unpaid bill, it opts for a visual metaphor—the flashlight standing in for lost electricity and the dramatic pose suggesting a much more dire situation than merely forgetting to pay a bill.

Finally, the humor can also be derived from the playful self-deprecation one might feel when realising such a forgetful mistake. The overacted despair could be seen as a way of poking fun at oneself for overlooking something important, leading to a humorous moment of self-recognition for people who have found themselves in a similar situation. When you forgot to pay your power bill and they turn it off

When you forgot to pay your power bill and they turn

The image presents a humorous meme format comprising two text sections and a photo. The top text reads "1980: 'In 2024 we will have flying cars!'" which alludes to the optimistic technological prophecies often made in the past century about the advancements we would achieve by now. Below, the year "2024" acts as a prelude to the photo beneath, suggesting a comparison of that past vision with today's reality.

In the photo, we see a night scene with a person standing in the foreground, seemingly "wearing" a very large black object on their head, creating an illusion that their head is unusually large and bulbous with a small light at the top. It's unclear what the object actually is, but it could be something like a large vase or pot. The individual's hands are clasped together in front, and their overall body language appears casual.

Behind them, other people seem to be going about their evening; there is no direct interaction shown with the foreground figure. These people are dressed in casual clothing and are either walking by or standing in groups. The image appears to be set in an urban environment, perhaps a street or open public space.

The humor arises from the stark contrast between the grandiose technological dreams of the past and the sheer mundanity depicted in the photograph, combined with the absurdity of the scene. Instead of futuristic transportation, we find a rather comical and baffling image of someone with a disproportionately oversized "head."

The element of surprise also adds to the humor. One might expect an image that exemplifies some great leap in development or an impressive manifestation of human innovation when they read the initial text. Instead, they are greeted by a light-hearted, silly visual pun.

Moreover, the image plays on the often unmet expectations of technological advancement. It's a light-hearted commentary on how predictions about the future can be wildly off mark, not just on a technical level, but in ways that verge on the comedic. The peculiarity of the mismatch between expectation and reality is what makes many find such an image funny. 1980 In 2024 we will have flying cars 2024

1980 In 2024 we will have flying cars 2024

Your penis vs her dildo

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The image presents a humorous scenario with accompanying text meant to be a joke shared among friends. At the top of the image is a conversation text that reads, "Friends: She's crazy asf I don't why you're still with her. Me: I ask myself that same question everyday. Her:." The text is setting up a typical conversational situation where friends question another friend's choice in a romantic partner due to the partner's perceived eccentric or 'crazy' behavior.

The humorous punchline of the joke is visually represented in the photograph beneath the text, showing a woman who is bent over forward, with her rear end facing a bright light in the background, creating an illusion as if her buttocks are emitting a glowing light. The visual gag suggests that the woman's physical attractiveness, implied by the light highlighting her figure, is the reason ("Her:") the speaker continues the relationship despite acknowledging her "crazy" demeanor.

This kind of humor might be considered funny to people because it plays on the common trope of individuals being blinded by physical attraction to their significant others, to the point that they overlook other significant personality quirks or issues. It exaggerates that idea in a literal sense, using the visual effect of the bright light as a symbolic representation of being "blinded" by someone's physical appearance.

The photo is taken at nighttime, further accentuating the brightness and the contrast of the light effect around her body. The visual punchline takes advantage of the darkness surrounding the scenario, ensuring that the viewer's attention is immediately drawn to the amusing spectacle created by the positioning of the woman and the light.

Furthermore, this kind of visual joke might evoke a chuckle because it uses unexpectedness and twist of expectations as comedic tools. The setup prepares the reader for a potentially serious, relatable answer, and then delivers a completely over-the-top, visually humorous explanation.

Lastly, the image could be seen as a playful commentary on the dynamics of dating and relationships, making light of the sometimes inexplicable reasons why people choose to stay together. Its lighthearted and exaggerated depiction of attraction serves to entertain and possibly elicit a knowing smile from those who have experienced or witnessed similar situations in their own social circles. Friends She s crazy asf I don t why you re still with her Me I ask myself that same question everyday Her

Friends She s crazy asf I don t why you