Terry Crews, actor, former NFL player, and the host of Netflix's upcoming show, "Ultimate Beastmaster," discusses the workout routine he follows every day to stay in shape. 

FULL TRANSCRIPT

The first thing I do every morning is get up, put my gym clothes on, and work out.

I’ve been working out so long that I have a pretty, you know, established regiment. The first thing I do every morning is get up, put my gym clothes on, and work out. No matter what day it is. No matter what’s happening. I have gym clothes right by the bed. So that it’s the first thing I see. And usually I get up around 4:30/5 a.m., usually. Sometimes earlier if I have an early flight or whatever, but it does not get missed. There’s no way I miss my workout. That is a no-no. It just doesn’t happen.

It’s such a habit that if it does — if I felt like it wasn’t gonna happen I would feel like something is wrong with the universe.

Some days it will be an hour to two hours. Usually Monday through Friday are lift days, with Wednesday being a kind of stretch and run and ab day and the whole thing. But I run on the weekends. I run every day. I’m a big big runner. I run almost 4 miles a day. Simply because my brain, the way it works, it needs that kind of energy. I have a lot of energy. I actually need to burn off some. Because if I didn’t get the run in, it just wouldn’t work.

There was a time when I didn’t. It was when I retired from the NFL. You have – there’s a depression that happens because you’re not an athlete anymore.  And I spent about a few months not working out. And I gained like 25 pounds and the whole thing. And my mood, my attitude, everything about me was down. Once I got back in the gym, it literally changed.

I never stopped working out again, and it’s been — it’s literally my lifeblood. It’s one of those things where it’s my meditation, it’s my spa time, and I enjoy it.

You really need to try a workout that you like and you will see the difference in your life.

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"La La Land" is forgettable. Yes, it will probably win best picture when the Oscars are handed out on February 26, because it's practically designed for the Academy Awards. It's a musical, it's cute, it's technically impressive, it flatters Hollywood. But I have yet to meet a fan of the movie (they are many and vocal, as "SNL" aptly parodied) who actually listens to the soundtrack, which when you think about it, opposes the entire logic of a musical.

It's also a movie that looks backward. The classics it incessantly references ("Singin' in the Rain," "The Umbrellas of Cherbourg") defined their genres. Gene Kelly perfected the art of singing and dancing on the big screen. Ryan Gosling and Emma Stone can barely sing and soft-shoe better than you and I can, and their characters' conflicts (why aren't you pursuing your dream instead of playing in a successful pop-jazz band?) are lame if not puzzling. "La La Land" rewards viewers who recognize what's pretty and vintage, but it's skin-deep.

This wouldn't be the first time the Oscar best picture has gone to pat fluff ("Shakespeare in Love" comes to mind), but it comes at a critical time. "Moonlight," a smaller film, has a decent chance of stealing the award, and I hope it does, because it's a revolutionary movie in the middle of what might turn out to be a revolutionary moment in American history. Either way, it's the nominee that will prove to be timeless.

From the outside, it's easy to understand why "Moonlight" appeals to Oscar voters. The drama exposes the underbelly of an ignored and blighted corner of the US, and it demands that its extremely talented actors shout and cry a lot. It's also, as critics rightfully point out, in the tradition of movies about the degradations of black life, like "Precious" and "Monster's Ball." The worst parts of the movie indulge in movie-of-the-week cliches about crackheads (the addict mom seemingly transforms out of nowhere by the end to deliver a final redemptive note).

But "Moonlight" is unique and life-affirming, even soul-cleansing, in a more fundamental way. This is a movie centered on a poor black man with gay desires that is not in any central way about being black, gay, or poor. The director and the writer of the play on which "Moonlight" is based — who are from the same housing projects in Liberty City, Miami, where it's set — deeply understand how circumstances shape their main character, as we see through the gorgeous on-location shooting. (Anyone from Miami or the surrounding area, like I am, will feel the heat just watching.) But the quiet, stunning revelation of the movie is that this poor black man with gay desires can't be pinned down to any of those things. We watch him define his own identity, on his own terms.

We're in the early days of a president who recently described the conditions of largely black urban centers as "terrible." Words like those have long been used to strip away the inherent humanity of black Americans. We've made a lot of racial progress in 2017, but we're also a country, as research shows, that increasingly self-sorts into communities of people who think and act like us, and who confirm our view of the world.

"Moonlight" scrambles that problem. It's audaciously and ingeniously structured in three parts, in which we see the main character in starkly different stages of his life (he's named Little, Chiron, and Black) that are still undeniably linked. The last chapter shows Black, after a traumatic childhood and having moved away, inhabiting the image of a hard black man we've come to accept from pop culture. But then we see more — the wonder of Little, the tenderness and insecurity of Chiron. We see how this man has gradually shuffled through identities to find which one is really his.

The ending of "Moonlight" hinges on Black's romantic reunion with a childhood friend that is and isn't what you expect based on a million Hollywood romances. They make awkward small talk, there's the gesture of intimacy in a hot meal, a soul song on the jukebox.

But we've never seen two black men reuniting like this in a major American movie before. That's not just tokenism. Their interaction is palpably real, and about much more than sex. It's the recognition of two people who know each other so well that they could never forget, no matter how many years they've been apart or how much they've superficially changed. They see each other for who they really are, when hardly anyone else does. It's one of the most remarkable things I've seen portrayed on a big screen.

And that recognition of one man's individual humanity and connection in "Moonlight" can help us understand how we look at each other, too. The movie resists the idea that we're defined by our color, sexuality, community, education, income, or even politics, even while those things determine so much about our lives. Its blissful lesson is that we're all just trying to find out who we are and understand each other — and perhaps we can, if we really try.

That's something worth celebrating in 2017 or any other year.

SEE ALSO: RANKED: The 10 worst movies to win the best picture Oscar — and what should have won

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Caitlyn Jenner questioned President Donald Trump's dedication to LGBT rights after he rolled back former President Barack Obama's guidelines allowing transgender students to use school bathrooms that matched their gender identity.

"I have a message for President Trump from, well, one Republican to another," Jenner said in a video posted on Twitter. "This is a disaster. And you can still fix it. You made a promise to protect the LGBTQ community. Call me."

