Matthew Perry once beat up Canadian Prime Minister Justin Trudeau, but the "Friends" star said he's "not proud" of it.

The incident occurred when Perry was in 5th grade and Trudeau was a few years younger than him.

"I have a story about him that I’m not proud of,” said Perry, who is half Canadian, on Wednesday's episode of ABC's "Jimmy Kimmel Live."

"My friend Chris Murray, who was also in the fifth grade, reminded me that we actually beat up Justin Trudeau. We both beat him up."

Perry said that he and Murray did it out of "pure jealousy," because Trudeau "was excelling in a sport" that neither of the older boys did.

“His dad was the prime minister,” Perry said before pointing out that Trudeau had no security at the time and agreeing with the host that no one would get away with bullying President Donald Trump's youngest son, Barron Trump.

“I don’t think that’s the reason we beat him up," Perry continued. "I think he was the only kid in school we could beat up. I’m not bragging about it. It was terrible. I was a stupid kid. I didn’t want to beat him up. In fact, I think at one point I tried to turn it into love play.”

After Perry and Kimmel agreed on Trudeau's good looks, the actor explained why he believes the fight could have propelled Trudeau to his current position.

"I think it was instrumental in him going to such great heights and becoming the prime minister," Perry said. "I think he said, ‘I’m going to rise above this, and I’m going to become prime minister.'"

Watch the video below:

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Netflix will replace its five-star rating system with a "thumbs up, thumbs down" one in the coming weeks, the company told reporters Thursday.

Last January, Netflix CPO Neil Hunt told Business Insider that Netflix wanted to do away with the stars, since it considered them a poor method of understanding what shows and movies people liked.

The problem, Hunt said at the time, is that people subconsciously try to be critics. When they rate a movie or show from one to five stars, they fall into trying to objectively assess the “quality,” instead of basing the stars on how much “enjoyment” they got out of it.

Here's an example. Let's say you had fun watching a crappy movie, but still gave it a two-star rating because you know it's not a "good" film. That presents Netflix with a problem. The system thinks you hated the movie.

Hunt told Business Insider that the two methods Netflix was tinkering with were a simple “like/dislike signal” and some form of “percent match.”

Now, according to Netflix VP of product Tod Yellin, they will introduce both. (Netflix confirmed this to Business Insider.)

For ratings, you'll have the option for thumbs-up or thumbs-down, which Yellin said yielded 200% more ratings than stars. Shows will also display a match rating, which will show how closely it aligns with a user's taste. Shows with less than a 50% match won't have the percentage shown, according to Variety.

SEE ALSO: Netflix just launched in 130 more countries, and the stock is soaring

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NOW WATCH: Cable channels are speeding up 'Seinfeld' reruns to squeeze in more commercials

Nintendo's new hybrid video game console, the Switch, is available now. You can buy one today — this minute! — if you can find one.

Alongside the new console, Nintendo's got a handful of games for you to play.

But let's be real here — you're buying Switch for "The Legend of Zelda: Breath of the Wild," right? The gorgeous new "Zelda" game that's being heralded by critics as an instant classic?

That's totally reasonable. It's a very, very good game! But after you're through exploring the massive kingdom of Hyrule, you'll likely want something else to play on the $300 console you bought. 

And that's what we've got below: options! Though the Switch's game lineup right now is a bit on the light side, there's still a mess of great stuff to play. Check it out:

SEE ALSO: The 5 best reasons you should buy a Nintendo Switch

DONT' MISS: 20 tips and tricks for conquering the fantastic and surprisingly challenging new 'Zelda' game

1. "Snipperclips"

Aside from having a goofy name, "Snipperclips" is a charming two-player game that utilizes the Nintendo Switch gamepad — the "Joy-Con" — in a smart way.  

Each player gets one Joy-Con, and you use them as miniature gamepads (held sideways) to control one of two aggressively-silly characters on screen. You can "cut" each of the two characters into various shapes, which can then be used to solve whatever puzzle is in front of you. I've found it to be the perfect foil to the hours-long single-player experience in "Breath of the Wild" — quick bursts of fun co-op gameplay as compared to lengthy play sessions, alone, in "Breath of the Wild."

Perhaps best of all, it's just $19.99. 

Price: $19.99

2. "Fast RMX"

Similarly with "Snipperclips," the futuristic arcade-style racing game "Fast RMX" provides a much-needed alternative to "Zelda." On a console otherwise bereft of high-speed racing games, "Fast RMX" stands out as a great racer that evokes nostalgia for the days of "F-Zero" on the SNES, "Wipeout" on the original PlayStation, and even some light touches of "Mario Kart" thrown in for good measure. It's also a stark graphical showcase for the notably tiny Switch console.

Price: $19.99

3. "Shovel Knight: Specter of Torment" / "Shovel Knight: Treasure Trove"

When "Shovel Knight" originally launched in 2014, it received wide acclaim for being a ridiculously fun update to a formula popularized in the 16-bit era by games like "Castlevania." Since that initial launch, the game has spawned countless ports — it's on everything, from the Nintendo Wii U to Amazon's Fire TV — and even a few sequels. 

On the Switch, you have two different options for "Shovel Knight" — the $9.99 standalone sequel, named "Specter of Torment," or the $24.99 bundle, which includes the original "Shovel Knight," as well as "Plague of Shadows" and "Specter of Torment." Both are good options, though if you've played "Shovel Knight" before, you're probably just looking for the new sequel.  

