Kids Who BEAT The System! (900 IQ)

0:53 BRO TELL ME WHY I DIDNT EVEN REALIZE BRENT AND THAT GUY SWITCHED PLACES FOR A SEC LIKE THEY LOOK LIKE TWINS LMFAO BRENT AND RENT A RIVER

The guy just came from nowhere 0:53😂😂😂😂😂😂

I will do 20 cartwheels for every like this comment gets! 😸

Brent and Lexi are the best siblings duo

1:01 LMFAOO LEXIS REACTION

5:32 sec Dude just can't stop watching the no-yeah-no-yeah-no-yeah-no-yeah thing ......LMAO🤣

Bro that kid was priceless he was so bad and when he said “I’m good at Rubiks cube scrambling….i mean solving”

5:36 how long is this going for LMFAOO

I WANT BRENT AND MINI BRENT TO DO A REACTION VIDEO TOGETHER THAT WOULD BE AMAZING 😍🖤 PLEASE DO IT I LOVE YOU GUYS 🫶🏻❤️

The way the kid just slid down he stairs

Amp world never fail to entertain us 😊

I didn’t even realize Brent switched places with someone at first😂😂

i love this vid you guys are my fave sibling duo❤ you guys such react to dance and gymnastics fails lol love you guys

these kids have big brains lol

How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk “My Faulkner.” Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self… downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation. While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be. Not only does Faulkner’s deep affiliation with his characters’ inner lives elevate his portraits far above the level of local color or regionalist curiosity, but it animates his sentences, makes them constantly move and breathe. No matter how long and twisted they get, they do not wilt, wither, or drag; they run river-like, turning around in asides, outraging themselves and doubling and tripling back. Faulkner’s intimacy is not earnestness, it is the uncanny feeling of a raw encounter with a nerve center lighting up with information, all of it seemingly critically important. It is the extraordinary sensory quality of his prose that enabled Faulkner to get away with writing the longest sentence in literature, at least according to the 1983 Guinness Book of World Records, a passage from Absalom, Absalom! consisting of 1,288 words and who knows how many different kinds of clauses. There are now longer sentences in English writing. Jonathan Coe’s The Rotter’s Club ends with a 33-page long whopper with 13,955 words in it. Entire novels hundreds of pages long have been written in one sentence in other languages. All of Faulkner’s modernist contemporaries, including of course Joyce, Wolff, and Beckett, mastered the u 3:35

Bro, the kid who slid down the stairs would be me in Texas. Cause I used to always do that😂😂😂😂😂😂

Brent:why I don’t do this as a kid? Me:they have hoverboard in the old days?

Who else loves this sibling duo❤

0:53 GOT ME TRIPPIN

2:38 😂😂😂 I love ur vids soooooooo much!! They always make me laugh!!!!!