In addition to the message to Trump, the Olympian and reality star expressed optimism about "winning" full rights for transgender Americans. She also called out Attorney General Jeff Sessions, who was reportedly active in the decision to roll back Obama's school bathroom guidelines.

"Now I have a message for the bullies: You're sick," she said. "And because you're weak, you pick on kids, you pick on women or anyone else you think is vulnerable. Apparently even becoming the attorney general isn't enough to cure some people of their insecurities."

Jenner was under increased pressure on social media and from activists to speak out on the bathroom issue, because she supported Trump's presidential candidacy and was recently mentioned in a press conference with White House Press Secretary Sean Spicer on Thursday.

A reporter asked how Trump reconciles rolling back transgender school bathroom guidelines with his comment during the election that Jenner could use any bathroom in Trump Tower that she wanted. Spicer played down the LGBT angle and said that Trump believed the bathroom guidelines were an example of federal overreach and that the issue is one of state rights.

SEE ALSO: Shia LaBeouf shut down his anti-Trump protest stream after reports of gunshots

DON'T MISS: Stephen Colbert slams Trump's new 'information source,' conspiracy theorist Alex Jones

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Though they’re certainly not lacking in attention, a number of the Oscar nominees for best picture actually don’t get that much attention at the box office. 

Several of the films nominated for Oscars this year didn't do big business in theaters. That’s because quite a few of the 2017 Oscar darlings are indie movies that just didn't get the exposure that the wide releases did — and had much smaller budgets.

We took a look at every 2017 best picture nominee’s budget and compared it to its domestic box-office gross, based on numbers from Box Office Mojo.

While some movies including “Moonlight,” “Hell or Highwater,” and “Lion” didn’t make anything close to blockbuster money, every movie on the list exceeded its budget and didn’t lose any money. 

It’s no huge surprise that “Hidden Figures” has made the most domestically, since it seems to have the most commercial appeal out of all the nominees on the list, with its moving true story and a star-studded cast. Though it's still a notable achievement for the best picture contender that's led by black actresses (and one with a modest budget).

“La La Land” also has commercial appeal and, with 14 nominations, a lot of Academy appeal, too. The fact that the stylish and modern movie musical stars Emma Stone and Ryan Gosling certainly helps.

The third at the box office, “Arrival,” benefited from its sleek sci-fi concept and marketing, plus marquee names in Amy Adams, Jeremy Renner, and Forrest Whitaker. It was also the most expensive to make on the list.

See below how all the 2017 Oscar best picture nominees did at the box office compared to their budgets:

SEE ALSO: The rise and fall (and rise) of M. Night Shyamalan's career in one chart

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On Thursday's "Late Show," Stephen Colbert took a swipe at President Donald Trump's rolling back of former President Barack Obama's guidelines allowing transgender students to use school bathrooms according to their gender identity.

Before even taking the stage, CBS's late-night show opened with an animated segment in which bathroom signs were given a chance to register their own complaints about Trump's decision.

In it, the male and female signs join together on one sign, exchange clothes, and then give the president their middle fingers.

It was certainly a bold way to open the show.

But Colbert also had a few things to say on the issue during his monologue.

"We should have seen this coming, because if there's one thing Trump is famous for, it's telling people where to pee," Colbert said, referencing unverified claims that Russian spies filmed Trump having prostitutes urinate in front of him in a Moscow hotel room.

The show then showed a clip of the then-presidential candidate during an April 2016 town hall in which he said that transgender celebrity Caitlyn Jenner could use any bathroom she chooses in Trump Tower.

"Which is good," Colbert said, "because I'm guessing a lot of trans people would like to take a dump in Trump's lobby."

Jenner, who's a Republican and supported Trump for president, also spoke out on the bathroom issue on Thursday, calling the decision to roll back Obama's guidelines a "disaster" and challenging Trump to "call me."

In response to White House Press Secretary Sean Spicer's comment on Thursday that Trump sees the bathroom rules not as a civil rights issue, but one of states' rights, Colbert said, "Grow a pair."

The host also responded to the New York Times report that Secretary of Education Betsy DeVos initially pushed back on the idea of rolling back the guidelines, citing potential dangers for transgender students. But when faced with either supporting the president or resigning from her job, she relented.

"So Betsy DeVos knew it would harm children and did it anyway to save her job," Colbert said. "How does she sleep at night? I'll let the states decide."

Watch Colbert slam Trump's decision to roll back transgender school bathroom rights below:

SEE ALSO: Caitlyn Jenner challenges Trump on transgender bathroom rights 'disaster': 'Call me'

DON'T MISS: Stephen Colbert slams Trump's new 'information source,' conspiracy theorist Alex Jones

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NOW WATCH: People on Twitter are mocking Trump's claim that his administration is a 'fined-tuned machine'

Getting excited for Nintendo's new game console? Maybe you haven't heard about it? It's called the Nintendo Switch, and it arrives in one week.

The Switch is a home console and a portable console all at once, like so:

Here's the quick and dirty:

• It's called Nintendo Switch.
• It's scheduled to launch on March 3.
• It starts at $299.
• Nintendo has a gaggle of games starring its most prominent creations in the works.

Even though the console doesn't arrive in stores for another week, Nintendo sent one over earlier this week. I've been using the Switch for 48 hours now — both as a home console and a portable — and I have a heap of stuff to tell you. Let's dig in.

SEE ALSO: Thinking about buying Nintendo's new console? Consider waiting.

DON'T MISS: Here's everything we know about Nintendo's new $300 console, the Switch

Thankfully, setup is quick and easy.

You don't even need to plug the Switch into the wall to set it up — you just need the console itself (the tablet) and a few minutes.

After switching on the console, it quickly boots to a simple setup that asks for stuff like your time zone, Wi-Fi information, and Nintendo Account name. Most of this stuff can be skipped, though, if you wanna jump right into a game.

You could do this from the home console version of the Switch, or you could do it in the portable version. It's clear that, right out of the box, the Switch is intended to be used both ways interchangeably.

If you decide to set up the Nintendo Switch dock, it has a great way of hiding cables.

After setting up the console while in portable mode, I moved on to the dock. Setting it up was as easy as setting up an Apple TV — one power cable (to the wall) and one HDMI cable (to the TV).

Best of all, the power cables are hidden away behind a plastic panel. If you place it carefully, you can set up the Switch dock in such a way that it hides your cables from public view altogether — the wireless future we've been waiting for, sort of.