Price: $9.99 / $24.99

Arguably, Netflix's fourth Marvel series, "Iron Fist," was the streaming company's most highly anticipated of the franchise. Under great scrutiny from critics and fans, the series definitely falls short of great promises made by both Netflix and Marvel.

"Iron Fist" follows Danny Rand (Finn Jones), who returns to New York City after having gone missing for 15 years. Believed dead after a plane accident that claimed his wealthy parents' lives, Danny actually survived and was rescued by a mystical sect of monks. Schooled in kung fu and entrusted with the power of the invincible iron fist, Danny is back to reclaim his family company. But he has to choose between his familial obligations and his duties as the Iron Fist when a dangerous threat arrives.

Not only is it the last series in the Netflix-Marvel deal leading up to the superhero mash-up series, "The Defenders," but the martial-arts focus of "Iron Fist" has drawn attention among some who believe the title character should have been played by an Asian actor. The show's star, Finn Jones, even temporarily left Twitter after a conflict with one such critic who accused the actor of hypocrisy after he tweeted his support of Riz Ahmed's comments about the importance of diverse representation in entertainment.

To be clear, the source material for "Iron Fist" has always portrayed the character as a white male — one who was adopted by a secret order of Asian monks, but white all the same.

It's one thing (and pretty egregious, in my opinion) to cast a white actor in a role meant for a person of color, but it's another thing to blame a production for simply sticking to the script. Yes, it's progressive to cast people of color in roles originally written for white actors, but I don't think Marvel and Netflix should be held on charges of whitewashing for casting Jones and following the comic book that debuted in the 1970s. Even if appropriation of Asian culture was involved in the original work, Marvel and Netflix shouldn't be held primarily responsible for righting that wrong now.

But there are other crimes that Netflix and Marvel should be tried for in the execution of "Iron Fist," for which I believe they're directly responsible.

First, it doesn't live up to the quality of storytelling found in "Daredevil," "Jessica Jones," and "Luke Cage." Plainly stated, "Iron Fist" is boring.

For the first six episodes shown to critics, the show takes up a lot of time with Danny trying to legally prove his identity and claim his 51% of his family's company against pretty outrageous challenges from the children of his father's business partner, Harold and Joy Meachum (played by David Wenham and Jessica Stroup, respectively). There's a twist that supposedly ups the villain ante but it really falls limp compared to Jessica Jones' (Krysten Ritter) frightening bouts with Kilgrave (David Tennant) or Daredevil's (Charlie Cox) bloody and complicated feud with Punisher (Jon Bernthal).

Second, Marvel's greatest crime arrived when its TV head Jeph Loeb dubbed "Iron Fist" its first real martial-arts action show.

"Don’t make any mistake about it, this is Marvel’s foray into martial-arts films," Loeb told Collider last year of "Iron Fist," "and when he opens up a can of whoop-ass, people are going to be super-super excited by what’s happening.”

The fight scenes in "Iron Fist" are really tired. And that's just in comparison to the other three Netflix-Marvel shows. "Iron Fist" comes nowhere close to the thrilling fighting on AMC's "Into the Badlands," which really sets the standard for TV series featuring martial arts.

But let's keep "Iron Fist's" fight scenes in the context of the Marvel TV universe: Compare the franchise's hallway fight scenes, executed best on both seasons of "Daredevil," to a similar scene in "Iron Fist," which features Danny fighting off hired goons attacking Joy Meachum and culminates in the tight constraints of an elevator. You'll understand what I'm talking about it.

Finally, when a show and a character are named after a great weapon, you'd expect to be blown away when it's finally unleashed. Not only is the special-effects golden glow around Danny's hand when he powers up subpar, but the fist is primarily used best for creating doors where ones don't exist and has very little impact on Danny's fight scenes. It does have some sort of specific purpose against its intended enemy, so maybe that's the moment when the weapon gets to really shine.

There are aspects of the show that do glow in a good way. Jones' physical presence and unkempt, bohemian style are perfect for non-fighting Danny, who was also trained in meditation and harnessing his chi. He's set apart from his slick former friends-turned-capitalist foes. Also, Jessica Henwick as Colleen, the principled and badass master of a struggling karate dojo, community leader, and potential love interest for Danny is a standout new character. I'm told she's in production on "The Defenders" right now, which is a smart move. And finally, Carrie-Ann Moss and Rosario Dawson reprise their roles as corporate attorney Jeryn Hogarth and tough-as-nails nurse Claire Temple, respectively, both finding a way to pop in their scenes, despite the show's flat writing.

Marvel and Netflix may feel like "Iron Fist" is under attack right now, but wait until the fans get to see it for themselves on Friday, March 17.

Watch the trailer for "Iron Fist" below:

SEE ALSO: 'Daredevil' star Charlie Cox breaks down the season-2 fight scene everyone's talking about

DON'T MISS: How 'Into the Badlands' pulls off its incredible martial arts fighting scenes

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NOW WATCH: Watch the trailer for Netflix's new $90 million fantasy-thriller starring Will Smith

On Thursday, CBS Sports learned an important lesson: Do not get between procrastinators and their March Madness brackets.

At around 11 a.m. Thursday, the CBSSports.com site that many use to fill out their brackets went down, likely because it was overloaded with everyone trying to get in their last-second picks. CBS Sports told The New York Post that the “service was down due to overwhelming demand.”

The timing was particularly awful given that the first game started at 12:15 p.m., by which time the site still wasn't back up.

That means thousands of people got shut out, and they were not pleased. Downdetector saw “CBSSports.com complaints” rise to over 2,000 per 15 minutes, The New York Post reported.

Here's the graph:

In the hours following the outage, an angry hoops-loving mob descended on Twitter to decry the situation.

"@CBSSports absolutely sucks!!" wrote one Twitter user. "Had my bracket all ready to go/submit and the d--- server crashed! Now I'm out money and have a blank bracket!"

"@CBSSports your bracket challenge and website have been an absolute nightmare this week. Not to mention today's crash. Unacceptable," wrote another.

"@CBSSports That's no good, I have Notre Dame winning. Oh wait, no I don't. Because your site was down and I couldn't enter my bracket," joked a third.

In fairness to CBS, however, those people's brackets likely would have been busted already.

SEE ALSO: Netflix will kill its 5-star rating system in favor of 'thumbs-up, thumbs-down' — here's why

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NOW WATCH: 'CALM DOWN': Watch Sean Spicer spar with reporters over Trump's wiretap claims

Kal Penn recently shared some old, cringe-worthy scripts on Twitter from his early acting days. Quite a few of these roles were stereotypes that encouraged him to use an "authentic" accent, which, according to Penn, usually meant sounding like Apu from "The Simpsons." 

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Seth Meyers took a swipe at President Donald Trump for following up several recent setbacks with a highly controversial budget proposal on the most recent edition of "A Closer Look."

"This week, we've seen Donald Trump's latest travel ban blocked yet again by a judge, his health care bill start to fall apart, and his wiretapping claims debunked," the host said on Thursday's episode of NBC's "Late Night." "And now on top of all that, he unveiled a drastic new budget plan that slashes anti-poverty programs."

Trump presented his budget proposal on Thursday, which quickly found opposition for its cuts in federal funding to the Environmental Protection Agency, the National Endowment for the Arts, public media such NPR and PBS, and social service programs, including Meals on Wheels.

"Donald Trump, I understand you won. And because you won, you get to suggest cuts to the budget," Meyers said, before acknowledging that cuts to the EPA and NEA were to be expected.

"But Meals on Wheels?" he continued. "How dead inside do you have to be to not want old people to get food? Your heart is so small, it makes your tiny hands look like catcher mitts. Old people voted for you. Your key demographics were old people and older people. They believed you when you said you cared about them."

Watch the latest "A Closer Look" segment below:

SEE ALSO: CNN's Van Jones: Why Oprah could beat Trump in 2020

DON'T MISS: Seth Meyers: The real revelation of Trump's leaked tax return

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NOW WATCH: The biggest winners and losers in Trump's proposed budget

As hinted by HBO's recent "Game of Thrones" marketing stunt, firepower will play a huge role on the show's upcoming seventh season. And now, director Matt Shakman is filling in some of the details.

Fans have watched the dragons grow since they hatched during the first season six years ago. On the last season, we saw them join Daenerys (Emilia Clarke) in her fiery quest to capture the Iron Throne. Fearsome then, Drogon, Rhaegal, and Viserion have done some growing between seasons.

“The dragons this year are the size of 747s,” Shakman, one of just four directors helming episodes on the upcoming season, told Entertainment Weekly. “Drogon is the biggest of the bunch — his flame is 30-feet in diameter!”

To give you some idea of the immense size that Shakman is referring to, the Boeing 747 is about 230 feet long with a 210 feet wingspan and, depending on the model, can carry 416 to 660 passengers.

With just two seasons remaining, HBO has been teasing a "fire and ice" theme heavily. Many fans theorize that to mean that there will be a face-off between Daenerys and Jon Snow (Kit Harington). From Shakman's comments, the dragons would provide a lot of firepower during that epic battle.

SEE ALSO: HBO made 'Game of Thrones' fans watch ice melt for a painfully long time, and they went nuts

DON'T MISS: 7 TV shows you need to watch if you love 'Game of Thrones'

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NOW WATCH: Watch the new teaser trailer for 'Game of Thrones' season 7

Emma Watson is looking at one of the biggest paydays of her career if the Disney live-action remake of "Beauty and the Beast" becomes a box office success.

Watson took in $3 million to play the movie's lead, Belle, but her pay will jump to $15 million if the movie has a worldwide take similar to the studio's 2014 "Maleficent" release ($759 million), according to The Hollywood Reporter.

It's extremely likely the movie will hit that mark, if not well exceed it (industry projections have the movie making around $245 million worldwide this weekend when it opens in theaters). But this type of deal Disney gives to the star of one of its major releases is an interesting glimpse inside how the successful studio operates. 

THR touches on the stories of tight budgets for its talent, including "Beauty and the Beast" star Dan Stevens being denied a rental car upgrade to accommodate his kids or the studio refusing to pay for "Cinderella" star Lily James' mother to fly first class with her daughter on a flight.

"They are cheap with everyone," a lawyer with a client in one of Disney's upcoming films told THR.

But that just proves that, in reality, it's the Disney characters that are most important. Having Emily Blunt or Donald Glover in upcoming titles "Mary Poppins Returns" and "The Lion King," respectively, isn't what mainly brings in the box office coin.

And since Watson hasn't cashed in major pay for any of her roles since the "Harry Potter" movies — in which she earned $60 million combined for the eight movies — Disney's deal likely looked good to her.

"Beauty and the Beast" opens Friday.