The dock also enables wired internet connections, if you're into that kind of thing.

The dock has three USB ports on it, all of which can be used for charging various controllers. You can also plug in an Ethernet-to-USB adapter if you'd like to run wired internet to your Switch dock. (If your home has spotty Wi-Fi coverage, a wired connection can be more reliable.)

If that's your kind of thing, one of those three USB ports is in between the HDMI and power ports — which is to say, you can easily hide the Ethernet cable if you're trying to maintain the cable-free look. A nice touch, no doubt.

Bill Maher's comments defending a sexual relationship between a teacher and her male student have come back to haunt the "Real Time" host.

The comments are especially controversial after Maher defended his HBO show's booking of right-wing journalist Milo Yiannopoulos last week, then later claimed the credit for the man's downfall this week after a video surfaced of Yiannopoulos making comments appearing to condone sexual relations "between younger boys and older men."

The fallout over Yiannopoulos' comments included the Conservative Political Action Conference revoking his invitation to speak this week, the publisher Simon & Schuster pulling out of a planned book deal, and Yiannopoulos resigning as a senior editor at Breitbart News.

Maher has been criticized on social media for hypocrisy because of his previous comments about sex with minors.

Maher's statements originated during a 1998 segment on Maher's former show, "Politically Incorrect," on Comedy Central. In it, Maher defends the sexual relationship between Mary Kay Letourneau, a Seattle high school teacher, and her student, Vili Fualaau.

The relationship made national headlines, because the student was 12 years old when the relationship began and the teacher became pregnant with his child. After serving time in prison, Letourneau and Fualaau married in 2005.

In the segment, Maher said Letourneau was in prison "because she's in love."

He also said, ‘‘I admit that it’s unorthodox. She’s 35, the boy is 14. He was younger when they started. But she is pregnant again. That was the story this week. This is the second child by this boy. They are keeping the mother in jail, because she won’t conform to what society feels should be the perfect American family.’’

Maher also responded to one of his panelists who referred to what Letourneau did as "rape."

"How can a woman rape a man?" Maher said.

This isn't the only occurrence in which Maher defended adults who had sexual relationships with male minors. In a 2007 interview in Playboy magazine, he also defended another teacher who had a sexual relationship with her male student, in addition to Michael Jackson's alleged sexual relationships with young boys.

"I think it’s a little offbeat, but you know, I believe in the double standard. If a 28-year-old male teacher is screwing a 13-year-old girl, that’s a crime. But with Debra Lafave [another teacher who had a sexual relationship with her student] screwing her 14-year-old boy student, the crime is that we didn’t get it on videotape. Was he being taken advantage of? I wish I had been taken advantage of like that. What a memory she gave him. I would think he’s a champion among his friends. Are you kidding? Even with Michael Jackson."

When asked for a statement on Maher's 1998 comments, HBO told Business Insider, "Bill was not on HBO at that time."

"Real Time" debuted on HBO in 2003. When pressed further on the 2007 Playboy interview, HBO told us, "It makes sense to us that all comments should come from Bill."

Representatives for Maher didn't immediately respond to Business Insider's request for comment.

Editor's note: Milo Yiannopoulos has previously written columns published by Business Insider.

SEE ALSO: Bill Maher takes credit for conservative firebrand Milo Yiannopoulos' downfall: 'You're welcome'

DON'T MISS: Bill Maher fires back at journalist who's protesting his show over Milo Yiannopoulos booking

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NOW WATCH: 'F--- you for that': Milo Yiannopoulos attacks the media in a press conference after resigning from Breitbart

Tracy Morgan will make his return to stand-up comedy a Netflix affair.

Netflix announced on Friday that it will debut Morgan's first stand-up special since the 2014 traffic accident that nearly took his life. Titled "Staying Alive," the special was filmed at the Count Basie Theatre in New Jersey and will debut on the streaming service on Tuesday, May 16.

Here's Netflix's description of the special:

"Tracy Morgan’s 'Staying Alive' finds the comedy icon exploring his fresh take on life, career and mortality in the wake of surviving a devastating near-fatal traffic collision in 2014. From coping with a traumatic brain injury and learning to walk again to 'falling for' his physical therapist and deciding that maybe getting older isn’t such a bad thing, Morgan is back in true form and tackles the most trying time of his life with grace, strength and the jaw-droppingly hilarious point of view fans have grown to love."

Morgan got his start in 1996 on NBC's "Saturday Night Live." He also starred as the unpredictable Tracy Jordan for seven seasons on NBC comedy "30 Rock," which was inspired by "SNL." He has been nominated for two Emmys, one for "30 Rock" and another for hosting and guest-starring on "SNL" in 2016.

Currently, he can be seen in the movie "Fist Fight," and will next star in the Richard Pryor biopic "Richard Pryor: Is It Something I Said?" as celebrated comedian Redd Foxx. He'll also play the lead on an upcoming comedy series for TBS.

Netflix has been inking deals with big-name comedians for the past year. Morgan's special follows this week's news of a two-special deal with Louis C.K., and follows the estimated $100 million deal with Jerry Seinfeld for the next season of "Comedians in Cars Getting Coffee" and two original stand-up specials. Amy Schumer, Chris Rock, and David Chappelle also have specials heading to Netflix.

SEE ALSO: Louis C.K. is coming to Netflix with 2 new stand-up specials

DON'T MISS: Tracy Morgan says he forgives the truck driver who almost killed him

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NOW WATCH: Tracy Morgan's Lawyer Says The Comedian May Never Be The Same

Netflix wants a global car show to take on Amazon's "The Grand Tour" after losing a bid for that show, according to Bloomberg's Lucas Shaw.

Netflix has seen the success of "The Grand Tour," which features Jeremy Clarkson and the "Top Gear" team, and wants its own unscripted car series, probably with "multiple versions for different countries," Bloomberg reported, citing several people with knowledge of the matter.

This comes as Netflix is ramping up its reality programming, and plans to put out 20 unscripted shows in 2017. On Friday, Netflix released "Ultimate Beastmaster," its global game show where competitors take on an obstacle course called "The Beast."

"The Grand Tour" has been Amazon Prime Video's global calling card, as the service launched a massive expansion to more than 200 countries in December. The show cost Amazon a reported $250 million, and has resonated with subscribers so far, pulling in Amazon's biggest audience numbers to date.