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Disney is already earning major coin from their live-action "Beauty and the Beast."

The movie took in $16.3 million in its preview screenings on Thursday, according to The Hollywood Reporter.

That's the biggest earning for previews this year, and the largest ever for a Disney live-action movie (not counting Marvel or Lucasfilm titles). 

The live-action remake of the 1991 Disney animated classic is looking to have a major first weekend, as many in the industry predicted. The title should earn north of $165 million domestically.

The movie, which stars Emma Watson as Belle and Dan Stevens as the Beast, should also break the record for biggest opening weekend for a Disney live-action fair tale movie. It should surpass 2010's "Alice in Wonderland" ($116 million) and 2015's "Cinderella" ($67.8 million).

SEE ALSO: Emma Watson could earn up to $15 million if "Beauty and the Beast" is a hit

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Since Disney acquired the rights to the “Star Wars” saga, the studio has been pretty nostalgic with its content. But that won’t always be the case, says “Rogue One: A Star Wars Story” screenwriter Gary Whitta.

Whitta, who has also penned episodes of TV series “Star Wars Rebels,” told SuperHeroHype that he believes new standalone stories with new characters are on the horizon.

“I think you’ve already seen us get 90 percent of the way there with ‘Rogue One,’" said Whitta. “Yes, you see Leia, yes, you see the Death Star and Vader, because those are elements of that story and they belong there, you can’t tell that story without those characters. But for the most part, 90 percent of that story is completely new characters. Completely new planets and places you’ve never seen before. It’s a ‘Star Wars’ movie with no Jedi! You don’t see a lightsaber once until Vader pops it out at the end.”

Though looking to the past for ideas isn’t done (and may never be), with the making of a young Han Solo movie and the rumors of a Boba Fett movie. But Whitta believes the foundation is being set for new stories.

“One of the thing things we really want to do at Lucasfilm is create a universe and not keep relying on old legacy characters,” said Whitta. “We’ve got Rey and Finn and Kylo Ren, they’ve already introduced a new generation of characters. Whatever kind of Star Wars films they’re making 10 or 20 years from now, I don’t think they’re going to be relying on the same legacy story elements as we have in the past.”

So that means a standalone Chirrut Îmwe movie has a chance.

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"Mass Effect: Andromeda" takes the third-person shooter, space-epic video game series "Mass Effect" to an entirely new galaxy: Andromeda.

Humans and other sentient species from the Milky Way galaxy have sent ships — "arks" — with tens of thousands of beings in an attempt to ensure human life continues. The arks are led by a single individual tasked with finding new, habitable worlds. In "Andromeda," you are that person — the "Pathfinder" — and it's up to you to find a new home for humanity.

I've been playing "Mass Effect: Andromeda" for a few days now, and it's been an emotional roller coaster. Here's what it's like.

SEE ALSO: 5 things I really don't like about the new 'Mass Effect' game

Don't worry: There are no major spoilers ahead.

"Mass Effect: Andromeda" does not make a good first impression.

I'm a longtime "Mass Effect" fan; I put hundreds of hours into my version of Commander Shepard across the original trilogy. And that's important to tell you for one reason: My expectations are unreasonably high. 

"Mass Effect: Andromeda" is essentially a standalone game. You don't have to play the original trilogy to follow the events here (though there's plenty of nods to it if you did).

But I'm not approaching it as a standalone game, and that's because I spent so much time investing in the original trilogy. There's a good argument to be made that you'd like the opening to "Mass Effect: Andromeda" more than I did if you didn't play the original games. 

It's a fine opening, but doesn't stand up to the high bar set in the first three.

Right off the bat, the characters feel lifeless — like they're going through the motions. There's little time for plot or character development as "Andromeda" rushes through the intro. 

This guy's my father? And apparently my brother is hurt? And who are these squadmates? And why am I shooting at these aliens?

"Mass Effect" is a series known for nuance, yet the intro to "Andromeda" is entirely lacking in this regard. 

Netflix's fourth Marvel series, "Iron Fist," was arguably the streaming company's most highly anticipated of the "Defenders" franchise. With such high expectations for the show, critics weighed in with their great disappointment. The reviews for "Iron Fist" were pretty miserable.

As a result, the show received some pretty dismal scores on the review aggregation sites: a score of 36 from Metacritic, which indicates "generally unfavorable reviews," and a low 19% fresh score by Rotten Tomatoes.

"Iron Fist" follows Danny Rand (Finn Jones), who returns to New York City after having gone missing for 15 years. Believed dead after a plane accident that claimed his wealthy parents' lives, Danny actually survived and was rescued by a mystical sect of monks. Schooled in kung fu and entrusted with the power of the invincible iron fist, Danny is back to reclaim his family company. But when a dangerous threat arrives, he has to choose between his familial obligations and his duties as the Iron Fist.

In my review of the show for Business Insider, I similarly panned the series' writing, pacing, and fight scenes, and for not living up to the standards Netflix set with previous Marvel series, "Daredevil," "Jessica Jones," and "Luke Cage."

I wrote, "Plainly stated, "Iron Fist" is boring," as were its fight scenes.

But what did other critics say about "Iron Fist"?

Variety critic Maureen Ryan found the show missed the mark in several ways: "It takes forever for anything to happen on 'Iron Fist,' and as it stumbles along, the uninspired production design, unexceptional cinematography, and painful dialogue fail to distract the viewer from the overall lack of depth, detail, or momentum."

The Hollywood Reporter's Dan Fienberg wasn't impressed with the show's star, writing "It's unclear if Jones' lack of physical authority is dampening 'Iron Fist's' ability to be an action show or if 'Iron Fist's' lack of interest in being an action show has negated Jones' ability to display physical authority."

Collider's Allison Keene felt the series failed to take advantage of its talent and source material: "Despite a very good cast and a great origin story, 'Iron Fist' is predictable, a little hammy, and has no real sense of how to tell a cohesive story. As such, it has a few moments that are great and many that are not."

Most other reviews echoed these sentiments, but what did reviewers like about the show?

USA Today's Brian Truitt agreed with my view that Jessica Henwick as Colleen, the principled and badass master of a struggling karate dojo, community leader, and potential love interest for Danny, is a standout new character.

"The British actress ultimately steals the show by bringing modern complexities and watchable gumption to Marvel’s newest dangerous, no-nonsense woman," Truitt wrote of Henwick.

New York Times critic Mike Hale also felt the superb cast was underserved and reserved some judgment as critics were only given the first six episodes.

"The sad thing, and perhaps the hopeful thing, about the dawdling featurelessness of the early episodes is that you can see a better show struggling to get out. The actors ... are better than the material they’re given," he wrote. "Until we see the full season, we won’t know whether the show manages to focus its chi."

Viewers can make their own decisions on "Iron Fist," which is now available to stream on Netflix.

Nathan McAlone contributed to this article.

SEE ALSO: 'Marvel's Iron Fist' star Finn Jones defends the Netflix show after miserable reviews

DON'T MISS: The 18 worst new TV shows of the year so far, according to critics

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NOW WATCH: Netflix and Marvel just dropped the first 'Iron Fist' trailer — and it looks incredible

U.S. employers are facing billions of dollars in lost wages this March Madness due to distracted employees. And if you're reading this, I can only assume your goal is to join the ranks of the on-duty streamers. 

Thankfully, the NCAA and networks that air the games don't care about your employer, and only want as many eyeballs on the games as possible. They've provided us all with ample ways to watch as much sweet, sweet college basketball as our bodies can handle. 

Here's how to spend the rest of March watching your bracket slowly fall to pieces, without needing to pay a cent: 

SEE ALSO: From Netflix to GameFly, here are 13 subscription services you can try right now for free

First, understand the breakdown of games

This year, CBS and Turner (which owns TBS, TNT, and truTV) share the rights to broadcast the tournament. 

Of the 67 games that make up March Madness, 43 go to Turner, while the remaining 24 go to CBS.

CBS will be home to the Final Four on April 1, as well as the National Championship Game on April 3 at 9 p.m. 

For a full schedule of games, as well as the corresponding networks they will be on, click here.

Watch the CBS free on the NCAA March Madness website

This is the easiest way to catch a large portion of games in the tournament, as the NCAA has a deal with CBS to stream all of its games.

All you have to do is visit the official website on your computer, or download the official app on your smartphone or tablet. Here is the link for the iOS app and the Android app.

The good folks over at the March Madness website have even brought back the "Boss Button," which takes you to an official-looking slide-show complete with pie charts and stock photos extolling the virtues of PlayStation Vue, should your boss ever happen to walk by.   

For games on TBS, TNT, and truTV, you'll need to get creative

If you pay for a cable subscription, you're in luck. Simply entering your credentials on the March Madness website will give you access to all of Turner's games. 

But if you don't pay for a cable subscription, don't worry — there are still plenty of ways to get your basketball fix. 

Terrence Malick is more famous for his reclusiveness than for his movies. Between the release of "Days of Heaven" in 1978 and the premiere of "Song to Song" at SXSW last week, he didn't grant a single public interview. Photos of him were nearly as rare. Even TMZ didn't know what they had on their hands when they accidentally got footage of him in 2012. He is the cinematic version of J.D. Salinger.

But despite that — or maybe because — he's so mysterious, Malick attracts the best actors in the business. His newest movie, "Song to Song," has yet another stacked cast. It stars Michael Fassbender, Rooney Mara, Ryan Gosling, Cate Blanchett, and Natalie Portman. His previous fiction film, "Knight of Cups," had Christian Bale, Blanchett, and Portman. "To the Wonder" starred Ben Affleck, and "The Tree of Life" starred Brad Pitt and Sean Penn, and introduced the world to Jessica Chastain.

For the most part, these actors are in high demand in the movie industry. They're selective with their roles, and could be making millions of dollars by starring in blockbusters, or chasing after an Oscar by being in a biopic instead of an enigmatic two-hour tone poem.

But watch any of Terrence Malick's movies, and it's clear why any actor would want to work with him. Sure, his films are easy to mock. They barely have a plot. The camera (three-time Oscar-winning cinematographer Emmanuel Lubezki is a frequent collaborator) roams around instead of staying still. Actors speak in voiceover more than they do in dialogue. His movies frequently have shots of hands gently flowing through fields of wheat or people kneeling and pressing their faces into someone else's navel.

On the other hand, the expressionistic style of the film allows for actors to open up. Each character is still distinct, but the lack of constant dialogue means that the actors have to find new ways to communicate who their characters are to the audience. It's a challenge that actors at the top of their game would relish.