In November, Netflix content boss Ted Sarandos said Netflix pursued the show but implied his company didn't think it was worth what Amazon paid.

"We made a play for that show, definitely," Sarandos said. "But we've had every season of 'Top Gear' on Netflix in most territories in the world, so we had a better sense than most of what the audience was for 'Top Gear' on our platform. We knew what it was worth."

But still, according to Bloomberg, Netflix is on the hunt for a blockbuster car show of its own.

SEE ALSO: Netflix says Amazon paid a whopping $250 million for its new Jeremy Clarkson show

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As TV networks plot to get a new generation of viewers hooked, YouTube stars are snagging “premium” TV deals like never before.

Many of these YouTuber-led shows are popping up on streaming services, from Netflix to Verizon’s Go90, but traditional stalwarts like HBO have also jumped into the game.

“We talk about it a lot in comedy development,” HBO EVP Amy Gravitt, who has developed original comedies like “Veep” and “Silicon Valley,” told Business Insider. “The YouTube web series has become the new stand-up showcase.”

Gravitt said that while she still hunts for talent at festivals, one-person shows, and stand-up nights, as digital video has developed, YouTube has become a fertile ground as well. It's a good place for identifying fresh voices.

That doesn’t mean every YouTube star can make the jump, even when given significant resources. For instance, a few of Netflix’s recent bets on social media stars, Miranda Sings and Vine star Cameron Dallas, haven't impressed its subscribers and critics.

But HBO scored a certified hit a few months ago with its new show “Insecure,” from YouTube breakout star Issa Rae. The show has garnered a whopping "100% fresh" score on reviews aggregator Rotten Tomatoes, and secured Rae a Golden Globe nomination.

A voice and a world

Why did HBO bet on Rae to have crossover success when other stars have floundered?

“Her voice is so strong and specific,” Gravitt said. “She shines as a performer, but she’s a phenomenal writer first and foremost.”

“Insecure,” which follows the life of an awkward-yet-charming woman turning 30 and still trying to figure out life and love, was never meant to be a straight adaptation of Rae’s hit YouTube series, “The Misadventures of Awkward Black Girl.” Rather, "Insecure" was meant to take many of the central ideas behind the web series, and Rae's voice, and turn it all into a premium TV show.

“Issa was the starting point, her voice and character,” Gravitt said. Even with that voice, it hadn’t been a simple jump for Rae from YouTube fame, which started in earnest in 2011, to TV. Rae had a few years of frustration in Hollywood, including having a potential ABC show with Shonda Rhimes killed, before “Insecure” premiered in 2016.

Gravitt said that one big key for the show's success on HBO was to build a fully realized world around Rae. A charismatic writer and actor, even one as talented as Rae, wouldn’t be enough to stop the show from falling flat on its face if it didn’t have the emotional scaffolding of authentic relationships. Supporting characters were vital in a way they might not have to be on YouTube.

In helping develop that world, and the relationships in it, Rae collaborated with Larry Wilmore, a comedy veteran who has been a force in many shows, including recently “The Daily Show” and “The Nightly Show with Larry Wilmore.” Wilmore was a creative sounding board in the initial stages of development, Gravitt said, and the original script came out of conversations between Rae and Wilmore.

‘‘I asked her what was going on in her life, what’s important to her, her sex life, what she thinks about, and we built the show out of that,’’ Wilmore told The New York Times. ‘‘She had the ideas for characters, and we created a world around them.”

But the initial version of “Insecure” is actually quite different from the season that drew rave reviews from critics, according to Gravitt. The biggest change was that “Insecure” initially revolved around the work life of Issa (the character), at “We Got Y’all,” a very white, though well-meaning, non-profit focused on education. But the central friendship between Issa and her best friend Molly just kept being referenced over and over, and eventually the team realized that was actually the heart of the show.

“The friendship is really refreshing,” Gravitt said. It’s not without conflict, but it’s comfortable, real, and supportive, she explained. “I miss my best friend from college when I watch the show,” she laughed.

In the end, though it was the unique voice of Rae that initially hooked HBO, it was the crafting of complex, loving, and fraught relationships that gave the show the juice it needed to be successful on premium TV. And for YouTubers seeking to spin a captivating personality into a lucrative show, it's a good thing to note.

SEE ALSO: Why the guy who wrote the new Wolverine movie says working with Netflix was actually his best experience

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Oscar voting ballots are already in, but with the awards on Sunday imminent, everyone seems to suddenly have a strong opinion about who's going to win, and perhaps more importantly, who should win.

This year, the tug of war that's emerged is between the movie musical "La La Land," which ties the record for the most Oscar nominations ever, and "Moonlight," a critically beloved and smaller indie drama about a black man in three parts of his life.

Basically every serious Oscar prognosticator has already put their money on "La La Land." Literally. The odds on betting sites overwhelmingly favor the Emma Stone and Ryan Gosling movie for best picture.

A critic at Slant Magazine may have put it best when he said, "As 'La La Land's' Oscar chances in each category are concerned, there are only three statuses to assign: all sewed up, highly probable, and Ryan Gosling." (Gosling is expected to lose in the best actor category to either Casey Affleck or Denzel Washington. It's the one area where the musical looks weak.)

Some people really, really hate 'La La Land'

Nevertheless, there is a considerable backlash to "La La Land," and it has serious detractors who all seemed to get louder than usual in the week leading up to the Oscars. (I should say I'm one of those people who has argued that "Moonlight" deserves best picture.)

The Guardian described the situation bleakly, in a piece with the headline, "'La La Land's' inevitable Oscars win is a disaster for Hollywood — and for us." Writer David Cox says the movie is a story of "narcissists" who are "humorless" and "insensitive."

Cox also calls out the movie for what he sees as "whitesplaining jazz" in Gosling's character, a musician who longs to open up his own jazz club. Paste Magazine similarly criticized the "unbearable whiteness" of "La La Land," picking apart its racial politics and emphasis on nostalgia.

Critic Sam Adams said on Twitter, perhaps ironically, that "if 'La La Land' wins the world will be plunged into a never-ending night from which it will never emerge." Others have chimed in on social media with their grumbles about the movie and its perceived frontrunner status at the Oscars.

The actor, writer, and director Mark Duplass even wrote an open letter to the Academy urging its voters to choose "Moonlight" and "think about what it would mean" if the film took home the big prize, clearly aware of its dark-horse status.

Why 'La La Land' is (almost) definitely going to win best picture

But there are some very simple reasons you can expect "La La Land" to win best picture on Sunday, whether you admire the movie, feel ambivalent about it, or think it's going to plunge us all into darkness.

Aside from having the record-tying number of nominations, it broke the record for wins at the Golden Globes, and has secured the most love from the important Producers Guild, Directors Guild, Screen Actors Guild, and other honors tracked by FiveThirtyEight.

The most likely upset is a win for "Moonlight," and it would certainly be a way for the Academy to respond to the #OscarsSoWhite conversation about a lack of diverse representation in the awards and Hollywood at large. "Moonlight" is also just a powerful, beautifully made movie about a specific black man's experience in a poor neighborhood of Miami that also happens to universally resonate.

You could theorize about other potential upsets, especially after "Spotlight," an early favorite at last year's awards, stole the thunder from "The Revenant," which gained steam later. Perhaps "Hidden Figures," the most crowd-pleasing nominee, as well as the highest-grossing in the US, or "Manchester by the Sea," which is about as depressing as movies get but (also about as moving), could get their due.

Yet "La La Land" has been tracking as the favorite for all of award season, and that's for good reason.

The simplest answer for why "La La Land" will win is that it's a platonic Oscar movie. It checks the boxes that have made for best picture winners time and time again: It's a stylish musical (think "Chicago") that, thanks to its retro styling, takes us into the past ("Argo," "The King's Speech"), and pokes fun at Hollywood while also fundamentally flattering the town's idea of itself at its most artistically ambitious ("Argo," "Birdman," "The Artist").

That nostalgia and love of Hollywood from its own insiders seems especially potent these days, when people question the studios' current business model and reliance on franchises and sequels full of spectacle. Hollywood still wants to sell the best version of itself, and this year it'll do that by crowning "La La Land," an original, LA-set musical that's in love with movies of the past, cinematic strivers of today, and, some would argue, its own directorial flashiness.

If you were hoping the Oscars would get a little more real than that, expect to be disappointed.

SEE ALSO: The 10 worst movies to win the best picture Oscar — and what should have won

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The man who made offers others couldn't refuse once refused the movie industry's heftiest honor.

On March 5, 1973, Marlon Brando declined the best actor Academy Award for his gut-wrenching performance as Vito Corleone in "The Godfather." He did so for a very unexpected reason.

In the 1960s, Brando's career had slid into decline. His previous two movies — the famously over-budget "One-Eyed Jacks" and "Mutiny on the Bounty" — tanked at the box office. Some critics said "Mutiny" marked the end of Hollywood's golden age, and worse still, rumors of Brando's unruly behavior on set turned him into one of the least desirable actors to work with in some ways.

Brando's career needed saving. "The Godfather" was his defibrillator.

In the epic portrayal of a 1940s New York Mafia family directed by Francis Ford Coppola, Brando plays the patriarch, the original Don. Though the film follows his son Michael (played by Al Pacino), Vito Corleone is its spine. A ruthless, violent criminal, he loves and protects the family by any means necessary. It's the warmth of his humanity that makes him indestructible — a paradox shaped by Brando's remarkable performance.

"The Godfather" grossed nearly $135 million nationwide, and is heralded as one of the greatest films of all time. Pinned against pinnacles of the silver screen— Michael Caine, Laurence Olivier, and Peter O'Toole — Brando was favored to win Best Actor.

On the eve of the 45th Academy Awards, Brando announced that he would boycott the ceremony and send little-known actress Sacheen Littlefeather in his place. She was president of the National Native American Affirmative Image Committee.

On the evening of March 5, when Liv Ullman and Roger Moore read out the name of the best actor award recipient, neither presenter parted their lips in a smile. Their gaze fell on a woman in Apache dress, whose long, dark hair bobbed against her shoulders as she climbed the stairs.

Moore extended the award to Littlefeather, who waved it away with an open palm. She set a letter down on the podium, introduced herself, and said:

"I'm representing Marlon Brando this evening and he has asked me to tell you ... that he very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry —"

The crowd booed. Littlefeather looked down and said "excuse me." Others in the audience began to clap, cheering her on. She continued only briefly, to "beg" that her appearance was not an intrusion and that they will "meet with love and generosity" in the future.

Watch the scene unfold:

Why he did it

In 1973, Native Americans had "virtually no representation in the film industry and were primarily used as extras," Native American studies scholar Dina Gilio-Whitaker wrote in a blog post on About.com. "Leading roles depicting Indians in several generations of Westerns were almost always given to white actors."

But they weren't just neglected or replaced in film; they were disrespected — a realization that hurt Brando's perception of the film industry.

The following day, The New York Times printed the entirety of his statement— which Littlefeather was unable to read in full because of "time restraints." Brando expressed support for the American Indian Movement and referenced the ongoing situation at Wounded Knee, where a team of 200 Oglala Lakota activists had occupied a tiny South Dakota town the previous month and was currently under siege by US military forces. He wrote:

"The motion picture community has been as responsible as any for degrading the Indian and making a mockery of his character, describing him as savage, hostile, and evil. It's hard enough for children to grow up in this world. When Indian children ... see their race depicted as they are in films, their minds become injured in ways we can never know."

A tsunami of criticism toppled over Brando and Littlefeather following the Oscars, from peers in the industry and the media.

Still, Brando lent the Native American community a rare opportunity to raise awareness of their fight in front of 85 million viewers, leveraging an entertainment platform for political justice in unprecedented fashion. His controversial rejection of the award (which no winner has repeated since) remains one of the most powerful moments in Oscar history.

SEE ALSO: Here's who's most likely to win at the 2017 Oscars on Sunday night

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NOW WATCH: 'Hollywood is known for being far to the left': Sean Spicer talks about Trump's plans during the Oscars

The Oscars honor moving performances and the highest acheivements in the film industry. But the ceremony itself? Never perfect, nor even close to it.

The comedic writing for the show often seems to falter, even with a good host, or hosts who seem good in theory (see: Anne Hathaway and James Franco).

Since the Oscar ceremony is brought to our living rooms as a live telecast, mistakes are bound to happen. Celebrites are people, too after all. 