Michael Fassbender in "Song to Song" is the best example of this style. It's some of the best work he's ever done. He plays an egoistical music producer who seduces and betrays the women who depend on him. Like all of Malick's characters, he speaks mostly in half-sentences, so he largely conveys his character with his constantly moving physical presence. He rolls around, hoists Rooney Mara and Natalie Portman into the air, and gets into friendly fisticuffs with Ryan Gosling. If Malick's camera is always dancing, then Fassbender dances right back.

Rooney Mara, too, gives one of her widest-ranging performances. She normally plays women who are tightly wound, like Catherine in "Her" and Therese in "Carol." In "Song to Song," she's a young rock musician trying to get a big break, who tenderly falls in and out of love with Ryan Gosling's character. Gosling himself gets a chance to communicate with music rather than just words, playing the guitar. It's the latest in a string of movies where he's an instrument-playing romantic, along with "La La Land" and "Blue Valentine."

"Song to Song" is also more musical than Malick's other films. He usually uses classical composers for the score — and he still does here — but it's set in the Austin rock scene, and he shot the movie in Austin, where he lives. He also gives a few rock stars — like Patti Smith and Iggy Pop — cameos, and the chance to give plausibility to the movie's world.

It's also a companion piece to "Knight of Cups." In that movie, Christian Bale played a highly successful but emotionally empty screenwriter who feeds on Hollywood's decadence and goes through a string of women to satisfy him. The movie focused mostly on Bale's character, leaving the hurt women in his life in the periphery as Bale sought redemption.

In "Song to Song," Fassbender plays a similarly successful and empty music producer. But instead of focusing on him too much, Malick instead pays attention to the women around him, who sacrifice their time and lives for his happiness, only to have their own upended and left in the emotional wreck of his recklessness.

There are some risks to working with Terrence Malick. One of his filming methods is to shoot reams and reams of footage — he shot one million feet of film for his 1998 film "The Thin Red Line"— and whittle it down into a two-hour story in post-production. This means that roles are inevitably cut down in the final cut. Adrien Brody, for example, was supposed to be the main character in "The Thin Red Line," and spent six months shooting the film, but his role was cut down to just a couple of lines of dialogue. Val Kilmer was supposed to have a big scene as a rock star who goes berserk during a performance in "Song to Song," but his scene was only a couple of minutes long, and most of the footage was of the back of his head.

It can be tough on actors. Brody called the experience "unpleasant" after he had already begun doing press for the film. Mickey Rourke, who was excised completely from "The Thin Red Line," lashed out and said he was cut for "political reasons."

Malick seems to be getting more sensitive to the criticism. He's been more careful, and the actors who work with him seldom seem to mind. Rachel Weisz, who filmed scenes for 2013's "To the Wonder" but wasn't in the final cut, was indifferent. "One never knows with Terrence Malick," she told The San Francisco Chronicle. "You can shoot for three months and end up not being in the movie."

For actors like her, the chance to work with Terrence Malick is worth it. Even if they don't appear in the final film too much, they'll have the chance to work on their craft in a new way. And if they only get a few fleeting minutes, it's a few fleeting minutes in a movie that could be watched generations from now.

It's not as good as "The Tree of Life" or "The Thin Red Line" — Malick's two best works — but "Song to Song" is by far the best of his last three movies, and is beautiful enough to watch that it should be seen on the big screen if it's playing in a theater in your city.

Watch the trailer for "Song to Song" below:

SEE ALSO: Ewan McGregor and Danny Boyle look back on 'Trainspotting' and their up-and-down friendship

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Each year, more than 100,000 people line up along two miles of Greenville Ave in Dallas for a massive St. Patrick's Day party.

The pun is obvious, because the entire avenue becomes a sea of green, with families and revelers alike dressing up for one of the largest St. Patrick's day parades in the United States, and the largest in the Southwest.

It's not even that Dallas is a particularly Irish city. It's just an excuse to have fun as a community every year, since 1979.

And in 2012, there was almost a year without a parade after its main sponsor the Dallas Observer pulled out, taking Budweiser with it. The parade organizers publicly announced they needed $40,000 to stay afloat. That's a relatively small investment for Mark Cuban, the billionaire Dallas Mavericks NBA franchise owner and "Shark Tank" investor, who came to the rescue, donating an extra $25,000 to the parade committee's fund for the Dallas Independent School District.

For the last six years, the Mavericks have been the primary sponsor of the parade, and Cuban was the parade's grand marshal last year, riding atop a float with his two daughters and son.

Cuban told the local press at the time that he couldn't let a Dallas tradition die, especially one that he enjoyed so much in his younger days since moving to the city in 1982.

"I figured that I killed a whole bunch of brain cells," he told NBC's Dallas affiliate, referring to some parade-goers' tendency to get rowdy. "I want to give everybody else a chance."

Since then, funding the parade has become a tradition of its own for Cuban, he told Business Insider.

It's not only fun, but it's good for business. He's used the parade to promote his basketball team and some of the small businesses he's invested in, like two of this year's sponsors, Beat Box Beverages and fitness tracker company Moov.

Alex Macon, online arts and entertainment editor at D Magazine in Dallas, said Cuban's investment in 2012 improved his image among Dallas natives.

"The word 'savior' was bandied about in bar conversations when it first happened, only a little ironically," Macon told Business Insider via email. "I think there's a lot of eye-rolling at Cuban's persona here in Dallas," he said, referring to Cuban's history of brash behavior at basketball games and on television, "but most people seemed genuinely grateful that somebody was keeping the parade afloat."