Throughout the Oscars' 88-year history (coming up on 89), there have been plenty of uncomfortable, weird, and just offensive moments that made everyone at home and at the ceremony itself feel very awkward. 

Here are the most awkward moments throughout Oscar history:

SEE ALSO: Hollywood stars who rejected their Oscars

"Adele Dazeem"

In 2014, John Travolta introduced legendary singer Idina Menzel’s performance of “Let It Go” from "Frozen." For some reason, he called her "Adele Dazeem" with a weird accent. It immediately spawned many, many jokes on social media. A year later, Travolta and Dazeem — ahem, Menzel — presented together as a joke, and he kept touching her face. 

Jennifer Lawrence's fall

At the 2013 Oscars, Jennifer Lawrence got her first win for best actress for “Silver Linings Playbook." Dressed in a white and wide Dior gown, she tripped on her way up to the stage. In an act of notable chivalry, Hugh Jackman popped up from his seat to assist her, as did the presenter, best actor winner Jean Dujardin ("The Artist").

When she got a standing ovation, Lawrence joked that people were only doing it because they felt bad that she fell.

Seth Macfarlane 'saw your boobs'

Seth Macfarlane hosted the Oscars in 2013 and got a generally terrible reception from Hollywood and viewers across the country. The New Yorker called it a “hostile, ugly, sexist night.” 

Macfarlane opened the ceremony with a song called "We Saw Your Boobs," which called out actresses in the audience who had shown their boobs in movies. The whole bit demeaned serious actresses for serious roles in serious movies (some of the movies he pointed out involved rape scenes), just because they happened to be topless at some point.

Hollywood hitmaker Judd Apatow says that changes in technology affect the way we watch movies and TV shows, but that some aspects simply aren't productive to think about if you’re actually the one making them.

For more than a decade, Apatow has been behind many of comedy’s biggest success stories, including movies like “The 40-Year-Old Virgin,” “Knocked Up,” and “Bridesmaids.” And, recently, he has seen firsthand the industry change brought on by the rise of streaming services like Netflix, where he has a show called “Love,” which will premiere its second season in March.

But Apatow doesn’t let the way people consume video — either on TVs or laptops or phones — affect the way he works, he told Business Insider this week at an event promoting “Crashing,” his new HBO show.

You can’t think about that “the way you can’t think about whether your joke will land in another country,” he said. And that's coming from someone whose Netflix show "Love" is released simultaneously to customers all over the world. Sure, whether a joke will land in a particular place might have an effect, in some tangential way, but it’s not productive for the creative process to dwell on it.

What Apatow does think about a lot is the increased prevalence of binge-watching, and how that changes the way people experience shows. He said he assumes many people will watch an entire comedy TV show in a couple of sittings, not an episode a week. This is especially true of “Love,” but also of TV shows generally, he said. In a stand-up set later in the night, Apatow referenced how his daughter ropes him into binge-watching entire old shows that ran for years and years, refusing to move onto a new show until she's finished the whole gargantuan undertaking.

Apatow also confirmed that Netflix, ever-secretive about its data, doesn’t tell him how many people are watching "Love."

Here’s the pilot for Apatow’s new HBO show, which premiered Sunday:

SEE ALSO: A Hollywood veteran behind the new Wolverine movie says he likes working with Netflix the best

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NOW WATCH: 'Raindrops, drop tops': Alex Trebek raps the No. 1 hit 'Bad and Boujee'

The 89th annual Academy Awards will take place Sunday, February 26. The "Everyone Wins" nominee gift bag is not affiliated with the Academy Awards, but entertainment-marketing company Distinctive Assets has independently provided Oscar nominees with gifts ahead of the big night for the past 15 years.

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After years of waiting, Nintendo finally has a new video game console on the way: the Nintendo Switch.

It's a hybrid console — you can play it at home on your living room television, or you can take it on the go. Here are the basics:

• It's called Nintendo Switch.
• It's scheduled to launch on March 3.
• It starts at $300.
• Nintendo has a gaggle of games starring its most prominent creations in the works.

There is, of course, much more to the Switch than that. We've finally got our hands on one, and have lots of to tell you. Here's everything we know about the Nintendo Switch:

SEE ALSO: I spent 48 hours with Nintendo's new game console, the Switch — here's what it's like

This is everything that comes in the $299 package.

Here's what's in the box:

• A Switch tablet — the console itself is the tablet.

• A set of Joy-Con controllers.

• The Switch dock, for connecting to your TV.

• The Joy-Con dock/gamepad.

• Two wrist straps for making sure you don't lose the Joy-Con while playing a motion game.

• Two cables (power and HDMI).

There are two bundles that each cost $300. One has a blue and a red Joy-Con, and the other has two gray ones.

Here's a good look at the Nintendo Switch dock and the Joy-Con Grip gamepad.

What you see above is exactly what'll come in the box when Nintendo Switch arrives on March, 3: the Nintendo Switch dock, the tablet-like console, and a home gamepad with the detachable Joy-Con in tow.

Notably, the controller is called the Joy-Con Grip. Since you can detach each of the Joy-Con bits and attach them to the Switch tablet, the Grip turns the Joy-Con into a more traditional gamepad. Unfortunately, the Joy-Con Grip that comes with the Switch isn't capable of charging the Joy-Con — you need to re-connect them to the Switch tablet while it's docked to charge the Joy-Con.

Of note: Everything in the package is also sold separately. Want another dock? You can buy one. Need just a left Joy-Con? Can do. Nintendo breaks it all down on its site.

Jordan Peele is a horror fanatic. That may come as a shock to some who only know him as half of the duo behind the Comedy Central series "Key & Peele," alongside Keegan-Michael Key, but Peele is showing off his darker side in his directorial debut, "Get Out" (in theaters Friday) — and it's quite impressive.

In exploring the perennial issue of racial division in America, Peele combines "Rosemary's Baby" and "Guess Who's Coming to Dinner" to deliver a chilling look at a black man named Chris (Daniel Kaluuya) visiting his white girlfriend's (Allison Williams) parents for the first time. Peele, who also wrote the film's screenplay, creates a creeping send of paranoia and dread around racial politics, which spirals into full-fledged horror that's not short on scares or gore. And the movie and its social message will stay with you long after you leave the theater.