Macon noted that Cuban saved the parade the year after the Mavs won the NBA Championship in 2011, and the combination won over many people who weren't fans of him personally. "Those two things will get you a lot of goodwill here," Macon said.

This year's parade, held on March 11, had an especially large turnout of 125,000, and its grand marshal was recently retired Dallas police chief David Brown.

SEE ALSO: CUBAN: The robots are coming

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NOW WATCH: Barbara Corcoran reveals what separates successful entrepreneurs from those that fail

Over the past fifteen years, Emma Watson has proved that she's so much more than Hermione Granger.

The star of the "Harry Potter" franchise hasn't let herself be defined by the iconic and beloved character. Over the years, she's proved that she has acting chops, became a style icon, and is fighting for women's rights worldwide at the same time — and she's only 26 years-old. 

Watson's acting career got started with "Harry Potter," but she really started to come into her own as an actress and as a public figure once the series ended and she had more time to explore other projects.

Here’s how Emma Watson rose to Hollywood fame and became a feminist activist at the same time:

SEE ALSO: Every HBO show ranked from worst to best, according to critics

Emma Charlotte Duerre Watson was born on April 15, 1990 in Paris — but she was raised in England. Her brother Alex was born three years later. Her parents, both British lawyers, got divorced when she was five.

Source: Biography

Emma Watson started her acting career as Hermione Granger in 2001’s “Harry Potter and the Sorcerer’s Stone.” Her only acting experience before being in the films was acting in school plays. She also took acting classes at the Stagecoach Theatre Arts school at Oxford. J.K. Rowling wanted Watson immediately after seeing her screen test.

Source: Biography

Watson went on to continue her role as Hermione in "The Chamber of Secrets" (2002), "The Prisoner of Azkaban" (2004), "The Goblet of Fire" (2005). In 2006, Watson wasn't sure if she'd sign on for the final films, due to interests outside of acting and wanting to focus on her education.

Source: Newsweek

Apple Music paid Chance the Rapper a whopping $500,000 to put his album "Coloring Book" on the service for a two-week exclusive window, Chance said Friday.

"I never felt the need to correct folks on my relationship with @apple but now that more people have tried to discredit my independence," Chance wrote on Twitter. "I wanna clear things up. @apple gave me half a mil and a commercial to post Coloring Book exclusively on applemusic for 2 weeks. That was the extent of my deal, after 2 weeks it was on SoundCloud for free. I needed the money and they're all good people over there."

Chance, a 23-year-old Chicago native, won a Grammy for best new artist last month, making him the first artist without a label deal to snag the honor. Chance has remained fiercely independent during his career, shunning label deals, and fans have loved his commitment to giving away music free on SoundCloud.

"I feel like if I didnt clear it up people would keep trying to discredit all the work we did to make Coloring Book what it became," Chance continued on Twitter. "I think artist can gain a lot from the streaming wars as long as they remain in control of their own product. I just wanna remain transparent. Folks out there without a deal need to know they're doing everything right just keep at it. If you come across oprtunities [sic] to work with good people, pick up cash and keep your integrity I say Do It."

Exclusive windows for albums have been a source of tension in the music streaming industry. Market leader Spotify has come out strongly against them, saying they are "bad for artists and they’re bad for fans." Apple Music, conversely, has sought high-profile exclusives from the likes of Drake and Frank Ocean.

Drake reportedly signed a $19 million contract with Apple in 2015.

SEE ALSO: A 23-year-old rapper who has no label just made history with his Grammy win

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As Amazon and Netflix battle over which company makes the best original streaming shows, one big difference is in their respective processes for making them.

While Netflix has totally abandoned the traditional TV "pilot" system, and commissions full seasons of shows at once, Amazon has a "pilot season" where the company lets Prime members give feedback on which shows they want full seasons of.

Amazon's spring pilot season debuted March 17th. The pilots range from a superhero comedy set in Las Vegas, to a housewife trying to make it as a stand-up comic, to a chaplain sent into space.

Amazon has been ramping up its investment in video over the last few months, and previously said it was doubling its spending on video content in the second half of 2016, compared with the year prior. One expensive item was "The Grand Tour," a new show by Jeremy Clarkson and the "Top Gear" crew, which cost Amazon a reported $250 million.

That show was meant to supercharge Amazon's expansion into 200 countries, and proves Amazon isn't averse to spending big for quality shows.

Here are the 5 pilots Amazon announced Thursday, which you'll be able to give your stamp of approval (or disapproval) on:

SEE ALSO: YouTube thinks its new $35-a-month TV package has a secret weapon in the fight against cable

"The Legend of Master Legend"

Length: 30 minutes

Amazon Description: "The Legend of Master Legend" is a dark comedy about the life of Frank Lafount, a.k.a. Master Legend — a homemade superhero whose mission is to protect the people of Las Vegas from evildoers. Master Legend juggles the demands of justice with the even more complicated demands of his real family, who don’t see him as a hero at all.

"Budding Prospects"

Length: 30 minutes

Amazon Description: In 1983, three hapless city boys move from their comfort zone of the San Francisco counter-culture to Mendacino to grow marijuana. Their expectations of the experience being a back-to-the-land, nurturing adventure in a beautiful rustic setting run up against the harsh truth prior to their arrival at "The Summer Camp" – a miserably run-down shanty out in the middle of nowhere, where they are bedeviled by rats, snakes, mosquitoes, and harsh, unfriendly growing conditions, noisy neighbors, dangerous locals, and menacing law enforcement. The pilot stars Adam Rose ("Veronica Mars"), Joel David Moore ("Bones"), Will Sasso ("MADtv") and Brett Gelman ("Fleabag").