Peele talked to Business Insider about the challenges that came with directing, why the movie is even more important now that Donald Trump is president, and his plan to make more "social thrillers."    

Jason Guerrasio: What were the motivations behind writing this?

Jordan Peele: I wanted to become a better writer. This movie, among others that I've been working on, are really total passion projects and this one rose to the surface early as one that could fill a gap in the genre.

Guerrasio: How far back was this?

Peele: It was around when Obama was running for office. With him and Hillary Clinton going head-to-head for the Democratic nomination, I was thinking of the gender and racial civil rights movements in terms of one another. That's what opened my mind, because with "The Stepford Wives" and "Rosemary's Baby," films that successfully tackle gender politics and do it in an entertaining way, I was validated that there was a way to tackle race and horror in a similar way.

Guerrasio: For you, is it story first, or while writing are you also thinking about how you can shoot certain sequences?

Peele: First of all, with a horror movie, you want to know where the engine of the fear is coming from. Like in comedy, you want to know what the engine that's going to make the comedy — where that's coming from. So for me that started with the feeling of being the outsider. The fear of being the outsider, the fear of being the other. That was the first part. As it evolved, it became more apparent that race was the real fear here. And that was what the movie had to be about.

Guerrasio: So early on you were dancing with the idea of race being in the story and then it just kind of became the main theme?

Peele: Yeah. In a way it starts with images and moments that I know are bubbling to the surface, just cinematic instincts. The reason it takes a long time is you have to weave together and find meaning in the images your subconscious is presenting. And pretty quickly I realized that the discussion of racism and horror was what was missing, and what my own personal demons are about.

Guerrasio: Was the party scene in the movie, that feeling of all eyes turning to you, one of those early images?

Peele: I once had a nightmare where I was going through the lobby of a bank and I turn the corner into the area where the elevator is and everybody that had been walking around bustling in the bank lobby — you just hear their voices stop. And the energy of the voices stops. And the energy of them moving stops. I tiptoe back around the corner facing the lobby. Everyone that was paying me no mind is facing me, and standing there. It was such a powerful, creepy image, and I use it in this movie.

Guerrasio: I talked to Terry Crews once and he told me he used to get scared when he was the only black person in a bank.

Peele: [Laughs] It's no joke. There's something in the collective subconscious going on there. And there's something unique about the black experience in that way. Well, I guess it's not unique to black experience — other minorities face it. The fear that you'll be viewed as the thief or the outsider. You will be the target of scapegoating. It's very real. And makes perfect sense, why Terry and I are afraid of the bank.

Guerrasio: I would think both of you should feel good going into banks now. What was the bigger roadblock, the subject matter or getting a big name attached to the project?

Peele: I was probably the biggest roadblock. I didn't think it could get made because of the subject matter. But when I sat down at QC Entertainment, I had a general meeting and I was like, "Look, let me tell you about this movie premise I have that's never gonna get made but let me just give you an idea of the type of things I want to do." And at the end of that meeting, he wanted to make the movie. I think I developed the idea and the script enough that some people in Hollywood got it. He got it, Blumhouse [Productions] expressed interest shortly after, and they really got it. And they were the perfect match. There were other places that didn't get it.

Guerrasio: I had assumed you probably directed some "Key & Peele" episodes, but this movie is your first credit as a director, ever. Were there times where this got overwhelming?

Peele: Absolutely. There were times, especially during production, where there are some do-or-die decisions that need to be made. There are things that come up that you really have to — just some big cannonballs you have to dodge, basically. But thanks to my experience at "Key & Peele," knowing how production works, learning from Peter Atencio who did direct the vast majority of "Key & Peele" — that was just invaluable for me to learn how to do it.

Guerrasio: Give me an example of one of those cannonballs. 

Peele: The idea is problems are going to arise. And you have to figure out how to maintain the vision and avoid that problem, or change something big to keep the continuity of the vision. We were going to shoot this movie here in Los Angeles until about a month before we were set to shoot, and then I got a call saying we had to figure out someplace else for tax reasons [eds note: filming took place in Alabama].

Guerrasio: That's a gigantic curveball.

Peele: A gigantic curveball, and a real lesson that sometimes blessings come in strange packages. Because I think the movie is what it's meant to be. I think it might be a better movie than we would've done in here in LA. Also just a big lesson that you can get past the insurmountable.

Guerrasio: You've mentioned "Rosemary's Baby" and "The Stepford Wives." Having now directed a movie, can any of those reference points help at all while you're actually directing?

Peele: Absolutely. This was made out of my influences, really. You find the moments where something's coming from your subconscious and you have to build a story around your dreams and the things that hit you in the gut. But in the execution of those things, I'm basically speaking in terms of all my favorite movies.

Guerrasio: Did "Get Out" change at all through things that happened in the country in the last handful of years? Whether it be Ferguson or Trayvon Martin or even the Trump election? Did suddenly a line make more sense or a sequence make more sense than it did before?

Peele: The whole movie's purpose, a little bit. In the beginning, we're in the Obama presidency and race was not supposed to be discussed. It was almost like, if you talk about race, it will appear and we're past that now. So the movie was about calling it as I was seeing it, in that regard. With the emergence of Black Lives Matter and the discussion becoming focused on the police violence, when the country got more woke, this movie's purpose transformed into something that was meant to provide a hero and release from all the real horrors of the world.

Guerrasio: Was anything added after Trump was elected? Or was it just a feeling that the movie was now going to mean something more?

Peele: A little more of the latter. I knew I made something universal and I just think it's more relevant now as the need for racial discussion is more obvious now. What people are willing to engage with — especially if it brings a little escapism at the same time.

Guerrasio: Now it's just even more interesting.

Peele: The conversation is happening. Which I think is difficult, but a good thing. I think it's more healthy for us than the other version, which is let's ignore it all.

Guerrasio: Your wife is comedian Chelsea Peretti, who is white. Was she a good sounding board for this? Did she throw in a joke or a line here or there?

Peele: I wrote it before I met her, really. But I was dating her during the process.

Guerrasio: That must have been an interesting topic to bring up when you guys started dating. By the way, I have this script about...

Peele: [Laughs] Yeah. But she loves this film and she really gets it and gets a devilish kick out of it. Anything I do, creative or otherwise, she's a perfect sounding board. Which is one of the reasons we're a great couple. We both have our own projects and we both really root for each other and trust each other's opinion.