"The New V.I.P.’s"

Length: 30 minutes

Amazon Description: Amazon’s first adult animated comedy show, "The New V.I.P.’s" follows a group of low-level employees who seize control of a major corporation after accidentally murdering their boss. The pilot stars Matt Braunger ("Agent Carter"), Ben Schwartz ("Parks and Recreation"), Missi Pyle ("Gone Girl") and Jonathan Adams (Last Man Standing).

Years ago, eSports was a community of video gamers who would gather at conventions to play Counter Strike, Call of Duty, or League of Legends.

These multiplayer video game competitions would determine League of Legends champions, the greatest shooters in Call of Duty, the cream of the crop of Street Fighter players, the elite Dota 2 competitors, and more.

But today, media giants such as ESPN and Turner are broadcasting eSports tournaments and competitions. And in 2014, Amazon acquired Twitch, the live streaming video platform that has been and continues to be the leader in online gaming broadcasts.

To put in perspective how big eSports is becoming, a Google search for "lol" does not produce "laughing out loud" as the top result. Instead, it points to League of Legends, one of the most popular competitive games in existence. The game has spawned a worldwide community called the League of Legends Championship Series, more commonly known as LCS or LOL eSports.

Websites even exist for eSports live scores to let people track the competitions in real time if they are unable to watch. There are even fantasy eSports leagues similar to fantasy football.

So it's understandable why traditional media companies would want to capitalize on this growing trend just before it floods into the mainstream. Approximately 300 million people worldwide tune in to eSports today, and that number is growing rapidly. By 2020, that number will be closer to 500 million.

And financial institutions are starting to take notice. Goldman Sachs valued eSports at $500 million in 2016 and expects the market will grow at 22% annually compounded over the next three years into a more than $1 billion opportunity.

Of course, as with any growing phenomenon, the question becomes: How do advertisers capitalize? This is especially tricky for eSports because of its audience, which is young, passionate, male-dominated, and digital-first. They live online and on social media, are avid ad-blockers, and don't watch traditional TV or respond to conventional advertising.

So what will the future of eSports look like? How high can it climb? Could it reach the mainstream popularity of baseball or football? How will advertisers be able to reach an audience that does its best to shield itself from advertising?

Robert Elder, research analyst for BI Intelligence, Business Insider's premium research service, has compiled an unparalleled report on the eSports ecosystem that dissects the growing market for competitive gaming. This comprehensive, industry-defining report contains more than 30 charts and figures that forecast audience growth, average revenue per user, and revenue growth.

Companies and organizations mentioned in the report include: NFL, NBA, English Premier League, La Liga, Bundesliga, NHL, Paris Saint-Germain, Ligue 1, Ligue de Football, Twitch, Amazon, YouTube, Facebook, Twitter, ESPN, Electronic Arts, EA Sports, Valve, Riot Games, Activision Blizzard, ESL, Turtle Entertainment, Dreamhack, Modern Times Group, Turner Broadcasting, TBS Network, Vivendi, Canal Plus, Dailymotion, Disney, BAMTech, Intel, Coca Cola, Red Bull, HTC, Mikonet

Here are some key takeaways from the report:

• eSports is a still nascent industry filled with commercial opportunity.
• There are a variety of revenue streams that companies can tap into.
• The market is presently undervalued and has significant room to grow.
• The dynamism of this market distinguishes it from traditional sports.
• The audience is high-value and global, and its numbers are rising.
• Brands can prosper in eSports by following the appropriate game plan.
• Game publishers approach their Esport ecosystems in different ways.  
• Successful esport games are comprised of the same basic ingredients.
• Digital streaming platforms are spearheading the popularity of eSports.
• Legacy media are investing into eSports, and seeing encouraging results.
• Traditional sports franchises have a clear opportunity to seize in eSports.
• Virtual and augmented reality firms also stand to benefit from eSports.  

In full, the report illuminates the business of eSports from four angles:

• The gaming nucleus of eSports, including an overview of popular esport genres and games; the influence of game publishers, and the spectrum of strategies they adopt toward their respective esport scenes; the role of eSports event producers and the tournaments they operate.
• The eSports audience profile, its size, global reach, and demographic, psychographic, and behavioral attributes; the underlying factors driving its growth; why they are an attractive target for brands and broadcasters; and the significant audience and commercial crossover with traditional sports.
• eSports media broadcasters, including digital avant-garde like Twitch and YouTube, newer digital entrants like Facebook and traditional media outlets like Turner’s TBS Network, ESPN, and Canal Plus; their strategies and successes in this space; and the virtual reality opportunity.
• eSports market economics, with a market sizing, growth forecasts, and regional analyses; an evaluation of the eSports spectacle and its revenue generators, some of which are idiosyncratic to this industry; strategic planning for brand marketers, with case studies; and an exploration of the infinite dynamism and immense potential of the eSports economy.

Interested in getting the full report? Here are two ways to access it:

1. Subscribe to an All-Access pass to BI Intelligence and gain immediate access to this report and over 100 other expertly researched reports. As an added bonus, you'll also gain access to all future reports and daily newsletters to ensure you stay ahead of the curve and benefit personally and professionally. >> Learn More Now
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