Guerrasio: But can you come to each other with an objective opinion?

Peele: Yeah, we have total trust that there's no ego attached to each other's opinion. She'll tell me if something, she won't be rude, but I can tell if she doesn't like something. Or if she's not into something I've done. She's the perfect sounding board.

Guerrasio: Did the comic relief just come naturally in the writing? Specifically Chris' friend, Rod (LilRel Howery).

Peele: Yeah. I think first and foremost the Rod character is a release for the audience. Because he's kind of realistic. He's saying the things that we're mumbling as an audience. He feels like a real friend and it makes sense that somebody with his conspiracy-theory brain would zone in on something being wrong here before even Chris does.

Guerrasio: What are your future plans for directing? Could you fathom a sequel?

Peele: I can fathom anything, man. I love biting off more than I can chew and figuring it out. I have four other social thrillers that I want to unveil in the next decade.

Guerrasio: What's the biggest takeaway from this experience that you will hold onto when you direct again?

Peele: You hear it said time and time again by successful directors: You have to make a movie for yourself. Don't make it for anyone else. My style of filmmaking happens to be give the audience what they know they don't want, but they want. Ultimately I have to write and direct in a way that let's just say, you don't want to regret making a choice.

Guerrasio: Can you tease at all what you have in store for us with these other social thrillers?

Peele: I'll say this: The scariest monster in the world is human beings and what we are capable of, especially when we get together. I'm working on these premises about these different social demons. These innately human monsters that have been woven into the fabric of how we think and how we interact. Each one of my movies is going to be about one of these different social demons. The first one being "Get Out," is about race and neglect and marginalization.

SEE ALSO: How a movie about black NASA heroes became the crowd-pleasing Oscar contender of the year

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NOW WATCH: Everything you need to know about 'American Gods' — a TV show that could be bigger than 'Game of Thrones'

Today, actors have become very proud of going back and forth between roles in movies and television.

But that hasn't always been the case.

For most of Hollywood's history, there has been a pretty deep divide between television actors and movie stars. There was no shame in getting one's start in TV. But once one made the leap to movies, most never looked back.

As Oscar-winner and star of FX's"The People v. O.J. Simpson: American Crime Story," Cuba Gooding, Jr. told Business Insider, "When I started in the business, you did television and then when you got lucky you got a prestige project of a film."

Many of today's biggest movie stars followed that same career path, so we decided to take a look at the early careers of several recent Oscar nominees – from Casey Affleck to Jennifer Lawrence and Emma Stone – for their earliest TV gigs.

Here's a look at the small screen roles that started their Hollywood journey:

SEE ALSO: The most popular TV shows based on how much money you make

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Ruth Negga first made waves on the Irish drama, "Love Is the Drug," in 2004.

"Loving" actress Ruth Negga has been mistaken for British. Actually, her mother is Irish and her father is Ethiopian. Negga was raised in Ireland and later moved to Britain. Her first big role was on the celebrated Irish drama, "Love Is the Drug." In 2005, the series about finding and losing love won Ireland's top TV award for drama.

Casey Affleck was in the 1990 miniseries "The Kennedys of Massachusetts."

Before the "Manchester by the Sea" actor was known for being part of the Hollywood Affleck dynasty, Casey Affleck played the role of young Robert Kennedy in the ABC miniseries about the family that's closest to American royalty, "The Kennedys of Massachusetts."

Watch Affleck as Bobby Kennedy in the clip below:

Saoirse Ronan was on a few episodes of "The Clinic" in 2003.

Although Saoirse Ronan was born in New York City, the Oscar nominee for "Brooklyn" and "Atonement" moved with her parents to Ireland at age three. Six years later, Ronan appeared on a few episodes of one of the country's most popular dramas, "The Clinic," in 2003.

Watch her in a scene from "The Clinic" below:

Some of the stars up for Oscars on Sunday night will lose, but they'll still come away with six figures worth of free stuff.

The "swag bag" given to Oscar nominees has become a regular part of the awards for years now. The company Distinctive Assets puts together "Everyone Wins" bags for major nominees in the best actor, best actress, best supporting actor, best supporting actress, and best director categories.

The items for the 2017 Oscar nominees total over $100,000 in value and include a wide assortment of both luxury and everyday products — from destination trips to ChapStick. Plus chocolates, jewelry, skin cream, and the more uncommon products like a pelvic exercise tracker and a vaporizer.

So Emma Stone, Viola Davis, Natalie Portman, Ryan Gosling, Damien Chazelle, and more have a lot to look through in their haul this year.

Distinctive Assets sent Business Insider some of the items from this year's bag for a look inside.

Here's everything we checked out in the 2017 "Everyone Wins" gift bag that Oscar nominees will take home:

SEE ALSO: 26 stars who shockingly still don't have Oscars

The "gift bag" we got was actually delivered as a box... a really, really big box.

It has a lot in it.

The Haze vaporizer ($249.99) is a staple of the gift bag, combining portability and options.

Jordan Peele's directorial debut, "Get Out," lived up to its 100% rating on Rotten Tomatoes with an estimated $30.5 million at the domestic box office to win the weekend, according to The Hollywood Reporter.

It's the latest Universal release of a Blumhouse Productions horror to win the box office this year, the last was just a month ago with the hugely successful M. Night Shyamalan movie "Split."

But "Get Out" looks to be doing even better than "Split" out of the gate.

After already making back the $4.5 million production budget of "Get Out" with its $10.8 million ($1.8 million in Thursday preview screenings) opening day, the movie then took in close to $13 million on Saturday, that's a 13% Friday-Saturday jump in sales compared to what "Split" did its first two days in theaters.

"Split" has made close to $200 million worldwide (it was only made for $9 million), but for the rave reviews "Get Out" has received it will be a tougher climb for this thriller to pile on the dough in the coming weeks with stiffer competition like "Logan" and "Kong: Skull Island" on the horizon.

Regardless, it's pretty likely with this monster opening for "Get Out" the other social thrillers Jordan Peele wants to make will be on the fast track.

SEE ALSO: Jordan Peele explains why his horror movie about racism is what we need in the Trump era

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NOW WATCH: 'Raindrops, drop tops': Alex Trebek raps the No. 1 hit 'Bad and Boujee'